DOCSLIB.ORG

New Exhibition! Spring Into Summer with Andy Warhol and Friends! June 10 – September 3, 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Exhibition! Spring Into Summer with Andy Warhol and Friends! June 10 – September 3, 2017 Press Release New Exhibition! Spring into Summer with Andy Warhol and Friends! June 10 – September 3, 2017 Bruce Museum, 1 Museum Drive, Greenwich, CT 06830 203-869-0376 brucemuseum.org Andy Warhol (American, 1928-1987), San Francisco Silverspot, 1983, from 'Endangered Species' portfolio of 10 silkscreen prints on Lenox Museum Board. 38 × 38 in. Edition of 150. 11 panels. Courtesy Ronald Feldman Fine Arts New York. © 2017 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York GREENWICH, CT (May 23, 2017) -- On June 10, 2017, the Bruce Museum will open Spring into Summer with Andy Warhol and Friends! The new exhibition takes an unusual approach to this most famous of Pop artists. “Although we tend to associate Warhol’s work with artifice and mass production—think of his bold images of Marilyn Monroe and Campbell’s Soup cans—there is another side to the artist that is often overlooked, his interest in the natural, the real, and the intimate,” says Kenneth E. Silver, New York University Professor of Modern Art and Bruce Museum Adjunct Curator of Art. Silver is curating the show with the assistance of Courtney Long, Bruce Museum Zvi Grunberg Postdoctoral Fellow, 2016-17. Press Release The exhibition builds on three important works in the Bruce Museum collection. Warhol’s Little Red Book, 1971, a gift from the Andy Warhol Foundation for the Arts, features ten unique polaroid portraits of the artist’s friends -- New Canaan architect Philip Johnson and his partner David Whitney, fashion model Donna Jordan, art critic Barbara Rose, and a self-portrait. Flowers (Hand-Colored), 1974, a suite of ten silkscreens prints given to the Bruce by Peter Brant, depict floral still-lives. Two large silkscreen portrait prints, Sachiko, 1977, are gifts of the Frederick R. Weisman Art Foundation. Beyond these Bruce Museum treasures, significant loans will allow Spring into Summer with Andy Warhol and Friends! to offer an expanded view of Warhol’s aesthetic universe, including an important four-part painted portrait, never before exhibited in public, of Sachiko Goodman, along with the scores of polaroid studies that the artist made in preparation for the commission; and a fine pencil portrait by Warhol of Philip Johnson. Beyond the human subjects, Warhol’s silkscreen series of 1983, Endangered Species, offers ten “animal portraits” including a San Francisco Silverspot butterfly and an American Bald Eagle. Fortuitously, the great American realist painter Philip Pearlstein, Warhol’s undergraduate roommate, has kindly agreed to lend his surprisingly abstract rendition of an American Eagle (1949) to the exhibition as well. Finally, following the lead of Warhol’s ground-breaking exhibition of 1970, Raid the Icebox with Andy Warhol, in which the artist retrieved and put on display long-forgotten objects from the storerooms of the Rhode Island School of Design Museum, the Bruce’s own storerooms have been plundered for specimens from its historic natural science collection—butterflies, birds, and a few other creatures. This exhibition is generously supported by The Charles M. and Deborah G. Royce Exhibition Fund, Amica Insurance, Bank of America, Crozier, Susan and Bill Mahoney, The 2016-17 Bruce Museum Council, and the Connecticut Office of the Arts. “We’re thrilled to deepen our existing partnership with the Bruce Museum by bringing these historically significant art pieces to the Southern Connecticut community,” said Robert Pizzella, Managing Director, U.S. Trust, Bank of America Private Wealth Management. “This is just another way we are able Press Release to provide access to the arts, in addition to offering Bank of America cardholders free admission every month through our Museums on Us