Instagram Story Viewer
View Instagram Stories Anonymously
warholfoundation
The Andy Warhol Foundation
Established by Andy Warhol.
Advancing the visual arts since 1987.
Now on view at #WarholGrantee Tri-Star Arts is a two person exhibition "Looking At Looking Through," featuring recent works by Linda King Ferguson and Alex Lopez.
Linda King Ferguson thinks of her abstract paintings as social bodies defined by relational determinants. Through a material language of open and closed forms, color gradients, surface depths, and spatial proximities she explores the subjectivity of vulnerability and strength.
Lopez's current work is influenced by meteorological mapping that uses polygons to precisely track and identify localized severe storms, thereby reducing risk. These images are processed, layered, and then minimized or redacted to lessen the psychological impact of the events.
The Foundation supports Tri-Star Arts for nuturing creative practice and increaing visibility of artists across the state of Tennessee.
.
1.Linda King Ferguson, Equivalence 13, 2013. Acrylic and acrylic wash on cut linen, 24” x 24”.
2. Alex Lopez, Untitled SS 2_ YYSF, 2026. Steel, colored plexiglass, paint, 16” x 24” x 25”.
.
.
.
@linda_king_ferguson #LindaKingFerguson @alexlopez_arts #AlexLopez @TriStar_Arts #TriStarArts #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #abstraction #AbstractArt @CandoroMarbleBuilding
Now on view at #WarholGrantee Tri-Star Arts is a two person exhibition "Looking At Looking Through," featuring recent works by Linda King Ferguson and Alex Lopez.
Linda King Ferguson thinks of her abstract paintings as social bodies defined by relational determinants. Through a material language of open and closed forms, color gradients, surface depths, and spatial proximities she explores the subjectivity of vulnerability and strength.
Lopez's current work is influenced by meteorological mapping that uses polygons to precisely track and identify localized severe storms, thereby reducing risk. These images are processed, layered, and then minimized or redacted to lessen the psychological impact of the events.
The Foundation supports Tri-Star Arts for nuturing creative practice and increaing visibility of artists across the state of Tennessee.
.
1.Linda King Ferguson, Equivalence 13, 2013. Acrylic and acrylic wash on cut linen, 24” x 24”.
2. Alex Lopez, Untitled SS 2_ YYSF, 2026. Steel, colored plexiglass, paint, 16” x 24” x 25”.
.
.
.
@linda_king_ferguson #LindaKingFerguson @alexlopez_arts #AlexLopez @TriStar_Arts #TriStarArts #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #abstraction #AbstractArt @CandoroMarbleBuilding
#WarholGrantee DePaul Art Museum's current exhibition "Rose Obsolete" is the first solo museum presentation of Chicago-based artist Alice Tippit. Tippit's paintings and works on paper generate multiple layers of meaning through poetic techniques like metaphor, serving as indirect references rather than clear, straightforward representations. The images in Tippit’s paintings float between the familiar and the enigmatic––recognizable forms and shapes are removed from any clear context or obvious meaning. Included in this exhibition are a selection of Tippit’s works from the past ten years as well as new commissioned works.
The Foundation supports DePaul Art Museum for the important role it plays by fostering dialogues between regional and international communities, and engaging with both legacies and futures of communities within Chicago.
.
1. Alice Tippit, Oubliette, 2023. Oil on canvas.
2. Alice Tippit, Share, 2022. Oil on canvas, 20 x 18 in.
3. Alice Tippit, Monitor, 2015. Oil on canvas
.
.
.
@AliceTippit #AliceTippit @DePaulArtMuseum #DePaulArtMuseum #WarholFoundation#AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Painting #Form #Shape
#WarholGrantee DePaul Art Museum's current exhibition "Rose Obsolete" is the first solo museum presentation of Chicago-based artist Alice Tippit. Tippit's paintings and works on paper generate multiple layers of meaning through poetic techniques like metaphor, serving as indirect references rather than clear, straightforward representations. The images in Tippit’s paintings float between the familiar and the enigmatic––recognizable forms and shapes are removed from any clear context or obvious meaning. Included in this exhibition are a selection of Tippit’s works from the past ten years as well as new commissioned works.
The Foundation supports DePaul Art Museum for the important role it plays by fostering dialogues between regional and international communities, and engaging with both legacies and futures of communities within Chicago.
.
1. Alice Tippit, Oubliette, 2023. Oil on canvas.
2. Alice Tippit, Share, 2022. Oil on canvas, 20 x 18 in.
3. Alice Tippit, Monitor, 2015. Oil on canvas
.
.
.
@AliceTippit #AliceTippit @DePaulArtMuseum #DePaulArtMuseum #WarholFoundation#AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Painting #Form #Shape
#WarholGrantee DePaul Art Museum's current exhibition "Rose Obsolete" is the first solo museum presentation of Chicago-based artist Alice Tippit. Tippit's paintings and works on paper generate multiple layers of meaning through poetic techniques like metaphor, serving as indirect references rather than clear, straightforward representations. The images in Tippit’s paintings float between the familiar and the enigmatic––recognizable forms and shapes are removed from any clear context or obvious meaning. Included in this exhibition are a selection of Tippit’s works from the past ten years as well as new commissioned works.
The Foundation supports DePaul Art Museum for the important role it plays by fostering dialogues between regional and international communities, and engaging with both legacies and futures of communities within Chicago.
.
1. Alice Tippit, Oubliette, 2023. Oil on canvas.
2. Alice Tippit, Share, 2022. Oil on canvas, 20 x 18 in.
3. Alice Tippit, Monitor, 2015. Oil on canvas
.
.
.
