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warholfoundation
The Andy Warhol Foundation
Established by Andy Warhol.
Advancing the visual arts since 1987.
#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
#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.
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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
#PhilosophyFriday
“To think about the love problems of people you know is really strange, because their love problems are so different from their life problems.”– Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again).
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Andy Warhol, Self-portrait, 1972. Polaroid Type SX-70, 4 ¼ x 3 3/8 inches. ©The Andy Warhol Foundation for the Visual Arts, Inc.
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#AndyWarhol #Warhol #WarholFoundation @Polaroid #Polaroid #Photography #Selfportriat #Selfie #artist #1970s
Now on view at #WarholGrantee Catskill Art Space is Ian McMahon’s latest body of work "Reliquary". Composed of towering stacked forms, the “Bub Stack” sculptures embody the history and effort of their making—totemic structures that act as both containers and records of process. Cast in plaster, steel, and fiberglass, their rigid volumes belie the eye, projecting a soft, almost tactile illusion that invites closer inspection.
At once imposing and intimate, these columns command the space, becoming portals into curiosity, perception, and material transformation—holding within them the blueprints of their own evolution.
The Foundation supports Catskill Art Space for fostering the creative community in the Catskills through its program of exhibitions, performances, classes, lectures and screenings.
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1. Ian McMahon, Bub Stack .001 and Bub Stack .002, 2026. Fiberglass, 64 x 64 x 108 inches. Photo by Zach Hyman.
2. Ian McMahon, Bub Stack .001 and Bub Stack .002, 2026. Fiberglass, 64 x 64 x 108 inches. Photo by Zach Hyman.
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@ian.mcm #IanMcMahon @catskillartspace #CatskillArtSpace #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Sculpture #BubStack #Totem #Fiberglass
Now on view at #WarholGrantee Catskill Art Space is Ian McMahon’s latest body of work "Reliquary". Composed of towering stacked forms, the “Bub Stack” sculptures embody the history and effort of their making—totemic structures that act as both containers and records of process. Cast in plaster, steel, and fiberglass, their rigid volumes belie the eye, projecting a soft, almost tactile illusion that invites closer inspection.
At once imposing and intimate, these columns command the space, becoming portals into curiosity, perception, and material transformation—holding within them the blueprints of their own evolution.
The Foundation supports Catskill Art Space for fostering the creative community in the Catskills through its program of exhibitions, performances, classes, lectures and screenings.
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1. Ian McMahon, Bub Stack .001 and Bub Stack .002, 2026. Fiberglass, 64 x 64 x 108 inches. Photo by Zach Hyman.
2. Ian McMahon, Bub Stack .001 and Bub Stack .002, 2026. Fiberglass, 64 x 64 x 108 inches. Photo by Zach Hyman.
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@ian.mcm #IanMcMahon @catskillartspace #CatskillArtSpace #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Sculpture #BubStack #Totem #Fiberglass
#WarholWednesday
With sadness, the Andy Warhol Catalogue Raisonné marks the passing of a titan—Bruno Bischofberger—a pioneering gallerist, a passionate collector, a devoted supporter and patron of Andy Warhol, and a dear friend of our project.
Bischofberger was still a student in 1965 when he read about Pop art in a magazine. He called Ileana Sonnabend, drove a rented truck to Paris where he saw Warhol’s Flowers exhibition at her gallery, and returned to Zurich with a Pop art exhibition for his gallery. In 1968, he signaled his singular dedication to Warhol by acquiring an important body of his early paintings, including a group of works from his 1963 Death and Disaster series. The two became friends, and their careers were intertwined for the rest of their lives.
In 1972, when Warhol had all but given up on painting, Bischofberger provided the impetus and support for two new bodies of work: the Mao paintings (1972-73), and a portrait practice that endured until Warhol’s death in 1987. He commissioned a portrait of himself in 1970; of his wife, Yoyo, in 1972; and of each of his four children: Lea in 1976 and 1979, Nina in 1976, and Cora and Magnus in 1986.
