Tag: andy warhol

Regarding Warhol: Sixty Artists, Fifty Years – New York – New York

Andy Warhol (American, 1928–1987). Self-Portrait, 1967. Acrylic and silkscreen on canvas, 72 x 72 in. (182.9 x 182.9 cm). Detroit Institute of Arts, Founders Society Purchase, Friends of Modern Art Fund. © 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

From September 18 to December 31, 2012 – The Metropolitan Museum of Art

For decades, critics have observed that Andy Warhol exerted an enormous impact on contemporary art, but no exhibition has yet explored the full nature or extent of that influence.

Ai Weiwei (Chinese, born 1957). Neolithic Vase with Coca-Cola Logo, 2010. Paint on Neolithic vase (5000–3000 B.C.), 9 3/4 x 9 3/4 x 9 3/4 in. (24.8 x 24.8 x 24.8 cm). Mary Boone, New York. Courtesy: Mary Boone Gallery, New York

hrough approximately forty-five works by Warhol alongside one hundred works by some sixty other artists, Regarding Warhol: Sixty Artists, Fifty Years juxtaposes prime examples of Warhol’s paintings, sculpture, and films with those by other artists who in key ways reinterpret, respond, or react to his groundbreaking work. What emerges is a fascinating dialogue between works of art and artists across generations.

Andy Warhol (American, 1928–1987). Big Campbell's Soup Can, 19¢ (Beef Noodle), 1962. Acrylic and graphite on canvas, 72 x 54 1/2 in. (182.9 x 138.4 cm). The Menil Collection, Houston. © 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

he exhibition is structured in five thematic sections: “Daily News: From Banality to Disaster,” “Portraiture: Celebrity and Power,” “Queer Studies: Shifting Identities,” “Consuming Images: Appropriation, Abstraction, and Seriality,” and “No Boundaries: Business, Collaboration, and Spectacle.”

Jeff Koons (American, born 1955). Michael Jackson and Bubbles, 1988. Porcelain, 42 x 70 1/2 x 32 1/2 in. (106.7 x 179.1 x 82.6 cm). San Francisco Museum of Modern Art. Purchase through the Marian and Bernard Messenger Fund and restricted funds. © Jeff Koons

he Metropolitan Museum of Art

Art Return to Art – Firenze – Italia

Louise Bourgeois, Arch of Hysteria, 1993. Courtesy Cheim & Read and Hauser & Wirth. Photo: Allan Finkelman - ©Louise Bourgeois Trust- Louise Bourgeois Trust/VAGA, New York, by SIAE 2012

From May 8 to November 4, 2012 – Galleria dell’Accademia – Firenze

The exhibition Art Returns to art, curated by Bruno Corà, Franca Falletti and Daria Filardo, will see the installation in the rooms of the Galleria dell’Accademia of works by: Francis Bacon, Louise Bourgeois, Alberto Burri, Antonio Catelani, Martin Creed, Gino de Dominicis, Rineke Dijkstra, Marcel Duchamp, Luciano Fabro, Hans Peter Feldmann, Luigi Ghirri, Antony Gormley, Yves Klein, Jannis Kounellis, Ketty La Rocca, Leoncillo, Sol LeWitt, Eliseo Mattiacci, Olaf Nicolai, Luigi Ontani, Giulio Paolini, Claudio Parmiggiani, Giuseppe Penone, Pablo Picasso, Alfredo Pirri, Michelangelo Pistoletto, Renato Ranaldi, Alberto Savinio, Thomas Struth, Fiona Tan, Bill Viola, Andy Warhol.

Louise Bourgeois’s Arch of Hysteria, hung with all its charge of “life’s emotional frenzy” in front of Pontormo’s Venus and not far from Michelangelo’s David,will offer definitive proof of how the naked form of the human body can be used to express concepts and stir sensations that are vastly different. And the effort to bring form out of brute matter, something which obsessed Michelangelo all his life, seems to still weigh heavily today on the shoulders of Giuseppe Penone in his arduous hollowing out of massive tree trunks, just as it is echoed in the forms carved out of concrete by Antony Gormley.

