![]() He would have no doubt loved social media networks, aesthetically enhancing digital filters, and delighted at the ubiquity of smartphones capable of spreading images across the globe at the touch of a button. Today, Warhol’s work feels more prescient than ever. ![]() He constantly documented his life and those around him in candid pictures with a freewheeling manner and once quipped, “My idea of a good picture is one that’s in focus and of a famous person.” One of the disarming things about Warhol’s image-making process was the way in which he often disregarded established photographic conventions such as composition, exposure, and other technical elements that make a “good” photograph. Often re-photographing and re-imaging the same subjects over and over again, Warhol focused as much on the act of photography as he did the people in the images. Photographic imagery-his own, other artists’, and everyday mass-produced commercial photographs-was the foundation for nearly his entire artistic vision and output.Īndy Warhol: You Look Good in Pictures explores the breadth of the artist’s relationship with photography through several distinct bodies of work including screenprints of celebrities, all of which were taken from photographs, a group of Polaroids and black and white snapshots illustrating his social circles, and an early silent film of the curator Henry Geldzahler from 1964. The artist was rarely without one, whether it was his beloved portable Polaroid SX-70 instant, a conventional 35mm single lens reflex, or the movie cameras with which he made hundreds of films. A catalogue published by Prestel accompanies this exhibition.For Andy Warhol, the camera was a device through which he saw the world. ![]() The team spent months extracting the data and reverse engineering the original software to be able to view the files. Carnegie Museum of Art, and The Warhol to recover the lost drawings. The Brooklyn Museum presentation is organized by Sharon Matt Atkins, Associate Curator of Exhibitions, Brooklyn Museum. The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. Ketner II, Henry and Lois Foster Chair of Contemporary Art, Emerson College, Boston. Together, these works provide an important framework for understanding Warhol’s late career by showing how he simultaneously incorporated the screened image and pursued a reinvention of painting.Īndy Warhol: The Last Decade is organized by the Milwaukee Art Museum. The exhibition concludes with Warhol’s variations on Leonardo da Vinci’s The Last Supper, one of the largest series of his career. His return to the hand-painted image in the 1980s was inspired by collaborations with Jean-Michel Basquiat, Francesco Clemente, and Keith Haring. In the late 1970s, he developed a new interest in abstraction, first with his Oxidations and Shadows series and later with his Yarn, Rorschach, and Camouflage paintings. Warhol continued to expand upon his artistic and business ventures with commissioned portraits, print series, television productions, and fashion projects, but he also reengaged with painting. ![]() It was a decade of great artistic development for him, during which a dramatic transformation of his style took place alongside the introduction of new techniques. During this time Warhol produced more works, in a considerable number of series and on a vastly larger scale, than at any other point in his forty-year career. Encompassing nearly fifty works, the exhibition reveals the artist’s vitality, energy, and renewed spirit of experimentation. ![]() museum survey to examine the late work of American artist Andy Warhol (1928–1987). Andy Warhol: The Last Decade is the first U.S. ![]()
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