Bischofberger championed Warhol’s later work, at a time when it was routinely belittled or ignored. He acquired and exhibited a major group of Retrospectives and Reversals (1979-80), and a series of Paintings for Children (1983). He commissioned and acquired many of the Collaboration paintings that Warhol produced with Clemente and Basquiat (1983-85), which broke new ground for each artist and exemplified the new trans avant-garde and underground currents of the 1980s.
The Andy Warhol Catalogue Raisonné fondly remembers working with Bruno, his limitless energy and unfailing generosity. We join his beloved family, the artists he loved, and his many friends in deeply mourning his loss.
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1. Andy Warhol. Bruno Bischofberger, 1971.
2. Bruno Bischofberger, December 17, 2025.
3. Andy Warhol. Yoyo Bischofberger, 1972.
4. Andy Warhol. Lea (top) and Nina (bottom) Bischofberger, 1976.
5. Cora (top) and Magnus (bottom) Bischofberger, 1986.
2-5 ©The Andy Warhol Foundation for the Visual Arts, Inc.
#WarholWednesday
With sadness, the Andy Warhol Catalogue Raisonné marks the passing of a titan—Bruno Bischofberger—a pioneering gallerist, a passionate collector, a devoted supporter and patron of Andy Warhol, and a dear friend of our project.
Bischofberger was still a student in 1965 when he read about Pop art in a magazine. He called Ileana Sonnabend, drove a rented truck to Paris where he saw Warhol’s Flowers exhibition at her gallery, and returned to Zurich with a Pop art exhibition for his gallery. In 1968, he signaled his singular dedication to Warhol by acquiring an important body of his early paintings, including a group of works from his 1963 Death and Disaster series. The two became friends, and their careers were intertwined for the rest of their lives.
In 1972, when Warhol had all but given up on painting, Bischofberger provided the impetus and support for two new bodies of work: the Mao paintings (1972-73), and a portrait practice that endured until Warhol’s death in 1987. He commissioned a portrait of himself in 1970; of his wife, Yoyo, in 1972; and of each of his four children: Lea in 1976 and 1979, Nina in 1976, and Cora and Magnus in 1986.
Bischofberger championed Warhol’s later work, at a time when it was routinely belittled or ignored. He acquired and exhibited a major group of Retrospectives and Reversals (1979-80), and a series of Paintings for Children (1983). He commissioned and acquired many of the Collaboration paintings that Warhol produced with Clemente and Basquiat (1983-85), which broke new ground for each artist and exemplified the new trans avant-garde and underground currents of the 1980s.
The Andy Warhol Catalogue Raisonné fondly remembers working with Bruno, his limitless energy and unfailing generosity. We join his beloved family, the artists he loved, and his many friends in deeply mourning his loss.
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1. Andy Warhol. Bruno Bischofberger, 1971.
2. Bruno Bischofberger, December 17, 2025.
3. Andy Warhol. Yoyo Bischofberger, 1972.
4. Andy Warhol. Lea (top) and Nina (bottom) Bischofberger, 1976.
5. Cora (top) and Magnus (bottom) Bischofberger, 1986.
2-5 ©The Andy Warhol Foundation for the Visual Arts, Inc.
#WarholWednesday
With sadness, the Andy Warhol Catalogue Raisonné marks the passing of a titan—Bruno Bischofberger—a pioneering gallerist, a passionate collector, a devoted supporter and patron of Andy Warhol, and a dear friend of our project.
Bischofberger was still a student in 1965 when he read about Pop art in a magazine. He called Ileana Sonnabend, drove a rented truck to Paris where he saw Warhol’s Flowers exhibition at her gallery, and returned to Zurich with a Pop art exhibition for his gallery. In 1968, he signaled his singular dedication to Warhol by acquiring an important body of his early paintings, including a group of works from his 1963 Death and Disaster series. The two became friends, and their careers were intertwined for the rest of their lives.
In 1972, when Warhol had all but given up on painting, Bischofberger provided the impetus and support for two new bodies of work: the Mao paintings (1972-73), and a portrait practice that endured until Warhol’s death in 1987. He commissioned a portrait of himself in 1970; of his wife, Yoyo, in 1972; and of each of his four children: Lea in 1976 and 1979, Nina in 1976, and Cora and Magnus in 1986.
