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warholfoundation
The Andy Warhol Foundation
Established by Andy Warhol.
Advancing the visual arts since 1987.
#WarholWednesday
Over the course of his painting career Warhol created five major series of self-portraits, starting with his photobooth self-portraits in the early 1960s and concluding with the “fright wig” self-portraits in 1986. In 1978 he painted a series of self-portraits which included eight canvases with the frontal views of his face in different positions almost entirely overlapping one another.
The three images of his face overlap to such a degree that the immediate effect is a sort of optical blur. This sense of captured motion was he explored in a series of drawings from the mid-1950s he made for a dance performance. He conveys the notion of movement through overlapping graphite lines the produce a vibrating effect.
The source materials for ’78 paintings were a series of Polaroids in which he is wearing an “Interview” magazine t-shirt. He created several trial impressions on paper so he could view individual poses and determine the sequence that looked best. The final results include multi-colored versions and more monochromatic paintings with white backgrounds.
Visit the link in our bio to learn more about the Andy Warhol Catalogue Raisonné.
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1. Andy Warhol, Self-portrait, 1978. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40 inches.
2. Andy Warhol, Self-portrait, 1977. Polacolor Type 108, 4 ¼ x 3 3/8 inches (each).
3. Andy Warhol, Glen Tetley (left) and Felicia Conde (right) Three Promenades with the Lord, mid-1950s. Ink on manila paper, 16 5/8 x 13 7/8 inches.
4. Andy Warhol, Self-portrait, 1977. Screenprint on Curtis Rag paper, 45 x 35 inches (each).
5 & 6. Andy Warhol, Self-portrait, 1978. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40 inches (each).
All images ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#WarholFoundation #WarholCatRais, #AndyWarhol #Warhol #ArtHistory #Selfportrait #selfie @Polaroid #Polaroid #Painting #Silkscreen #screenprint #Superimposed #Drawing #linedrawing #1970s #artist
#WarholWednesday
Over the course of his painting career Warhol created five major series of self-portraits, starting with his photobooth self-portraits in the early 1960s and concluding with the “fright wig” self-portraits in 1986. In 1978 he painted a series of self-portraits which included eight canvases with the frontal views of his face in different positions almost entirely overlapping one another.
The three images of his face overlap to such a degree that the immediate effect is a sort of optical blur. This sense of captured motion was he explored in a series of drawings from the mid-1950s he made for a dance performance. He conveys the notion of movement through overlapping graphite lines the produce a vibrating effect.
The source materials for ’78 paintings were a series of Polaroids in which he is wearing an “Interview” magazine t-shirt. He created several trial impressions on paper so he could view individual poses and determine the sequence that looked best. The final results include multi-colored versions and more monochromatic paintings with white backgrounds.
Visit the link in our bio to learn more about the Andy Warhol Catalogue Raisonné.
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1. Andy Warhol, Self-portrait, 1978. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40 inches.
2. Andy Warhol, Self-portrait, 1977. Polacolor Type 108, 4 ¼ x 3 3/8 inches (each).
3. Andy Warhol, Glen Tetley (left) and Felicia Conde (right) Three Promenades with the Lord, mid-1950s. Ink on manila paper, 16 5/8 x 13 7/8 inches.
4. Andy Warhol, Self-portrait, 1977. Screenprint on Curtis Rag paper, 45 x 35 inches (each).
5 & 6. Andy Warhol, Self-portrait, 1978. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40 inches (each).
All images ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#WarholFoundation #WarholCatRais, #AndyWarhol #Warhol #ArtHistory #Selfportrait #selfie @Polaroid #Polaroid #Painting #Silkscreen #screenprint #Superimposed #Drawing #linedrawing #1970s #artist
#WarholWednesday
Over the course of his painting career Warhol created five major series of self-portraits, starting with his photobooth self-portraits in the early 1960s and concluding with the “fright wig” self-portraits in 1986. In 1978 he painted a series of self-portraits which included eight canvases with the frontal views of his face in different positions almost entirely overlapping one another.
The three images of his face overlap to such a degree that the immediate effect is a sort of optical blur. This sense of captured motion was he explored in a series of drawings from the mid-1950s he made for a dance performance. He conveys the notion of movement through overlapping graphite lines the produce a vibrating effect.
The source materials for ’78 paintings were a series of Polaroids in which he is wearing an “Interview” magazine t-shirt. He created several trial impressions on paper so he could view individual poses and determine the sequence that looked best. The final results include multi-colored versions and more monochromatic paintings with white backgrounds.
Visit the link in our bio to learn more about the Andy Warhol Catalogue Raisonné.
.
1. Andy Warhol, Self-portrait, 1978. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40 inches.
2. Andy Warhol, Self-portrait, 1977. Polacolor Type 108, 4 ¼ x 3 3/8 inches (each).
3. Andy Warhol, Glen Tetley (left) and Felicia Conde (right) Three Promenades with the Lord, mid-1950s. Ink on manila paper, 16 5/8 x 13 7/8 inches.
4. Andy Warhol, Self-portrait, 1977. Screenprint on Curtis Rag paper, 45 x 35 inches (each).
5 & 6. Andy Warhol, Self-portrait, 1978. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40 inches (each).
All images ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#WarholFoundation #WarholCatRais, #AndyWarhol #Warhol #ArtHistory #Selfportrait #selfie @Polaroid #Polaroid #Painting #Silkscreen #screenprint #Superimposed #Drawing #linedrawing #1970s #artist
#WarholWednesday
Over the course of his painting career Warhol created five major series of self-portraits, starting with his photobooth self-portraits in the early 1960s and concluding with the “fright wig” self-portraits in 1986. In 1978 he painted a series of self-portraits which included eight canvases with the frontal views of his face in different positions almost entirely overlapping one another.
The three images of his face overlap to such a degree that the immediate effect is a sort of optical blur. This sense of captured motion was he explored in a series of drawings from the mid-1950s he made for a dance performance. He conveys the notion of movement through overlapping graphite lines the produce a vibrating effect.
The source materials for ’78 paintings were a series of Polaroids in which he is wearing an “Interview” magazine t-shirt. He created several trial impressions on paper so he could view individual poses and determine the sequence that looked best. The final results include multi-colored versions and more monochromatic paintings with white backgrounds.
Visit the link in our bio to learn more about the Andy Warhol Catalogue Raisonné.
.
