#Andy Warhol Flowers 1964

[savage-kult-of-gorthaur]

THE RISE OF ANDYMANIA -- CLASS OF '65.

PIC(S) INFO: Spotlight on the opening of Warhol's first museum show at the Institute of Contemporary Art in Philadelphia on October 8, 1965, and reportedly the moment that Warhol, and America, realized that Andymania might rival Beatlemania as a pop culture phenomenon. The ICA audience was more interested in him than in the Flowers and Green Stamps that covered the walls. 📸: Steve Schapiro.

PIC #2: Andy Warhol photographed at the 47th Street [Silver] Factory in front of "Flowers" silk screen prints, holding a light cord, NYC, c. 1964. 📸: Bob Adelman.

Sources: www.blind-magazine.com/stories/andys-pop-life & Vanity Fair Magazine.

#Andy Warhol Flowers 1964-1965 #Andy Warhol #Andy Warhol Flowers 1964 #Andy Warhol Flowers 1964-'65 #1964 #Warhol Flowers #Warhol #Paintings #Bob Adelman #Bob Adelman photography #60s #Sixties #Flowers Andy Warhol #Institute of Contemporary Art #Andy Warhol Flowers #Flowers Warhol #Andy Warhol Flowers 1965 #1960s #60s Art #Steve Schapiro photography #Steve Schapiro #1965 #Flower Paintings #NYC #Andy Warhol Flower Paintings

[pop-art-sixties-seventies]

Andy Warhol - Flowers, 1964.

[newloverofbeauty]

William John Kennedy:  Andy Warhol with actor Taylor Mead holding an early “Flowers” canvas   NYC    (1964)

[laeonj]

Andy Warhol "Flowers", 1964

[unjouruntableau]

Andy Warhol - Flowers, 1964.

[verypsbfan019]

Evening in the Sunflower Field 🌈🌻💚

My new Andy Warhol illustration inspired by The Flower series from 1964!

#digital art #andy warhol #digital drawing #illustration #flowers #art #pop art #sunflower field #60's

[mcgiggers]

New York - May 2024

Just back from action-packed Frieze art week festivities in the Big Apple which featured stops at Future Fair, Nada New York and Frieze New York. The art fair spree dovetailed nicely with the launch of the major post-war, contemporary, and modern auction previews scheduled for later this month at Sotheby’s, Christie’s and Phillips. The fairs and auction previews together served up fantastic art viewing opportunities for art fans and aficionados alike. And, as if that wasn’t enough given the mere 24 hours of viewing time on hand, serendipity delivered the icing on the cake with the timely opening of Tammi Campbell’s marvelous gallery exhibit of recent paintings and sculptures.

The Fairs

Frieze New York was the marquee fair, and it celebrated its 12th year as part of the cultural landscape in the city and its fourth outing at The Shed since relocating from Randall Island. The evolution of the fair since then has been considerable. From a corporate perspective, it is now part of famed Ari Emanuel’s sports and entertainment conglomerate, and, on the art front, the offering got slicker and more rarefied, featuring top-tier highly curated contemporary galleries and works. This year’s boutique-sized edition of 65 or so exhibitors included global mega galleries and international and local blue chippers. Standout works included: Nate Lowman’s “Golf Course Marilyn”, 2024, oil and alkyd on linen (50 x 30 in.); Uri Aran’s “Everything (Timeline)”, 2023, gesso, acrylic, oil, oil pastel, graphite, wood stain, clear polyurethane, charcoal, color pencil, china marker, and mixed media on canvas (87.25 x 42 x 1.5 in.); and, Richard Aldrich’s “Untitled”, 2022, oil and wax on panel (20.5 x 13.13 in.).