Bischofberger championed Warhol’s later work, at a time when it was routinely belittled or ignored. He acquired and exhibited a major group of Retrospectives and Reversals (1979-80), and a series of Paintings for Children (1983). He commissioned and acquired many of the Collaboration paintings that Warhol produced with Clemente and Basquiat (1983-85), which broke new ground for each artist and exemplified the new trans avant-garde and underground currents of the 1980s.
The Andy Warhol Catalogue Raisonné fondly remembers working with Bruno, his limitless energy and unfailing generosity. We join his beloved family, the artists he loved, and his many friends in deeply mourning his loss.
.
1. Andy Warhol. Bruno Bischofberger, 1971.
2. Bruno Bischofberger, December 17, 2025.
3. Andy Warhol. Yoyo Bischofberger, 1972.
4. Andy Warhol. Lea (top) and Nina (bottom) Bischofberger, 1976.
5. Cora (top) and Magnus (bottom) Bischofberger, 1986.
2-5 ©The Andy Warhol Foundation for the Visual Arts, Inc.
#WarholWednesday
With sadness, the Andy Warhol Catalogue Raisonné marks the passing of a titan—Bruno Bischofberger—a pioneering gallerist, a passionate collector, a devoted supporter and patron of Andy Warhol, and a dear friend of our project.
Bischofberger was still a student in 1965 when he read about Pop art in a magazine. He called Ileana Sonnabend, drove a rented truck to Paris where he saw Warhol’s Flowers exhibition at her gallery, and returned to Zurich with a Pop art exhibition for his gallery. In 1968, he signaled his singular dedication to Warhol by acquiring an important body of his early paintings, including a group of works from his 1963 Death and Disaster series. The two became friends, and their careers were intertwined for the rest of their lives.
In 1972, when Warhol had all but given up on painting, Bischofberger provided the impetus and support for two new bodies of work: the Mao paintings (1972-73), and a portrait practice that endured until Warhol’s death in 1987. He commissioned a portrait of himself in 1970; of his wife, Yoyo, in 1972; and of each of his four children: Lea in 1976 and 1979, Nina in 1976, and Cora and Magnus in 1986.
Bischofberger championed Warhol’s later work, at a time when it was routinely belittled or ignored. He acquired and exhibited a major group of Retrospectives and Reversals (1979-80), and a series of Paintings for Children (1983). He commissioned and acquired many of the Collaboration paintings that Warhol produced with Clemente and Basquiat (1983-85), which broke new ground for each artist and exemplified the new trans avant-garde and underground currents of the 1980s.
The Andy Warhol Catalogue Raisonné fondly remembers working with Bruno, his limitless energy and unfailing generosity. We join his beloved family, the artists he loved, and his many friends in deeply mourning his loss.
.
1. Andy Warhol. Bruno Bischofberger, 1971.
2. Bruno Bischofberger, December 17, 2025.
3. Andy Warhol. Yoyo Bischofberger, 1972.
4. Andy Warhol. Lea (top) and Nina (bottom) Bischofberger, 1976.
5. Cora (top) and Magnus (bottom) Bischofberger, 1986.
2-5 ©The Andy Warhol Foundation for the Visual Arts, Inc.
#WarholWednesday
With sadness, the Andy Warhol Catalogue Raisonné marks the passing of a titan—Bruno Bischofberger—a pioneering gallerist, a passionate collector, a devoted supporter and patron of Andy Warhol, and a dear friend of our project.
Bischofberger was still a student in 1965 when he read about Pop art in a magazine. He called Ileana Sonnabend, drove a rented truck to Paris where he saw Warhol’s Flowers exhibition at her gallery, and returned to Zurich with a Pop art exhibition for his gallery. In 1968, he signaled his singular dedication to Warhol by acquiring an important body of his early paintings, including a group of works from his 1963 Death and Disaster series. The two became friends, and their careers were intertwined for the rest of their lives.
In 1972, when Warhol had all but given up on painting, Bischofberger provided the impetus and support for two new bodies of work: the Mao paintings (1972-73), and a portrait practice that endured until Warhol’s death in 1987. He commissioned a portrait of himself in 1970; of his wife, Yoyo, in 1972; and of each of his four children: Lea in 1976 and 1979, Nina in 1976, and Cora and Magnus in 1986.