1. Andy Warhol, Self-portrait, 1978. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40 inches.
2. Andy Warhol, Self-portrait, 1977. Polacolor Type 108, 4 ¼ x 3 3/8 inches (each).
3. Andy Warhol, Glen Tetley (left) and Felicia Conde (right) Three Promenades with the Lord, mid-1950s. Ink on manila paper, 16 5/8 x 13 7/8 inches.
4. Andy Warhol, Self-portrait, 1977. Screenprint on Curtis Rag paper, 45 x 35 inches (each).
5 & 6. Andy Warhol, Self-portrait, 1978. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40 inches (each).
All images ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#WarholFoundation #WarholCatRais, #AndyWarhol #Warhol #ArtHistory #Selfportrait #selfie @Polaroid #Polaroid #Painting #Silkscreen #screenprint #Superimposed #Drawing #linedrawing #1970s #artist
#WarholWednesday
Over the course of his painting career Warhol created five major series of self-portraits, starting with his photobooth self-portraits in the early 1960s and concluding with the “fright wig” self-portraits in 1986. In 1978 he painted a series of self-portraits which included eight canvases with the frontal views of his face in different positions almost entirely overlapping one another.
The three images of his face overlap to such a degree that the immediate effect is a sort of optical blur. This sense of captured motion was he explored in a series of drawings from the mid-1950s he made for a dance performance. He conveys the notion of movement through overlapping graphite lines the produce a vibrating effect.
The source materials for ’78 paintings were a series of Polaroids in which he is wearing an “Interview” magazine t-shirt. He created several trial impressions on paper so he could view individual poses and determine the sequence that looked best. The final results include multi-colored versions and more monochromatic paintings with white backgrounds.
Visit the link in our bio to learn more about the Andy Warhol Catalogue Raisonné.
.
1. Andy Warhol, Self-portrait, 1978. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40 inches.
2. Andy Warhol, Self-portrait, 1977. Polacolor Type 108, 4 ¼ x 3 3/8 inches (each).
3. Andy Warhol, Glen Tetley (left) and Felicia Conde (right) Three Promenades with the Lord, mid-1950s. Ink on manila paper, 16 5/8 x 13 7/8 inches.
4. Andy Warhol, Self-portrait, 1977. Screenprint on Curtis Rag paper, 45 x 35 inches (each).
5 & 6. Andy Warhol, Self-portrait, 1978. Synthetic polymer paint and silkscreen ink on canvas, 40 x 40 inches (each).
All images ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#WarholFoundation #WarholCatRais, #AndyWarhol #Warhol #ArtHistory #Selfportrait #selfie @Polaroid #Polaroid #Painting #Silkscreen #screenprint #Superimposed #Drawing #linedrawing #1970s #artist
Currently on view at #WarholGrantee SPACE in Portland, ME is "SHAPE/SHIFT" an exhibition that presents a conversation between a trio of Maine ceramic artists and educators whose non-functional works embody forms that are uncanny, architectural, biomorphic, and abstract.
Included in the exhibition is the work of Patrick Coughlin who examines the ubiquitous, mundane, and inconspicuous aspects of American material culture and domestic spaces. He abstracts structural joinery, furniture, and traditional craft processes to create mixed-media sculptures that consider the hidden complexity and sensuality of everyday objects.
The Foundation supports SPACE for its role as as a bridge between artist-led and curatorial presentation practices, connecting disparate geographies and audiences, and as a pathway to new conversations in the greater Portland area.
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1. Patrick Coughlin, Pink Poke, 2024. Ceramic, wood, fabric.
2. Patrick Coughlin, Pink Poke, 2024. Ceramic, wood, fabric (left), Patrick Coughlin, Dangle, 2025. Ceramic, fabric, plastic (right).
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@p.coughlin #PatrickCoughlin @Space538 #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Ceramics #Scupture #Abstraction #MainArtists #PortlandME
Currently on view at #WarholGrantee SPACE in Portland, ME is "SHAPE/SHIFT" an exhibition that presents a conversation between a trio of Maine ceramic artists and educators whose non-functional works embody forms that are uncanny, architectural, biomorphic, and abstract.
Included in the exhibition is the work of Patrick Coughlin who examines the ubiquitous, mundane, and inconspicuous aspects of American material culture and domestic spaces. He abstracts structural joinery, furniture, and traditional craft processes to create mixed-media sculptures that consider the hidden complexity and sensuality of everyday objects.
The Foundation supports SPACE for its role as as a bridge between artist-led and curatorial presentation practices, connecting disparate geographies and audiences, and as a pathway to new conversations in the greater Portland area.
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1. Patrick Coughlin, Pink Poke, 2024. Ceramic, wood, fabric.
2. Patrick Coughlin, Pink Poke, 2024. Ceramic, wood, fabric (left), Patrick Coughlin, Dangle, 2025. Ceramic, fabric, plastic (right).
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@p.coughlin #PatrickCoughlin @Space538 #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Ceramics #Scupture #Abstraction #MainArtists #PortlandME
"Everybody has their own America, and then they have the pieces of a fantasy America that they think is out there but they can't see."—Andy Warhol, America
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Andy Warhol, Craig Sheffer, 1982. Black and white print, 8 x 10 inches. ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#MemorialDay #CraigSheffer #America #Fantasy #AmericanFlag #AndyWarhol #Warhol#WarholFoundation #Photography #Blackandehitephotography #1980s #Actor
Now on view at the Frye Art Museum in Seattle, WA is the #WarholFoundation funded exhibition of works by Tom Lloyd. Artist, activist, and community organizer Lloyd (1929–1996) was an early pioneer of using electric light as an artistic medium. Working in collaboration with an engineer at the Radio Corporation of America (RCA), Lloyd developed a radically experimental practice in the 1960s that fused art and technology to dazzling effect.
While his work was exhibited and collected during the 1960s, Lloyd soon redirected his focus toward activism and community leadership. His decision to set aside his artistic practice in favor of supporting those of other artists of African descent may have contributed to his long-standing absence from scholarship related to these decades of artistic production in the United States.
Organized by the Studio Museum in Harlem, the Foundation supports this exhibitionfor highlighting the work of an artist whose exclusion from cultural conversations may have been a result of his shifting focus to support other artists of African descent.
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1. Tom Lloyd, Mantara, c. 1968. Aluminum, light bulbs, and plastic laminate, 26 × 23 × 5 inches.