NADA New York has long been synonymous with contemporary and emerging art, and the fair continued to build on its reputation as being the go-to event for up-and-coming galleries. For this year’s edition, over 92 galleries, art spaces and non-profit organizations convened in the heart of Chelsea to showcase their stars, including, remarkably, 34 first time presenters. The show highlights included: a pair of works by Shaan Syed “Gorilla, Geurilla” and “To, Too, Two”, 2023, oil and paper collage on linen (35.3 x 31.5 in., each); Emma Schwartz’s “Thought You Should Know (again)”, 2024, oil, charcoal and chalk pastel on canvas (68 x 48 in.); and, Jule Korneffel’s “Alex’s Garden”, 2023, acrylic on canvas (82 x 80 in.).

Future Fair, on a relative basis, was the newest kid on the block, yet the four-year old upstart exuded a palpable vibe and excitement. With a focus on emerging galleries, the contemporary art fair featured over 100 artists from 26 countries, collaborating with over 60 local and international art dealers. Collectively creating a very accessible environment, the artists, works, and gallerists fostered a strong sense of engagement with fairgoers. Highlights included: Gwen Hardie’s assembled triptych “05.29.23”, pure venetian red and naples yellow on indian red, “09.15.23”, darkest cadmium red on indian red and “06.19.23”, lavender on warm umber (24 x 24 in., each); Beck Lowry’s “Red Threat (after Aseem)”, 2023, painted weaving on handmade wooden armature (plywood, crochet thread, oil paint) (12.5 x .75 x 1 in.); and Carolyn Case’s “Night Kitchen”, 2024, chalk pastel on pastel card with artist frame, ceramic porcelain and glaze (17 x 20 in.).

The Auction Previews

The previews for the prominent spring edition of the post-war, contemporary, and modern art auctions at Sotheby’s, Christie’s and Phillips opened to the public and welcomed everyone from the most serious global big hitters gearing up to shell out whatever it takes to walk home with a masterwork to casual and ardent fans savoring the opportunity to look at phenomenal works before they again disappear into private collections. As always, the previews were masterfully staged in wonderful spaces. Supersized showstoppers included: Andy Warhol’s “Flowers”, 1964, acrylic, fluorescent paint and silkscreen ink on linen (82 x 82 in.); Frank Stella’s “Lettre sur les sourds et muets II”, 1974, synthetic polymer paint on canvas (140.88 x 140.88 in.); Felix Gonzalez-Torres’ “(Untitled) America #3”, 1992, 42 light bulbs, porcelain light sockets and electrical cord (length 504 in.); and, Rashid Johnson’s “Anxious Red Painting September 24th”, 2020, oil on linen (72.25 x 96.25 in.). Beyond the headliners, marvelous less conspicuous works were sprinkled throughout. Memorable ones included: Brice Marden’s “Small Parchment Study #1”, 1999, oil on natural vellum stretched over plywood; Henry Taylor’s “Cruel Kids”, 2005, acrylic on canvas (28.5 x 28 in.); and Agnes Martin’s “Earth II”, 1959, oil on canvas (71.33 x 48 in.).

Tammi Campbell Exhibit

In between fairs and auction previews, Tammi Campbell’s As Long As It Lasts exhibit kicked off and featured a walk through with the artist who provided fascinating insights into her practice and the specifics about works on view. With the continuous evolution of her creative re-engineering processes and next gen wrappings, Campbell continued to push appropriation to new heights, all while making the work uniquely her own. Highlights included: the Cy Twombly inspired “Untitled (1970)”, 2024, chalk on blackboard with walnut frame (48.75 x 59.25 x 1.4 in.); and a replica of a famous Andy Warhol work with a twist “Double Elvis (Ferus Type) with Bubble Wrap and Packing Tape”, 2024, acrylic on canvas (81.25 x 58.25 x 1.25 in.).

