Several Pop art works are now part of the collection of the Chicago Art Institute — thanks to 90-year-old Jewish industrialist Stefan Edlis.
Andy Warhol’s ‘10 Portraits of Jews’ was once lambasted by critics. Now, it’s getting a second look — and shedding light on the pop artist’s immigrant roots.
The ultimate testament to Arik Einstein is that there won’t be one. J.J. Goldberg writes the singer is too deeply enmeshed in the fabric of Israelis’ lives for any one tribute to sum him up.
Twenty five years on from his death, Andy Warhol, one of the greatest icons of 20th century art, is being celebrated in New York. The city’s Metropolitan Museum of Art is taking a close look at the work and influence of the man credited with creating ‘Pop Art.’ Assistant curator Ian Altever: “We had all decided that what was very important was to have really good examples of Warhol’s work to go around the show, but yes there were arguments about who should be in it, and what work these should be in it and they were very lively and always very constructive. Warhol’s art will be displayed with the works of dozens of other artists, illustrating how they reinterpreted or reacted to Warhol’s innovative paintings, sculpture and films. In one part of the exhibit the Coca-Cola vase of Chinese artist Ai Weiwei sits in the shadow of Warhol’s own image of silk-screened Coca-Cola bottles. Assistant curator Ian Altever: Many people who do indeed feel very strongly about Warhol. Whether it is as a kind of figure of authority for contemporary art as someone who mixed things up, or almost as a bugaboo, someone who haunts contemporary culture in an almost overwhelming way. But I think every artist in the show got something from Warhol.” Regarding Warhol: Sixty Artists, Fifty Years, will run from from September 18 until December 31st.
“Jews and comic books” is a topic that has received extensive treatment in the last 15 years. But what of the Jewish visual artists whose paintings are inspired by comic books? What of Roy Lichtenstein? Jewish studies scholars can look forward to the day when a dissertation is written about Lichtenstein as a Jewish artist, or an exhibition is curated on the same theme.
Neil Sedaka’s life is like a Disney movie — specifically, “The Lion King.” There was a long period in the 1950s and ‘60s when he was, if not the king, certainly the crown prince of pop music. Songs he wrote and sang topped the hit parade. This was followed by a low period around the time The Beatles hit the airwaves, then resurgence with the help of Elton John. Today, he records CDs with his grandchildren. In short: the circle of life.
He gave chic new definition, boosted the New York art scene, and went to such brazen lengths as to deliver artwork unrequested to the Museum of Modern Art and simply send a bill. He was known to have commandeered a gondola with his pals to transport art in time to compete in the Venice Biennale. He even vowed he would break down a gallery door rather than cut an artwork in half. Few dealers were ever so devoted to their artists as Leo Castelli.
While walking through “Seductive Subversion,” the Brooklyn Museum’s new exhibition on female Pop artists between 1958 – 1968, I was interrupted by a family of tourists who burst into the gallery and made a beeline for “Accumulation, No. 1,” a soft sculpture piece by Japanese artist Yayoi Kusama featuring a white armchair covered with fabric phalluses. As I looked on, the family, children included, began fondling the chair until the security guard yelled at them to stop. They did, and I went back to Kay Kurt’s photorealistic painting of a candy box.
“Roy Lichtenstein: The Black-and-White Drawings, 1961-1968” opens and closes, quite fittingly, with doors. “Knock Knock,” a 1961 drawing, greets visitors entering the single-room exhibition. The title words splay from an all-white door, its shape defined by heavy, even black lines. Short marks indicate the thwap of invisible knuckles. Later, after circling the perimeter, you step into a nook. Inside stands a real, three-dimensional door, the only remnant of Lichtenstein’s full-room installation at the 1967 Aspen Festival of Contemporary Art. Like the drawing, the door is white outlined in black, and a hand has struck, this time leaving a more phonetic NOK!! NOK!!