Andy Warhol €“ From a to B and Back Again
Introduction
Few American artists are as e'er-present and instantly recognizable as Andy Warhol (1928–1987). Through his advisedly cultivated persona and willingness to experiment with not-traditional art-making techniques, Warhol understood the growing ability of images in contemporary life and helped to expand the function of the artist in society. This exhibition—the offset Warhol retrospective organized by a U.S. institution since 1989—reconsiders the piece of work of one of the about inventive, influential, and of import American artists. Edifice on a wealth of new materials, research and scholarship that has emerged since the artist'due south untimely death in 1987, this exhibition reveals new complexities about the Warhol we recall we know, and introduces a Warhol for the 21st century.
Explore the artworks below to learn more near the life and work of Andy Warhol.
Events
View all-
Sun,
Mar 31
Warhol Film Screening—Minimalism and Seriality: Office I
7 pm
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Sun,
Mar 31
Weekend Early on Admission for Members
10–10:30 am
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Sat,
Mar 30 Weekend Early Admission for Members
x–ten:thirty am
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Thurs,
Mar 28
Member Night
7:30–10 pm
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Mon,
Mar 25
Contemporaries Salon: The Muscle Behind Andy Warhol—From A to B and Dorsum Again
7–nine:30 pm
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Sunday,
Mar 24
Insider Focus: Making, Breaking, and Remaking Paintings
12 pm
Sound Guides
"Andy's work really goes to the centre of the matter of what it means to be a human beingness and what our potential is . . . It's the existent deal."—Jeff Koons
Hear from a range of contemporary artists, curators, and scholars speaking about iconic works on view. Contributors include Jeff Koons, Hank Willis Thomas, Deborah Kass, Peter Halley, Sasha Wortzel, and Richard Meyer.
Playlist
In Feb 1966, Warhol appear that he was sponsoring a band: the Velvet Hole-and-corner. After seeing them play ane of their first shows, Warhol asked the Velvets—Lou Reed, John Cale, Sterling Morrison, and Maureen "Moe" Tucker—to provide musical accompaniment for a screening of his films. "We were doing what he was doing," Reed recalls, "except we were using music and he was doing it with lights." Warhol later invited the band to rehearse at the Factory, providing them with new, louder amplifiers. He too recruited German chanteuse, Nico Päffgen, to serve as the ring's second lead vocalist. Warhol went on to produce and provide comprehend art for the band'due south first album, The Velvet Cloak-and-dagger and Nico (1967), equally well every bit to design the art for their second release, White Low-cal/White Heat (1968). This playlist combines tracks from each of the Velvets' 4 albums, forth with songs from solo releases by Cale, Reed and Nico through 1972.
Installation Photography
Installation view of Andy Warhol – From A to B and Dorsum Over again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Order (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again(Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, elevation to bottom: Brillo Boxes, 1969 (version of 1964 original); Big Electric Chair, 1967–68; Big Electrical Chair, 1967. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Flowers, 1967–68; Flowers, 1964; Flowers, 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Lodge (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Flowers, 1964; Flowers, 1964; Flowers, 1964–65; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, top to lesser: Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers [Big Flowers], 1964–65. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Order (ARS), New York
Installation view of Andy Warhol – From A to B and Back Once more(Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers [Large Flowers], 1964–65. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Andy Warhol, Flowers, 1967–68 (installation view, Andy Warhol – From A to B and Back Again, Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Acrylic and silkscreen enamel on sail. The Metropolitan Museum of Art, New York; souvenir of Mr. and Mrs. Peter M. Brant, 1979. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Once more (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: 192 I Dollar Bills, 1962; Campbell'due south Soup Cans, 1962. In center of gallery: Dance Diagram [3] ["The Lindy Tuck-In Plow—Human being"], 1962; Dance Diagram [4] ["The Lindy Constrict-In Plow—Woman"], 1962. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Club (ARS), New York