@AliceTippit #AliceTippit @DePaulArtMuseum #DePaulArtMuseum #WarholFoundation#AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Painting #Form #Shape
Steven Arnold: Cocktails in Heaven," on view at #WarholGrantee Del Vaz Projects through June 6th, is an exhibition, publication, and public programming series exploring the life and legacy of the Oakland-born, Los Angeles-based queer artist Steven Arnold. Arnold's kaleidoscopic practice spanned drawing, sculpture, painting, printmaking, costuming, set design, art direction, theater, film, and photography. The exhibition, created in collaboration with the Steven Arnold Museum & Archives, charts Arnold’s odyssey through the countercultural movements of the twentieth century and investigates the individuals, philosophies, and aesthetics that collectively influenced his world-building practice.
The Foundation supports Del Vaz Projects for its commitment to collaborate with artists across generations and geographies to manifest projects in its space and throughout Los Angeles’ cultural and historical institution, infusing diverse environments with a sense of collective intimacy, intellectual inquiry, and expressive invention.
.
1. Steven Arnold, Snail Man, 1988. Silver gelatin photograph, 14 x 14 in.
2. Steven Arnold, Death of Simplicity, 1984. Silver gelatin photograph on museum board, 7 ¾x 7 13/16 in.
3. Steven Arnold, Birthing in Madripoor (Gestation), 1985. Silver gelatin print, 14 x 14 in.
.
.
.
@StevenArnoldArchive #StevenArnold @DelVazProjects #DelVazProjects @OrrinWhalen #OrrinWhalen @OneArchivesUSC #OneArchiives #WarholFoundation #AndyWarhol #Warhol #Philanthropy #Installation #Photography #collage #Archives #QueerArtist
Steven Arnold: Cocktails in Heaven," on view at #WarholGrantee Del Vaz Projects through June 6th, is an exhibition, publication, and public programming series exploring the life and legacy of the Oakland-born, Los Angeles-based queer artist Steven Arnold. Arnold's kaleidoscopic practice spanned drawing, sculpture, painting, printmaking, costuming, set design, art direction, theater, film, and photography. The exhibition, created in collaboration with the Steven Arnold Museum & Archives, charts Arnold’s odyssey through the countercultural movements of the twentieth century and investigates the individuals, philosophies, and aesthetics that collectively influenced his world-building practice.
The Foundation supports Del Vaz Projects for its commitment to collaborate with artists across generations and geographies to manifest projects in its space and throughout Los Angeles’ cultural and historical institution, infusing diverse environments with a sense of collective intimacy, intellectual inquiry, and expressive invention.
.
1. Steven Arnold, Snail Man, 1988. Silver gelatin photograph, 14 x 14 in.
2. Steven Arnold, Death of Simplicity, 1984. Silver gelatin photograph on museum board, 7 ¾x 7 13/16 in.
3. Steven Arnold, Birthing in Madripoor (Gestation), 1985. Silver gelatin print, 14 x 14 in.
.
.
.
@StevenArnoldArchive #StevenArnold @DelVazProjects #DelVazProjects @OrrinWhalen #OrrinWhalen @OneArchivesUSC #OneArchiives #WarholFoundation #AndyWarhol #Warhol #Philanthropy #Installation #Photography #collage #Archives #QueerArtist
Steven Arnold: Cocktails in Heaven," on view at #WarholGrantee Del Vaz Projects through June 6th, is an exhibition, publication, and public programming series exploring the life and legacy of the Oakland-born, Los Angeles-based queer artist Steven Arnold. Arnold's kaleidoscopic practice spanned drawing, sculpture, painting, printmaking, costuming, set design, art direction, theater, film, and photography. The exhibition, created in collaboration with the Steven Arnold Museum & Archives, charts Arnold’s odyssey through the countercultural movements of the twentieth century and investigates the individuals, philosophies, and aesthetics that collectively influenced his world-building practice.
The Foundation supports Del Vaz Projects for its commitment to collaborate with artists across generations and geographies to manifest projects in its space and throughout Los Angeles’ cultural and historical institution, infusing diverse environments with a sense of collective intimacy, intellectual inquiry, and expressive invention.
.
1. Steven Arnold, Snail Man, 1988. Silver gelatin photograph, 14 x 14 in.
2. Steven Arnold, Death of Simplicity, 1984. Silver gelatin photograph on museum board, 7 ¾x 7 13/16 in.
3. Steven Arnold, Birthing in Madripoor (Gestation), 1985. Silver gelatin print, 14 x 14 in.
.
.
.
@StevenArnoldArchive #StevenArnold @DelVazProjects #DelVazProjects @OrrinWhalen #OrrinWhalen @OneArchivesUSC #OneArchiives #WarholFoundation #AndyWarhol #Warhol #Philanthropy #Installation #Photography #collage #Archives #QueerArtist
The #WarholFoundation funded exhibition, “Firelei Baez”, now on view at the Museum of Contemporary Art Chicago through May 31st, is the first North America survey of Dominican Republic-born, multidisciplinary artist, Firelei Baez. Drawing on the disciplines of anthropology, geography, folklore, fantasy, science fiction, and social history, Baez disrupts fixed notions of race, gender, and nationality. The artist’s paintings feature layered uses of pattern, decoration, and saturated color, frequently combining gestural mark-making with precise draftsmanship and often featuring maps mase during colonial rule of the Americas. Baez’s considerations of hybridity, alternate histories and proposed futures are elevated even further in her installations that create three dimensional multisensory environments.
Organized by the Institute of Contemporary Art Boston, the Foundation supports this exhibition for highlighting the work of an artist whose explorations of abstraction and figuration within the politics of race, national identity, and cultural heritage has made her work increasingly resonant in conversations on the power of contemporary art to articulate alternative histories.