program.” The Bruce Museum will offer free admission on opening day of the Warhol exhibition on Saturday, June 10, in conjunction with the Connecticut Open House Day, and on all Tuesdays. Bank of America cardholders also receive free admission on the first Sunday of every month. The Bruce Museum is located just off I-95, Exit 3, at 1 Museum Drive, Greenwich, CT. General admission is $10 adults, $8 seniors and students, free to members and children less than 5 years old. --- Exhibition Programs for Spring into Summer with Andy Warhol and Friends! June 21, 6:00 – 8:00 pm Andy Warhol and the Impact on Photography Lecture by Lyle Rexer The changes wrought by Andy Warhol’s work on painting and art are well known. Less discussed is the impact on photography. Warhol played a crucial role in changing the climate for image making and helped usher in a photographic era of bad pictures of bad subjects. (It’s no coincidence that both Stephen Shore and William Eggleston, both pilloried for being pedestrian photographers, spent time at Warhol’s “factory.”) This lecture explores Warhol’s influence, direct and indirect, on photography since the 1970s. Lyle Rexer is the author of several books, including The Edge of Vision: The Rise of Abstraction in Photography (2009) and Photography’s Antiquarian Avant Garde: the New Wave in Old Processes (2002). In addition, he has published many catalogue essays and articles on art, architecture, and photography and contributed to such publications as The New York Times, Art in America, Aperture, BOMB, Parkett and DAMn. As a curator, he has organized exhibitions in the United States and internationally, most recently “The Edge of Vision,” a selection of contemporary abstract photography. He teaches at the School of Visual Arts in New York and is a columnist for Photograph magazine. Advance registration required. Free for Bruce members, $15 for non-members. At the door: $10 Bruce members, $25 non-members. See brucemuseum.org for details. Andy Warhol: A Documentary Film Wed, July 12, 10:30 am – 12:45 pm. Andy Warhol: A Documentary Film | Part 1 Wed., July 19, 10:30 am – 12:45 pm. Andy Warhol: A Documentary Film | Part 2 This riveting and often deeply moving film portrait of the most famous and famously controversial artist of the second half of the 20th century is the first to explore the complete spectrum of Warhol’s astonishing artistic output, stretching across five decades from the late 1940s to his untimely death in 1987. Combining powerful on-camera interviews and rare still and motion picture footage, it is also the first to Press Release put Warhol himself—his humble family background and formative experiences in Pittsburgh, and his crucial apprenticeship as a commercial artist in New York—back into the presentation of his life. Narrated by Laurie Anderson. Includes interviews with Irving Blum, Bob Colacello, Donna De Salvo, Vincent Fremont, Dave Hickey, Stephen Koch, Wayne Koestenbaum, Jeff Koons, Paul Morrissey, Billy Name, George Plimpton, Neil Printz, John Richardson, Ronald Tavel and John Warhola. A special two- part presentation for American Masters. Advance registration required; limited seating. Free with Museum admission ($10/$8). See brucemuseum.org for details. Sunday, July 16, 1:00 - 4:00 pm. Warhol Summer Bash Family Day. Join us for a groovy, good time! Fun, hands-on activities from inspired by the exhibition Spring into Summer with Warhol and Friends! A rockin’, sixties and seventies-inspired music performance by Little Rockers at 2:00 pm, This 45-minute experience will include musical activities with instruments and movement for a totally unique rock show. Performance is recommended for ages 2 - 8. Seating limited. Generously sponsored by Whole Foods. # # # Media Contact: Cynthia S. Ehlinger Marketing and Science Curatorial Associate Seaside Center Manager Bruce Museum 1 Museum Drive Greenwich, CT 06830 P 203 . 413 . 6756 F 203 . 869 . 0963 [email protected] .