Installation view of Andy Warhol – From A to B and Back Over again(Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Green Coca-Cola Bottles, 1962; Southward&H Green Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original). Floor vitrines: Trip the light fantastic Diagram [3] ["The Lindy Constrict-In Plough—Man"], 1962; Dance Diagram [4] ["The Lindy Constrict-In Plow—Woman"], 1962. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Lodge (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct: Light-green Coca-Cola Bottles, 1962; S&H Greenish Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original). Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Gild (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right, tiptop to bottom: Ii Heads, c. 1957; Portrait of John Butler with Dancer, 1952; 129 Dice in Jet, 1962; Before and After [4], 1962; Mister Moore, c. 1956; Kate Smith, c. 1956; Leo Lerman, c. 1956; David Evans, c. 1956; Beatrice Lielie, c. 1956; Infant Paley, c. 1955; Diana Vreeland, c. 1956; Truman Capote, c. 1956; Elvis Presley, c. 1956; Mae Due west, c. 1956; Christine Jorgenson, 1956; B.[ernard] G.[rant], c. 1956. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Lodge (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, summit to bottom: Green Coca-Cola Bottles, 1962; Southward&H Green Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original); Living Room, c. 1948; Upper Torso Boy Picking Nose, 1948–49; Constipated Women, 1940s; Female person with Animal at Breast, 1948–49; Human with Lines Exuding from Mouth, 1948–49; Unidentified Male Portrait, 1950s; Unidentified Male Portrait, 1950s; Otto Fenn, c. 1952; Unidentified Male Portrait, c. 1952; Baton Loew, c. 1952; Otto Fenn, c. 1952. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Lodge (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right, top to lesser: Anxiety, 1950s; Male person Genitals, 1950s; Foot with Dollar Bills, c. 1955–57; Feet with Candlesticks, c. 1955–57; Male Nude, c. 1957; Cocky-Portrait, 1950s; "Truman Capote," c. 1952; "Truman's Mitt," 1950s; Unidentified Male, 1950s; Unidentified Male person, 1950s; C., 1950s; "Geoffrey Holder," 1950s; Tom Royal, c. 1952; Untitled (Hand in Pocket), c. 1956; James Dean, 1955; Portrait of Kenneth Jay Lane with Collywobbles, c. 1958. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Social club (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again(Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, summit to lesser: Unidentified Male, 1950s; Unidentified Male, 1950s; C., 1950s; "Geoffrey Holder," 1950s; Tom Regal, c. 1952; Untitled (Hand in Pocket), c. 1956; James Dean, 1955; Portrait of Kenneth Jay Lane with Butterflies, c. 1958; Photostat (New York Mirror—Vol. 37 no. 296, Monday June 4, 1962), 1962; Facsimile of Periodical American, September 21, 1958; Mechanical (Coca-Cola, "Standard and King Sized"), c. 1960; Superman, 1961; Dick Tracy, c. 1961. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Social club (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct, top to bottom: Close Cover earlier Striking (Coca-Cola), 1962; Mister Moore, c. 1956; Kate Smith, c. 1956; Leo Lerman, c. 1956; David Evins, c. 1956; Beatrice Lielie, c. 1956; Babe P.[aley], c. 1955; Diana Vreeland, c. 1956; Truman Capote, c. 1956; Elvis Presley, c. 1956; Mae West, c. 1956; Christine Jorgenson, 1956; B.[ernard] Yard.[rant], c. 1956; Untitled (Pair of Legs in Loftier Heels), c. 1955; Hand and Flowers, 1957; Tattooed Woman Holding Rose, c. 1955; Walter Ross, The Immortal (New York: Simon and Schuster, 1958); Maude Hutchins, Love Is a Pie (New York: New Directions, 1952); Communist Speaker, 1950s; Madame Rubinstein, 1957; 1 Million Dollar Bill, 1950s; Sketch: "Miss Dior," 1950s; Mitt and Flowers, 1957; Virginia Roehl, facsimile of Andy Warhol's Miss Dior window display for Bonwit Teller, 1955; Business card (Andy Warhol, 242 Lexington Ave.), 1959; In the Bottom of My Garden, 1956; Digital facsimile; Andy Warhol and Ralph Thomas Ward (Corkie), selections from A Is an Alphabet, 1953; Hand Holding Leafy Co-operative, 1957; CBS Broadcast Series: The Nation'south Nightmare, 1952; Facsimile of "Living Off the Primary Line" advertizement, New York Times, September 13, 1951; Perfume Bottle, 1953; "a sewing machine," c. 1952; Facsimile of "What Is Success?" Glamour, September 1949, pp. 146, 148-54; 2 Shoes with Registration Marks, 1957; Award for Distinctive Merit from the Fine art Directors Order of New York 35th Annual Exhibition of Advert and Editorial Art, 1956; Julia Warhola, True cat with a Hat with "Purr" Inscriptions, c. 1953; A Aureate Book, 1957; Three More Novels of Ronald Firbank: Caprice, Vainglory, Inclinations (Norfolk, CT: New Directions, 1951); Amy Vanderbilt'due south Complete Cookbook (Garden City, NY: Doubleday, 1961); The Nation'due south Nightmare, 1951; Contact sheet (Unidentified man with hypodermic needle), 1951; Facsimile of "The Friendly Sport of Giving Gifts," Glamour, Dec 1953, pp. 72-73; Shoe, 1950s. Photo past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Club (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again(Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, superlative to lesser: "Pirates Sieze Ship…", 1961; "News," 1961; "Liner Hijacked," 1961; 129 Die in Jet, 1962; Before and After [4], 1962; Close Cover Before Striking (Coca-Cola), 1962. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Once more (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Shut Cover before Striking (Coca-Cola), 1962; Coca-Cola [3], 1962; Coca-Cola [2], 1961. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: The Princton Leader, c. 1956; Journal American, c. 1959; Superman, 1961. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Social club (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct, pinnacle to lesser: Gilded Marilyn, 1962; Silver Liz (diptych), 1963; Edward Wallowitch, Nonetheless Life (Campbell'south Foam of Craven Soup and Coca-Cola Bottle), c. 1962; Edward Wallowitch, Standing ringlet of dollar bills tied with rubber band, c. 1962; Invoice (from Edward Wallowitch to Andy Warhol, Apr thirteen, 1959), 1959; Edward Wallowitch, Andy Warhol, 1957–58; Edward Wallowitch, Andy Warhol, 1957; Shut Embrace before Striking (Coca-Cola), 1962; Coca-Cola [iii], 1962. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Over again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to correct, top to bottom: Roll of Bills, 1962; Campbell's Soup Can with Ketchup Canteen, 1962; Campbell'due south Soup Tin over Coke Bottle, 1962; The Princton Leader, c. 1956; Journal American, c. 1959. Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Once again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right, summit to bottom: "Pirates Sieze Ship…," 1961; "News," 1961; "Liner Hijacked," 1961; Wigs, 1961; Where Is Your Rupture? [one], 1961. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Once more (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct: Wigs, 1961; Where Is Your Rupture? [1], 1961; Earlier and After [4], 1962. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Argent Marlon, 1963; Triple Elvis [Ferus Type], 1963; Single Elvis [Ferus Blazon], 1963; Big Sleep, 1965; Marilyn Diptych, 1962. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Club (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Marilyn Diptych, 1962; The American Man (Portrait of Watson Powell), 1964; Large Sleep, 1965; Thirty Are Better Than Ane, 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Order (ARS), New York
Installation view of Andy Warhol – From A to B and Back Once more(Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Gold Marilyn, 1962; Silver Liz (diptych), 1963; Big Sleep, 1965; Silverish Marlon, 1963; Triple Elvis [Ferus Type], 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Marilyn Diptych, 1962; The American Homo (Portrait of Watson Powell), 1964. Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Marilyn Diptych, 1962; Tunafish Disaster, 1963; Ethel Scull 36 Times, 1963. Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to lesser: Triple Elvis [Ferus Type], 1963; Unmarried Elvis [Ferus Type], 1963; Exhibition proclamation (Andy Warhol—The Personality of the Artist/Stable Gallery, Apr 21-May 9, 1964), 1964; Facsimile of Source Cloth (Most Wanted Men #9 and #10), 1962; Eric Pollitzer, facsimile of Installation view of Andy Warhol'due south Most Wanted Men at the New York World'south Off-white, 1964–65; Photographer unknown, facsimile of Installation view of Andy Warhol's Most Wanted Men at the New York Earth'south Fair, 1964–65; Most Wanted Men No. 4, Redmond C., 1964; Most Wanted Men No. 3, Ellis Ruiz B., 1964; Nearly Wanted Men No. 1, John M., 1964; About Wanted Men No. 6, Thomas Francis C., 1964; Most Wanted Men No. 7, Salvatore V., 1964; Most Wanted Men No. 12, Frank B., 1964; Most Wanted Men No. 5, Arthur Alvin M., 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to lesser: Self-Portrait, 1963–64; Self-Portrait, 1964; Self-Portrait, 1964; Most Wanted Men No. 4, Redmond C., 1964; Virtually Wanted Men No. 3, Ellis Ruiz B., 1964; Nigh Wanted Men No. 1, John K., 1964; Most Wanted Men No. half dozen, Thomas Francis C., 1964; About Wanted Men No. 7, Salvatore Five., 1964; Well-nigh Wanted Men No. 12, Frank B., 1964; Most Wanted Men No. 5, Arthur Alvin M., 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: The American Man (Portrait of Watson Powell), 1964; 30 Are Ameliorate Than One, 1963; Self-Portrait, 1963–64; Self-Portrait, 1964; Self-Portrait, 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again(Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Orange Motorcar Crash Fourteen Times, 1963; Crowd, 1963; 9 Jackies, 1964; Saturday Disaster, 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Orangish Car Crash Fourteen Times, 1963; Ix Jackies, 1964; Sat Disaster, 1964; Lavender Disaster, 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Club (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Saturday Disaster, 1964; Lavender Disaster, 1963; Mustard Race Anarchism, 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Gild (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Mustard Race Riot, 1963; Near Wanted Men No. iii, Ellis Ruiz B., 1964; Virtually Wanted Men No. 1, John Thousand., 1964; Most Wanted Men No. 6, Thomas Francis C., 1964; Almost Wanted Men No. vii, Salvatore 5., 1964; Most Wanted Men No. 12, Frank B., 1964; Near Wanted Men No. v, Arthur Alvin Yard., 1964; Tunafish Disaster, 1963; Suicide (Fallen Torso), 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Gild (ARS), New York
Installation view of Andy Warhol – From A to B and Back Over again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct, meridian to lesser: Selections from Wink—Nov 22, 1963, 1968; H2o, 1971; Self-Portrait, 1966; Big Electrical Chair, 1967–68; Large Electric Chair, 1967. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to correct: Saturday Disaster, 1964; Lavander Disaster, 1963; Selections from Flash—November 22, 1963, 1968; Water, 1971. Photo past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Manufactory Diary: Andy Paints Mao, 1972; Vote McGovern, 1972; Mao (Edition 4/300), 1973; Mao (Edition 27/300), 1973; Mao (Edition 32/300), 1973; Mao (Edition 39/300), 1973; Mao (Edition 103/300), 1973; Mao (Edition 204/300), 1973; Mao (Edition 242/300), 1973; Mao (Edition 261/300), 1973; Mao, 1973; Factory Diary: Andy Warhol, Geri Miller, Candy Darling at the Manufactory, c. 1971–72; Michael Kostiuk, Andy Warhol vacuuming the carpet for an installation slice at Finch College Museum of Art, c. 1972; White Painting [Torso], 1966; Ronald Nameth, Andy Warhol's Exploding Plastic Inevitable, 1966. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Social club (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Once again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Structure, c. 1970; Sunset, 1972; Mao, 1972. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Structure, c. 1970; Mao, 1972; Willard Mass, Andy Warhol's Argent Flotations, 1966; Vote McGovern, 1972; Mao, 1973; White Painting [Trunk], 1966. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Structure, c. 1970; Mao, 1972; Willard Mass, Andy Warhol'southward Silver Flotations, 1966; Vote McGovern, 1972; Mao, 1973; White Painting [Torso], 1966. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Once more (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol'south Silver Flotations, 1966; Vote McGovern, 1972; Mao, 1973; White Painting [Body], 1966. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Gild (ARS), New York
Installation view of Andy Warhol – From A to B and Back Once more (Whitney Museum of American Fine art, New York, Nov 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol's Silverish Flotations, 1966; Vote McGovern, 1972; Mao, 1973; White Painting [Torso], 1966. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Again (Whitney Museum of American Fine art, New York, Nov 12, 2018–March 31, 2019). From left to right, top to bottom: Sunset, 1972; Andy Warhol's Fifteen Minutes, episode 3, 1987; Ladies and Gentlemen (Alphanso Panell), 1975; Ladies and Gentlemen (Ivette and Lurdes), 1975; Ladies and Gentlemen (Helen/Harry Morales), 1975; Ladies and Gentlemen (Marsha P. Johnson), 1975; Ladies and Gentlemen (Wilhelmina Ross), 1975. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Guild (ARS), New York