.
1. Firelei Báez, Untitled (Les tables de géographie réduites en un jeu de cartes), 2022. Oil, acrylic, and inkjet on canvas. 82 3/8 × 105 ¾in. ©Firelei Báez
2. Firelei Báez, Adjusting the Moon (The right to non-imperative clarities): Waxing, 2019–20. Oil and acrylic on panel. 114 × 78 × 1 ½in. ©Firelei Báez
3. Firelei Báez, Untitled (Temple of Time), 2020. Oil, acrylic, and inkjet on canvas. 94 ½ × 132 3/8 × 1 5/8 in. ©Firelei Báez
.
.
.
@FireleiBaez #FireleiBaez @MCAChicago #MCAChicago @ICABoston #InstituteofContemporaryArt #ICABoston #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Contemporarypainting #DominicanArtist #MultidisciplinaryArtist
The #WarholFoundation funded exhibition, “Firelei Baez”, now on view at the Museum of Contemporary Art Chicago through May 31st, is the first North America survey of Dominican Republic-born, multidisciplinary artist, Firelei Baez. Drawing on the disciplines of anthropology, geography, folklore, fantasy, science fiction, and social history, Baez disrupts fixed notions of race, gender, and nationality. The artist’s paintings feature layered uses of pattern, decoration, and saturated color, frequently combining gestural mark-making with precise draftsmanship and often featuring maps mase during colonial rule of the Americas. Baez’s considerations of hybridity, alternate histories and proposed futures are elevated even further in her installations that create three dimensional multisensory environments.
Organized by the Institute of Contemporary Art Boston, the Foundation supports this exhibition for highlighting the work of an artist whose explorations of abstraction and figuration within the politics of race, national identity, and cultural heritage has made her work increasingly resonant in conversations on the power of contemporary art to articulate alternative histories.
.
1. Firelei Báez, Untitled (Les tables de géographie réduites en un jeu de cartes), 2022. Oil, acrylic, and inkjet on canvas. 82 3/8 × 105 ¾in. ©Firelei Báez
2. Firelei Báez, Adjusting the Moon (The right to non-imperative clarities): Waxing, 2019–20. Oil and acrylic on panel. 114 × 78 × 1 ½in. ©Firelei Báez
3. Firelei Báez, Untitled (Temple of Time), 2020. Oil, acrylic, and inkjet on canvas. 94 ½ × 132 3/8 × 1 5/8 in. ©Firelei Báez
.
.
.
@FireleiBaez #FireleiBaez @MCAChicago #MCAChicago @ICABoston #InstituteofContemporaryArt #ICABoston #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Contemporarypainting #DominicanArtist #MultidisciplinaryArtist
The #WarholFoundation funded exhibition, “Firelei Baez”, now on view at the Museum of Contemporary Art Chicago through May 31st, is the first North America survey of Dominican Republic-born, multidisciplinary artist, Firelei Baez. Drawing on the disciplines of anthropology, geography, folklore, fantasy, science fiction, and social history, Baez disrupts fixed notions of race, gender, and nationality. The artist’s paintings feature layered uses of pattern, decoration, and saturated color, frequently combining gestural mark-making with precise draftsmanship and often featuring maps mase during colonial rule of the Americas. Baez’s considerations of hybridity, alternate histories and proposed futures are elevated even further in her installations that create three dimensional multisensory environments.
Organized by the Institute of Contemporary Art Boston, the Foundation supports this exhibition for highlighting the work of an artist whose explorations of abstraction and figuration within the politics of race, national identity, and cultural heritage has made her work increasingly resonant in conversations on the power of contemporary art to articulate alternative histories.
.
1. Firelei Báez, Untitled (Les tables de géographie réduites en un jeu de cartes), 2022. Oil, acrylic, and inkjet on canvas. 82 3/8 × 105 ¾in. ©Firelei Báez
2. Firelei Báez, Adjusting the Moon (The right to non-imperative clarities): Waxing, 2019–20. Oil and acrylic on panel. 114 × 78 × 1 ½in. ©Firelei Báez
3. Firelei Báez, Untitled (Temple of Time), 2020. Oil, acrylic, and inkjet on canvas. 94 ½ × 132 3/8 × 1 5/8 in. ©Firelei Báez
.
.
.
@FireleiBaez #FireleiBaez @MCAChicago #MCAChicago @ICABoston #InstituteofContemporaryArt #ICABoston #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Contemporarypainting #DominicanArtist #MultidisciplinaryArtist
#PhilosophyFriday
“The nicer I am, the more people think I’m lying.” –Andy Warhol
.
Andy Warhol, Self-portrait, 1978. Photographic reproduction from 35mm negative. ©The Andy Warhol Foundation for the Visual Arts, Inc.
.
.
.
#AndyWarhol #Warhol #WarholFoundation #Photography #Blackandwhitephotography #selfportrait #1970s
On view through June 6 at #WarholGrantee Visual Studies Workshop is "Signal into Memory" an exhibition thattraces the origins of video artist Peer Bode’s inquiry into the electronic signal as both a source and a substance in the video field, decoding the nature of video art and its ongoing impact as an interactive social system.
In a career spanning over five decades, Bode has created an extensive body of work that investigates electronic media events, active perception systems and the cultural impact of media tools and technologies. His earliest works were made at the Experimental Television Center, where he worked with video processing tools and innovative engineers to expand upon the possibilities within the emerging field of video. This exhibition features an extended selection of Bode’s “Process Tapes”, many of which were recorded as real time events at the Experimental Television Center between 1975-83.