Bischofberger championed Warhol’s later work, at a time when it was routinely belittled or ignored. He acquired and exhibited a major group of Retrospectives and Reversals (1979-80), and a series of Paintings for Children (1983). He commissioned and acquired many of the Collaboration paintings that Warhol produced with Clemente and Basquiat (1983-85), which broke new ground for each artist and exemplified the new trans avant-garde and underground currents of the 1980s.
The Andy Warhol Catalogue Raisonné fondly remembers working with Bruno, his limitless energy and unfailing generosity. We join his beloved family, the artists he loved, and his many friends in deeply mourning his loss.
.
1. Andy Warhol. Bruno Bischofberger, 1971.
2. Bruno Bischofberger, December 17, 2025.
3. Andy Warhol. Yoyo Bischofberger, 1972.
4. Andy Warhol. Lea (top) and Nina (bottom) Bischofberger, 1976.
5. Cora (top) and Magnus (bottom) Bischofberger, 1986.
2-5 ©The Andy Warhol Foundation for the Visual Arts, Inc.
Now on view at #WarholGrantee Tri-Star Arts is a two person exhibition "Looking At Looking Through," featuring recent works by Linda King Ferguson and Alex Lopez.
Linda King Ferguson thinks of her abstract paintings as social bodies defined by relational determinants. Through a material language of open and closed forms, color gradients, surface depths, and spatial proximities she explores the subjectivity of vulnerability and strength.
Lopez's current work is influenced by meteorological mapping that uses polygons to precisely track and identify localized severe storms, thereby reducing risk. These images are processed, layered, and then minimized or redacted to lessen the psychological impact of the events.
The Foundation supports Tri-Star Arts for nuturing creative practice and increaing visibility of artists across the state of Tennessee.
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1.Linda King Ferguson, Equivalence 13, 2013. Acrylic and acrylic wash on cut linen, 24” x 24”.
2. Alex Lopez, Untitled SS 2_ YYSF, 2026. Steel, colored plexiglass, paint, 16” x 24” x 25”.
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@linda_king_ferguson #LindaKingFerguson @alexlopez_arts #AlexLopez @TriStar_Arts #TriStarArts #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #abstraction #AbstractArt @CandoroMarbleBuilding
Now on view at #WarholGrantee Tri-Star Arts is a two person exhibition "Looking At Looking Through," featuring recent works by Linda King Ferguson and Alex Lopez.
Linda King Ferguson thinks of her abstract paintings as social bodies defined by relational determinants. Through a material language of open and closed forms, color gradients, surface depths, and spatial proximities she explores the subjectivity of vulnerability and strength.
Lopez's current work is influenced by meteorological mapping that uses polygons to precisely track and identify localized severe storms, thereby reducing risk. These images are processed, layered, and then minimized or redacted to lessen the psychological impact of the events.
The Foundation supports Tri-Star Arts for nuturing creative practice and increaing visibility of artists across the state of Tennessee.
.
1.Linda King Ferguson, Equivalence 13, 2013. Acrylic and acrylic wash on cut linen, 24” x 24”.
2. Alex Lopez, Untitled SS 2_ YYSF, 2026. Steel, colored plexiglass, paint, 16” x 24” x 25”.
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@linda_king_ferguson #LindaKingFerguson @alexlopez_arts #AlexLopez @TriStar_Arts #TriStarArts #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #abstraction #AbstractArt @CandoroMarbleBuilding
#WarholGrantee DePaul Art Museum's current exhibition "Rose Obsolete" is the first solo museum presentation of Chicago-based artist Alice Tippit. Tippit's paintings and works on paper generate multiple layers of meaning through poetic techniques like metaphor, serving as indirect references rather than clear, straightforward representations. The images in Tippit’s paintings float between the familiar and the enigmatic––recognizable forms and shapes are removed from any clear context or obvious meaning. Included in this exhibition are a selection of Tippit’s works from the past ten years as well as new commissioned works.
The Foundation supports DePaul Art Museum for the important role it plays by fostering dialogues between regional and international communities, and engaging with both legacies and futures of communities within Chicago.