Installation view of Andy Warhol – From A to B and Back Over again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to correct, elevation to bottom: Ladies and Gentlemen (Alphonso Panell), 1975; Ladies and Gentlemen (Ivette and Lurdes), 1975; Ladies and Gentlemen (Helen/Harry Morales), 1975; Ladies and Gentlemen (Marsha P. Johnson), 1975; Ladies and Gentlemen (Wilhelmina Ross), 1975. Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct, top to bottom: Hammer and Sickle, 1976; Hammer and Sickle, 1976; Cross, 1981–82; Gun, 1981–82; Self-Portrait with Skull, 1978; The Last Supper (Be a Somebody with a Body), 1985–86; Hamburger (Negative), 1985–86; Reagan Budget, 1985–86; Dollar Sign, 1981; Repent and Sin No More than! (Positive), 1985–86; Stress! (Negative), 1985–86; Somebody Wants to Buy Your Apartment Edifice!, 1985; Are You "Different"? (Negative), 1985–86; Dollar Sign, 1981; Heaven and Hell are Just One Breath Abroad! (Negative), 1985–86; Stress! (Positive), 1985–86; Physiological Diagram, 1985–86; Map of Eastern The statesS.R., Missile Bases, 1985–86; Camouflage, 1987; Andy Warhol and Keith Haring, Untitled, 1985; Daily News (Gimbel's Anniversary Sale/Artist Could Have Choked), 1983; Sky and Hell are Simply One Breath Away! (Positive), 1985–86; Map: Soviet Footholds, 1985; Over xl (How You Can), 1986; Marker of the Animal (Positive), c. 1985–86; Map: Nicaragua and Honduras, 1984–85; Dollar Sign, 1981; New York Post, Front Page ("Jessica Savitch/Marine Death Toll"), 1983; Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976. Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Gun, 1981–82; Cocky-Portrait with Skull, 1978; The Last Supper (Be a Somebody with a Body), 1985–86; Hamburger (Negative), 1985–86; Reagan Budget, 1985–86; Dollar Sign, 1981; Repent and Sin No More than! (Positive), 1985–86; Stress! (Negative), 1985–86; Somebody Wants to Buy Your Apartment Building!, 1985; Are You lot "Different"? (Negative), 1985–86; Dollar Sign, 1981; Heaven and Hell are Merely 1 Breath Away! (Negative), 1985–86; Stress! (Positive), 1985–86; Physiological Diagram, 1985–86; Map of Eastern U.Due south.S.R., Missile Bases, 1985–86; Camouflage, 1987; Andy Warhol and Keith Haring, Untitled, 1985; Daily News (Gimbel's Ceremony Auction/Artist Could Accept Choked), 1983; Heaven and Hell are Just One Breath Away! (Positive), 1985–86; Map: Soviet Footholds, 1985; Over 40 (How Y'all Can), 1986; Mark of the Fauna (Positive), c. 1985–86; Map: Nicaragua and Honduras, 1984–85; Dollar Sign, 1981; New York Post, Front Page ("Jessica Savitch/Marine Expiry Toll"), 1983; Skull, 1976; Skull, 1976. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Social club (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, peak to bottom: Andy Warhol and Jean-Michel Basquiat, Paramount, 1984–85; Andy Warhol and Jean-Michel Basquiat, Third Eye, 1985; Skull, 1976; Skull, 1975; Skull, 1976; Skull, 1976; However Life, 1975; Still Life, 1975. Photo past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Andy Warhol and Jean-Michel Basquiat, Paramount, 1984–85; Andy Warhol and Jean-Michel Basquiat, Third Eye, 1985. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to lesser: Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; However Life, 1975; Hammer and Sickle, c. 1976; Hammer and Sickle with Vibrator, c. 1976; Hammer and Sickle with Large Mac, c. 1976; Hammer and Sickle with Wonder Bread, c. 1976; Skull, c. 1976; Skull, c. 1976; Shadows, c. 1978; Shadows, c. 1978; Andy Warhol and Jean-Michel Basquiat, Paramount, 1984–85; Andy Warhol and Jean-Michel Basquiat, Third Heart, 1985. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Social club (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Shadow (Diamond Dust), 1979; Shadow (Diamond Dust), 1978; Shadow (Diamond Dust), 1978; Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; Oxidation Painting, 1978. Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Over again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, meridian to bottom: Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; Oxidation Painting, 1978. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct, peak to bottom: Sunset, 1972; Andy Warhol'southward 15 Minutes, episode iii, 1987; Ladies and Gentlemen (Alphanso Panell), 1975; Ladies and Gentlemen (Ivette and Lurdes), 1975; Ladies and Gentlemen (Helen/Harry Morales), 1975; Ladies and Gentlemen (Marsha P. Johnson), 1975; Selections from Sex Parts, 1978; Oxidation Painting, 1978. Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, superlative to bottom: Self-Portrait, 1966; Big Electric Chair, 1967–68; Big Electric Chair, 1967; Mylar and Plexiglas Construction, c. 1970; Selections from Sex Parts, 1978; Oxidation Painting, 1978; Hammer and Sickle, 1976; Hammer and Sickle, 1976. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again(Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Andy Warhol and Jean-Michel Basquiat, Paramount, 1984–85; Oxidation Painting, 1978. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Gild (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Again (Whitney Museum of American Fine art, New York, Nov 12, 2018–March 31, 2019). From left to correct, top to bottom: Hammer and Sickle, 1976; Hammer and Sickle, 1976; Cantankerous, 1981–82; Gun, 1981–82; Self-Portrait with Skull, 1978; Self-Portrait, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Order (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Self-Portrait, 1986; Shadow (Diamond Dust), 1979; Shadow (Diamond Grit), 1978; Shadow (Diamond Grit), 1978. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Guild (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to correct: Sixty-Three White Mona Lisas, 1979; Rorschach, 1984. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Over again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct: Sixty-Iii White Mona Lisas, 1979; Rorschach, 1984; Camouflage Final Supper, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Rorschach, 1984; Camouflage Last Supper, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Club (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to correct: Camouflage Last Supper, 1986; Rorschach, 1984. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Once again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Rorschach, 1984; Threescore-Three White Mona Lisas, 1979. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Untitled (White Brick Wall), 1986; Masks, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Club (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). Time Capsule 100, 1973–74 (bulk: 1974). Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Guild (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Cover-up, 1986; Time Sheathing 100, 1973–74. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Campbell's Soup Cans, 1962; Cover-up, 1986. Photo past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Club (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). Left wall, left to right, tiptop to bottom: Ivan Karp, 1974; Marilynn Karp, 1974; Joseph Kosuth, 1974; Julia Warhola, 1974; Attilio Codognato, 1974; Man Ray, 1974; Dorothy Lichtenstein, 1974; Ronald Feldman, 1974; Halston, 1975. Centre wall, left to right, top to bottom: Leo Castelli, 1975; Mick Jagger, 1975–76; Farah Diba Pahlavi, 1976; Chris Evert, 1977; Pelé, 1977; Liza Minnelli, 1978; Truman Capote, 1979; Truman Capote, 1979; Gianni Versace, 1979–eighty; Jane Holzer, 1975; Roy Lichtenstein, 1976; Mohammad Reza Shah Pahlavi, 1976; Muhammad Ali, 1977; Corice Arman, 1977; Self-Portrait, 1978; Henry Geldzahler, 1979; Neil Sedaka, 1979; R.C. Gorman, 1979; Murray Brant, 1975; Jamie Wyeth, 1976; Ashraf Pahlavi, Princess of Islamic republic of iran, 1977; Kareem Abdul Jabar, 1977; Michael Heizer, 1978; Thomas Ammann, 1978; John Reinhold, 1979; Berkeley Reinhold, 1979; Carolina Herrera, 1979. Right wall, left to right, top to bottom: Martha Graham, 1980; Francesco Clemente, 1981; Jean-Michel Basquiat, 1982; Diamond Dust Joseph Beuys, 1980; Giorgio Armani, 1981; Keith Haring and John Dubose, 1983; David Whitney, 1980; Jon Gould, 1981; Cornelia Guest, 1983. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Once more (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Left wall, left to right, top to lesser: Mick Jagger, 1975–76; Farah Diba Pahlavi, 1976; Chris Evert, 1977; Pelé, 1977; Liza Minnelli, 1978; Truman Capote, 1979; Truman Capote, 1979; Gianni Versace, 1979–80; Roy Lichtenstein, 1976; Mohammad Reza Shah Pahlavi, 1976; Muhammad Ali, 1977; Corice Arman, 1977; Self-Portrait, 1978; Henry Geldzahler, 1979; Neil Sedaka, 1979; R.C. Gorman, 1979; Jamie Wyeth, 1976; Ashraf Pahlavi, Princess of Islamic republic of iran, 1977; Kareem Abdul Jabar, 1977; Michael Heizer, 1978; Thomas Ammann, 1978; John Reinhold, 1979; Berkeley Reinhold, 1979; Carolina Herrera, 1979. Correct wall, left to right, top to bottom: Martha Graham, 1980; Francesco Clemente, 1981; Jean-Michel Basquiat, 1982; Robert Mapplethorpe, 1983; Stephen Sprouse, 1984; Portrait of Emily Fisher Landau, 1984; Douglas Cramer, 1985; Peter Halley, 1986; Diamond Dust Joseph Beuys, 1980; Giorgio Armani, 1981; Keith Haring and John Dubose, 1983; Pia Zadora, 1983; Kenny and Zena Scharf, 1984; Teresa and Zena Scharf, 1984; Corice Arman, 1986; Arman, 1986; David Whitney, 1980; Jon Gould, 1981; Cornelia Guest, 1983; Tina Grub, 1983–84; Michael Chow, 1984; Pat Hearn, 1985; Donald Baechler, 1986; Aretha Franklin, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Lodge (ARS), New York