Load more

Recommended publications
  • William Morris & Andy Warhol
    MODERN ART EVENTS OXFORD THE YARD TOURS The Factory Floor Wednesday 7 January, 1pm Wednesday to Saturday, 12-5pm, weekly Sally Shaw, Head of Programme at Modern Art Oxford For the duration of Love is Enough, the Yard will discusses the development of the exhibition and be transformed into a ‘Factory Floor’ in homage to introduces key works. William Morris and Andy Warhol’s prolific production techniques. Each week a production method or craft Wednesday 21 January, 1pm skill will be demonstrated by a specialist. Ben Roberts, Curator of Education & Public Programmes at Modern Art Oxford discusses The Factory Floor is a rare opportunity to see creative education, collaboration and participation in relation to processes such as metal casting, dry stone walling, the work of Morris and Warhol. bookbinding, weaving and tapestry. LOVE IS Wednesday 4 February, 1pm These drop-in sessions provide a chance to meet Paul Teigh, Production Manager at Modern Art Oxford makers and craftspeople working with these processes discusses manufacturing and design processes today. Please see website for further details. inherent in the work of Morris and Warhol. TALKS Wednesday 18 February, 1pm Artist talk Ciara Moloney, Curator of Exhibitions & Projects Saturday 6 December, 6pm Free, booking essential at Modern Art Oxford discusses key works in the ENOUGH Jeremy Deller in conversation with Ralph Rugoff, exhibition and their influence on artistic practices Director, Hayward Gallery, London. today. Perspectives: Myth Thursday 15 January, 7pm BASEMENT: PERFORMANCE A series of short talks on myths and myth making from Live in the Studio the roots of medieval tales to our collective capacity December 2014 – February 2015 for fiction and how myths are made in contemporary A short series of performance projects working with culture.
    [Show full text]
  • ANDY WARHOL's LIFE and DEATH Miková, a Slowly Dying-Out Rusyn
    ENG ANDY WARHOL’S LIFE AND DEATH Miková, a slowly dying-out Rusyn village in Eastern Slovakia, is a birthplace of Andrej Warchola and Julia Zavacka. The man and the woman who gave life to the most characteristic personage of the world of art of the second half of the 20th century – Andy Warhol. Why do we mention Miková? As a matter of fact, we’re talking about a place which doesn’t stand out among other Rusyn or Slovak villages of the Prešov region of Slovakia, slowly dying out due to lack of workplaces. The original old Greek Catholic church there is a silent witness to the events and the history of Miková. Julia Warchola went to America with her husband after their wedding in the Greek Catholic church in Miková in 1909. Her trip to America led through Poland, towards the Baltic sea; she covered most of the trip with her best friend on foot, and then, from Gdansk, by ship, to New York. They settled down in Pittsburgh, in the city of miners and industry. They were driven away by poverty, only to find the same, poverty, in the foreign land. Hard work of the father weakened his health so much that he died (1942). Sickly little Andy spent whole days in the company of his mother. His older brothers, John and Paul had to go to work to fill their father’s role so that the family could survive. John recalled: ‘We were very poor. Mum made extra money cleaning, at home, at night she sewed and made various souvenirs that she sold afterwards.
    [Show full text]
  • Ag En Da Mai Fév
    AG EN DA MAI FÉV. 2015 2016 EXPOSITIONS, DANSE, THÉÂTRE, PERFORMANCES, MUSIQUE, CINÉMA, CONFÉRENCES, ATELIERS JEUNES PUBLICS TANIA MOURAUD. EXPOSITION 04.03 > 05.10.15 Galerie 2 UNE RÉTROSPECTIVE du Centre Pompidou-Metz > Tania Mouraud. Une rétrospective 27.06 05.10.15* Parcours dans la Ville constitue la première monographie de Metz d’envergure dédiée à cette artiste française contemporaine. Pensée à l’échelle de Metz *sauf Arsenal : jusqu’au 27.09.15 et de son agglomération, cette exposition inédite dans sa forme et son ampleur #TaniaMouraud a débuté au Centre Pompidou-Metz, pour se poursuivre 4 mois plus tard dans Les 19.09 & 20.09, à l’occasion des Journées européennes toute la ville en partenariat avec du patrimoine, l’entrée aux neuf sites culturels de Metz. expositions est gratuite ! Refusant d’être rattachée à un courant ou à un dogme, Tania Mouraud n’a cessé de faire évoluer son œuvre depuis la fin des années 1960, explorant toutes sortes de disciplines : peinture, installation, photographie, performance, vidéo, son. La première partie de la rétrospective retrace l’ensemble de sa carrière, depuis l’acte radical de l’autodafé en 1968, au cours duquel Tania Mouraud brûle l’ensemble de ses peintures, jusqu’à ses œuvres vidéo les plus actuelles, Page de gauche : Tania Mouraud, Initiation Room N°2, 1971, Vue d’installation (détail), Galleria LP 220, Turin © ADAGP, Paris 2015 © Gianni Berengo Gardin / Courtesy Fondazione Forma per la Fotografia 03 en passant par les chambres de méditation 49 NORD 6 EST – VITRINES DES GALERIES EXPOSITION qu’elle conçoit au début des années 1970.
