CATHOLIC, BOUNDARY-BREAKING ANDY WARHOL
Presenting more than one hundred works—from iconic paintings such as The Last Supper to archival materials, drawings, prints, film, and rarely seen and newly discovered items—Andy Warhol: Revelation brings a fresh perspective to the canonical artist, exploring his career-long engagement with Catholic themes, as well as the tension between Warhol’s spiritual upbringing and his life as an out gay man.
Andy Warhol is one of the most celebrated and recognizable artists of all time, but until now the impact of his Catholic upbringing on his life and work has been a lesser-known facet of his widely studied career. Andy Warhol: Revelation explores the artist’s lifelong relationship with his faith, which inspired images that appeared frequently and overtly as part of his artistic practice.
Andy Warhol was born Andrew Warhola in Pittsburgh to a devout family who worshiped in the Byzantine Catholic Church tradition, one of twenty-three Eastern Catholic Churches. Warhol grew up attending weekly services with his mother, Julia, who had immigrated to the United States with her husband from present-day Slovakia in the early twentieth century. In the Warhola family’s Carpatho-Rusyn neighborhood of Ruska Dolina in Pittsburgh, a working class immigrant enclave, life revolved around the church community, and the young artist was deeply impacted by this environment. Warhol continued to attend church in New York City, praying in Eastern, Roman, and Anglican Catholic spaces. Even after legendary parties at his studio, the Silver Factory, Warhol returned to the quiet home he shared with his mother, who prayed with him every morning before he left for another day of prolific, history-making work.
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Andy Warhol (American, 1928–1987). Orange Disaster #5, 1963. Acrylic, screenprint, graphite on canvas, 106 × 811/2 in. (269.2 × 207 cm). Solomon R. Guggenheim Museum, New York Gift, Harry N. Abrams Family Collection, 1974, 74.2118. © 2021 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
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Andy Warhol (American, 1928–1987). Crosses, 1981–82. Acrylic and screenprint on linen, 20 × 16 in. The Andy Warhol Museum, Pittsburgh © 2021 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York"
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Andy Warhol (American, 1928–1987). Self-Portrait, 1986. Acrylic and screenprint on linen, 40 × 40 in. (101.6 × 101.6 cm). The Andy Warhol Museum, Pittsburgh. © 2021 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
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Andy Warhol (American, 1928–1987). The Last Supper (Detail), 1986. Screenprint and colored graphic art paper collage on HMP paper. The Andy Warhol Museum, Pittsburgh. © 2021 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
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Andy Warhol (American, 1928–1987). Christ-$9.98, 1985–86. Acrylic and screenprint on linen, 20 × 16 in. (50.8 × 40.6 cm). The Andy Warhol Museum, Pittsburgh. © 2021 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
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Andy Warhol (American, 1928–1987). Raphael Madonna-$6.99, 1985. Acrylic and screenprint on linen, 1561/4 × 116 in. (396.9 × 294.6 cm). The Andy Warhol Museum, Pittsburgh. © 2021 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York">
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Andy Warhol (American, 1928–1987). Orange Disaster #5, 1963. Acrylic, screenprint, graphite on canvas, 106 × 811/2 in. (269.2 × 207 cm). Solomon R. Guggenheim Museum, New York Gift, Harry N. Abrams Family Collection, 1974, 74.2118. © 2021 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Throughout his life, Warhol continued to practice his faith while living unapologetically as an out gay man, along with his circle of social outcasts known for their creative and eccentric lifestyles, long before the mainstream LGBTQ+ liberation movement.
“Warhol both flaunted and obscured his religion and his sexuality, and these dualities are explored in Revelation along with the push and pull between sincerity and superficiality, revealing and hiding, traditional and avant-garde,” says Carmen Hermo, Associate Curator for the exhibition. “This exhibition gives viewers an opportunity to unpack some of those poignant—and very human— contradictions that functioned as one of the drivers of his art production.”
Andy Warhol: Revelations
Until June 19th, 2022
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY
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The exhibition includes this piece by Argentine artist Minujín which exposes a meta-narrative of the art world and other spheres, their different agents and interrelations.
MoMA’S COLLECTION GALLERY EXHIBITS MARTA MINUJÍN’S “MINUCODE”
The exhibition includes this piece by Argentine artist Minujín which exposes a meta-narrative of the art world and other spheres, their different agents and interrelations.
The exhibition with selected works from the Cisneros Fontanals Art Foundation Collection (CIFO) reflects on both the multidisciplinary practices of Latin American contemporary art and on its diversity as a conceptual frame that is inclusive of a carried universe of voices. It comprises 31 established, mid-career, and emerging artists from Argentina, Brazil, Colombia, Cuba, Ecuador, Guatemala, Mexico, Peru, Uruguay, and Venezuela, and features works of art in multiple media, including painting, sculpture, drawing, photography, video, as well as large-scale multimedia installations. Having debuted at the Cuenca Biennial in 2018, this is the first time this exhibition is presented at an arts institution in the United States.
CIFO COLLECTION EXHIBITS “PLURAL DOMAINS” IN FLORIDA, US.
The exhibition with selected works from the Cisneros Fontanals Art Foundation Collection (CIFO) reflects on both the multidisciplinary practices of Latin American contemporary art and on its diversity as a conceptual frame that is inclusive of a carried universe of voices. It comprises 31 established, mid-career, and emerging artists from Argentina, Brazil, Colombia, Cuba, Ecuador, Guatemala, Mexico, Peru, Uruguay, and Venezuela, and features works of art in multiple media, including painting, sculpture, drawing, photography, video, as well as large-scale multimedia installations. Having debuted at the Cuenca Biennial in 2018, this is the first time this exhibition is presented at an arts institution in the United States.
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THE WALKER ART CENTER STARTS THE YEAR WITH HOCKNEY’S PEOPLE, PLACES & THINGS
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The Institute for Studies on Latin American Art (ISLAA) announced the opening of Born of Informalismo: Marta Minujín and the Nascent Body of Performance, curated by Michaëla de Lacaze Mohrmann. The third in a series of exhibitions on Latin American modernism and its legacies, this show examines the early work of trailblazing Argentine artist Marta Minujín (b. 1943), tracing her trajectory from informalist painting and sculpture to performance.
BORN OF INFORMALISMO: MARTA MINUJÍN AND THE NASCENT BODY OF PERFORMANCE
The Institute for Studies on Latin American Art (ISLAA) announced the opening of Born of Informalismo: Marta Minujín and the Nascent Body of Performance, curated by Michaëla de Lacaze Mohrmann. The third in a series of exhibitions on Latin American modernism and its legacies, this show examines the early work of trailblazing Argentine artist Marta Minujín (b. 1943), tracing her trajectory from informalist painting and sculpture to performance.
The artist has created a full-fledged maritime museum within the walls of the Brooklyn Museum, debuting approximately 250 new and recent works made entirely out of discarded plastic found in New York waterways. DEATH TO THE LIVING, Long Live Trash, a critical, provocative look at the ecological impact of capitalism across centuries, connects the history of American maritime art to current themes of environmental justice.
THE BROOKLYN MUSEUM PRESENTS “DEATH TO THE LIVING, LONG LIVE TRASH” BY DUKE RILEY
The artist has created a full-fledged maritime museum within the walls of the Brooklyn Museum, debuting approximately 250 new and recent works made entirely out of discarded plastic found in New York waterways. DEATH TO THE LIVING, Long Live Trash, a critical, provocative look at the ecological impact of capitalism across centuries, connects the history of American maritime art to current themes of environmental justice.
