DATE 3/30/2018

Inscrutable and disorienting: Rineke Dijkstra

DATE 3/29/2018

'Ice Cream Headaches' launch event at Pilgrim Surf

DATE 3/25/2018

Modern Women, Greta von Nessen

DATE 3/24/2018

Modern Women, going, going, strong

DATE 3/22/2018

Celebrate Women's History Month with 'Women in Trees'

DATE 3/21/2018

Delight, desire, surprise and trust: Design Is Storytelling

DATE 3/21/2018

Artbook @ MoMA PS1 and Mississippi Records launch 'Dead Moon: The Book' in the MoMA PS1 Book Space

DATE 3/21/2018

Mitch Epstein signing 'Rocks and Clouds' at Dashwood

DATE 3/20/2018

Alphonse Mucha was both the 'greatest decorative artist in the world' and a humanitarian philosopher

DATE 3/19/2018

A visual language meant to express beauty in 'Alphonse Mucha'

DATE 3/18/2018

BACK IN STOCK! Mina Stone: Cooking for Artists

DATE 3/17/2018

Celebrate St. Patrick's Day with a little Belfast Punk

DATE 3/16/2018

What is 'The Sausage of the Future'?

DATE 3/15/2018

The enigmatic, unreadable writings of Mirtha Dermisache

DATE 3/14/2018

Joyce J. Scott: "I skirt the borders between comedy, pathos, delight, and horror"

DATE 3/13/2018

Bringing boundless joy: Anna Zemánková

DATE 3/12/2018

Weird and beautiful: Anna Zemánková

DATE 3/11/2018

Singular, odd and inspiring: Danh Vo: Take My Breath Away

DATE 3/10/2018

Subversive, even scandalous: Francis Picabia: Littérature

DATE 3/10/2018

Mojos, mandalas and divining tools: Chris Martin

DATE 3/9/2018

Provocateurs of the human body in 'Klimt and Schiele: Drawings'

DATE 3/8/2018

Celebrate International Women's Day… 1975 to now!

DATE 3/7/2018

Celebrate Women's History Month with Marina Abramovic's rendition of 'The Ugly Duckling'

DATE 3/6/2018

Watch the Video Trailer for "Johnny Cash at Folsom and San Quentin: Photographs by Jim Marshall"

DATE 3/6/2018

René Magritte: The Revealing Image

DATE 3/5/2018

Chris Martin book launch at Spoonbill Studio

DATE 3/5/2018

Private entertainments or public show? Frida Kahlo: Her Photos

DATE 3/5/2018

SOM to launch 'The Future of Public Space' at the Strand

DATE 3/4/2018

Frida Kahlo's life in photographs

DATE 3/2/2018

Sheila Hicks: Knotting, wrapping, folding, twisting and stacking wool, linen, cotton and more

DATE 3/2/2018

The warp and weft of poetics in 'Sheila Hicks: Lifelines'

DATE 3/1/2018

Celebrate Women's History with brand new release, 'Sheila Hicks: Lifelines'

DATE 3/1/2018

Recommended Reading: Women's History Month

DATE 2/28/2018

In 'Ellen Gallagher: Accidental Records' radical aesthetic possibilities emerge from seismic cracks in the surface of things

DATE 2/28/2018

Robert Storr and Francesca Pietropaolo in conversation about 'Interviews on Art' at 192 Books

DATE 2/28/2018

Amy Sillman book event and 'Scarlet Street' screening at Metrograph

DATE 2/28/2018

'Entanglements: Plans and Accidents' at the Artbook @ MoMA PS1 Book Space

DATE 2/27/2018

Jack Whitten and the rock-bottom meaning of universality

DATE 2/27/2018

Brian Blomerth's 'XAK'S WAX' zine launch at MoMA PS1 Book Space

DATE 2/26/2018

Black History as told through 'Black Dolls'

DATE 2/25/2018

Unsentimental Wonder: Hilton Als on Alice Neel

DATE 2/24/2018

Boom boxes, break dancing and the Salsa King: Black History from Jamel Shabazz

DATE 2/23/2018

Readings in Criticism with 'unbag' at the MoMA PS1 Book Space

DATE 2/23/2018

The meaning of color, both racial and painterly

DATE 2/22/2018

Swept up by a feeling of awe: Shinique Smith in 'Four Generations'

DATE 2/20/2018

Four Generations of 'Solidary & Solitary' work by artists of African descent

DATE 2/20/2018

Celebrate 60 years of Gerald Holtom's Peace Symbol with 'Jim Marshall: Peace'

DATE 2/19/2018

Reclaiming Images of Black Women in 'Beyond Mammy, Jezebel & Sapphire'

DATE 2/19/2018

Symbols that call us into being: 'Beyond Mammy, Jezebel & Sapphire'

DATE 2/17/2018

Celebrate Black History with Mark Bradford

DATE 2/16/2018

Christian Wassmann book launch at Spoonbill Studio



NEW EXPANDED EDITION: Andy Warhol: Prints, Catalogue Raisonné

“Andy Warhol’s images may be as intrinsically shallow or inane as Howdy Doody, which doubtless led Warhol’s critics to think of him as shallow and inane. But such critics were blind to the power these images held for vast populations whose lives they distilled and energized.” So writes art historian Arthur C. Danto in his deep exploration of Warhol's power in visual culture, published in the definitive catalogue raisonné, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, first issued in 1989 and now available in a new, heavily updated fourth edition.