2. Tom Llouyd, Telaunt, 1965. Aluminum, light bulbs, and plastic laminate, 25 × 23 × 5 inches.
3. Tom Lloyd standing in front of unknown artwork, 1968. Photographer unknown.
4. Tom Lloyd, Medevar II, 1965. Light bulbs, aluminum, and plastic laminate, 26½ x 25 ½ x 4 ¾ inches.
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#TomLloyd @FryeArtMuseum #FryeArtMuseum @StudioMuseum #StudioMuseum #WarholGrantee #AndyWarhol #Warhol #Philanthropy #Light #Lightsculpture #electricity #BlackArtist #Artist #Activist #Communityorganizer #1960s
Now on view at the Frye Art Museum in Seattle, WA is the #WarholFoundation funded exhibition of works by Tom Lloyd. Artist, activist, and community organizer Lloyd (1929–1996) was an early pioneer of using electric light as an artistic medium. Working in collaboration with an engineer at the Radio Corporation of America (RCA), Lloyd developed a radically experimental practice in the 1960s that fused art and technology to dazzling effect.
While his work was exhibited and collected during the 1960s, Lloyd soon redirected his focus toward activism and community leadership. His decision to set aside his artistic practice in favor of supporting those of other artists of African descent may have contributed to his long-standing absence from scholarship related to these decades of artistic production in the United States.
Organized by the Studio Museum in Harlem, the Foundation supports this exhibitionfor highlighting the work of an artist whose exclusion from cultural conversations may have been a result of his shifting focus to support other artists of African descent.
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1. Tom Lloyd, Mantara, c. 1968. Aluminum, light bulbs, and plastic laminate, 26 × 23 × 5 inches.
2. Tom Llouyd, Telaunt, 1965. Aluminum, light bulbs, and plastic laminate, 25 × 23 × 5 inches.
3. Tom Lloyd standing in front of unknown artwork, 1968. Photographer unknown.
4. Tom Lloyd, Medevar II, 1965. Light bulbs, aluminum, and plastic laminate, 26½ x 25 ½ x 4 ¾ inches.
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#TomLloyd @FryeArtMuseum #FryeArtMuseum @StudioMuseum #StudioMuseum #WarholGrantee #AndyWarhol #Warhol #Philanthropy #Light #Lightsculpture #electricity #BlackArtist #Artist #Activist #Communityorganizer #1960s
Now on view at the Frye Art Museum in Seattle, WA is the #WarholFoundation funded exhibition of works by Tom Lloyd. Artist, activist, and community organizer Lloyd (1929–1996) was an early pioneer of using electric light as an artistic medium. Working in collaboration with an engineer at the Radio Corporation of America (RCA), Lloyd developed a radically experimental practice in the 1960s that fused art and technology to dazzling effect.
While his work was exhibited and collected during the 1960s, Lloyd soon redirected his focus toward activism and community leadership. His decision to set aside his artistic practice in favor of supporting those of other artists of African descent may have contributed to his long-standing absence from scholarship related to these decades of artistic production in the United States.
Organized by the Studio Museum in Harlem, the Foundation supports this exhibitionfor highlighting the work of an artist whose exclusion from cultural conversations may have been a result of his shifting focus to support other artists of African descent.
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1. Tom Lloyd, Mantara, c. 1968. Aluminum, light bulbs, and plastic laminate, 26 × 23 × 5 inches.
2. Tom Llouyd, Telaunt, 1965. Aluminum, light bulbs, and plastic laminate, 25 × 23 × 5 inches.
3. Tom Lloyd standing in front of unknown artwork, 1968. Photographer unknown.
4. Tom Lloyd, Medevar II, 1965. Light bulbs, aluminum, and plastic laminate, 26½ x 25 ½ x 4 ¾ inches.
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#TomLloyd @FryeArtMuseum #FryeArtMuseum @StudioMuseum #StudioMuseum #WarholGrantee #AndyWarhol #Warhol #Philanthropy #Light #Lightsculpture #electricity #BlackArtist #Artist #Activist #Communityorganizer #1960s
Now on view at the Frye Art Museum in Seattle, WA is the #WarholFoundation funded exhibition of works by Tom Lloyd. Artist, activist, and community organizer Lloyd (1929–1996) was an early pioneer of using electric light as an artistic medium. Working in collaboration with an engineer at the Radio Corporation of America (RCA), Lloyd developed a radically experimental practice in the 1960s that fused art and technology to dazzling effect.
While his work was exhibited and collected during the 1960s, Lloyd soon redirected his focus toward activism and community leadership. His decision to set aside his artistic practice in favor of supporting those of other artists of African descent may have contributed to his long-standing absence from scholarship related to these decades of artistic production in the United States.
Organized by the Studio Museum in Harlem, the Foundation supports this exhibitionfor highlighting the work of an artist whose exclusion from cultural conversations may have been a result of his shifting focus to support other artists of African descent.
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1. Tom Lloyd, Mantara, c. 1968. Aluminum, light bulbs, and plastic laminate, 26 × 23 × 5 inches.
2. Tom Llouyd, Telaunt, 1965. Aluminum, light bulbs, and plastic laminate, 25 × 23 × 5 inches.
3. Tom Lloyd standing in front of unknown artwork, 1968. Photographer unknown.
4. Tom Lloyd, Medevar II, 1965. Light bulbs, aluminum, and plastic laminate, 26½ x 25 ½ x 4 ¾ inches.
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#TomLloyd @FryeArtMuseum #FryeArtMuseum @StudioMuseum #StudioMuseum #WarholGrantee #AndyWarhol #Warhol #Philanthropy #Light #Lightsculpture #electricity #BlackArtist #Artist #Activist #Communityorganizer #1960s
Closing on May 24th is the exhibition "With Signs Following," works by Abe Partridge, on view at Kentuck at Queen City in Tuscaloosa, AL. The exhibition,originated by #WarholGrantee Alabama Contemporary in 2022, grows from a body of work by singersongwriter and artist Abe Partridge, recounting his time in the religious communities of rural Appalachia. It is the culmination of a 2.5 year process that models ways art and other forms of cultural production can expand meaning across religious, cultural and geographic divides.
The Foundation supports Alabama Contemporary Art Center for connecting artists, curators and organizations in and beyond its region, bringing the Gulf Coast into dialogue with the broader art world for mutually beneficial exchanges.