Giulio Paolini’s L’altra Figura will be located almost opposite Bill Viola’s video Surrender: two contemporary ways of reappraising and interpreting the theme of mirroring and reproducibility that lead, in the left arm of the Tribuna, to the 19th-century Salone dei Gessi, filled with plaster casts that were created so lely to be reproduced.

The theme of reflection is also explored in Alfredo Pirri’s floor of fractured mirrors, in Olaf Nicolai’s work Portrait of the Artist as a Weeping Narcissus, whose tears ripple the surface and alter the reflected image, and in Michelangelo Pistoletto’s mirror picture Sacra conversazione, which includes us in a conversation of the present day.

Metaphorically, mirroring becomes a merging with the gaze of the visitor, who is conceptually made part o f the creative process in Rineke Dijkstra’s video installation that tells of a slow observation and reproduction of one of Picasso’s pictures, in Thomas Struth’s photo in front of Dürer’s self-portrait and in Martin Creed’s performance with athletes running swiftly through the spaces of the gallery.

Marcel Duchamp, L'invers de la peinture, 1955 circa, 73,5 x 48 cm ,private collection, by courtesy of collector

e reproduction, repetition and circulation of images in the history of art is tackled from a critical perspective in the works of Marcel Duchamp, Andy Warhol, Luigi Ghirri, Hans Peter Feldmann and Ketty La Rocca, which refer directly to icons familiar to everyone. In his Untitled, Jannis Kounellis will recall the iconography and sense of tragedy of the Crucifixion, a theme tackled in a different way in Alberto Burri’s work and in Renato Ranaldi’s Triumphans, while the gold or ultramarine monochromes of Yves Klein can be related to the gold grounds of the 14th-century altarpieces.

Yves Klein, L’esclave de Michel-Ange, 1962, pure pigment and synthetic resin on synthetic resin, 60 x 22 x 15 cm, © Yves Klein, ADAGP, Paris

he casts of the David’s eyes in Claudio Parmiggiani’s work po se the problem of the fragment, while Leoncillo and Luigi Ontani’s images of Saint Sebastian present different visions of that sacred iconography. The gaze at the past will appear emblematic and mysterious in Alberto Savinio’s Nettuno Pescatore as well as in Gino de Dominicis’s Urvasi e Gilgamesh. Interesting reflections on the work of the past will also be provided by Francis Bacon’s Figure sitting (the Cardinal), Pablo Picasso’s Arlequín con espejo and Sol LeWitt’s drawings of Piero della Francesca’s frescoes, as well as by the ovoid volumes of Luciano Fabro’s Il giudizio di Paride or Eliseo Mattiacci’s large iron sculpture Carro solare del Montefeltro. Memory as recognition of origins will be the focus of Fiona Tan’s film Provenance, and the classical elements of museum architecture are the form out of which Antonio Catelani develops his Klettersteig. (©Art of the Day)

Firenze Musei

Fracture: Daido Moriyama – Los Angeles – California

Daido Moriyama, Shinjuku #11, 2000, gelatin silver print, 13 1/4 x 9 in., courtesy of Gloria Katz and Willard Huyck. © Daido Moriyama

April 7, 2012–July 31, 2012 – Los Angeles County Museum of Art – LACMA
- Japanese Pavilion
Photographer Daido Moriyama (Japan, b. 1938) first came to prominence in the mid-1960s with his gritty depictions of Japanese urban life.  His highly innovative and intensely personal photographic approach often incorporates high contrast, graininess, and tilted vantages to convey the fragmentary nature of modern realities. Fracture: Daido Moriyama presents a range of the artist’s renowned black-and-white photographs, exemplifying the radical aesthetic of are, bure, boke (grainy, blurry, out-of-focus), as well as the debut of recent color work taken in Tokyo. A selection of his photo books—Moriyama has published more than forty to date—highlights the artist’s highly influential experimentation with reproduction media and the transformative possibilities of the printed page.  In total, Moriyama’s achievements convey the artist’s boldly intuitive exploration of urban mystery, memory, and photographic invention.

