Global contemporary art events and news observed from New York City. Suggestion? Email us.
NEWS

Kader Attia Accuses French Rappers of Plagiarism

December 9th, 2016

kader-attia-ghost-via-artforumKader Attia is accusing a pair of French rappers of plagiarism for using imagery similar to a 2007 work of his in their music video.  “As artists, we have to defend ourselves against unauthorized commercial uses of our artworks,” he says. “We are constantly plagiarized by the music industry, or in advertisement, or fashion.”
Read More »

Denver Art Museum Gets $25 Million for Building Renovation

December 9th, 2016

denver-art-museum-via-art-newsThe Denver Art Museum has received a $25 million gift, which will go towards renovating the institution’s building.  “The North Building is considered one of the most significant objects in the museum’s collection, and our family is honored to support the much-needed rehabilitation required to bring it into the 21st century,” says chairman J. Landis Martin, who donated the funds.
Read More »

The Guardian Notes Progress in Gender Parity in Turner Prize Awards

December 9th, 2016

Helen Marten, via W MagazineThe Guardian performs some data analytics on the Turner Prize this week, charting how the award has moved towards closer gender parity in recent years.  Both the number of female winners and judges has increased in the past ten years, reaching almost even numbers of both men and women.  
Read More »

REFERENCE LIBRARY

Andy Warhol

Biography

“Andy Warhol began as a commercial illustrator, and a very successful one, doing jobs like shoe ads for I. Miller in a stylish blotty line that derived from Ben Shahn. He first exhibited in an art gallery in 1962, when the Ferus Gallery in Los Angeles showed his 32 Campbell’s Soup Cans, 1961-62. From then on, most of Warhol’s best work was done over a span of about six years, finishing in 1968, when he was shot. And it all flowed from one central insight: that in a culture glutted with information, where most people experience most things at second or third hand through TV and print, through images that become banal and disassociated by repeated again and again and again, there is role for affectless art. You no longer need to be hot and full of feeling. You can be supercool, like a slightly frosted mirror. Not that Warhol worked this out; he didn’t have to. He felt it and embodied it. He was a conduit for a sort of collective American state of mind in which celebrity – the famous image of a person, the famous brand name – had completely replaced both sacredness and solidity.

Earlier artists, like Monet, had painted the same motif in series in order to display minute discriminations of perception, the shift of light and color form hour to hour on a haystack, and how these could be recorded by the subtlety of eye and hand. Warhol’s thirty-two soup cans are about nothing of the kind. They are about sameness (though with different labels): same brand, same size, same paint surface, same fame as product. They mimic the condition of mass advertising, out of which his sensibility had grown. They are much more deadpan than the object which may have partly inspired them, Jasper Johns’s pair of bronze Ballantine ale cans. This affectlessness, this fascinated and yet indifferent take on the object, became the key to Warhol’s work; it is there in the repetition of stars’ faces (Liz, Jackie, Marilyn, Marlon, and the rest), and as a record of the condition of being an uninvolved spectator it speaks eloquently about the condition of image overload in a media saturated culture. Warhol extended it by using silk screen, and not bothering to clean up the imperfections of the print: those slips of the screen, uneven inkings of the roller, and general graininess. What they suggested was not the humanizing touch of the hand but the pervasiveness of routine error and of entropy…”

Artist Homepage

Wikipedia Entry

More info about the artist coming soon.

Info suggestions:info@artobserved.com