The Foundation supports Visual Studies Workshop for nurturing experimental and expansive approaches to photography and media arts, and building community among artists and the public through exhibitions, publications and residencies.
.
1. Peer Bode, Pieces (Nov. 15, 1975), 1975 (still). Video Camera, Video camera monitor rescan, Paik Abe six channel Colorizer, Tektronix industrial Oscillators.
2. Peer Bode: Signal Into Memory, installation view. ©Visual Studies Workshop. Works pictured include (Left to Right): [on CRT monitor] Computer Tape #1, 1977; [projected on wall] Oscillator Deflections with sound, 1975
3. Peer Bode, Camel with Window Memory Two, 1986|2003. Digital print, 48 x 36 inches.
4. Peer Bode: Signal Into Memory, installation view. ©Visual Studies Workshop. Works Pictured: Locating Interface (Cup), 1975.
.
.
.
@BodePeer #PeerBode @VisualStudiesWorkshop #VisualStudiesWorkshop #WarholFoundation #AndyWarhol #Warhol #Philanthropy #VideoArt #Media #Experimental #ElectronicMedia #ExperimentalTelevisionCenter
On view through June 6 at #WarholGrantee Visual Studies Workshop is "Signal into Memory" an exhibition thattraces the origins of video artist Peer Bode’s inquiry into the electronic signal as both a source and a substance in the video field, decoding the nature of video art and its ongoing impact as an interactive social system.
In a career spanning over five decades, Bode has created an extensive body of work that investigates electronic media events, active perception systems and the cultural impact of media tools and technologies. His earliest works were made at the Experimental Television Center, where he worked with video processing tools and innovative engineers to expand upon the possibilities within the emerging field of video. This exhibition features an extended selection of Bode’s “Process Tapes”, many of which were recorded as real time events at the Experimental Television Center between 1975-83.
The Foundation supports Visual Studies Workshop for nurturing experimental and expansive approaches to photography and media arts, and building community among artists and the public through exhibitions, publications and residencies.
.
1. Peer Bode, Pieces (Nov. 15, 1975), 1975 (still). Video Camera, Video camera monitor rescan, Paik Abe six channel Colorizer, Tektronix industrial Oscillators.
2. Peer Bode: Signal Into Memory, installation view. ©Visual Studies Workshop. Works pictured include (Left to Right): [on CRT monitor] Computer Tape #1, 1977; [projected on wall] Oscillator Deflections with sound, 1975
3. Peer Bode, Camel with Window Memory Two, 1986|2003. Digital print, 48 x 36 inches.
4. Peer Bode: Signal Into Memory, installation view. ©Visual Studies Workshop. Works Pictured: Locating Interface (Cup), 1975.
.
.
.
@BodePeer #PeerBode @VisualStudiesWorkshop #VisualStudiesWorkshop #WarholFoundation #AndyWarhol #Warhol #Philanthropy #VideoArt #Media #Experimental #ElectronicMedia #ExperimentalTelevisionCenter
On view through June 6 at #WarholGrantee Visual Studies Workshop is "Signal into Memory" an exhibition thattraces the origins of video artist Peer Bode’s inquiry into the electronic signal as both a source and a substance in the video field, decoding the nature of video art and its ongoing impact as an interactive social system.
In a career spanning over five decades, Bode has created an extensive body of work that investigates electronic media events, active perception systems and the cultural impact of media tools and technologies. His earliest works were made at the Experimental Television Center, where he worked with video processing tools and innovative engineers to expand upon the possibilities within the emerging field of video. This exhibition features an extended selection of Bode’s “Process Tapes”, many of which were recorded as real time events at the Experimental Television Center between 1975-83.
The Foundation supports Visual Studies Workshop for nurturing experimental and expansive approaches to photography and media arts, and building community among artists and the public through exhibitions, publications and residencies.
.
1. Peer Bode, Pieces (Nov. 15, 1975), 1975 (still). Video Camera, Video camera monitor rescan, Paik Abe six channel Colorizer, Tektronix industrial Oscillators.
2. Peer Bode: Signal Into Memory, installation view. ©Visual Studies Workshop. Works pictured include (Left to Right): [on CRT monitor] Computer Tape #1, 1977; [projected on wall] Oscillator Deflections with sound, 1975
3. Peer Bode, Camel with Window Memory Two, 1986|2003. Digital print, 48 x 36 inches.
4. Peer Bode: Signal Into Memory, installation view. ©Visual Studies Workshop. Works Pictured: Locating Interface (Cup), 1975.
.
.
.
@BodePeer #PeerBode @VisualStudiesWorkshop #VisualStudiesWorkshop #WarholFoundation #AndyWarhol #Warhol #Philanthropy #VideoArt #Media #Experimental #ElectronicMedia #ExperimentalTelevisionCenter
On view through June 6 at #WarholGrantee Visual Studies Workshop is "Signal into Memory" an exhibition thattraces the origins of video artist Peer Bode’s inquiry into the electronic signal as both a source and a substance in the video field, decoding the nature of video art and its ongoing impact as an interactive social system.
In a career spanning over five decades, Bode has created an extensive body of work that investigates electronic media events, active perception systems and the cultural impact of media tools and technologies. His earliest works were made at the Experimental Television Center, where he worked with video processing tools and innovative engineers to expand upon the possibilities within the emerging field of video. This exhibition features an extended selection of Bode’s “Process Tapes”, many of which were recorded as real time events at the Experimental Television Center between 1975-83.
The Foundation supports Visual Studies Workshop for nurturing experimental and expansive approaches to photography and media arts, and building community among artists and the public through exhibitions, publications and residencies.
.
1. Peer Bode, Pieces (Nov. 15, 1975), 1975 (still). Video Camera, Video camera monitor rescan, Paik Abe six channel Colorizer, Tektronix industrial Oscillators.