Installation view of Andy Warhol – From A to B and Dorsum Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). Left wall, left to correct, top to bottom: Jermayne McAgy, 1968; Dennis Hopper, 1971; Dennis Hopper, 1971; Marella Agnelli, 1973; Ivan Karp, 1974; Marilynn Karp, 1974; Joseph Kosuth, 1974; Dominique de Menil, 1969; Irving Blum, 1972; Irving Blum, 1972; Ileana Sonnabend, 1973; Julia Warhola, 1974; Attilio Codognato, 1974; Man Ray, 1974; Alexander Iolas, 1970; Lee Radziwill, 1972; Kimiko Powers, 1972; Henry Geldzahler, 1973–74; Dorothy Lichtenstein, 1974; Ronald Feldman, 1974; Halston, 1975. Right wall, left to right, top to bottom: Leo Castelli, 1975; Mick Jagger, 1975–76; Farah Diba Pahlavi, 1976; Chris Evert, 1977; Pelé, 1977; Liza Minnelli, 1978; Truman Capote, 1979; Truman Capote, 1979; Jane Holzer, 1975; Roy Lichtenstein, 1976; Mohammad Reza Shah Pahlavi, 1976; Muhammad Ali, 1977; Corice Arman, 1977; Cocky-Portrait, 1978; Henry Geldzahler, 1979; Neil Sedaka, 1979; Murray Brant, 1975; Jamie Wyeth, 1976; Ashraf Pahlavi, Princess of Iran, 1977; Kareem Abdul Jabar, 1977; Michael Heizer, 1978; Thomas Ammann, 1978; John Reinhold, 1979; Berkeley Reinhold, 1979. Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). Left wall, left to right, top to lesser: Portrait of Emily Fisher Landau, 1984; Douglas Cramer, 1985; Peter Halley, 1986; Suzie Frankfurt, c. 1985; Teresa and Zena Scharf, 1984; Corice Arman, 1986; Arman, 1986; Debbie Harry, 1980; Pat Hearn, 1985; Donald Baechler, 1986; Aretha Franklin, 1986; Dolly Parton, 1986. Right wall, left to correct, pinnacle to bottom: Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971; Bruno Bischofberger, 1971; Jed Johnson, c. 1973; Jed Johnson, c. 1973; Jed Johnson, c. 1973; Jed Johnson, c. 1973. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past Artists Rights Society (ARS), New York
Installation view of Andy Warhol – From A to B and Back Again(Whitney Museum of American Fine art, New York, Nov 12, 2018–March 31, 2019). Left wall, left to right, acme to bottom: Truman Capote, 1979; Gianni Versace, 1979–fourscore; Neil Sedaka, 1979; R.C. Gorman, 1979; Berkeley Reinhold, 1979; Carolina Herrera, 1979. Center wall, left to right, pinnacle to lesser: Martha Graham, 1980; Francesco Clemente, 1981; Jean-Michel Basquiat, 1982; Robert Mapplethorpe, 1983; Stephen Sprouse, 1984; Portrait of Emily Fisher Landau, 1984; Douglas Cramer, 1985; Peter Halley, 1986; Suzie Frankfurt, c. 1985; Diamond Grit Joseph Beuys, 1980; Giorgio Armani, 1981; Keith Haring and John Dubose, 1983; Pia Zadora, 1983; Kenny and Zena Scharf, 1984; Teresa and Zena Scharf, 1984; Corice Arman, 1986; Arman, 1986; Debbie Harry, 1980; David Whitney, 1980; Jon Gould, 1981; Cornelia Guest, 1983; Tina Chow, 1983–84; Michael Chow, 1984; Pat Hearn, 1985; Donald Baechler, 1986; Aretha Franklin, 1986; Dolly Parton, 1986. Correct wall, left to correct, summit to bottom: Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
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In the News
"It explores tensions between conformity and innovation, celebrity and privacy, and examines how Warhol expressed commentary and desire in his art."
—PBS News Hour
"A sweeping retrospective shows a personal side of the Pop master — his hopes, fears, faith — and reasserts his ability for a new generation."
—The New York Times
"Information technology can be guaranteed that 'From A to B and Dorsum Again' will prove an inescapable cultural effect. It also promises an equal intellectual bonanza."
—Artforum
"'To humanize Warhol and become people to actually expect at what he made is non as easy as information technology might sound.' Now Ms. De Salvo is tackling that challenge in 'Andy Warhol—From A to B and Dorsum Again,' the first Warhol retrospective organized past a United States museum since 1989."
—The New York Times
"His 15 minutes of fame volition never expire. More than than 350 works make up this major retrospective that spans Warhol'due south entire career from illustrator to popular icon."
—Los Angeles Times
"In November, the Whitney Museum of American Art will feature the showtime U.South. retrospective of Andy Warhol's art in some three decades, in an exhibition that will occupy a great deal of the institution's eight-story, Loftier Line-adjacent building."
—The New Yorker
"De Salvo said she believes that the testify volition inspire viewers to look past the persona that the artist cultivated during his lifetime."
—ARTnews
"What more is there to learn about this deeply superficial artist? The Whitney's vivid curator Donna De Salvo answers the question with the largest Warhol survey e'er, featuring more than than three hundred and fifty works."
—The New Yorker
"Titled 'Andy Warhol — From A to B and Back Over again,' it stars a total cross-section of his epochal creations."
—The New York Times
"The heart of Warhol's idea — that by playing the role of businessman, an artist could plow himself into the latest, living example of a commodification he believed none of us can avoid — was perhaps as revolutionary in its time equally Marcel Duchamp presenting a humble urinal equally sculpture had been in 1917."
—The New York Times
"One of its most groundbreaking aspects will exist the concentration on the least-known time of Warhol's life, the 1950s."
