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Philadelphia Museum of Art Employees Vote to Unionize

August 10th, 2020

The Philadelphia Museum of Art staff has voted to unionize. “We are all incredibly happy and excited to get to this point,” says organizer Nicole Cook. “It works out to an 89% victory, which feels really great. The win was very emphatic.”
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Met Lays Off 79 Employees

August 10th, 2020

The Met has laid off an additional 79 workers as the financial impact of COVID-19 continues to worsen.  “Our goal has always been to minimize the impact of the financial crisis for our staff,” reads an open letter from director Max Hollein and president/CEO Daniel Weiss. “Unfortunately, with staff salaries comprising around 65 percent of our annual budget, we are confronted by the difficult reality that reducing the size of our workforce and furloughing additional staff is the responsible next step to address our urgent financial challenges.”
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Beirut Art Scene Mourns Destruction Following Explosion

August 10th, 2020

A piece in the Art Newspaper traces the Lebanese art scene’s mourning after the massive explosion in the city last week. “All I hope now is for the quick recovery of those who have been injured and a safe return to the now-scattered people,” says Naila Kettaneh Kunigk, owner of Gallerie Tanit said in a statement.
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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…”

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