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Guy Wildenstein’s Tax Evasion Trial Begins in Paris

September 23rd, 2016

guy-wildenstein-in-paris-via-abcGuy Wildenstein’s tax evasion trial has begun in Paris, following several delays in the proceedings.  “At that time, there was no law” against the tax havens Wildenstein allegedly used, his lawyer, Herve Temime said in court. “There is therefore an absolute doubt on the very existence of unpaid taxes.”
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Bill Ruprecht Returns to Art World as Advisor in Online Venture

September 23rd, 2016

bill-ruprecht-via-wsjBill Ruprecht has returned to the art world, the WSJ reports, as he chairs the advisory board for the online art venture Invaluable.  “The art world is a hothouse, and I purposefully tried to get a little distance from it,” he told the paper, “but I keep getting drawn back in.”
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Buffalo’s Albright-Knox Museum Receives $42.5 Million Gift for Expansion Project

September 23rd, 2016

jeffrey-gundlach-via-bloombergInvestor Jeffrey Gundlach has made a $42.5 million gift to Buffalo’s Albright-Knox Museum, the largest in the museum’s 154-year history, for a planned expansion project.  “I learned about art by going to the Albright-Knox Art Gallery with my family,” Gundlach says. “It was the place that first opened my eyes and mind to the endless possibilities of art and showed me that Buffalo didn’t just have the potential for greatness, but actually had a museum that was world-class.”
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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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