—W Magazine
"All the possible aspects of his 4-decades-long, multilayered practice, meticulously analyzed and presented."
—Widewalls
"Andy is in the air we breathe. Among the most revolutionary artists who e'er lived, Warhol (was) an artist in a country of creative grace feeding on, mirroring, doubling, and actually irresolute the culture he pictured. The Whitney'due south new retrospective…isn't to be missed."
—New York Magazine
"A remarkably handsome and topical show."
—WNYC
"De Salvo aims to offer a unique perspective on his work—a personal one. She looks behind Warhol'south carefully constructed mask to explore how a gay homo raised past Czech immigrants in a Catholic family unit became one of the world'due south most experimental artists."
—Artnet
"The wonderful thing about the Whitney show is that it places Warhol's famous moments alongside the moments y'all have likely never seen or heard of… "
—The Daily Beast
"Information technology'due south all near Andy!...More than three decades subsequently his decease, Warhol's art continues to draw crowds and remains relevant."
—CBS New York
"There are plenty of hits— mediated and sequential images, experiments with abstraction, and Popism on total display."
—Cultured
"The Best Function of the Whitney Warhol Retrospective Might Be His Pre-Fame Drawings of Shoes and Boys."
—Vulture
"The Whitney'due south historic Warhol extravaganza explores bottom-known elements of the Pop artist'southward oeuvre, including his homoerotic drawings and portraits of men in drag from the 1960s."
—Artnet
"Warhol didn't make a marker on American civilisation. He became the musical instrument with which American culture designated itself."
—The New Yorker
"Warhol—a pale, oracular ghost—looms every bit a spiritual father of this media-saturated age."
—The Economist
About the Exhibition
The exhibition positions Warhol's career every bit a continuum, demonstrating that he didn't deadening down after surviving the assassination endeavour that nearly took his life in 1968, but entered into a menses of intense experimentation. The bear witness illuminates the breadth, depth, and interconnectedness of the artist'southward production: from his beginnings as a commercial illustrator in the 1950s, to his iconic Popular masterpieces of the early 1960s, to the experimental piece of work in film and other mediums from the 1960s and 70s, to his innovative use of readymade brainchild and the painterly sublime in the 1980s. His repetitions, distortions, camouflaging, incongruous color, and recycling of his ain imagery challenge our faith in images and the value of cultural icons, anticipating the profound effects and issues of the current digital age.
This is the largest monographic exhibition to date at the Whitney's new location, with more than 350 works of art, many assembled together for the first time.
The exhibition is organized by Donna De Salvo, Deputy Manager for International Initiatives and Senior Curator, with Christie Mitchell, senior curatorial assistant, and Mark Loiacono, curatorial research acquaintance.
The accompanying film program is co-organized with the Andy Warhol Museum, Pittsburgh, and curated past Claire K. Henry, assistant curator.
Leadership support of Andy Warhol—From A to B and Back Again is provided by Kenneth C. Griffin.
Bank of America is the National Bout Sponsor
In New York, exhibition is also sponsored by
Generous support is provided by Neil Thou. Bluhm and Larry Gagosian.
Major back up is provided past The Brown Foundation, Inc., of Houston; Foundation 14; Mr. and Mrs. J. Tomilson Hill; The Horace W. Goldsmith Foundation; the Philip and Janice Levin Foundation; The Thompson Family Foundation, Inc.; and the Whitney's National Committee.
Significant support is provided by the Blavatnik Family Foundation, Lise and Michael Evans, Susan and John Hess, Allison and Warren Kanders, Ashley Leeds and Christopher Harland, the National Endowment for the Arts, Brooke and Daniel Neidich, Per Skarstedt, and anonymous donors.
Additional support is provided past Pecker and Maria Bell, Kemal Has Cingillioglu, Jeffrey Deitch, Andrew J. and Christine C. Hall, Constance and David Littman, the Mugrabi Collection, John and Amy Phelan, Louise and Leonard Riggio, Norman and Melissa Selby, Paul and Gayle Stoffel, Mathew and Ann Wolf, and Sophocles and Silvia Zoullas.
New York Magazine is the exclusive media sponsor.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Support for the catalogue is provided by Acquavella Galleries and the Paul J. Schupf Lifetime Trust.
The opening dinner is sponsored past
Related Exhibition
As well open from Oct 26–December 15, 2018, the Dia Art Foundation presents Andy Warhol, Shadows at 205 West 39th Street, a streetfront infinite in Calvin Klein, Inc.'south headquarters. The installation surrounds the viewer with a series of canvases, presented edge-to-edge around the perimeter of the room, in conformity with Warhol's original vision. Following its New York presentation, the work reopens equally a long-term installation at Dia:Buoy in 2019.
Source: https://whitney.org/exhibitions/andy-warhol
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