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1. Alice Tippit, Oubliette, 2023. Oil on canvas.
2. Alice Tippit, Share, 2022. Oil on canvas, 20 x 18 in.
3. Alice Tippit, Monitor, 2015. Oil on canvas
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@AliceTippit #AliceTippit @DePaulArtMuseum #DePaulArtMuseum #WarholFoundation#AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Painting #Form #Shape
#WarholGrantee DePaul Art Museum's current exhibition "Rose Obsolete" is the first solo museum presentation of Chicago-based artist Alice Tippit. Tippit's paintings and works on paper generate multiple layers of meaning through poetic techniques like metaphor, serving as indirect references rather than clear, straightforward representations. The images in Tippit’s paintings float between the familiar and the enigmatic––recognizable forms and shapes are removed from any clear context or obvious meaning. Included in this exhibition are a selection of Tippit’s works from the past ten years as well as new commissioned works.
The Foundation supports DePaul Art Museum for the important role it plays by fostering dialogues between regional and international communities, and engaging with both legacies and futures of communities within Chicago.
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1. Alice Tippit, Oubliette, 2023. Oil on canvas.
2. Alice Tippit, Share, 2022. Oil on canvas, 20 x 18 in.
3. Alice Tippit, Monitor, 2015. Oil on canvas
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@AliceTippit #AliceTippit @DePaulArtMuseum #DePaulArtMuseum #WarholFoundation#AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Painting #Form #Shape
#WarholGrantee DePaul Art Museum's current exhibition "Rose Obsolete" is the first solo museum presentation of Chicago-based artist Alice Tippit. Tippit's paintings and works on paper generate multiple layers of meaning through poetic techniques like metaphor, serving as indirect references rather than clear, straightforward representations. The images in Tippit’s paintings float between the familiar and the enigmatic––recognizable forms and shapes are removed from any clear context or obvious meaning. Included in this exhibition are a selection of Tippit’s works from the past ten years as well as new commissioned works.
The Foundation supports DePaul Art Museum for the important role it plays by fostering dialogues between regional and international communities, and engaging with both legacies and futures of communities within Chicago.
.
1. Alice Tippit, Oubliette, 2023. Oil on canvas.
2. Alice Tippit, Share, 2022. Oil on canvas, 20 x 18 in.
3. Alice Tippit, Monitor, 2015. Oil on canvas
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@AliceTippit #AliceTippit @DePaulArtMuseum #DePaulArtMuseum #WarholFoundation#AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Painting #Form #Shape
Steven Arnold: Cocktails in Heaven," on view at #WarholGrantee Del Vaz Projects through June 6th, is an exhibition, publication, and public programming series exploring the life and legacy of the Oakland-born, Los Angeles-based queer artist Steven Arnold. Arnold's kaleidoscopic practice spanned drawing, sculpture, painting, printmaking, costuming, set design, art direction, theater, film, and photography. The exhibition, created in collaboration with the Steven Arnold Museum & Archives, charts Arnold’s odyssey through the countercultural movements of the twentieth century and investigates the individuals, philosophies, and aesthetics that collectively influenced his world-building practice.
The Foundation supports Del Vaz Projects for its commitment to collaborate with artists across generations and geographies to manifest projects in its space and throughout Los Angeles’ cultural and historical institution, infusing diverse environments with a sense of collective intimacy, intellectual inquiry, and expressive invention.
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1. Steven Arnold, Snail Man, 1988. Silver gelatin photograph, 14 x 14 in.
2. Steven Arnold, Death of Simplicity, 1984. Silver gelatin photograph on museum board, 7 ¾x 7 13/16 in.
3. Steven Arnold, Birthing in Madripoor (Gestation), 1985. Silver gelatin print, 14 x 14 in.
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@StevenArnoldArchive #StevenArnold @DelVazProjects #DelVazProjects @OrrinWhalen #OrrinWhalen @OneArchivesUSC #OneArchiives #WarholFoundation #AndyWarhol #Warhol #Philanthropy #Installation #Photography #collage #Archives #QueerArtist
Steven Arnold: Cocktails in Heaven," on view at #WarholGrantee Del Vaz Projects through June 6th, is an exhibition, publication, and public programming series exploring the life and legacy of the Oakland-born, Los Angeles-based queer artist Steven Arnold. Arnold's kaleidoscopic practice spanned drawing, sculpture, painting, printmaking, costuming, set design, art direction, theater, film, and photography. The exhibition, created in collaboration with the Steven Arnold Museum & Archives, charts Arnold’s odyssey through the countercultural movements of the twentieth century and investigates the individuals, philosophies, and aesthetics that collectively influenced his world-building practice.