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1. Abe Partridge, Punkin and Melinda Brown, 2020. Tar and acrylics on framed wood.
2. Abe Partridge, Jamie Coots, 2020. Tar and acrylics on framed wood.
3. Abe Partridge, Sis Barb Elkins, 2020. Tar and acrylics on framed wood.
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@AbePartridge #AbePartridge @AlabamaContemporary #AlabamaContemporary #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #WithSignsFollowing #Painting #AlabamaAstronaut
Closing on May 24th is the exhibition "With Signs Following," works by Abe Partridge, on view at Kentuck at Queen City in Tuscaloosa, AL. The exhibition,originated by #WarholGrantee Alabama Contemporary in 2022, grows from a body of work by singersongwriter and artist Abe Partridge, recounting his time in the religious communities of rural Appalachia. It is the culmination of a 2.5 year process that models ways art and other forms of cultural production can expand meaning across religious, cultural and geographic divides.
The Foundation supports Alabama Contemporary Art Center for connecting artists, curators and organizations in and beyond its region, bringing the Gulf Coast into dialogue with the broader art world for mutually beneficial exchanges.
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1. Abe Partridge, Punkin and Melinda Brown, 2020. Tar and acrylics on framed wood.
2. Abe Partridge, Jamie Coots, 2020. Tar and acrylics on framed wood.
3. Abe Partridge, Sis Barb Elkins, 2020. Tar and acrylics on framed wood.
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@AbePartridge #AbePartridge @AlabamaContemporary #AlabamaContemporary #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #WithSignsFollowing #Painting #AlabamaAstronaut
Closing on May 24th is the exhibition "With Signs Following," works by Abe Partridge, on view at Kentuck at Queen City in Tuscaloosa, AL. The exhibition,originated by #WarholGrantee Alabama Contemporary in 2022, grows from a body of work by singersongwriter and artist Abe Partridge, recounting his time in the religious communities of rural Appalachia. It is the culmination of a 2.5 year process that models ways art and other forms of cultural production can expand meaning across religious, cultural and geographic divides.
The Foundation supports Alabama Contemporary Art Center for connecting artists, curators and organizations in and beyond its region, bringing the Gulf Coast into dialogue with the broader art world for mutually beneficial exchanges.
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1. Abe Partridge, Punkin and Melinda Brown, 2020. Tar and acrylics on framed wood.
2. Abe Partridge, Jamie Coots, 2020. Tar and acrylics on framed wood.
3. Abe Partridge, Sis Barb Elkins, 2020. Tar and acrylics on framed wood.
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@AbePartridge #AbePartridge @AlabamaContemporary #AlabamaContemporary #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #WithSignsFollowing #Painting #AlabamaAstronaut
#PhilosophyFriday
“I learned that you actually have more power when you shut up.”–Andy Warhol.
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Andy Warhol, Self-portrait, 1964. Photoboth photographs, 6 x 1 5/8 inches.
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#AndyWarhol #Warhol #WarholFoundation #Artist #Photography #Photobooth #Selfportrait #Selfie #1960s
Closing soon on May 23rd at #WarholGrantee Print Center New York is "Felipe Baeza: Anima" the first institutional exhibition in New York surveying the artist’s practice. Bringing together over 40 works demonstrating the range of Baeza’s material experimentation, it is the first exhibition to deeply explore the artist’s grounding in printmaking and the development of his visual language and studio process.
The artist depicts bodies in various states of fragmentation, hybridity, and legibility—which the Baeza has called “fugitive” and “unruly”—to explore
racialized, queer, and migrant subjects who transgress the limitations of identity.
The Foundation supports Print Center New York for honoring the democratic roots of printmaking as a form of social engagement and activism, and for offering artists direct support for experimentation, as well as career-boosting opportunities that encourage dialogue.
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1. Felipe Baeza, Vasija en forma de jorobado + Vasija en forma de corcovado (Gente del Occidente de México), 2017–19. Collage on paper 8.75 x 6.375 in
2. Felipe Baeza, Las cenizas del deseo, 2019. Acrylic, cut paper, egg tempera, flashe, and glitter on panel, 14 x 11 in.
3. Felipe Baeza, Untitled (Los Otros), 2017. Oil and glitter on paper, 14 ½ x 11 ½ in
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@FelipeBaeza #FelipeBaeza @PrintCenterNewYork #PrintCenterNewYork #WarholFoundation #AndyWarhol #Warhol #Philanthropy #Printmaking #Printmaker #printexhibition #collage #Anima
Closing soon on May 23rd at #WarholGrantee Print Center New York is "Felipe Baeza: Anima" the first institutional exhibition in New York surveying the artist’s practice. Bringing together over 40 works demonstrating the range of Baeza’s material experimentation, it is the first exhibition to deeply explore the artist’s grounding in printmaking and the development of his visual language and studio process.
The artist depicts bodies in various states of fragmentation, hybridity, and legibility—which the Baeza has called “fugitive” and “unruly”—to explore
racialized, queer, and migrant subjects who transgress the limitations of identity.
The Foundation supports Print Center New York for honoring the democratic roots of printmaking as a form of social engagement and activism, and for offering artists direct support for experimentation, as well as career-boosting opportunities that encourage dialogue.
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1. Felipe Baeza, Vasija en forma de jorobado + Vasija en forma de corcovado (Gente del Occidente de México), 2017–19. Collage on paper 8.75 x 6.375 in
2. Felipe Baeza, Las cenizas del deseo, 2019. Acrylic, cut paper, egg tempera, flashe, and glitter on panel, 14 x 11 in.
3. Felipe Baeza, Untitled (Los Otros), 2017. Oil and glitter on paper, 14 ½ x 11 ½ in
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@FelipeBaeza #FelipeBaeza @PrintCenterNewYork #PrintCenterNewYork #WarholFoundation #AndyWarhol #Warhol #Philanthropy #Printmaking #Printmaker #printexhibition #collage #Anima
Closing soon on May 23rd at #WarholGrantee Print Center New York is "Felipe Baeza: Anima" the first institutional exhibition in New York surveying the artist’s practice. Bringing together over 40 works demonstrating the range of Baeza’s material experimentation, it is the first exhibition to deeply explore the artist’s grounding in printmaking and the development of his visual language and studio process.
The artist depicts bodies in various states of fragmentation, hybridity, and legibility—which the Baeza has called “fugitive” and “unruly”—to explore
racialized, queer, and migrant subjects who transgress the limitations of identity.