Beauty Parlor, Tokyo - Daido Moriyama c. 1975 - Gelatin silver print - 7 x 10 5/8 in. - Ralph M. Parsons Fund - © Daido Moriyama

orn in Ikeda, Osaka, Daido Moriyama first trained in graphic design before taking up photography with Takeji Iwaniya, a professional photographer of architecture and crafts. Moving to Tokyo in 1961, he assisted photographer Eikoh Hosoe for three years and became familiar with the trenchant social critiques produced by photographer Shomei Tomatsu. He also drew inspiration from William Klein’s confrontational photographs of New York, Andy Warhol’s silkscreened multiples of newspaper images, and the writings of Jack Kerouac and Yukio Mishima.

Museum Hours

Postmodernism: Style and Subversion 1970 to 1990 – London – UK

Grace Jones in a maternity dress designed by Jean-Paul Goude and Antonio Lopez, 1979 © Jean-Paul Goude

From 24 September 2011 to 15 January 2012. – Victoria and Albert Museum

Of all movements in art and design history, postmodernism is perhaps the most controversial. This era defies definition, but it is a perfect subject for an exhibition. Postmodernism was an unstable mix of the theatrical and theoretical. It was visually thrilling, a multifaceted style that ranged from the colourful to the ruinous, the ludicrous to the luxurious.

What they all had in common was a drastic departure from modernism’s utopian visions, which had been based on clarity and simplicity. The modernists wanted to open a window onto a new world. Postmodernism, by contrast, was more like a broken mirror, a reflecting surface made of many fragments. Its key principles were complexity and contradiction. It was meant to resist authority, yet over the course of two decades, from about 1970 to 1990, it became enmeshed in the very circuits of money and influence that it had initially sought to dismantle.

Postmodernism shattered established ideas about style. It brought a radical freedom to art and design, through gestures that were often funny, sometimes confrontational and occasionally absurd. Most of all, postmodernism brought a new self-awareness about style itself.

Presence of the past
The 1960s and 1970s saw widespread experimentation with architectural styles from the past. This tendency was attacked by hostile critics as a retreat, as pastiche or as merely ironic. But historicism could be radically expansive and optimistic, or inspired by an elegiac sense of the past that modernism had excluded. Postmodernism lived up to its central aim: to replace a homogenous idiom with a plurality of competing ideas and styles. That wide embrace was reflected in Hans Hollein’s façade for the Venice Biennale in 1980, which had as its centrepiece a ‘street of styles’ named the Strada Novissima. Hollein designed a set of columns that reprise the history of architecture, from the primitive garden through classical ruin to a modernist skyscraper. This extraordinary set piece is recreated in the V&A exhibition at full scale.

Apocalypse then
If modernist objects suggested utopia, progress and machine-like perfection, then the postmodern object seemed to come from a dystopian and far-from-perfect future. Designers salvaged and distressed materials to produce an aesthetic of urban apocalypse. Ridley Scott’s 1982 film ‘Blade Runner’ was a postmodern exercise par excellence, while Ron Arad encased a turntable, speakers and amplifier in reinforced concrete: an apocalyptic stereo, a hi-tech commodity recast for a post-industrial world.

i-D, no 28. The Art Issue, August 1985. Styled by William Faulkner, design by Terry Jones, photograph by Nick Knight, featuring Lizzy Tear. V&A: NAL.PP.22.J

New wave

As the 1980s approached, postmodernism went into high gear. What had begun as a radical fringe movement became the dominant look of the ‘designer decade’. Vivid colour, theatricality and exaggeration: everything was a style statement. Whether surfaces were glossy, faked or deliberately distressed, they reflected the desire to combine subversive statements with commercial appeal. The most important delivery systems for this new phase in postmodernism were magazines and music. The work of Italian designers – especially the groups Studio Alchymia and Memphis – travelled round the world through publications like Domus. Meanwhile, the energy of post-punk subculture was broadcast far and wide through music videos and cutting-edge graphics. This was the moment of the New Wave: a few thrilling years when image was everything.

