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Museum Directors Outline Reopening Strategies in Art Newspaper

May 29th, 2020

A group of museum directors speak to Art Newspaper this week about their plans to reopen, and how they plan to respond to COVID-19 concerns.  The directors detail a range of strategies, from timed entry to controlling flow in and out of galleries.
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Ai Weiwei Creates Face Masks to Benefit COVID-19 Charities

May 29th, 2020

Ai Weiwei has created a set of surgical masks to aid coronavirus charities. “It is such a waste. There is so much argument around the mask,” he says of the face mask as a cultural artifact of the era. “A face mask weighs only three grams but it carries so much state argument about global safety and who has it and who doesn’t have it.”
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Adam Lindemann Sues to Break Lease on Venus Over Manhattan Space in NY

May 28th, 2020

Collector and dealer Adam Lindemann is suing real estate mogul Aby Rosen to break his lease on the Venus Over Manhattan space at 980 Madison Avenue in New York, asserting he can no longer due business there due to the COVID-19 pandemic. “Is it only the tenant’s responsibility when the tenant can’t use the space as intended or may never be able to?” says Errol Margolin, the gallery’s lawyer. “When you have a gallery opening, you have 500 people. If you have social distancing, how can you have 500 people in the future?”
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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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