As spirited art week festivities unfolded across the city, local sportsfans were also whipped up into a frenzy as both their hometown Rangers and Knicks advanced to the second round of their respective playoff series. On the hoops front, with the Knicks now set to tip off against the Pacers, Dino fans can also partake in some playoff excitement (by extension) as former Raptor stars Pascal Siakam and OG Anunoby, sporting Pacers and Knicks uniforms, respectively, are pitted against each other. The exuberance of “Crazy Eyes” versus the zen of “OG-Won Kenobe” - one of the two will get to the conference finals which should provide some solace and maybe even bring a smile to Dino nation.

For more information on any of the artists or works mentioned, the upcoming auctions, and the fate of former Dino stars, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

#mcgiggers #art beat #raptors #frieze #nada #Future Fair #sotheby #phillips #christie's #Nate Lowman #Richard Aldrich #Uri Aran #Saan Syed #Emma schwartz #Jule korneffel #Gwen hardie #beck lowry #carolyn case #andy warhol #felix gonzalez torres #Frank Stella #Brice MArden #Agnes Martin #Henry Taylor #Rashid Johnson #Tammi Campbell #Knicks #Pacers #pascal siakam #og anunoby

[k00299693]

This week I decided to experiment with the scanner and objects. I wanted to combine items and scan them to make an interesting image. After scanning the objects I also edited them.

The images of the shoe and the vase I liked the highlights and the shape. As I was experimenting with the settings it reminded me of some works of Andy Warhol such as Twelve Electric Chairs, 1964. I think i might continue to move in that direction with those pictures.

I was also interested to see what the flowers would look like if I scanned them. And they reminded me of retro postcards that I saw in my childhood.

[theshopshop]

Check out this listing I just added to my Poshmark closet: Andy Warhol "Flowers" (Red) 1964 framed.

[lisabrueckner]

Sturtevant (1924-2014)

Warhol Black Marilyn (2004)

Sturtevant was known for repeating the works of other artists. In this way, she turned the visual logic of Pop Art - to reproduce or multiply already existing motifs - back on itself. As early as 1964, she chose works by Andy Warhol for repetition: first his Flowers series, and as of 1965 his Marilyn depictions. But Sturtevant was not interested in mere, true-to-detail repetition. She objected to the accusation that her works were simple copies and thus upset conventional notions of originality and authorship, for what then distinguishes her works from their predecessors? An answer lies in the "Warhol Black Marilyn" (2004) shown here, to which there is no direct precursor in Warhol's oeuvre. Sturtevant increased the drastic effect of the original motif. The contour of her lipstick is smeared, her smile turns into a grimace. What was already implicit in Warhol - he began his series in 1962 shortly after Monroe's death - becomes evident in Sturtevant: the actress is turned into a symbol of transience and mortality.

Synthetic resin paint and silkscreen ink on canvas

#sturtevant #marilyn monroe #andy warhol

[creativeenquirylynnbowers]

Notes:

10 years old - first hallucination.

Hallucinations described as "flashes of lights, auras or dense fields of dots".

The dots consumed her and she said that they "obliterated" her.

Kusama has been obsessed with dots her whole life.

Yayoi Kusama - Untitled (1939) Pencil sketch.

Work includes art, fashion, filmmaking and performance art.

Polka dots are a consistent motif throughout her work.

Born in 1929, rural provincial town in Japan to a wealthy family.

Intense militarism at the time in Japan.

1941, at 12 years old Kusama sewing military parachutes in textile factories.

Sewing is a skill she used later on in her soft sculptures.

Abusive mother did everything she could to prevent Kusama from becoming an artist or having a career at all which her mother said would bring shame on their family.

Art helped Kusama with her mental health - hallucinations, depression, anxiety which she still struggles with today.

Kusama describes her whole body feeling like it's breaking down and becoming absorbed by or dissolving into the environment around her.

She uses art to take back control and fight against her mental illnesses.

Unknown in Japan, Kusama found a book of Georgia O'keefe's paintings which she was so inspired by and impressed by her achievements as a woman.

O'Keefe and Kusama wrote letters to one another and O'Keefe introduced Kusama to important people in the art world in New York.

Yayoi Kusama - Flower A (2005) Screenprint.