Andy Warhol, Dollar Sign, 1981. Synthetic polymer paints and silk-screen inks on canvas. Private collection. Photograph Christie’s Images 2011 © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2011.


In 1981, as if to greet the new decade, Pop artist Andy Warhol created one of his signature silkscreen paintings. It featured a big, beautiful dollar sign. This ironic acknowledgement of his own work’s market value exemplifies postmodernism in its final stage. As the ‘designer decade’ wore on and the world economy boomed, postmodernism became the preferred style of consumerism and corporate culture. Ultimately this was the undoing of the movement. Postmodernism collapsed under the weight of its own success, and the self-regard that came with it. Yet looking back, we can learn a lot from postmodernism’s fatal encounter with money. Today, when the marketplace has again had its way with us, it is useful to consider the words of theorist Fredric Jameson. Faced with Warhol’s paintings, he wrote: ‘they ought to be powerful and critical political statements. If they are not that, one would certainly want to know why.’

Postmodernism Redux
The excitement and complexity of postmodernism were enormously influential in the 1980s. But do we still live in a postmodern era? In the permissive, fluid and hyper-commodified situation of design today, we are still feeling its effects. The postmodern subject was well depicted by Robert Longo in his series Men in the City. In each of these images, a man in a suit is captured in the throes of a mysterious convulsion. Is he dancing? Or is this the scene of a crime? It is impossible to tell, and that is the artist’s intention. The figure is at once ambiguous, unsettling and ecstatic. In this sense, at least, we are all postmodern now.

Museum Hours

Car Fetish. I drive, therefore I am – Basel – Switzerland

Superflex, Burning Car, 2008 © Courtesy of Superflex and Nils Stærk, Copenhagen

From June 8 to October 9, 2011 – Museum Tinguely, Basel
The automobile is the foremost cultural touchstone of the 20th century, reflecting the social and  cultural development of the western world and beyond. Both technical device and instrument of locomotion, it offers the most highly developed and widespread interface for human-machine interaction – while also functioning as a carrier of meaning, an individualized living room, a medium for escapes great and small, and a means of distancing oneself from others and of creating a personal profile. The attraction of speed and the new feeling of time and space ushered in by the advent of the automobile had a formative influence on (urban) perception and the rhythm of modern life in the early years of the 20th century. The view through the windshield still drives our outlook on life today, as well as coloring the cinematic perspective on reality. The exhibition “Car Fetish” demonstrates the wide range of art influenced by the automobile. Around 160 artworks are featured by more than 80 artists, among them Giacomo Balla, Robert Frank, Jean Tinguely, Andy Warhol, Gerhard Richter, Chris Burden, Damián Ortega, Richard Prince or Superflex. The symbolic and often irrational superstructure we have built up around the automobile and which guides our enthusiasm for this, our favorite toy, refuses to be defeated even by never-ending stop-and-go traffic jams. Correspondingly open and eclectic is the field of art that explores the car as cult object and imagination machine. At the center of the largescale exhibition “Fetish Auto” at Museum Tinguely is a sweeping panorama across one hundred years of automotive history that examines this complex relationship both aesthetically and critically based on a representative selection of works. In recent years the study of fetishism has shifted its focus from the more exotic and marginal to centre of western consumer society and all that the world of goods seems to promise the purchaser. Although Modernism suppressed the (high) cultural phenomenon of fetishism as act of projection onto the object, it did not disappear, and thus today things still exercise for us a formative fascination based on their look and feel, attitudes and imagined qualities, as well as forms of use and handling. Examining this fascination based on the automobile as “complex thing” is one objective of the exhibition and the accompanying catalogue. The distinction between commodity, sexual and religious fetish hence becomes both an interpretative framework for the catalogue and a thematic access route to the exhibition.

