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.
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