Seeing America as a clean slate, Kusama burned 2000 old artworks.

She didn't return to Japan until 1973.

Arrived in New York to "become a star".

Difficult city to conquer considering she had no support system and she spoke very little english.

Living a wealthy life in Japan to living in poverty in New York.

Fame was something she craved, it was her driving force.

Polka Dot - comparison to Roy Liechtenstein and Bridget Riley.

Kusama's dots come from within - a form of healing and the repetition calms her mind, overcoming anxiety and fear.

A way to "self-obliterate", disappear into her own artwork.

Applying polka dots to animals, paper, canvases, walls, people.

Refused to be put in a box, continued reinventing herself.

Infinity Nets - semi-circles of paint on massive canvases, calming in comparison to the mark making of Jackson Pollock, a bridge between Abstract Expressionism and Minimalism.

A workaholic - Kusama spent all day everyday making Infinity Net paintings until she had no more room in her studio. Working through the night as well, she ended up being hospitalised for her mental illness.

Yayoi Kusama - Infinity-Nets KYKEY (2017) Acrylic on canvas.

Installation - Kusama was a leading figure in this art form.

1962 - Phallic soft sculptures made of canvas filled with cotton.

A juxtaposition of humour and sexuality.

Yayoi Kusama - Red Stripes (1965)

Row boat covered in soft sculptures with a repetitive wallpaper pattern of the same sculptures.

Yayoi Kusama - Aggregation: One Thousand Boats Show (1964)

Male artists ripped off her artwork and didn't credit or even acknowledge her as inspiration at the very least.

Artists like Andy Warhol seeing and complimenting her wallpaper idea and then doing the same thing in their exhibitions.

This depressed Kusama and she holed up in her studio, covering the windows, working in secret so that no one could steal her ideas.

Phallic Field - a mirrored room full of her polka dotted phallic soft sculptures. An interactive experience rather than simply viewing.

Yayoi Kusama - Phalli's Field (1965) Installed at the Hirshhorn Museum and Sculpture Garden, 2017.

Kusama's lack of control over her health meant she creates artworks that control how the viewers experience her artwork.

Mirror Rooms = Kusama.

Another male artist copied her mirror room and got rave reviews while hers didn't. This caused her to become depressed and suicidal.

1966, Kusama gatecrashed the 33rd Venice Biennale with "Narcissus Garden" - hundreds of mirrored spheres, her take on commercialism in the art world - a "kinetic carpet".

Dressed in a gold kimono, she sold each sphere for $2 until she was thrown out.

Yayoi Kusama - Narcissus Garden (1966)

As a woman, Kusama had to fight for her voice to be heard.

Criticised for "excessive self-promotion" Kusama places herself at the center of her work as it is deeply personal to her.

Sees herself as a "living work of art".

A lot of this information is discussed in Kusama's autobiography titled "Infinity Net: The Autobiography of Yayoi Kusama". She has certainly led a fascinating life and I feel so inspired by her. I relate to Kusama a lot regarding her struggles with mental health issues and using her art to manage them. I find the repetitive process of drawing shapes and patterns and folding paper incredibly soothing and - while I don't suffer from hallucinations - I do suffer with generalised anxiety and I feel a sense of calm as well as accomplishment when I complete a particularly intricate piece of artwork. I'm also autistic, so, the aspect of repetition in terms of pattern as well as process is a way for me to avoid uncertainty which would inevitably cause me to feel anxious. I have my particular ways of working which I enjoy and feel good about. I find it difficult to stray away from my usual routine in terms of the materials I use, the patterns I gravitate towards and the environment in which I work.

[pop-art-sixties-seventies]

Andy Warhol - Flowers, 1964.