    [Show full text]
  • AAAR '04 Annual Conference
    AAAR ’04 Annual Conference SUNDAY, OCTOBER 03, 2004 5:00 PM – 9:00 PM Registration TBA Student Orientation MONDAY, OCTOBER 04, 2004 7:00 AM – 8:00 PM Registration 8:00 AM – 9:40 AM Tutorials 1-4 10:00 AM – 11:40 AM Tutorials 5-8 12:00 PM – 5:00 PM Exhibitor Set Up 12:00 PM – 5:00 PM Poster #1 Set-Up 1:00 PM – 2:40 PM Tutorials 9-12 3:00 PM – 4:40 PM Tutorials 13-16 6:00 PM – 8:00 PM Exhibits & Poster #1 Sneak Peek & Welcome Reception TUESDAY, OCTOBER 05, 2004 7:00 AM – 6:30 PM Registration 8:00 AM – 9:00 AM Plenary Session #1 RECENT ASPECTS OF INHALED PARTICLES DOSIMETRY, Wolfgang G. Kreyling, GSF-National Research Center for Environment & Health, Institute for Inhalation Biology, Network Focus Aerosols and Health, Neuherberg- Munich, Germany. 9:00 AM – 6:30PM Exhibits and Posters Open TUESDAY, OCTOBER 05, 2004 9:20 AM – 10:50 AM Platform Session 1 9:20 AM – 10:50 AM 1A. Special Symposia: Microdosimetry & Targeting of Inhaled Particles and Drug Aerosols, Microdosimetry Assessment: mathematical and computational models 1A1 MICRODOSIMETRIC COMPARISONS FOR PARTICLES IN ANIMALS AND HUMANS: AN OVERVIEW OF CURRENT KNOWLEDGE AND FUTURE NEEDS, F. Miller, CIIT Centers for Health Research. 1A2 MICRODOSIMETERY IN A RHYTHMICALLY EXPANDING 3-DIMENSIONAL ALVEOLAR MODEL, AKIRA TSUDA, Physiology Program, Harvard School of Public Health, Boston, MA; Shimon Haber, Department of Mechanical Engineering, Technion, Haifa, Israel. 1A3 COMPUTATIONAL ANALYSIS OF MICRO- AND NANO- PARTICLE DEPOSITION IN HUMAN TRACHEOBRONCHIAL AIRWAYS, ZHE ZHANG, Clement Kleinstreuer, Department of Mechanical and Aerospace Engineering, North 1 AAAR ’04 Annual Conference Carolina State University, Raleigh, NC; Chong S.