The Foundation supports Del Vaz Projects for its commitment to collaborate with artists across generations and geographies to manifest projects in its space and throughout Los Angeles’ cultural and historical institution, infusing diverse environments with a sense of collective intimacy, intellectual inquiry, and expressive invention.
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1. Steven Arnold, Snail Man, 1988. Silver gelatin photograph, 14 x 14 in.
2. Steven Arnold, Death of Simplicity, 1984. Silver gelatin photograph on museum board, 7 ¾x 7 13/16 in.
3. Steven Arnold, Birthing in Madripoor (Gestation), 1985. Silver gelatin print, 14 x 14 in.
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@StevenArnoldArchive #StevenArnold @DelVazProjects #DelVazProjects @OrrinWhalen #OrrinWhalen @OneArchivesUSC #OneArchiives #WarholFoundation #AndyWarhol #Warhol #Philanthropy #Installation #Photography #collage #Archives #QueerArtist
Steven Arnold: Cocktails in Heaven," on view at #WarholGrantee Del Vaz Projects through June 6th, is an exhibition, publication, and public programming series exploring the life and legacy of the Oakland-born, Los Angeles-based queer artist Steven Arnold. Arnold's kaleidoscopic practice spanned drawing, sculpture, painting, printmaking, costuming, set design, art direction, theater, film, and photography. The exhibition, created in collaboration with the Steven Arnold Museum & Archives, charts Arnold’s odyssey through the countercultural movements of the twentieth century and investigates the individuals, philosophies, and aesthetics that collectively influenced his world-building practice.
The Foundation supports Del Vaz Projects for its commitment to collaborate with artists across generations and geographies to manifest projects in its space and throughout Los Angeles’ cultural and historical institution, infusing diverse environments with a sense of collective intimacy, intellectual inquiry, and expressive invention.
.
1. Steven Arnold, Snail Man, 1988. Silver gelatin photograph, 14 x 14 in.
2. Steven Arnold, Death of Simplicity, 1984. Silver gelatin photograph on museum board, 7 ¾x 7 13/16 in.
3. Steven Arnold, Birthing in Madripoor (Gestation), 1985. Silver gelatin print, 14 x 14 in.
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@StevenArnoldArchive #StevenArnold @DelVazProjects #DelVazProjects @OrrinWhalen #OrrinWhalen @OneArchivesUSC #OneArchiives #WarholFoundation #AndyWarhol #Warhol #Philanthropy #Installation #Photography #collage #Archives #QueerArtist
The #WarholFoundation funded exhibition, “Firelei Baez”, now on view at the Museum of Contemporary Art Chicago through May 31st, is the first North America survey of Dominican Republic-born, multidisciplinary artist, Firelei Baez. Drawing on the disciplines of anthropology, geography, folklore, fantasy, science fiction, and social history, Baez disrupts fixed notions of race, gender, and nationality. The artist’s paintings feature layered uses of pattern, decoration, and saturated color, frequently combining gestural mark-making with precise draftsmanship and often featuring maps mase during colonial rule of the Americas. Baez’s considerations of hybridity, alternate histories and proposed futures are elevated even further in her installations that create three dimensional multisensory environments.
Organized by the Institute of Contemporary Art Boston, the Foundation supports this exhibition for highlighting the work of an artist whose explorations of abstraction and figuration within the politics of race, national identity, and cultural heritage has made her work increasingly resonant in conversations on the power of contemporary art to articulate alternative histories.