The Foundation supports Print Center New York for honoring the democratic roots of printmaking as a form of social engagement and activism, and for offering artists direct support for experimentation, as well as career-boosting opportunities that encourage dialogue.
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1. Felipe Baeza, Vasija en forma de jorobado + Vasija en forma de corcovado (Gente del Occidente de México), 2017–19. Collage on paper 8.75 x 6.375 in
2. Felipe Baeza, Las cenizas del deseo, 2019. Acrylic, cut paper, egg tempera, flashe, and glitter on panel, 14 x 11 in.
3. Felipe Baeza, Untitled (Los Otros), 2017. Oil and glitter on paper, 14 ½ x 11 ½ in
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@FelipeBaeza #FelipeBaeza @PrintCenterNewYork #PrintCenterNewYork #WarholFoundation #AndyWarhol #Warhol #Philanthropy #Printmaking #Printmaker #printexhibition #collage #Anima
#WarholWednesday
Warhol met Mick Jagger in 1963 or 1964 through “Baby Jane” Holzer. Jagger would appear on the cover of Interview twice in 1970, and Warhol went on to develop the concept for the Rolling Stones album cover, Sticky Fingers (1971), and created the “artwork” for their second live album Love You Live (1977).
In the summer of 1975, the band rented Warhol and Paul Morrissey’s Montauk beach house to rehearse for their American tour. As Warhol wrote in Exposures, “Mick Jagger really put Montauk on the map. The motels were overflowing with groupies.” He took the opportunity to photograph Jagger for a portfolio of commissioned prints and also used the Polaroids for portrait paintings. Apparently, Warhol tried to convince Jagger to pose nude, but the Rolling Stones frontman resisted, strategically exposing parts of his body instead. Using his Big Shot camera Warhol focused on Jagger’s bare torso, armpits, legs and feet, and crotch in skin-tight trousers in a sort of unsystematic body scan of Jagger’s erogenous zones. Warhol took over 50 Polaroids and painted eight portraits of Jagger on top of the commissioned portfolio of 10 prints, and more than 50 related drawings.
Visit the link in our bio to learn more about the Andy Warhol Catalogue Raisonné.
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1. Andy Warhol. Mick Jagger, 1975.40 x 40 in.
2. Andy Warhol. Mick Jagger, 1975. Polacolor Type 108, 4 ¼ x 3 3/8 in., each.
3. Andy Warhol. Mick Jagger, 1975. 43 x 29 in.
4. Andy Warhol. Mick Jagger, 1975.40 x 40 in., each.
5. Andy Warhol. Mick Jagger, 1975. 50 x 37 in.
All images ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#WarholCatRais #WarholFoundation #AndyWarhol #Warhol @mickjagger #MickJagger @therollingstones #TheRollingStones @Polaroid #Montauk #portrait #Portraiture #Polaroid #Photography #Painting #Collage #Arthistory
#WarholWednesday
Warhol met Mick Jagger in 1963 or 1964 through “Baby Jane” Holzer. Jagger would appear on the cover of Interview twice in 1970, and Warhol went on to develop the concept for the Rolling Stones album cover, Sticky Fingers (1971), and created the “artwork” for their second live album Love You Live (1977).
In the summer of 1975, the band rented Warhol and Paul Morrissey’s Montauk beach house to rehearse for their American tour. As Warhol wrote in Exposures, “Mick Jagger really put Montauk on the map. The motels were overflowing with groupies.” He took the opportunity to photograph Jagger for a portfolio of commissioned prints and also used the Polaroids for portrait paintings. Apparently, Warhol tried to convince Jagger to pose nude, but the Rolling Stones frontman resisted, strategically exposing parts of his body instead. Using his Big Shot camera Warhol focused on Jagger’s bare torso, armpits, legs and feet, and crotch in skin-tight trousers in a sort of unsystematic body scan of Jagger’s erogenous zones. Warhol took over 50 Polaroids and painted eight portraits of Jagger on top of the commissioned portfolio of 10 prints, and more than 50 related drawings.
Visit the link in our bio to learn more about the Andy Warhol Catalogue Raisonné.
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1. Andy Warhol. Mick Jagger, 1975.40 x 40 in.
2. Andy Warhol. Mick Jagger, 1975. Polacolor Type 108, 4 ¼ x 3 3/8 in., each.
3. Andy Warhol. Mick Jagger, 1975. 43 x 29 in.
4. Andy Warhol. Mick Jagger, 1975.40 x 40 in., each.
5. Andy Warhol. Mick Jagger, 1975. 50 x 37 in.
All images ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#WarholCatRais #WarholFoundation #AndyWarhol #Warhol @mickjagger #MickJagger @therollingstones #TheRollingStones @Polaroid #Montauk #portrait #Portraiture #Polaroid #Photography #Painting #Collage #Arthistory
#WarholWednesday
Warhol met Mick Jagger in 1963 or 1964 through “Baby Jane” Holzer. Jagger would appear on the cover of Interview twice in 1970, and Warhol went on to develop the concept for the Rolling Stones album cover, Sticky Fingers (1971), and created the “artwork” for their second live album Love You Live (1977).
In the summer of 1975, the band rented Warhol and Paul Morrissey’s Montauk beach house to rehearse for their American tour. As Warhol wrote in Exposures, “Mick Jagger really put Montauk on the map. The motels were overflowing with groupies.” He took the opportunity to photograph Jagger for a portfolio of commissioned prints and also used the Polaroids for portrait paintings. Apparently, Warhol tried to convince Jagger to pose nude, but the Rolling Stones frontman resisted, strategically exposing parts of his body instead. Using his Big Shot camera Warhol focused on Jagger’s bare torso, armpits, legs and feet, and crotch in skin-tight trousers in a sort of unsystematic body scan of Jagger’s erogenous zones. Warhol took over 50 Polaroids and painted eight portraits of Jagger on top of the commissioned portfolio of 10 prints, and more than 50 related drawings.
Visit the link in our bio to learn more about the Andy Warhol Catalogue Raisonné.
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1. Andy Warhol. Mick Jagger, 1975.40 x 40 in.