NEW EXPANDED EDITION: Andy Warhol: Prints A Catalogue Raisonné 1962–1987

Published by D.A.P. in association with Ronald Feldman Fine Arts, the Warhol Foundation and Edition Schellmann, Andy Warhol Prints is a truly comprehensive compendium, spanning from Warhol's very first hand-printed screenprints of James Cagney in Angels with Dirty Faces and Bella Lugosi as Dracula to his last portfolio of camouflage pattern prints, published just prior to his untimely death in 1987. In contrast to earlier editions, this definitive, scholarly volume contains 500 additional, fully documented images; a new section on the portraits and related paintings; and a supplement featuring prints and illustrated books from the 1950s, accompanied by a new essay by Donna De Salvo, Chief Curator and Deputy Director for Programs at the Whitney Museum of American Art.

NEW EXPANDED EDITION: Andy Warhol: Prints A Catalogue Raisonné 1962–1987

Though this volume covers only Warhol’s prints, there is the deep sense of a complete monograph on the artist. For although prints were not Warhol's only medium, he was very much at home with the screen-printing technique from the beginning of his career to the end. Through them, we are able to track Warhol's artistic developments in granular detail.

Taking in more than 1700 works over 400 pages may seem daunting to begin, but one quickly finds that there can never be too much Warhol. As thoroughly iconic as his work has become since he first surged to popularity in the 1960s, this volume proves that, remarkably, there is still something new to see every time one turns the page.

NEW EXPANDED EDITION: Andy Warhol: Prints A Catalogue Raisonné 1962–1987

As a student of classical art history, it was particularly pleasing to flip through the major sections on both published and unpublished prints looking for references to past masters. Warhol cheerfully borrows from Italian Renaissance painters such as Botticelli and Uccello in his Details of Renaissance Paintings series featuring variations on "Birth of Venus" and "St. George and the Dragon," among others. In a 1984 series, Warhol plays with Edvard Munch’s German Expressionist woodcut masterpieces "The Scream" and "Madonna," capturing Munch’s preoccupation with the relationship between mood and color with his genuine touch of Pop.

NEW EXPANDED EDITION: Andy Warhol: Prints A Catalogue Raisonné 1962–1987

As I made my way through the book, I couldn't help thinking of German Renaissance master Albrecht Dürer, who was one of the first artists to achieve popular recognition through printmaking within his own lifetime. Warhol's prints famously allowed “everyone who wanted one [to] have one.” In this way, according to Danto, Warhol challenged even the idea of high art. “Who thought of them as Art with a capital A?”

NEW EXPANDED EDITION: Andy Warhol: Prints A Catalogue Raisonné 1962–1987

What's more, by working with such emblematically American images as Marilyn Monroe and the Campbell's Soup can—which essentially became an icon through his work, and his work alone—Warhol created images of such essential American-ness that, Danto posits, all viewers would become, in some fundamental, perceptual way, American, no matter their actual nationality.

NEW EXPANDED EDITION: Andy Warhol: Prints A Catalogue Raisonné 1962–1987

He explains, "French students would hardly have known who Howdy Doody was, nor German, nor Yugoslavian, nor Scandinavian students. Not to know who Howdy Doody was would automatically exclude someone from the culture his image defined. To have to ask who he was and what he meant was the cognitive mark of not being part of the community which was partially constituted through knowing who he was and what he meant. A community is defined by the images its members do not have to find out about, but who know their identity and meaning immediately and intuitively. If twenty-year-olds in 1968 knew Howdy Doody in this immediate and intuitive way, irrespective of their class and their racial backgrounds, the central community to which they belonged transcended differences between class and race. Everyone in America knew Liz and Jackie, Elvis and Marilyn, Mickey Mouse and Superman, Campbell's Soup and Brillo. When this knowledge vanishes, the culture will have changed profoundly...When people know who Marilyn was only because they have made a special investigation, Marilyn will have stopped being a part of who 'we' are—or there will be a new 'we.' But when that knowledge is internalized by persons outside the political boundaries of America, they are in effect deeply American, whatever their nationality."

NEW EXPANDED EDITION: Andy Warhol: Prints A Catalogue Raisonné 1962–1987

I confess, when I opened Andy Warhol Prints, I had never heard of Howdy Doody. And yet, Warhol is as fresh and relevant as ever today, despite the fact that there is a new “we.”

AUSTIN BOWES studies Art History at New York University, and is currently studying Renaissance art in Florence, Italy. Raised in Sarasota, FL, Austin takes an interest in American modern and postmodern art.

IMAGES FROM TOP: "Howdy Doody" from the Myths series (1981). Early prints, "Cagney" (1962/1964) and "The Kiss (Bela Lugosi)" (ca. 1963). Selection of "Sandro Botticelli, Birth of Venus, 1482" prints from the Renaissance Paintings series (1984). "Madonna (After Munch)" (1984). Selection from the 10-print series, Campbell's Soup II (1969). Selection of prints from the Marilyn Monroe (Marilyn) (1967) series. Prints from the Self-Portrait series (ca. 1977).
NEW EXPANDED EDITION: Andy Warhol: Prints A Catalogue Raisonné 1962–1987

Andy Warhol: Prints

Andy Warhol: Prints

Clth, 9.75 x 11.75 in. / 400 pgs / 1500 color / 20 b&w.

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