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

Art Program Offering Classes to Minor Offenders Instead of Court Dates Facing Defunding

October 23rd, 2020

Project Reset, a New York program that allows perpetrators of nonviolent offenses to take art classes instead of taking a court date, is facing budget shortfalls, and may shut down. “Project Reset is one of the most valuable tools we have to address low-level offenses. When you can prevent someone who is arrested for a low-level offense from entering the criminal justice system—and instead offer them a meaningful intervention through art, therapy, and other forms of restorative justice—you spare them the consequences of a criminal conviction, help them recognise and change behaviours, and ideally prevent future arrests,” says DA Cyrus Vance. “Especially today, when criminal justice reform and jail reduction are priorities for New Yorkers, it would be a shame to end this critical program.”
Read More »

Marian Goodman Gallery to Close London Space

October 23rd, 2020

Marian Goodman Gallery is planning to close its London gallery at the end of this year, striking an ominous note for the future of London’s art market.  “The art world has undergone dramatic changes in recent years, and the current health crisis and Brexit have introduced even more uncertainty into the market, especially for galleries operating in London,” the dealer said. “The decision to close the London space was made together with the executive team as part of the gallery’s overarching programming and sales strategy to pursue a more nimble approach in London, while continuing our strong presence in New York and Paris, which has served as the hub for our European activity for more than 25 years.”
Read More »

Deana Lawson Wins Hugo Boss Prize

October 23rd, 2020

Deana Lawson has become the first photographer to win the Guggenheim Museum’s Hugo Boss Prize. “Her contribution to the medium and the larger cultural landscape is indelible,” says director Richard Armstrong.
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