”In 1979 Andy Warhol presented Shadows at the New York City gallery of Dia Art Foundation cofounder Heiner Friedrich. The installation featured the environmentally scaled painting in multiple parts, which the artist created between 1978 and 1979. As “one painting,” Shadows consists of 102 equally sized canvases hung edge to edge and low to the ground (but not too low to be kicked, as Warhol noted in his review of his 1979 show for New York magazine). While fixed by these physical terms, Shadows is nonetheless contingent in its presentation. Since the number of panels shown and the order of their arrangement varies according to the size of the exhibition space, the work in total contracts, expands, and recalibrates each time that it is installed.” [source]

I don’t know about you, but I think it would make a super cool wallpaper.

Andy Warhol || Shadows (1978–79)


July 15th, 2019

The Velvet Underground Experience

An alternative title could have been ”The Andy Warhol Clan”.

The exhibition was set to explore how The Velvet Underground influenced modern music, fashion, art, and popular culture in Lou Reed’s native city. Yet, so many were the references to Andy Warhol, he might as well have been part of the band. One couldn’t take two steps in The City’s artistic sphere without stumbling upon Warhol. The man who created ”superstars” would become a superstar himself.

Marjorie Strider in front of Girl with Radish, 1965
This painting was the icon of the 1964 exhibition ”First International Girlie Show” at the Pace Gallery, where Strider exposed along with several soon-to-be stars of the movement, including Andy Warhol and Roy Lichtenstein

Nathan’s Famous, 1965
Gathering in front of a restaurant in Lou Reed’s favourite seaside resort, Coney Island. In May 1969, the Velvet Underground recorded a song called Coney Island Steeplechase. In 1975, Lou Reed’s fifth solo album was entitled Coney Island Baby.

Diane Arbus, 1967
The photographer participates in a pacifist and psychedelic gathering organized by New York students

Louise Bourgeois and Robert Goldwater, 1963
The French sculptor, a New Yorker by adoption, and the art historian Robert Goldwater, her husband, at the Museum of Modern Art in New York

Edward Hopper, 1965
The painter of urban loneliness, facing his easel.  Is it possible that Edward Hopper had an impact on Lou Reed? The first song of The Velvet Underground & Nico, Sunday Morning, is a troubling reference to the atmosphere of Hopper’s 1930 painting, Early Sunday Morning

Death to the Highway!, 1962
Protest against the upcoming construction of an urban highway, the Lower Manhattan Expressway, which would have resulted in the expropriation of thousands of Greenwich Village residents. As a result of the mobilization, the project was abandoned

Andy Warhol and Julia Warhola

John Cale, Lou Reed and Andy Warhol at the Ocean Club, NYC
July 1976 – Photography by Bob Gruen

New York City

December 16th, 2018

The way we hammer art

without a nail

Jonathan Borofsky’s Hammering Man was installed right in front of the Seattle Art Museum, in 1991. Hammering Man is a series of monumental sculptures situated in different cities and was created in honour of the working class women and men of the world.

Daedalus/Upliftment, 2016
Acrylic, gold leaf, spray paint on canvas
Fahamu Pecou

Double Elvis, 1963/1976
Silkscreen in, synthetic polymer paint on canvas
Andy Warhol

Caterpillar Suit 1, 2007
Anodized brass wire
Walter Oltmann

Untitled, 1982
Acrylic, spray paint and oil stick on canvas
Jean-Michel Basquiat

Warhol/Basquiat, NYC August 1986
wowe (Wolfgang Wesener)

Wood, metal, ivoyr
Late Qing dynasty (1644-1991) or Republican period (1850-1920)

Leda and the Swan, probably after 1915 and before 1923
Oil on canvas
John Covert

Morning, probably 1933
Oil on burlap
Morris Graves

Morning is a deeply affecting image of retreat, of the pain of facing the light, of the fear of facing the day.

Catfish clan figure, 19th-20th century
Wood, polycrhome
Melanesian, Papua New Guinea, Guam River Region, probably Breri or Igana people

Seattle Art Museum

June 15th, 2018

ah ah

|1|-|6| Nothing is Enough, single-channel digital video projection, 2012 – by Frances Stark

Nothing is Enough consists of documented text fragments from Frances Stark’s online chat with a young Italian man, ranging from contemplative, self-reflective discussions to cybersex.

|7|- Fuck You: From the Liz Taylor Series (after Bert Stern), 1984, acrylic and composition leaf on canvas – by Kathe Burkhart

Kathe Burkhart is an artist and writer who uses images and text to, in her words, ”articulate a radical female subject.” She considers this confrontational, sensual work to be the first fully realized canvas in her Liz Taylor Series, ongoing since 1982.

|8|-|9| Pat Hearn, 1985, acrylic and silkscreen ink on linen – by Andy Warhol

The Art Institute of Chicago

November 4th, 2017

Ethel Scull 36 Times

Love him or hate him, Andy Warhol is one of the most important pop icons of the twentieth century, his art still gaining both in popularity and value. I’m on the side of the haters to be honest, but that doesn’t prevent me from admiring some of his works, like the Screen Tests or this screenprint of Ethel Scull which I audaciously borrowed for my blog profile pic.

”Ethel Scull 36 Times” was one of Warhol’s first commissioned portraits for which he escorted Ethel Scull, a patron and collector of modern art, to a Photomat in Times Square. There, under his direction, they took more than a hundred photos with Ms Scull posing with or without sunglasses, making serious or playful faces; in short having some silly fun. Warhol chose 36 of these poses and here is the end result. What attracts me most about it, is this personification of joie de vivre with a certain je ne sais quoi, emanated from every pose.



Andy Warhol
Ethel Scull 36 Times, 1963
Acrylic and screenprint on canvas

The Whitney Museum of American Art

September 10th, 2016