2. Peer Bode: Signal Into Memory, installation view. ©Visual Studies Workshop. Works pictured include (Left to Right): [on CRT monitor] Computer Tape #1, 1977; [projected on wall] Oscillator Deflections with sound, 1975
3. Peer Bode, Camel with Window Memory Two, 1986|2003. Digital print, 48 x 36 inches.
4. Peer Bode: Signal Into Memory, installation view. ©Visual Studies Workshop. Works Pictured: Locating Interface (Cup), 1975.
.
.
.
@BodePeer #PeerBode @VisualStudiesWorkshop #VisualStudiesWorkshop #WarholFoundation #AndyWarhol #Warhol #Philanthropy #VideoArt #Media #Experimental #ElectronicMedia #ExperimentalTelevisionCenter
#WarholWednesday
In 1964, Warhol was commissioned by John and Dominique de Menil to create a new film with spiritual significance. Although he captured numerous sunsets throughout the country, he ultimately abandoned the project stating, “I filmed so many sunsets for that project, but I never got one that satisfied me.” The incomplete film depicts a sunset over the Pacific Ocean, transitioning from atmospheric light to dusk while Nico's husky voice recites poetry, off-camera.
In 1972, Warhol was commissioned by the architecture firm Johnson & Burgee to make works for the Hotel Marquette in Minneapolis. His suite of prints entitled “Sunset” used three screens—one to apply the background bands of color, one for the sun itself, and one with a single-color dot pattern. 472 of the prints were used in the hotel, while 160 were assembled into forty unique portfolios of four prints.
In the mid-1980s, Warhol was asked to create menu covers and wine labels for Spago, a restaurant owned by Wolfgang Puck in LA. The image used for Spago shows a picturesque sunset along a shoreline, depicted in Warhol’s signature pop colors, with several working versions incorporating elements of a collage which were first seen in his “Ladies and Gentlemen” series from 1975.
These depictions of a sunset diverge from Warhol’s more recognizable subjects associated with consumer culture and celebrity. Instead, the sunsets focus on a natural phenomenon which invites viewers to contemplate the beauty and transience of nature while simultaneously exploring the aesthetic possibilities of color and form.
.
1. Andy Warhol, Sunset, 1972. Screenprint on paper, 36 ¾ x 35 1/8 in.
2. Andy Warhol, Sunset, 1972. Screenprint on paper, dimensions vary.
3. Andy Warhol, Sunset, 1967. Film still.
4. Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in
.
5. Andy Warhol, Sunset, mid-1980s. Screenprint and colored art paper collage on board, 43 1/8 x 30 ½ in (top two and lower left). Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in (lower right).
.
.
.
#WarholWednesday
In 1964, Warhol was commissioned by John and Dominique de Menil to create a new film with spiritual significance. Although he captured numerous sunsets throughout the country, he ultimately abandoned the project stating, “I filmed so many sunsets for that project, but I never got one that satisfied me.” The incomplete film depicts a sunset over the Pacific Ocean, transitioning from atmospheric light to dusk while Nico's husky voice recites poetry, off-camera.
In 1972, Warhol was commissioned by the architecture firm Johnson & Burgee to make works for the Hotel Marquette in Minneapolis. His suite of prints entitled “Sunset” used three screens—one to apply the background bands of color, one for the sun itself, and one with a single-color dot pattern. 472 of the prints were used in the hotel, while 160 were assembled into forty unique portfolios of four prints.
In the mid-1980s, Warhol was asked to create menu covers and wine labels for Spago, a restaurant owned by Wolfgang Puck in LA. The image used for Spago shows a picturesque sunset along a shoreline, depicted in Warhol’s signature pop colors, with several working versions incorporating elements of a collage which were first seen in his “Ladies and Gentlemen” series from 1975.
These depictions of a sunset diverge from Warhol’s more recognizable subjects associated with consumer culture and celebrity. Instead, the sunsets focus on a natural phenomenon which invites viewers to contemplate the beauty and transience of nature while simultaneously exploring the aesthetic possibilities of color and form.
.
1. Andy Warhol, Sunset, 1972. Screenprint on paper, 36 ¾ x 35 1/8 in.
2. Andy Warhol, Sunset, 1972. Screenprint on paper, dimensions vary.
3. Andy Warhol, Sunset, 1967. Film still.
4. Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in
.
5. Andy Warhol, Sunset, mid-1980s. Screenprint and colored art paper collage on board, 43 1/8 x 30 ½ in (top two and lower left). Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in (lower right).
.
.
.
#WarholWednesday
In 1964, Warhol was commissioned by John and Dominique de Menil to create a new film with spiritual significance. Although he captured numerous sunsets throughout the country, he ultimately abandoned the project stating, “I filmed so many sunsets for that project, but I never got one that satisfied me.” The incomplete film depicts a sunset over the Pacific Ocean, transitioning from atmospheric light to dusk while Nico's husky voice recites poetry, off-camera.
In 1972, Warhol was commissioned by the architecture firm Johnson & Burgee to make works for the Hotel Marquette in Minneapolis. His suite of prints entitled “Sunset” used three screens—one to apply the background bands of color, one for the sun itself, and one with a single-color dot pattern. 472 of the prints were used in the hotel, while 160 were assembled into forty unique portfolios of four prints.
In the mid-1980s, Warhol was asked to create menu covers and wine labels for Spago, a restaurant owned by Wolfgang Puck in LA. The image used for Spago shows a picturesque sunset along a shoreline, depicted in Warhol’s signature pop colors, with several working versions incorporating elements of a collage which were first seen in his “Ladies and Gentlemen” series from 1975.
