News Art Blog

It all started with a video on YouTube. Sometime in 2011, artist Cory Arcangel watched a
video of Andy Warhol painting a digital portrait of singer Debbie Harry in 1985 on a Commodore Amiga 1000 as part of a promotional event for the computer’s release. What happened to that image and the others Warhol made on that computer nearly 30 years ago?, Arcangel wondered. When Arcangel traveled to Pittsburgh later that year for his upcoming exhibition at the Carnegie Museum of Art, he stopped off at the nearby Andy Warhol Museum and asked that very question of the curators. That YouTube video and Arcangel’s curiosity set off a chain of events that led to the recovery of those long-forgotten images from the depths of the digital archives and the tomb of obsolete technology. Compared to what artists such as Arcangel and others can do with modern computer technology today, Warhol’s images (such as his self-portrait, shown above) seem like quaint cave drawings. But there’s still something to be learned from looking at the first foray into a new medium for an already established artist such as Andy Warhol, who may now be seen perhaps as a digital art pioneer. Please come over to Picture This at Big Think to read more of "Andy Warhol, Digital Art Pioneer?"

Michael Jackson proudly wore the crown as the “King of Pop” until his death in 2009. In the visual arts, at least for Americans, Andy Warhol’s ruled as the “King of Pop,” reigning as the prime example of Pop Art for the uninitiated as well as for connoisseurs. Most British (and more than a few American) art lovers, however, see Richard Hamilton as the true “King of Pop” and Warhol as just an upstart usurper to the throne. The Tate Modern’s new exhibition Richard Hamilton, which runs through May 26, 2014, provides not only a
survey of Hamilton’s greatest pop hits, but also a career-long survey that shows how he engaged with popular culture beyond just Warhol-esque celebrity and marketing gestures and got at the heart of what Pop Art should  and could be. Is Richard Hamilton the true “King of Pop”? Please come over to Picture This at Big Think to read more of "Richard Hamilton: The True King of Pop?"

When news came out recently that artist Damien Hirst had ended his long and lucrative relationship with dealer Larry Gagosian and his international chain of Gagosian Galleries, there was more than a presumptive little dancing on the grave of Hirst’s career. It seemed that the man famous for his formaldehyded shark (in 1991’s The Physical Impossibility of Death in the Mind of Someone Living, shown above) was now chum in the art world waters. Esquire’s Stephen Marche not only announced the end of Damien Hirst, but also “the end of art as pure money.” But before we call in the undertakers, let’s undertake an analysis of whether this really is the end of Damien Hirst and the era of “art as pure money” he embodied. Please come over to Picture This at Big Think to read more of "Is This the End of Damien Hirst?"

[Image: Damien Hirst. The Physical Impossibility of Death in the Mind of Someone Living, 1991.]

“[I]t was here that I found a scene that did not exist elsewhere. I suppose I was like a child in a sweet shop. The California beach was like heaven,” British painter David Hockney says in Christopher Simon Sykes’ David Hockney: A Rake’s Progress: The Biography, 1937-1975. The first volume of a proposed two-part biography, Sykes’ first volume follows Hockney—perhaps the most canonically accepted artist alive today—from his humble beginnings in Bradford huddling with his family from the “blitz” to his ascent in the art world and discovery of love and inspiration in a Californian paradise. Written with Hockney’s authorization and cooperation, but not his endorsement, David Hockney: A Rake’s Progress might be the final gesture that cements Hockney’s proper place in the art history pantheon. Please come over to Picture This at Big Think to read more of "British Artist David Hockney’s CaliforniaDreaming."


[Image: David Hockney. A Bigger Splash(detail), 1967.]