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1. Firelei Báez, Untitled (Les tables de géographie réduites en un jeu de cartes), 2022. Oil, acrylic, and inkjet on canvas. 82 3/8 × 105 ¾in. ©Firelei Báez
2. Firelei Báez, Adjusting the Moon (The right to non-imperative clarities): Waxing, 2019–20. Oil and acrylic on panel. 114 × 78 × 1 ½in. ©Firelei Báez
3. Firelei Báez, Untitled (Temple of Time), 2020. Oil, acrylic, and inkjet on canvas. 94 ½ × 132 3/8 × 1 5/8 in. ©Firelei Báez
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@FireleiBaez #FireleiBaez @MCAChicago #MCAChicago @ICABoston #InstituteofContemporaryArt #ICABoston #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Contemporarypainting #DominicanArtist #MultidisciplinaryArtist
The #WarholFoundation funded exhibition, “Firelei Baez”, now on view at the Museum of Contemporary Art Chicago through May 31st, is the first North America survey of Dominican Republic-born, multidisciplinary artist, Firelei Baez. Drawing on the disciplines of anthropology, geography, folklore, fantasy, science fiction, and social history, Baez disrupts fixed notions of race, gender, and nationality. The artist’s paintings feature layered uses of pattern, decoration, and saturated color, frequently combining gestural mark-making with precise draftsmanship and often featuring maps mase during colonial rule of the Americas. Baez’s considerations of hybridity, alternate histories and proposed futures are elevated even further in her installations that create three dimensional multisensory environments.
Organized by the Institute of Contemporary Art Boston, the Foundation supports this exhibition for highlighting the work of an artist whose explorations of abstraction and figuration within the politics of race, national identity, and cultural heritage has made her work increasingly resonant in conversations on the power of contemporary art to articulate alternative histories.
.
1. Firelei Báez, Untitled (Les tables de géographie réduites en un jeu de cartes), 2022. Oil, acrylic, and inkjet on canvas. 82 3/8 × 105 ¾in. ©Firelei Báez
2. Firelei Báez, Adjusting the Moon (The right to non-imperative clarities): Waxing, 2019–20. Oil and acrylic on panel. 114 × 78 × 1 ½in. ©Firelei Báez
3. Firelei Báez, Untitled (Temple of Time), 2020. Oil, acrylic, and inkjet on canvas. 94 ½ × 132 3/8 × 1 5/8 in. ©Firelei Báez
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@FireleiBaez #FireleiBaez @MCAChicago #MCAChicago @ICABoston #InstituteofContemporaryArt #ICABoston #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Contemporarypainting #DominicanArtist #MultidisciplinaryArtist
The #WarholFoundation funded exhibition, “Firelei Baez”, now on view at the Museum of Contemporary Art Chicago through May 31st, is the first North America survey of Dominican Republic-born, multidisciplinary artist, Firelei Baez. Drawing on the disciplines of anthropology, geography, folklore, fantasy, science fiction, and social history, Baez disrupts fixed notions of race, gender, and nationality. The artist’s paintings feature layered uses of pattern, decoration, and saturated color, frequently combining gestural mark-making with precise draftsmanship and often featuring maps mase during colonial rule of the Americas. Baez’s considerations of hybridity, alternate histories and proposed futures are elevated even further in her installations that create three dimensional multisensory environments.
Organized by the Institute of Contemporary Art Boston, the Foundation supports this exhibition for highlighting the work of an artist whose explorations of abstraction and figuration within the politics of race, national identity, and cultural heritage has made her work increasingly resonant in conversations on the power of contemporary art to articulate alternative histories.
.
1. Firelei Báez, Untitled (Les tables de géographie réduites en un jeu de cartes), 2022. Oil, acrylic, and inkjet on canvas. 82 3/8 × 105 ¾in. ©Firelei Báez
2. Firelei Báez, Adjusting the Moon (The right to non-imperative clarities): Waxing, 2019–20. Oil and acrylic on panel. 114 × 78 × 1 ½in. ©Firelei Báez
3. Firelei Báez, Untitled (Temple of Time), 2020. Oil, acrylic, and inkjet on canvas. 94 ½ × 132 3/8 × 1 5/8 in. ©Firelei Báez
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@FireleiBaez #FireleiBaez @MCAChicago #MCAChicago @ICABoston #InstituteofContemporaryArt #ICABoston #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Contemporarypainting #DominicanArtist #MultidisciplinaryArtist
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