These depictions of a sunset diverge from Warhol’s more recognizable subjects associated with consumer culture and celebrity. Instead, the sunsets focus on a natural phenomenon which invites viewers to contemplate the beauty and transience of nature while simultaneously exploring the aesthetic possibilities of color and form.
.
1. Andy Warhol, Sunset, 1972. Screenprint on paper, 36 ¾ x 35 1/8 in.
2. Andy Warhol, Sunset, 1972. Screenprint on paper, dimensions vary.
3. Andy Warhol, Sunset, 1967. Film still.
4. Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in
.
5. Andy Warhol, Sunset, mid-1980s. Screenprint and colored art paper collage on board, 43 1/8 x 30 ½ in (top two and lower left). Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in (lower right).
.
.
.
#WarholWednesday
In 1964, Warhol was commissioned by John and Dominique de Menil to create a new film with spiritual significance. Although he captured numerous sunsets throughout the country, he ultimately abandoned the project stating, “I filmed so many sunsets for that project, but I never got one that satisfied me.” The incomplete film depicts a sunset over the Pacific Ocean, transitioning from atmospheric light to dusk while Nico's husky voice recites poetry, off-camera.
In 1972, Warhol was commissioned by the architecture firm Johnson & Burgee to make works for the Hotel Marquette in Minneapolis. His suite of prints entitled “Sunset” used three screens—one to apply the background bands of color, one for the sun itself, and one with a single-color dot pattern. 472 of the prints were used in the hotel, while 160 were assembled into forty unique portfolios of four prints.
In the mid-1980s, Warhol was asked to create menu covers and wine labels for Spago, a restaurant owned by Wolfgang Puck in LA. The image used for Spago shows a picturesque sunset along a shoreline, depicted in Warhol’s signature pop colors, with several working versions incorporating elements of a collage which were first seen in his “Ladies and Gentlemen” series from 1975.
These depictions of a sunset diverge from Warhol’s more recognizable subjects associated with consumer culture and celebrity. Instead, the sunsets focus on a natural phenomenon which invites viewers to contemplate the beauty and transience of nature while simultaneously exploring the aesthetic possibilities of color and form.
.
1. Andy Warhol, Sunset, 1972. Screenprint on paper, 36 ¾ x 35 1/8 in.
2. Andy Warhol, Sunset, 1972. Screenprint on paper, dimensions vary.
3. Andy Warhol, Sunset, 1967. Film still.
4. Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in
.
5. Andy Warhol, Sunset, mid-1980s. Screenprint and colored art paper collage on board, 43 1/8 x 30 ½ in (top two and lower left). Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in (lower right).
.
.
.
#WarholWednesday
In 1964, Warhol was commissioned by John and Dominique de Menil to create a new film with spiritual significance. Although he captured numerous sunsets throughout the country, he ultimately abandoned the project stating, “I filmed so many sunsets for that project, but I never got one that satisfied me.” The incomplete film depicts a sunset over the Pacific Ocean, transitioning from atmospheric light to dusk while Nico's husky voice recites poetry, off-camera.
In 1972, Warhol was commissioned by the architecture firm Johnson & Burgee to make works for the Hotel Marquette in Minneapolis. His suite of prints entitled “Sunset” used three screens—one to apply the background bands of color, one for the sun itself, and one with a single-color dot pattern. 472 of the prints were used in the hotel, while 160 were assembled into forty unique portfolios of four prints.
In the mid-1980s, Warhol was asked to create menu covers and wine labels for Spago, a restaurant owned by Wolfgang Puck in LA. The image used for Spago shows a picturesque sunset along a shoreline, depicted in Warhol’s signature pop colors, with several working versions incorporating elements of a collage which were first seen in his “Ladies and Gentlemen” series from 1975.
These depictions of a sunset diverge from Warhol’s more recognizable subjects associated with consumer culture and celebrity. Instead, the sunsets focus on a natural phenomenon which invites viewers to contemplate the beauty and transience of nature while simultaneously exploring the aesthetic possibilities of color and form.
.
1. Andy Warhol, Sunset, 1972. Screenprint on paper, 36 ¾ x 35 1/8 in.
2. Andy Warhol, Sunset, 1972. Screenprint on paper, dimensions vary.
3. Andy Warhol, Sunset, 1967. Film still.
4. Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in
.
5. Andy Warhol, Sunset, mid-1980s. Screenprint and colored art paper collage on board, 43 1/8 x 30 ½ in (top two and lower left). Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in (lower right).
.
.
.
The #WarholFoundation funded “Carmen Lomas Garza: Picturing the Familiar,” on view at Arizone State University (ASU) Art Museum, is the first major exhibition devoted to artist, activist and educator Carmen Lomas Garza since 2001. Bringing fresh insight to her expansive career, the exhibition follows Garza’s work across media. It also situates her practice within a broader cultural landscape, featuring works by contemporaries who collaborated with or influenced her at pivotal moments.Organized chronologically and shaped by thematic groupings, the exhibition traces Garza’s artistic evolution from the 1960s through the mid-2000s.
The Foundation supports ASU Art Museum for its delivery of critical, culturally responsive exhibitions and events that more accurately engage and reflect the population and artists of the Southwest.
.
1. Carmen Lomas Garza, The Fighters, Las Peleoneras, 1988. Color lithograph on paper, 32½ x39½ inches.
2. Carmen Lomas Garza, Cumpleaños de Lala y Tudi (birthday party for Lala and Tudi), 2003. Oil on canvas, 36 x 48 inches.
..
.
.