    [Show full text]
  • Andy Warhol's Exploding Plastic Inevitable
    Jean Wainwright Mediated Pain: Andy Warhol’s Exploding Plastic Inevitable ‘Warhol has indeed put together a total environment. But it is an assemblage that actually vibrates with menace, cynicism and perversion. To experience it is to be brutalized, helpless…The Flowers of Evil are in full bloom with the Exploding, Plastic, Inevitable’.1 The ‘Exploding Plastic Inevitable’ (EPI) was Andy Warhol’s only foray into a total inter-media experience.2 From 1966 to 1967 the EPI, at its most developed, included up to three film projectors3, sometimes with colour reels projected over black and white, variable speed strobes, movable spots with coloured gels, hand-held pistol lights, mirror balls, slide projectors with patterned images and, at its heart, a deafening live performance by The Velvet Underground.4 Gerard Malanga’s dancing – with whips, luminous coloured tape and accompanied by Mary Woronov or Ingrid Superstar – completed the assault on the senses. [Fig.9.1] This essay argues that these multisensory stimuli were an arena for Warhol to mediate an otherwise internalised interest in pain, using his associates and the public as baffles to insulate himself from it. His management of the EPI allowed Warhol to witness both real and simulated pain, in a variety of forms. These ranged from the often extreme reactions of the viewing audience to the repetition on his background reels, projected over the foreground action.5 Warhol had adopted passivity as a self-fashioning device.6 This was a coping mechanism against being hurt, and a buffer to shield his emotional self from the public gaze.7 At the same time it became an effective manipulative device, deployed upon his Factory staff.
    [Show full text]
  • Understanding Andy Warhol's Relationship with the Visual Image
    Graduate Theses, Dissertations, and Problem Reports 2011 The Sacred in the Profane: Understanding Andy Warhol's Relationship with the Visual Image Linda Rosefsky West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Rosefsky, Linda, "The Sacred in the Profane: Understanding Andy Warhol's Relationship with the Visual Image" (2011). Graduate Theses, Dissertations, and Problem Reports. 749. https://researchrepository.wvu.edu/etd/749 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Sacred in the Profane: Understanding Andy Warhol’s Relationship with the Visual Image Linda Rosefsky Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Art History Examining Committee: Kristina Olson, M.A., Chair,
    [Show full text]
  • On Art & Artists Sunday, September 18, 2 Pm Tuesday
    OFFICE 934 SW SALMON ST MAIL 1219 SW PARK AVE PORTLAND, OR 97205 TEL 503.221.1156 VISIT NWFILM.ORG On Art & Artists Sunday, September 18, 2 pm Tuesday, September 20, 7 pm Eva Hesse, US/Germany, 2015 Dir. Marcie Beglieter (105 mins., Documentary, DCP) One of the few women artists of influence in the 1960’s New York art scene, German- American artist Eva Hesse’s (1936-1970) pioneering flowing sculptures—using materials such as latex, fiberglass, steel, and plastic—were key in establishing post-minimalism. Hesse’s complicated personal life encompassed not only a chaotic 1930s Germany, but also illness and the lively Jewish immigrant culture of New York in the 1940s. Her artistic career, despite its brevity, resulted in works that have grown in resonance as time has passed. Beglieter’s affectionate appreciation of Hesse’s life draws on the artist’s journals, correspondence with friend and mentor Sol LeWitt, and interviews with artists such as Richard Serra, Nancy Holt, Carl Andre, Robert Mangold, and Dan Graham, who recall her influence and genius. "Eva Hesse pays a gratifying amount of attention to the thinking and the techniques that produced her art, and invites viewers to contemplate it further. It’s like a comprehensive exhibition catalog or a thorough critical essay—an indispensable aid to understanding and appreciating a fascinating artist."— A. O. Scott, The New York Times. Sunday, September 25, 2 pm Tuesday, September 27, 7 pm Argentina, Spain/Argentina/France, 2015 Dir. Carlos Saura (80 mins., Documentary, DCP) Famed for his celebrated “flamenco trilogy,” (Blood Wedding, Carmen, El Amour Brujo) Saura returns to the dance celebrated in his Academy Award-nominated Tango.