2. Andy Warhol. Mick Jagger, 1975. Polacolor Type 108, 4 ¼ x 3 3/8 in., each.
3. Andy Warhol. Mick Jagger, 1975. 43 x 29 in.
4. Andy Warhol. Mick Jagger, 1975.40 x 40 in., each.
5. Andy Warhol. Mick Jagger, 1975. 50 x 37 in.
All images ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#WarholCatRais #WarholFoundation #AndyWarhol #Warhol @mickjagger #MickJagger @therollingstones #TheRollingStones @Polaroid #Montauk #portrait #Portraiture #Polaroid #Photography #Painting #Collage #Arthistory
#WarholWednesday
Warhol met Mick Jagger in 1963 or 1964 through “Baby Jane” Holzer. Jagger would appear on the cover of Interview twice in 1970, and Warhol went on to develop the concept for the Rolling Stones album cover, Sticky Fingers (1971), and created the “artwork” for their second live album Love You Live (1977).
In the summer of 1975, the band rented Warhol and Paul Morrissey’s Montauk beach house to rehearse for their American tour. As Warhol wrote in Exposures, “Mick Jagger really put Montauk on the map. The motels were overflowing with groupies.” He took the opportunity to photograph Jagger for a portfolio of commissioned prints and also used the Polaroids for portrait paintings. Apparently, Warhol tried to convince Jagger to pose nude, but the Rolling Stones frontman resisted, strategically exposing parts of his body instead. Using his Big Shot camera Warhol focused on Jagger’s bare torso, armpits, legs and feet, and crotch in skin-tight trousers in a sort of unsystematic body scan of Jagger’s erogenous zones. Warhol took over 50 Polaroids and painted eight portraits of Jagger on top of the commissioned portfolio of 10 prints, and more than 50 related drawings.
Visit the link in our bio to learn more about the Andy Warhol Catalogue Raisonné.
.
1. Andy Warhol. Mick Jagger, 1975.40 x 40 in.
2. Andy Warhol. Mick Jagger, 1975. Polacolor Type 108, 4 ¼ x 3 3/8 in., each.
3. Andy Warhol. Mick Jagger, 1975. 43 x 29 in.
4. Andy Warhol. Mick Jagger, 1975.40 x 40 in., each.
5. Andy Warhol. Mick Jagger, 1975. 50 x 37 in.
All images ©The Andy Warhol Foundation for the Visual Arts, Inc.
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.
.
#WarholCatRais #WarholFoundation #AndyWarhol #Warhol @mickjagger #MickJagger @therollingstones #TheRollingStones @Polaroid #Montauk #portrait #Portraiture #Polaroid #Photography #Painting #Collage #Arthistory
#WarholWednesday
Warhol met Mick Jagger in 1963 or 1964 through “Baby Jane” Holzer. Jagger would appear on the cover of Interview twice in 1970, and Warhol went on to develop the concept for the Rolling Stones album cover, Sticky Fingers (1971), and created the “artwork” for their second live album Love You Live (1977).
In the summer of 1975, the band rented Warhol and Paul Morrissey’s Montauk beach house to rehearse for their American tour. As Warhol wrote in Exposures, “Mick Jagger really put Montauk on the map. The motels were overflowing with groupies.” He took the opportunity to photograph Jagger for a portfolio of commissioned prints and also used the Polaroids for portrait paintings. Apparently, Warhol tried to convince Jagger to pose nude, but the Rolling Stones frontman resisted, strategically exposing parts of his body instead. Using his Big Shot camera Warhol focused on Jagger’s bare torso, armpits, legs and feet, and crotch in skin-tight trousers in a sort of unsystematic body scan of Jagger’s erogenous zones. Warhol took over 50 Polaroids and painted eight portraits of Jagger on top of the commissioned portfolio of 10 prints, and more than 50 related drawings.
Visit the link in our bio to learn more about the Andy Warhol Catalogue Raisonné.
.
1. Andy Warhol. Mick Jagger, 1975.40 x 40 in.
2. Andy Warhol. Mick Jagger, 1975. Polacolor Type 108, 4 ¼ x 3 3/8 in., each.
3. Andy Warhol. Mick Jagger, 1975. 43 x 29 in.
4. Andy Warhol. Mick Jagger, 1975.40 x 40 in., each.
5. Andy Warhol. Mick Jagger, 1975. 50 x 37 in.
All images ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#WarholCatRais #WarholFoundation #AndyWarhol #Warhol @mickjagger #MickJagger @therollingstones #TheRollingStones @Polaroid #Montauk #portrait #Portraiture #Polaroid #Photography #Painting #Collage #Arthistory
Now on view at the Walker Art Center is the #WarholFoundation funded exhibition " Suzanne Jackson: What is Love" the first major museum retrospective of the artist spanning six decades.As Kellie Jones states in her essay on Jackson's work " To experience Suzanne Jackson's art, from her earliest drawings and paintings to her most recent acrylic excursions, is to experience joy made material, tangible."
The exhibition celebrates her groundbreaking artistic vision through more than 80 paintings and drawings from the 1960s to the present that emphasize her innovative use of color, light, and structure to expand the parameters of painting and illuminate beauty, peace, and love.
Co-organized with the San Francisco Museum of Modern Art, the Foundation supports this exhibition for bringing merited attention and scholarship to a groundbreaking artist whose work speaks to finding solace in turbulent times.
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1. Suzanne Jackson, Crossing Ebenezer, 2007. Acrylic wash, acrylic gel medium, acrylic detritus, firewood bag netting, peanute shells, wood and D-rings, 92 x 67 x 3 inches.
2. Suzanne Jackson, Andricus Edge, 2009. Acrylic wash on unstretched canvas, 94 ½ x 82 ¾ inches.
3. Suzanne Jackson, Yellow/Fall, 1978. Acrylic wash and graphite on gessoed canvas, 53 x 57 inches.
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@SuzanneJackson7268 #SuzanneJackson @WalkerArtCenter #WalkerArtCenter @sfmoma #SFMoMA @DoctorKellieJones #AndyWarhol #Warhol #WarholGrantee #Philanthropy #Painting #Drawings #Installation #ContemporaryArt #1970s #WhatIsLove
Now on view at the Walker Art Center is the #WarholFoundation funded exhibition " Suzanne Jackson: What is Love" the first major museum retrospective of the artist spanning six decades.As Kellie Jones states in her essay on Jackson's work " To experience Suzanne Jackson's art, from her earliest drawings and paintings to her most recent acrylic excursions, is to experience joy made material, tangible."
