Warhol’s archives undergo a reorganization.
The Andy Warhol Museum faces problems in preserving the documents of his life.

17 years after the archive opened, it has been closed for “rehousing and reorganization : many of the objects are still not cataloged  It is hoped that the work will be finished by early in the new year and the archive will reopen. But while the reorganization has affected direct access, “it hasn’t stopped us from lending objects to exhibitions, preparing our own shows, or cataloging Warhol’s Time Capsules, all of which are moving along,” says Matt Wrbican, the museum’s chief archivist.

What's the official term for 'grammar Nazi'?

Proofreader?  Dunno.  But I am one.  Reading through the Warhol Foundation’s Andy Warhol Biography, I found TWO grammatical errors.

“Operating out of a silver-painted, and foil-draped studio nicknamed The Factory, located at 231 East 47th Street, (his second studio space to hold that title), Warhol embraced work in film and video.”

Whatchu doin’ there, little comma?  The comma after ‘silver-painted’ needs to go.  Commas go in lists–which comprise three or more objects–or in a comma-conjunction structure, which this is not.  All grammar rules (concerning the comma) are made to be broken, and in this case, there doesn’t need to be a comma before the 'and,’ because said 'and’ links two descriptive terms, not two independent clauses.

“Despite a brief self-declared retirement from painting following an exhibition of Flowers in Paris, Warhol continued to make sculptures (including the well known screenprinted boxes with the logos of Brillo and Heinz Ketchup) prints, and films.”

There needs to be a comma after the parenthetical.  Parenthetical phrases by their very nature can be lifted out of the text, and the sentence needs to be grammatically correct without it.  This sentence, without the parenthetical, reads, “…Warhol continued to make sculptures prints, and films."  Yeah.  Needs a comma.

"We're converting art into money".

These words, spoken by Michael Straus (Chairman of the Board of The Andy Warhol Foundation for the Visual Arts) on the occasion of the foundation’s auctioning off of Warhol’s remaining estate, is too deliciously apropos. It’s just glib and Post Modern enough to have been said by Warhol. If Straus isn’t directly quoting/paraphrasing him I’ll be surprised!

Don’t cringe at the idea of selling off the remaining “silk-screen paintings, drawings, prints, collages, photographs and archival materials”. The sale will have two benefits:

  • The Warhol Foundation will be putting the money earned toward their grants.
  • The collection will likely be snapped up by museums (although some of it will end up in private hands, of course), making Warhol’s art and personal effects more accessible than ever.

Quotes via “Warhol Art Trove Pops Up for Sale” at WSJ.

Art & Vision: Warhol and the Art of Making Money

by Nathaniel Smith

Inspired by “Andy Warhol in Minneapolis,” with a medium at his side and a bunch of questions about art, funding and politics, l’étoile arts columnist Nathaniel Smith peers into the hereafter to get the Prince of Pop Art’s take on how work is bought and sold, in his own words. Originally published by mnartists.org

ANDY WARHOL (1928-1987), Marilyn (See F. & S. IIIA.3) Screenprint in black 22 ½ x 17 ½ in. (57.2 x 44.5 cm.) Executed in 1978. © The Andy Warhol Foundation for the Visual Arts, Inc.

There’s a unique exhibition on view recently at Aria, located in the Minneapolis Warehouse District: one of the largest presentations of work ever seen in Minnesota, by one of America’s most famous artists, Andy Warhol, opened there a couple of weeks ago. The exhibition, titled Andy Warhol in Minneapolis, was the first physical stop in the Andy Warhol at Christie’sseries. The show included more than 50 paintings, photographs, prints and works on paper by Warhol, among them a selection of pieces originally featured in Warhol’s only previous showing in Minneapolis at the Locksley Shea Gallery in 1975.

Not only do we rarely receive these types of collections by major artists, we rarely get to enjoy the debate that surrounds the modern art auction. Initially, some balked at Christie’s auction house being tapped to handle the sales of the Warhol Foundation’s remaining works, but most of those objecting were subsequently mollified by the fact that the majority of proceeds from those sales are being used to fund art projects, spaces, writing and artists themselves. And as of two weeks ago, Christie’s online sales of Warhol’s work totaled $2.7 million, twice the pre-sale estimate — money which will, in turn, go toward funding the Foundation’s many grant-related projects.

ANDY WARHOL (1928-1987), Self Portrait Unique polaroid print 4 3/8 x 3 ½ in. (11.2 x 8.9 cm.) Executed in 1973 © The Andy Warhol Foundation for the Visual Arts, Inc.

Head to letoilemagazine.com to read more


Mirror Array by Ned kahn

A temporary installation of hundreds of tilted mirrors that revealed snapshots of the ocean surface as waves passed. By removing visual information, the artwork forced viewers to see the ocean surface in a unique way. Commissioned by the Headlands Center for the Arts with funding provided by the Andy Warhol Foundation.


MOTHERPATCH by Fallen Fruit:

We asked everyone who came to write down advice from their mother.

with the Coleman Center for the Arts (CCA) and the people from YORK.  
 Avenue A on Saturday, August 22nd from 10 AM to 12 PM
The Harvest Celebration of Motherpatch, a new public art project by  Fallen Fruit .

There was free watermelons for EVERYONE in York,  a watermelon race,   seed spitting contest.  and  we wrote down memories and advice we got from our MOTHERS. Everyone was encouraged to ‘Spit your seeds’ so that watermelons will continue to grow throughout York!

Motherpatch is the largest public watermelon patch in the world, containing over 30 global varieties of watermelons. The project is Fallen Fruit’s collaboration with the CCA and the people of Sumter County that began in 2012, and has unfolded through ongoing conversation, creation and collaboration.

This event was made possible by funding from the Andy Warhol Foundation for the Visual Arts, The Visual Artists Network/National Performance Network, ArtPlace America, the Joan Mitchell Foundation, the Daniel Foundation of Alabama and the generous contributions of our individual sponsors.

A glimpse of artist #EbonyGPatterson’s (@ebonygpatterson) powerful work “Of 72 Project. See the installation on view in #SAMDisguise and hear her speak on Aug 26 at #SeattleArtMuseum. [🎨: "Of 72 Project” (detail), 2012, Ebony Patterson, Jamaica/United States, b. 1981, digital prints on hand-embellished bandanas, 73 bandanas, 21 x 21 in. each, Commissioned by Small Axe Magazine and the Andy Warhol Foundation for the Arts Grants, Courtesy of the artist and Monique Meloche Gallery, Chicago. © Ebony Patterson, Photo courtesy of the artist and Monique Meloche Gallery, Chicago.] via Instagram http://ift.tt/1TGF3bN