Arnold Odermatt, Wolfenschiessen, 1964 © Urs Odermatt, Windisch

The Exhibition
Automobility, or “self-propulsion” was a power the messengers to the gods already had at their disposal. And it so happens that in the year 2011 the car is celebrating its 125th birthday (in 1886 Carl Benz designed the famous Benz patented motorcar, the world’s first automobile). The exhibition at Museum Tinguely, conceived architecturally as a wheel with axis and radial segments, commences with the radical new concepts of art and society put forth by the Futurists, who linked human and machine Symbiotically in a new aesthetic of constant acceleration. In the “Futurist Manifesto” of 1909, Filippo Tommaso Marinetti propagated automotive speed and the racecar as new ideal of beauty to replace the old model of the Nike of Samothrace. The Futurists worshipped the machine realm, dedicated poems to the racecar and struck up a “Hymn to Death.” In the visual arts Giacomo Balla and Luigi Russolo were the main figures to depict impressions of automotive movement as synaesthesia of light, sound and speed in the urban environment. These two artists form the historical prelude to the exhibition, with their own room in which visitors can experience the intoxication of the senses triggered by a panorama of works.
Two larger galleries in the “Fetish Auto” show are devoted to high points of the automotive worldview in the art of the 1960s and 70s. In many works of American Pop Art and its forerunners, the “American way of life,” genuinely bound up as it is with the car and the mobile lifestyle, along with its propagation in the mass media, is the chosen theme of artists such as Andy Warhol (“Disaster Series,” “Cars”), Ed Ruscha, John Chamberlain, Robert Rauschenberg, Mel Ramos, Roy Lichtenstein and Don Eddy. In Europe on the other hand, it was the Nouveau Réalisme movement exemplified by the works of Arman, César, Gérard Deschamps, Mimmo Rotella and Jean Tinguely that transformed the commodities of machine and automobile into art, whether by splashing them across posters or by layering, compressing or degenerating their material forms. In European varieties of Pop Art as well, as practiced for example by Konrad Klapheck, Paul Stämpfli and Franz Gertsch, and also in the work of artists exhibiting media-reflective tendencies such as Gerhard Richter and Wolf Vostell, the car often serves as a pictorial protagonist or a mirror of social developments. Wolf Vostell (“Das Theater ist auf der Strasse”) and Allan Kaprow, two of the main figures in Happening and Performance Art have been chosen for the exhibition. Allan Kaprow’ s 1961 “Yard,” made of towering stacks of tires, has been restaged for the show.
The stroll through the art history of automotive inspiration from the Futurists to today is accompanied in the exhibition by a second, theme-based, thread. The visitor can choose to approach the exhibition by way of art that fell under the sway of commodity fetishism (lacquer and chrome, the car acquisition as purchase of fictions and redirection activity, assembly line production and accumulation) with works by Ant Farm, Arman, Edward Burtynsky, Jan Dibbets, Hans Hansen, Peter Keetman, Len Lye, Hendrik Spohler, Peter Stämpfli and Pascal Weidmann; or through the art of religious fetishism (auto da fé, “Déesse,” nail fetish and car cemetery) with works by Kudjoe Affutu, Chris Burden, Jordi Colomer, Walker Evans, Jitish Kallat, Annika Larsson, Superflex and Dale Yudelman; or as sexual fetishism (phallic extension, motor potency, female curves, the car as bachelor machine) with works by Liz Cohen, Sylvie Fleury, Wenyu Ji, Allan Kaprow, Richard Prince, Pipilotti Rist, Bruno Rousseaud and Franck Scurti. Further apotheoses of the automotive state of mind can be found in rooms focusing on themes such as the accident, with works by Brassaï, James Dean, Robert Frank, Jacques-Henri Lartigue, Mickry 3, Arnold Odermatt, Roman Signer and Wolf Vostell; on speed, with works by Horst Baumann, Géo Ham, Jacques-Henri Lartigue, Richard Prince, Man Ray and Anton Stankowski; and on traffic, with works by Andreas Feininger, Robert Frank, Jacques-Henri Lartigue, Julian Opie, June Bum Park, Peter Roehr, Samuel Rousseau, Bruno Ruckstuhl, Michael Sailstorfer, Stefan Sous and Peter Stämpfli. Finally, a further gallery is devoted to the subjects of “Retreat and Flight” or “Living Room and Outer Space,” featuring works by Michel de Broin, Edward Kienholz, Hans-Peter Feldmann, Zilla Leutenegger, Thomas Mailänder, Ahmet Ögüt, Betsabeé Romero and Andrea Zittel. In the middle, set up as axis of the entire show, is Damian Ortega’s large-scale work “Cosmic Thing,” a VW Beetle exploded through the space. At the entrance of the exhibition the visitors will be able to enjoy a selection of Andrew Bush’s Cardriver portraits “on the move”. An automotive love story compiled by Virgil Widrich out of famous film scenes will run continuously in the museum auditorium during the show.