The exhibition celebrates her groundbreaking artistic vision through more than 80 paintings and drawings from the 1960s to the present that emphasize her innovative use of color, light, and structure to expand the parameters of painting and illuminate beauty, peace, and love.
Co-organized with the San Francisco Museum of Modern Art, the Foundation supports this exhibition for bringing merited attention and scholarship to a groundbreaking artist whose work speaks to finding solace in turbulent times.
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1. Suzanne Jackson, Crossing Ebenezer, 2007. Acrylic wash, acrylic gel medium, acrylic detritus, firewood bag netting, peanute shells, wood and D-rings, 92 x 67 x 3 inches.
2. Suzanne Jackson, Andricus Edge, 2009. Acrylic wash on unstretched canvas, 94 ½ x 82 ¾ inches.
3. Suzanne Jackson, Yellow/Fall, 1978. Acrylic wash and graphite on gessoed canvas, 53 x 57 inches.
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@SuzanneJackson7268 #SuzanneJackson @WalkerArtCenter #WalkerArtCenter @sfmoma #SFMoMA @DoctorKellieJones #AndyWarhol #Warhol #WarholGrantee #Philanthropy #Painting #Drawings #Installation #ContemporaryArt #1970s #WhatIsLove
Now on view at the Walker Art Center is the #WarholFoundation funded exhibition " Suzanne Jackson: What is Love" the first major museum retrospective of the artist spanning six decades.As Kellie Jones states in her essay on Jackson's work " To experience Suzanne Jackson's art, from her earliest drawings and paintings to her most recent acrylic excursions, is to experience joy made material, tangible."
The exhibition celebrates her groundbreaking artistic vision through more than 80 paintings and drawings from the 1960s to the present that emphasize her innovative use of color, light, and structure to expand the parameters of painting and illuminate beauty, peace, and love.
Co-organized with the San Francisco Museum of Modern Art, the Foundation supports this exhibition for bringing merited attention and scholarship to a groundbreaking artist whose work speaks to finding solace in turbulent times.
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1. Suzanne Jackson, Crossing Ebenezer, 2007. Acrylic wash, acrylic gel medium, acrylic detritus, firewood bag netting, peanute shells, wood and D-rings, 92 x 67 x 3 inches.
2. Suzanne Jackson, Andricus Edge, 2009. Acrylic wash on unstretched canvas, 94 ½ x 82 ¾ inches.
3. Suzanne Jackson, Yellow/Fall, 1978. Acrylic wash and graphite on gessoed canvas, 53 x 57 inches.
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@SuzanneJackson7268 #SuzanneJackson @WalkerArtCenter #WalkerArtCenter @sfmoma #SFMoMA @DoctorKellieJones #AndyWarhol #Warhol #WarholGrantee #Philanthropy #Painting #Drawings #Installation #ContemporaryArt #1970s #WhatIsLove
The #WarholFoundation funded exhibition "Carole Harris: This Side of the River," on view at the Museum of Contemporary Art Detroit (MOCAD), is the first comprehensive museum exhibition dedicated to Detroit-based fiber artist. The exhibition honors her pioneering vision, one that has redefined the language of quilting and transformed it from a domestic craft into a mode of abstraction, cultural storytelling, and political reflection.
Harris’s work incorporates irregular shapes, layered textures, and diverse materials, situating her within the lineage of Black abstraction while challenging the historical divide between fine art and craft.
The Foundation supports MOCAD for championing artists at pivotal moments in their careers and linkgin their practices to the legacy of artists who came before them.
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1 & 2. Carole Harris, Down the Road a Piece, 2003. Machine pieced and machine quilted, commercially dyed printed and solid cottons.
2. Carole Harris, There Will Always Be the Music, 2023. Machine-pieced and machine-quilted patterned and solid cottons, felt, raw silk, and metallic fabric.
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@CaroleHarrisTextiles #CaroleHarris @mocadetroit #MOCAD #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Textiles #TextileArt #Quilt #Quilting #Abstraction # BlackAbstraction #FiberArts
The #WarholFoundation funded exhibition "Carole Harris: This Side of the River," on view at the Museum of Contemporary Art Detroit (MOCAD), is the first comprehensive museum exhibition dedicated to Detroit-based fiber artist. The exhibition honors her pioneering vision, one that has redefined the language of quilting and transformed it from a domestic craft into a mode of abstraction, cultural storytelling, and political reflection.
Harris’s work incorporates irregular shapes, layered textures, and diverse materials, situating her within the lineage of Black abstraction while challenging the historical divide between fine art and craft.
The Foundation supports MOCAD for championing artists at pivotal moments in their careers and linkgin their practices to the legacy of artists who came before them.
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1 & 2. Carole Harris, Down the Road a Piece, 2003. Machine pieced and machine quilted, commercially dyed printed and solid cottons.
2. Carole Harris, There Will Always Be the Music, 2023. Machine-pieced and machine-quilted patterned and solid cottons, felt, raw silk, and metallic fabric.
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@CaroleHarrisTextiles #CaroleHarris @mocadetroit #MOCAD #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Textiles #TextileArt #Quilt #Quilting #Abstraction # BlackAbstraction #FiberArts
The #WarholFoundation funded exhibition "Carole Harris: This Side of the River," on view at the Museum of Contemporary Art Detroit (MOCAD), is the first comprehensive museum exhibition dedicated to Detroit-based fiber artist. The exhibition honors her pioneering vision, one that has redefined the language of quilting and transformed it from a domestic craft into a mode of abstraction, cultural storytelling, and political reflection.
Harris’s work incorporates irregular shapes, layered textures, and diverse materials, situating her within the lineage of Black abstraction while challenging the historical divide between fine art and craft.
The Foundation supports MOCAD for championing artists at pivotal moments in their careers and linkgin their practices to the legacy of artists who came before them.
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1 & 2. Carole Harris, Down the Road a Piece, 2003. Machine pieced and machine quilted, commercially dyed printed and solid cottons.
2. Carole Harris, There Will Always Be the Music, 2023. Machine-pieced and machine-quilted patterned and solid cottons, felt, raw silk, and metallic fabric.
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@CaroleHarrisTextiles #CaroleHarris @mocadetroit #MOCAD #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Textiles #TextileArt #Quilt #Quilting #Abstraction # BlackAbstraction #FiberArts
On view through June 6th at #WarholGrantee Utah Museum of Contemporary Art (Utah MoCA) is Sky Hopinka's "Lore," a work in which the artist brings memories to life by rearranging images of friends and familiar landscapes, using an overhead projector.