#CarmenLomasGarza @Alana__Hernandez @ASUArtMuseum #ASUArtMuseum #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Artist #Educator #Activist #latinxartist #ChicanaArtist #NarativeArt
The #WarholFoundation funded “Carmen Lomas Garza: Picturing the Familiar,” on view at Arizone State University (ASU) Art Museum, is the first major exhibition devoted to artist, activist and educator Carmen Lomas Garza since 2001. Bringing fresh insight to her expansive career, the exhibition follows Garza’s work across media. It also situates her practice within a broader cultural landscape, featuring works by contemporaries who collaborated with or influenced her at pivotal moments.Organized chronologically and shaped by thematic groupings, the exhibition traces Garza’s artistic evolution from the 1960s through the mid-2000s.
The Foundation supports ASU Art Museum for its delivery of critical, culturally responsive exhibitions and events that more accurately engage and reflect the population and artists of the Southwest.
.
1. Carmen Lomas Garza, The Fighters, Las Peleoneras, 1988. Color lithograph on paper, 32½ x39½ inches.
2. Carmen Lomas Garza, Cumpleaños de Lala y Tudi (birthday party for Lala and Tudi), 2003. Oil on canvas, 36 x 48 inches.
..
.
.
#CarmenLomasGarza @Alana__Hernandez @ASUArtMuseum #ASUArtMuseum #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Artist #Educator #Activist #latinxartist #ChicanaArtist #NarativeArt
#WarholGrantee the Buffalo Institute for Contemporary Art's (BICA) current exhibition "Emma Safir: Passionate Wretch" brings together two new bodies of work by the artist that tarry at the boundaries of privacy and presentation, interiority and reflection, temptation and rejection. Safir photographs textures—fences, blinds, water, leaves, fabric—and then physically works against them. Printed onto gauzy, semi-transparent fabrics, Safir smocks, beads, or upholsters the images over sculptural forms, burying them beneath layers of accumulated handiwork until they function less as pictures than as surfaces.
The Foundation supports BICA for contributing greatly to the cultural scene of Western New York by following the lead of artists and giving a platform to emerging writers and curators.
.
1. Emma Safir, VEILCHENBLAU (VIOLET BLUE), 2025. Digitally printed silk, pewter, mirrored glass beads, reflective thread, neoprene, ochre oxide pigment, 31 x 24.5 x 2 inches
2. Emma Safir, BABY DARLING, 2025. Digitally printed silk, pewter, mirrored glass beads, reflective thread, neoprene, ochre oxide pigment, 33 × 21 × 2 inches.
3. Emma Safir, PINOCCHIO SEEDLINGFASHION, 2025. Digitally printed silk, pewter, silk screen, tulle, mirrored glass beads, reflective thread, neoprene, ochre oxide pigment, 30 x 22 x 2 inches
.
.
.
@grem.jpg #EmmaSafir @BICA.Buffalo #BICA #WarholFoundation #AndyWarhol #Warhol #Philanthropy #contemporaryart #Textiles #Photographic #Sculpture #Painting #Mixedmedia #PassionateWretch
#WarholGrantee the Buffalo Institute for Contemporary Art's (BICA) current exhibition "Emma Safir: Passionate Wretch" brings together two new bodies of work by the artist that tarry at the boundaries of privacy and presentation, interiority and reflection, temptation and rejection. Safir photographs textures—fences, blinds, water, leaves, fabric—and then physically works against them. Printed onto gauzy, semi-transparent fabrics, Safir smocks, beads, or upholsters the images over sculptural forms, burying them beneath layers of accumulated handiwork until they function less as pictures than as surfaces.
The Foundation supports BICA for contributing greatly to the cultural scene of Western New York by following the lead of artists and giving a platform to emerging writers and curators.
.
1. Emma Safir, VEILCHENBLAU (VIOLET BLUE), 2025. Digitally printed silk, pewter, mirrored glass beads, reflective thread, neoprene, ochre oxide pigment, 31 x 24.5 x 2 inches
2. Emma Safir, BABY DARLING, 2025. Digitally printed silk, pewter, mirrored glass beads, reflective thread, neoprene, ochre oxide pigment, 33 × 21 × 2 inches.
3. Emma Safir, PINOCCHIO SEEDLINGFASHION, 2025. Digitally printed silk, pewter, silk screen, tulle, mirrored glass beads, reflective thread, neoprene, ochre oxide pigment, 30 x 22 x 2 inches
.
.
.
@grem.jpg #EmmaSafir @BICA.Buffalo #BICA #WarholFoundation #AndyWarhol #Warhol #Philanthropy #contemporaryart #Textiles #Photographic #Sculpture #Painting #Mixedmedia #PassionateWretch
#WarholGrantee the Buffalo Institute for Contemporary Art's (BICA) current exhibition "Emma Safir: Passionate Wretch" brings together two new bodies of work by the artist that tarry at the boundaries of privacy and presentation, interiority and reflection, temptation and rejection. Safir photographs textures—fences, blinds, water, leaves, fabric—and then physically works against them. Printed onto gauzy, semi-transparent fabrics, Safir smocks, beads, or upholsters the images over sculptural forms, burying them beneath layers of accumulated handiwork until they function less as pictures than as surfaces.
The Foundation supports BICA for contributing greatly to the cultural scene of Western New York by following the lead of artists and giving a platform to emerging writers and curators.
.
1. Emma Safir, VEILCHENBLAU (VIOLET BLUE), 2025. Digitally printed silk, pewter, mirrored glass beads, reflective thread, neoprene, ochre oxide pigment, 31 x 24.5 x 2 inches
2. Emma Safir, BABY DARLING, 2025. Digitally printed silk, pewter, mirrored glass beads, reflective thread, neoprene, ochre oxide pigment, 33 × 21 × 2 inches.