Mel Ramos, Kar Kween, 1964 © 2011 Pro Litteris, Zurich photo: Lee Stalsworth

Museum Tinguely has several works in its collection that were directly inspired by cars or that use car parts as material. Jean Tinguely was a great devotee of the “most beautiful artwork” in the world. He for example converted two racecar chassis into a winged altar, warned of the transience of western consumer culture by means of a drivable sculpture crafted from a Renault Safari, and arranged Eva Aeppli’s “Five Widows” with a Lotus racecar he had purchased (once driven by world champion Jim Clark) into a memorial assemblage for the often-fatal driving circus that is the Formula 1. For Tinguely as a Nouveau Réaliste, a great passion for speed and for the machine (he was notorious early on for his many car accidents) flowed into his work, and he hardly ever missed a Formula 1 race. Jo Siffert was a friend, as was the Swede Joakim Bonnier and racer Niki Lauda. Tinguely fanatically collected cars, preferably Ferraris, liked to drive Mercedes and decoratively painted a sidecar tandem that he sponsored in races. Restless Jean was – like the Futurists – besotted by the myth of speed. His relationship with the automobile was shaped both by euphoria and pessimism.

Surrounding Bacon & Warhol – Oslo – Norway

Andy Warhol - Ladies and Gentlemen, 1975 - Synthetic polymere paint and silkscreen inks on canvas 127 X 102 cm.

Until the 2nd of October 2011 – The Astrup Fearnley Museum of Modern Art
Francis Bacon (1909–1991) and Andy Warhol (1928–1987) were two great artists of the 20th century with very different approaches to creativity, to the processes of working, to the nature of images and to the notion of art in general. Bacon, who painted in the first person, transferred his visceral energy and enigmatic symbols and metaphors directly to the canvas, while Warhol, who worked in the third person, adopted existing forms and figures from the media and made them his own through various techniques of reproduction. And while Bacon belonged to a long and rich tradition of Expressionistic painters, Warhol marked the beginning of a new, more distanced development in contemporary art – Pop. Both produced meaningful works, however, that are ambiguous, complex and highly influential.

In this exhibition, key works by Bacon and Warhol will engage in an intelligent dialogue with those by some of the many different painters who have worked on the borderline between these two artistic languages, developing their own vocabularies with an emphasis on the manipulation and transgression of images, creating direct and indirect actions and narratives. They include Jim Dine, Larry Rivers, David Hockney, Miodrag Djuric Dado, Erro, Eduardo Arroyo, Jens Johannessen, Knut Rose, Gerhard Richter, Sigmar Polke, Jörg Immendorf, and Martin Kippenberger, to name just a few. On the one hand, the spectator will be drawn into the seduction of a painterly expression that often adopts a provocative thematic, and on the other, will be challenged by the philosophical approach of artists who distance themselves from their subject matter. The result will be a fascinating exploration of the reach and influence of these two important tendencies in painting – Expressionism and Pop art – during the 20th century and beyond.

Museum Hours

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