[jaymayokay]

Art imitates life, and sometimes life imitates art. I was looking down, and watering the miniature hot pink carnations when I suddenly had the image of Andy Warhol’s 1964 series “Flowers” in my head. It’s not so much the shapes that reminded me of his silkscreens as much as it is the bright pink against the virtually solid background of green leaves. * * * * * * * #andywarhol #andywarholflowers #popart #ModernArt #artimitateslife #lifeimitatesart #supergorgeousness #artnerd #Instagay #instagrammers #learningtosee #inspirationiseverywhere #instagramphotos #appropriation #artfag #arthag #Helleaux #StayAtHomeModel (at Chez What?) https://www.instagram.com/p/CigdXlTtQ2a/?igshid=NGJjMDIxMWI=

#andywarhol #andywarholflowers #popart #modernart #artimitateslife #lifeimitatesart #supergorgeousness #artnerd #instagay #instagrammers #learningtosee #inspirationiseverywhere #instagramphotos #appropriation #artfag #arthag #helleaux #stayathomemodel

[anarobles9]

"Approaches to Postmodernism" by Terry Barrett

Postmodern Approach: Escaping the Confines of the Museum. "The Living Pyramid "

Grass and flowers wrapped around a pyramid,

Anges Denes, 2015

Postmodern Approach: Collapsing Boundaries between 'High" and "Low" "A Friend in Need"

Acrylic painting of dogs playing poker

Cassius Marcellus Coolidge, 1903

Postmodern Approach: Rejecting Originality "American Gothic"

A painting of a man and women

Grant Wood ,1930

Postmodern Approach: Jouissance "Figures in the Garden"

A painting of nude women

George Condo, 2009

Postmodern Approach: Working Collaboratively "Pablo Picasso Painting with Light"

Photography

Pablo Picasso and Gjon Mill, 1949

Postmodern Approach: Appropriating "Campbell Soup Tomato "

A piece of painting of Campbell Soup

Andy Warhol, 2011

Postmodern Approach: Simulating " Bugs Bunny"

A print of Bugs Bunny which is based on Clark Gable

Chuck Jones, 1930

Postmodern Approach: Hybridizing "Soldaderas"

Mural painting of two ladies

Frida Kahlo, 2011

Postmodern Approach: Mixing Media "Veebee Veebee"

Painting on newspaper with paper butterflies

Jackie O, Unknown

Postmodern Approach: Layering " Untitled"

A painting that is layered and layered by just paint

Yisa Akinbolaji, Unknown

Postmodern Approach: Mixing Codes "(Forever Free) ‘Servin with a smile"

Acrylic latex and copper penny on paper

Michael Ray Charles, 1994

Postmodern Approach: Recontextualizing "Untitled"

A plaster figure made out of acyclic paint

Fred Wilson, 2011

Postmodern Approach: Confronting the Gaze "Naked Women"

A painting of nude women body used by acrylics

Liane Chevalier, 2018

Postmodern Approach: Facing the Abject "Schitzo Salad"

A artwork of a person coves in cabbage, lettuce, tomato, onion and purple paint.

David Henry Nobody Jr, Unknown

Postmodern Approach: Constructing Identities " Problem We all Live With"

Painting

Norman Rockwell, 1964

Postmodern Approach: Using Narratives "Untiled"

Wall art

Banksy, 2011

Postmodern Approach: Creating Metaphors "Untilted"

Pop up art

Unknown artist and date

Postmodern Approach: Irony, Parady and Dissonance "Clacton-on-Sea"

Mural

Banksy, 2014

[enzoandriani]

Flowers, 1964, Andy Warhol acrylic and silkscreen ink on linen 60 x 60 in. (152.4 x 152.4 cm) https://www.instagram.com/p/Cg-kRybsREK/?igshid=NGJjMDIxMWI=

[twixnmix]

Andy Warhol, Philip Fagan and Gerard Malanga with a series of "Flowers" silkscreens at the Factory, 1964.

Photo by Ugo Mulas

#andy warhol #philip fagen #gerard malanga #1964 #flowers #pop art #1960s #the factory #new york city #silkscreen #screenprinting #modern art