Category: Silkscreen

What I’m Reading: PRISM Index.

Get This Now: PRISM Index, Issue #1.

I have been seriously remiss for not writing about this sooner: PRISM Index, a lovingly crafted, hand-made art and culture magazine straight outta Columbus, Oh. Not only does it feature an original silkscreen cover by artist and founder Jeffrey Bowers, it comes bursting with goodies: drawings, stories, photography, excerpts of graphic novels and a funny, stand-alone mini-comic called Horror of the Hodag! Oh, and did I mention the multimedia components? A CD and DVD chock full of music and video compilations — the latter of which contains Jay Rosenblatt‘s must-see I Just Wanted to Be Somebody. I’m still going through all of the pieces (this is the sort of publication you chew on in bits), but if I had to pick one reason to pick up this wonderful magazine, it’s for Trent Harris’s moving essay on his friendship with artist Bruce Conner. It left me gasping.

Find the first issue via the magazine’s website, along with a short list of bookstores and galleries that also carry it. It is worth every penny of its $22 cover price.

Photos: Andy Warhol, The Last Decade, at the Brooklyn Museum.

I spent a better part of Saturday afternoon wandering around Andy Warhol: The Last Decade at the Brooklyn Museum. I’ve long felt ambivalent about Warhol as an artist. I love the ways in which he innovated the use of commercial imagery, but get worn out by the relentless rich-people portraits cranked out factory-style. I like the way he could play the media, but the hijinks can grow tiresome. Some pieces are clever, others too self-aware. But the gathering of silkscreens and paintings at the Brooklyn Museum, all produced during the last ten years of the artist’s life, contained a number of works that genuinely moved me — from the whoa-nelly-this-shit-is massive Last Supper (the middle shot above) to the maligned collaborations with Jean-Michel Basquiat (there’s a hopefulness and a darkness to Sin More that I find really compelling). I was totally absorbed — primarily by the works on the fifth floor portion of the exhibit.

But above all, I learned one important lesson: It might occasionally behoove me to clean the lens on my camera.

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The Digest. 05.26.10.

Andy Warhol’s self-portrait silkscreen on wallpaper. Part of an installation for the upcoming exhibit, Andy Warhol: The Last Decade, at the Brooklyn Museum, opening in three weeks. (Image courtesy of Marcus Romero and the Brooklyn Museum.)

Hydra Workshop: Where art parties and errant donkeys collide.

While the dead sleep, the crowd parties hearty outside. (Photos by Sebastian Puig.)

It must be summer, because the artsy jet-set and their Dolce & Gabbana sunglasses have materialized in abundance on the Greek Isle of Hydra, like the wild capers that grow from the cracks all over the island’s stone stairways. This past week’s super-event was the summer show at the Hydra Workshop, a waterfront art space that puts together an annual exhibit inspired by the collection of London-based art patron Pauline Karpidas, who flew in le tout New York (and demi-Dallas) for this year’s event. Co-curated by mega-gallerist Sadie Coles, the young artist featured this year was “bad boy” New York artiste Nate Lowman, who was in attendance with non other than petite amie Mary-Kate Olsen. (Coles’ hubby, fashion photographer Juergen Teller was also there — with nary a Marc Jacobs model in sight.)

The art this year was all about being self-referential: silk-screened portraits à-la-Warhol featured all the friends-of-Lowman crowding the Hydra waterfront (and saving everyone the trouble of having to look in the mirror). Many of the images were based on photographs snapped by John Shand-kydd (cousin-by-marriage to Diana Spencer), who, to keep things really meta, was also there, snapping away at the proceedings.

For more on this little fiesta, check out Rachel Chandler’s (self-referential) report at The Moment.

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Photos: ‘Warhol’s Jews’ at the Jewish Museum, NYC.

Warhol's Jews
Warhol’s portraits of Gertrude Stein and Franz Kafka. (Photo by C-M.)

Back in 1980, the Jewish Museum in New York put on a show of Andy Warhol’s 10 Portraits of Jews of the 20th Century. The exhibit, to put it mildly, was not well received. People publicly wondered what could possibly inspire an artist to make a series of portraits devoted to a single ethnic group. (Update: An oversight on my part: Warhol was commissioned to do this project. Though people still wondered what inspired him to take it on. See the comments section below for more info.) Hilton Kramer, in the New York Times, offered this terrifically melodramatic evaluation:

To the many afflictions suffered by the Jewish people in the course of their long history, the new Andy Warhol show at the Jewish Museum cannot be said to make a significant addition. True, the show is vulgar. It reeks of commercialism, and its contribution to art is nil. The way it exploits its Jewish subjects without showing the slightest grasp of their significance is offensive – or would be, anyway, if the artist had not already treated so many non-Jewish subjects in the same tawdry manner. No, the Jews will survive this caper unscathed. So, very likely, will everyone else. But what it may do to the reputation of the Jewish Museum, is, as they say, something else.

Whoa. Who says art critics aren’t occasionally a histrionic bunch?

Twenty-eight years later, the museum has once again gathered the paintings under one roof in Warhol’s Jews: Ten Portraits Reconsidered, opening Saturday. The exhibit includes all ten original silkscreen canvases (definitely worth checking out), as well as images of the photographs that Warhol worked from, tracings and original prints. There’s even a clip of Kramer’s review.

On the third floor, there is also an adjacent exhibition Art, Image, and Warhol Connections, that shows pieces by a number of Jewish artists that display Warholian influences. (Check out Devorah Sperber‘s piece, After Warhol, a reproduction of a Campbell’s soup can made out of spools of thread.) Whatever you do, don’t miss the five-minute video of Warhol at the show’s original premiere in Miami, which includes interviews with Miami Beach grandmas wondering who the heck this Andy Warback is. Also included: spectacular footage of Warhol’s likeness carved in chocolate. Too bad the museum didn’t reproduce that piece for this show. It would have had great gift shop potential.

Money shots after the jump.

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The Digest. 11.20.07.

Nicolas Lampert

Locust Tank by Nicolas Lampert. Image courtesy of Justseeds Visual Resistance.

Posted by C-Monster.