    [Show full text]
  • Fall 2003 0 Steady Flow of Interest in the Association Whether Or Not You B "Trailblazer" Our Central Upcoming Dedication of the WWII Are Able to Attend the Functions
    The President's Report Stanley J. Lambert y the time this column ap­ f recent there has been a maintain your membership in the pears in the Fall 2003 0 steady flow of interest in the Association whether or not you B "Trailblazer" our Central upcoming dedication of the WWII are able to attend the functions. Reunion in Cedar Rapids, Iowa Memorial in Washington, DC. Ap­ It's vital to our continuance. will have taken place under the pearing elsewhere in this issue is A blown-up photograph of my able supervision of Past-President hotel reservation information grandfather in his Civil War uni­ John Nothnagle, 570 Signal and courtesy of Floyd Freeman, I/ form looks down on me from my Vice Pres ident-Central Bill Trot­ 275. office wall as I compile this col­ ter, B I 2 75. Dorothy a nd I are Floyd has booked 20 rooms for umn. Undoubtedly he and other looking forward to the event, plus 70th Infantry Division Associa­ Union and Confederate survivors a follow up visit to the Arlington tion's attendees. Our Editor also drew great satisfaction through Heights, Illinois hotel which is the has in this issue a schedule of the their adult and senior years from site of our 2004 National Reunion. May 27-30 events. The actual contact with other veterans. Ex­ John Nothnagle, President-elect dedication will be on Saturday, cept for hjs father-in-law, who was Paul Sumner, E / 276 a nd I, as­ May 29, 2004 at 2:00 p.m. also a member of the 15th Ohio sisted by our spouses, want to re­ Another feature associated Light Artillery, it was unlikely that view our contract with that hotel with this 2004 event is the "Regis­ he or others like him kept contact following our Iowa reunion.
    [Show full text]
  • Andy Warhol? She’S Listening by Marylynne Pitz August 10, 2020
    Got something to say to Andy Warhol? She’s listening By Marylynne Pitz August 10, 2020 More than 10 years ago, Madelyn Roehrig found inspiration at Andy Warhol’s grave in Bethel Park. As she left the cemetery, the Upper St. Clair artist got the idea to turn photographs of television programs about terrorism and violence into a film. She began visiting Warhol’s grave daily, meeting other people making pilgrimages to seek help from the Pop artist or pay tribute to him. She made 13 films of those encounters, some lasting a half-hour, others a few minutes. On Thursday, after a 12-hour drive from her current home in South Carolina, Ms. Roehrig marked Warhol’s 92nd birthday at his grave in St. John the Baptist Byzantine Catholic Cemetery in Bethel Park. Surrounded by 40 people, she signed copies of her new book, “Andy, Can You Hear Us?” The well-designed book, whose subtitle is “Communing with Warhol at His Gravesite,” features essays and pictures of dozens of visitors and notes and tokens left there. “This whole community of people grew out of this project,” Ms. Roehrig said. Born on Aug. 6, the patron saint of Pop Art was not big on birthdays. So how does she imagine Warhol, who died in February 1987, would have celebrated this one? “He’d go get a fancy meal, find the first homeless person and give it to them,” said Ms. Roehrig, who lives in Beaufort, S.C. Eric Shiner, a former director of The Andy Warhol Museum, visited the gravesite with Ms.
    [Show full text]
  • Pop Art Pop Art • L’Informale Ha Sicuramente Ben Rappresentato Un Certo Clima Culturale Esistenzialistico Tipico Degli Anni Cinquanta
    Pop Art Pop Art • L’Informale ha sicuramente ben rappresentato un certo clima culturale esistenzialistico tipico degli anni Cinquanta. La sua carica pessimistica di fondo fu compresa, tuttavia, solo da una ristretta cultura d’élite. Ben presto ha mostrato la sua inattualità nei confronti di una società in rapida trasformazione, che si caratterizzava sempre più come società di massa dominata dai tratti positivi e ottimistici del consumismo. È proprio dall’incontro tra arte e cultura dei mass-media che nacque la Pop Art. • La sua nascita avviene negli Stati Uniti intorno alla metà degli anni ’50 con le prime ricerche di Robert Raushenberg e Jasper Johns, ma la sua esplosione avviene soprattutto nel decennio degli anni ’60, conoscendo una prima diffusione e consacrazione con la Biennale di Venezia del 1964. • I maggiori rappresentanti di questa tendenza sono tutti artisti americani: Andy Warhol, Claes Oldenburg, Tom Wesselmann, James Rosenquist e Roy Lichtenstein. In ciò si definisce anche una componente fondamentale di questo stile: essa appare decisamente il frutto della società e della cultura americana. • Cultura largamente dominata dall’immagine, proveniente dal cinema, dalla televisione, dalla pubblicità, dai rotocalchi, dal paesaggio urbano largamente dominato dai grandi cartelloni pubblicitari. • La Pop Art ricicla tutto ciò in una pittura che rifà in maniera fredda e impersonale le immagini proposte dai mass-media. Si va dalle bandiere americane di Jasper Johns alle bottiglie di Coca Cola di Warhol, dai fumetti di Lichtenstein alle locandine cinematografiche di Rosenquist. • La Pop Art documenta in modo preciso la cultura popolare americana (da qui quindi il suo nome, dove pop sta per diminutivo di popolare), trasformando in icone le immagini più note o simboliche tra quelle proposte dai mass-media.