As the transparencies are layered and repositioned on the light table, Hopinka’s voice narrates a poem inspired by personal reflections on family, Indigenous myths, and the ending of a relationship. Here, language functions as a vessel that holds, transmits, and transforms his experience.
The Foundation supports Utah MoCA for it's dedication to advancing contemporary art through groundbreaking artwork by local, national, and international artists, offering exploration in the contemporary cultural landscape.
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1. & 2. 1. Sky Hopinka, Lore, 2019. Single channel 16mm film transferred to HD video, color, sound, 10:16.
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@shifty_shellmound #SkyHopinka #Lore @UtahMoCA #UtahMoCA #Sound #Film #Video #OverheadProjector #Lighttable #AndyWarhol #Warhol #WarholFoundation #Philanthropy #Audio #ContemporaryArt
On view through June 6th at #WarholGrantee Utah Museum of Contemporary Art (Utah MoCA) is Sky Hopinka's "Lore," a work in which the artist brings memories to life by rearranging images of friends and familiar landscapes, using an overhead projector.
As the transparencies are layered and repositioned on the light table, Hopinka’s voice narrates a poem inspired by personal reflections on family, Indigenous myths, and the ending of a relationship. Here, language functions as a vessel that holds, transmits, and transforms his experience.
The Foundation supports Utah MoCA for it's dedication to advancing contemporary art through groundbreaking artwork by local, national, and international artists, offering exploration in the contemporary cultural landscape.
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1. & 2. 1. Sky Hopinka, Lore, 2019. Single channel 16mm film transferred to HD video, color, sound, 10:16.
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@shifty_shellmound #SkyHopinka #Lore @UtahMoCA #UtahMoCA #Sound #Film #Video #OverheadProjector #Lighttable #AndyWarhol #Warhol #WarholFoundation #Philanthropy #Audio #ContemporaryArt
The #WarholFoundation funded exhibition "Rodney McMillian: A Son of the Soil" at the Columbia Museum of Art, broadly locates McMillian’s artistic investigations within the cultural and political landscape of the American South, highlighting his diverse engagements with topics of land, the body, and the domestic sphere.
Born in Columbia, SC, McMillian registers the complexity of a nation and its multifarious systems and employs post-consumer objects, such as thrifted bedding and discarded furniture, in an extended meditation on class and domesticity. In the artist’s hands, these materials assume new life, registering experience in tears and stains that bear the weight of history.
The Foundation supports this exhibition for highlighting the work of a renowned teacher whose multifaceted practice looks to disrupt artistic precedents and is a liberating model for younger artists.
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1. Rodney McMillian, Untitled (Red Swirl), 2023 . Latex and acrylic on bedsheet, 98 x 62 in. Photo by Brica Wilcox
2. Rodney McMillian, Mississippi Appendectomy, 2020. Ink, acrylic, latex, and vinyl on paper mounted on canvas, 53 x 90 in. Photo by Brica Wilcox
3. Rodney McMillian, Stripes, 2016, Latex on bedsheet, 96 ½ x 79 in. Photo by John Berens
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#RodneyMcMillian @ColaMuseum #ColumbiaMuseumofArt #WarholGrantee #AndyWarhol #Warhol #Philanthropy #SonoftheSoil #ContemporaryArt #Sculpture #Textiles #Mixedmedia #AmericanSouth
The #WarholFoundation funded exhibition "Rodney McMillian: A Son of the Soil" at the Columbia Museum of Art, broadly locates McMillian’s artistic investigations within the cultural and political landscape of the American South, highlighting his diverse engagements with topics of land, the body, and the domestic sphere.
Born in Columbia, SC, McMillian registers the complexity of a nation and its multifarious systems and employs post-consumer objects, such as thrifted bedding and discarded furniture, in an extended meditation on class and domesticity. In the artist’s hands, these materials assume new life, registering experience in tears and stains that bear the weight of history.
The Foundation supports this exhibition for highlighting the work of a renowned teacher whose multifaceted practice looks to disrupt artistic precedents and is a liberating model for younger artists.
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1. Rodney McMillian, Untitled (Red Swirl), 2023 . Latex and acrylic on bedsheet, 98 x 62 in. Photo by Brica Wilcox
2. Rodney McMillian, Mississippi Appendectomy, 2020. Ink, acrylic, latex, and vinyl on paper mounted on canvas, 53 x 90 in. Photo by Brica Wilcox
3. Rodney McMillian, Stripes, 2016, Latex on bedsheet, 96 ½ x 79 in. Photo by John Berens
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#RodneyMcMillian @ColaMuseum #ColumbiaMuseumofArt #WarholGrantee #AndyWarhol #Warhol #Philanthropy #SonoftheSoil #ContemporaryArt #Sculpture #Textiles #Mixedmedia #AmericanSouth
The #WarholFoundation funded exhibition "Rodney McMillian: A Son of the Soil" at the Columbia Museum of Art, broadly locates McMillian’s artistic investigations within the cultural and political landscape of the American South, highlighting his diverse engagements with topics of land, the body, and the domestic sphere.
Born in Columbia, SC, McMillian registers the complexity of a nation and its multifarious systems and employs post-consumer objects, such as thrifted bedding and discarded furniture, in an extended meditation on class and domesticity. In the artist’s hands, these materials assume new life, registering experience in tears and stains that bear the weight of history.
The Foundation supports this exhibition for highlighting the work of a renowned teacher whose multifaceted practice looks to disrupt artistic precedents and is a liberating model for younger artists.
.
1. Rodney McMillian, Untitled (Red Swirl), 2023 . Latex and acrylic on bedsheet, 98 x 62 in. Photo by Brica Wilcox
2. Rodney McMillian, Mississippi Appendectomy, 2020. Ink, acrylic, latex, and vinyl on paper mounted on canvas, 53 x 90 in. Photo by Brica Wilcox
3. Rodney McMillian, Stripes, 2016, Latex on bedsheet, 96 ½ x 79 in. Photo by John Berens
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#RodneyMcMillian @ColaMuseum #ColumbiaMuseumofArt #WarholGrantee #AndyWarhol #Warhol #Philanthropy #SonoftheSoil #ContemporaryArt #Sculpture #Textiles #Mixedmedia #AmericanSouth
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