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Vik Muniz’s Rio Art School Profiled in WSJ

May 30th, 2016

Vik Muniz, via WSJThe WSJ takes an inside look at the experimental art school founded by Vik Muniz in one of Rio’s favelas, which has been chosen for inclusion in this year’s Architecture Biennale.  “To design and build in a favela is a huge challenge because of the topography and because it’s so dense,” says curator Washington Fajardo. “What’s interesting about Escola Vidigal is that it creates a dialogue with the pre-existing built environment while improving the quality of the space.”
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Taco Dibbits to Take Helm at Rijksmuseum

May 30th, 2016

Taco Dibbits, via NYTThe Rijksmuseum has named Taco Dibbits, the museum’s current director of collections, as its new director, following the departure of Wim Pijbes.  “It’s one of the most beautiful museums in the world, and it’s a dream come true for me,” Dibbits told the New York Times. “I’ve already got a fantastic team of people, and we hope that we can make as many people as possible enjoy and be inspired, and be touched by, the great works of art that the museum houses.”
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Arrests Made in Spain OVer Francis Bacon Theft

May 30th, 2016

The stolen Francis Bacon paintings, via The GuardianSeven people have been arrested in Spain, in connection with the theft of five Francis Bacon paintings valued at €25m.  Police found the works after receiving photographs from British investigators, and tracing the camera equipment used to photograph the works.  “It is not at all easy to sell a Francis Bacon, large or small, without that getting to the ears of those who pore over such a rarified sector,” one expert said of the theft.
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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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