    [Show full text]
  • LARGE Print Text for Vinyl and Expanded Labels June 2015
    The Andy Warhol Museum Wall Text and Expanded Labels Compiled June 1, 2015 Contents Introduction ...................................................... 7 Gallery 701 ........................................................ 9 The Warhola Family ......................................... 9 Archival family photographs ........................ 10 Art School ...................................................... 11 Photographs from college ........................... 13 Upper Torso Boy Picking Nose ..................... 13 New York City ................................................ 14 Commercial Work .......................................... 16 Blotted Line TechniQue .................................. 17 Julia Zavacky, Warhol’s mother ................... 19 Warhol Drawings from 1956 trip around the world ............................................................ 20 Boy Book Drawings ...................................... 21 Edelman Commission Work ......................... 22 Gallery 702 ...................................................... 24 Hand-painted Pop .......................................... 24 2 Typewriter [2], 1961, 1998.1.8 .................... 25 Dance Diagram [2] (Fox Trot: “The Double Twinkle-Man”), 1962, 1998.1.11 ................. 26 Big Torn Campbell’s Soup Can (Pepper Pot), 1962, 1998.1.31 ........................................... 27 This Side Up, 1962, 1997.1.4 ....................... 28 S&H Green Stamps, 1962, 1998.1.21 ........... 28 Gallery 601 – Film Gallery ............................... 29 Early Film ......................................................
    [Show full text]
  • BRIEF AMENDED CLASS ACTION COMPLAINT . Document Filed By
    Simon-Whelan v. The Andy Warhol Foundation For The Visual Arts, Inc. et al Doc. 19 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK JOE SIMON-WHELAN, Individually And On Case No. 07 Civ 6423 (LTS) Behalf Of All Others Similarly Situated, Plaintiff, AMENDED CLASS ACTION COMPLAINT -against- THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, INC., THE ESTATE OF ANDY WARHOL, VINCENT FREMONT, Individually and Successor Executor For the Estate of Andy Warhol, VINCENT FREMONT ENTERPRISES, THE ANDY WARHOL ART AUTHENTICATION BOARD, INC., JOHN DOES 1-20, JANE DOES 1-10, and RICHARD ROES 1-10, Defendants. DREIER LLP REDNISS & ASSOCIATES LLC Lee A. Weiss (LW-1130) Seth Redniss (SR-7988) Brian C. Kerr (BK-6074) 185 Franklin Street, 5th Floor Andrew Wilmar New York, New York 10013 499 Park Avenue 212.334.9200 New York, New York 10022 212.328.6100 Counsel for Plaintiff and the Proposed Class Dockets.Justia.com TABLE OF CONTENTS INTRODUCTION........................................................................................................................... 1 PARTIES ........................................................................................................................................ 8 FACTUAL ALLEGATIONS........................................................................................................ 10 The Hundreds of Millions of Dollars in Warhol Works Owned by The Estate................ 10 The Foundation’s Serious Mismanagement and Crushing Financial Obligations .......................................................................................................
    [Show full text]