3. Emma Safir, PINOCCHIO SEEDLINGFASHION, 2025. Digitally printed silk, pewter, silk screen, tulle, mirrored glass beads, reflective thread, neoprene, ochre oxide pigment, 30 x 22 x 2 inches
.
.
.
@grem.jpg #EmmaSafir @BICA.Buffalo #BICA #WarholFoundation #AndyWarhol #Warhol #Philanthropy #contemporaryart #Textiles #Photographic #Sculpture #Painting #Mixedmedia #PassionateWretch
The #WarholFoundation funded "A Queer Arcana: Art, Magic, and Spirit," now on view at the Palm Springs Art Museum, is a major exhibition exploring how queer artists across generations have turned to magic, esoteric spirituality, and occult knowledge as tools for survival, resistance, and world-building. Bringing together work by 35 artists made between 1909 and 2026, the exhibition traces more than a century of artistic engagement with alternative spiritual practices as sources of identity, affirmation, and transformation.
Drawing on the meaning of arcana—hidden, mystical knowledge—the exhibition considers how alternative spiritual practices have served as a source of connection, affirmation, and transformation for queer artists. Across generations, artists have turned to esoteric systems, divination, ritual, and speculative cosmologies to articulate identity, cultivate community, and imagine new social and spiritual frameworks.
The Foundation supports this exhibition for illustrating how countercultural spiritual beliefs fostered community and inspired new visions of queer belonging.
.
1. Tee A. Corinne, From the series Yantras of Womanlove: Diagrams of Energy, 1982. Reproduction of gelatin silver print
2. Joseph Liatela, A WOMAN CALLING HERSELF JEANNE THE PUCELLE (THE MAID), LEAVING OFF THE DRESS AND CLOTHING OF THE FEMININE SEX, A THING CONTRARY TO DIVINE LAW AND ABOMINABLE BEFORE GOD, AND FORBIDDEN BY ALL LAWS, WORE CLOTHING AND ARMOR SUCH AS IS WORN BY MEN.”, 2017–ongoing. Redwood, nylon, metal chain, glass, salt, and ocean water, 68 × 18 × 13in.
3. Devan Shimoyama, Le Monde, 2024. Oil, colored pencil, glitter, Flashe, collage, sequins, and Swarovski crystals on canvas stretched over panel, 84 × 68 in.
.
.
.
#TeeCorinne @JosephLiatela #JosephLiatela @DevanShimoyama #DevanShimoyama @PSArtMuseum @DavidEvansFrantz #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #QueerArt #QueerArcana #Magic #Spirituality #Tarot
The #WarholFoundation funded "A Queer Arcana: Art, Magic, and Spirit," now on view at the Palm Springs Art Museum, is a major exhibition exploring how queer artists across generations have turned to magic, esoteric spirituality, and occult knowledge as tools for survival, resistance, and world-building. Bringing together work by 35 artists made between 1909 and 2026, the exhibition traces more than a century of artistic engagement with alternative spiritual practices as sources of identity, affirmation, and transformation.
Drawing on the meaning of arcana—hidden, mystical knowledge—the exhibition considers how alternative spiritual practices have served as a source of connection, affirmation, and transformation for queer artists. Across generations, artists have turned to esoteric systems, divination, ritual, and speculative cosmologies to articulate identity, cultivate community, and imagine new social and spiritual frameworks.
The Foundation supports this exhibition for illustrating how countercultural spiritual beliefs fostered community and inspired new visions of queer belonging.
.
1. Tee A. Corinne, From the series Yantras of Womanlove: Diagrams of Energy, 1982. Reproduction of gelatin silver print
2. Joseph Liatela, A WOMAN CALLING HERSELF JEANNE THE PUCELLE (THE MAID), LEAVING OFF THE DRESS AND CLOTHING OF THE FEMININE SEX, A THING CONTRARY TO DIVINE LAW AND ABOMINABLE BEFORE GOD, AND FORBIDDEN BY ALL LAWS, WORE CLOTHING AND ARMOR SUCH AS IS WORN BY MEN.”, 2017–ongoing. Redwood, nylon, metal chain, glass, salt, and ocean water, 68 × 18 × 13in.
3. Devan Shimoyama, Le Monde, 2024. Oil, colored pencil, glitter, Flashe, collage, sequins, and Swarovski crystals on canvas stretched over panel, 84 × 68 in.
.
.
.
#TeeCorinne @JosephLiatela #JosephLiatela @DevanShimoyama #DevanShimoyama @PSArtMuseum @DavidEvansFrantz #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #QueerArt #QueerArcana #Magic #Spirituality #Tarot
The #WarholFoundation funded "A Queer Arcana: Art, Magic, and Spirit," now on view at the Palm Springs Art Museum, is a major exhibition exploring how queer artists across generations have turned to magic, esoteric spirituality, and occult knowledge as tools for survival, resistance, and world-building. Bringing together work by 35 artists made between 1909 and 2026, the exhibition traces more than a century of artistic engagement with alternative spiritual practices as sources of identity, affirmation, and transformation.
Drawing on the meaning of arcana—hidden, mystical knowledge—the exhibition considers how alternative spiritual practices have served as a source of connection, affirmation, and transformation for queer artists. Across generations, artists have turned to esoteric systems, divination, ritual, and speculative cosmologies to articulate identity, cultivate community, and imagine new social and spiritual frameworks.
The Foundation supports this exhibition for illustrating how countercultural spiritual beliefs fostered community and inspired new visions of queer belonging.
.
1. Tee A. Corinne, From the series Yantras of Womanlove: Diagrams of Energy, 1982. Reproduction of gelatin silver print
2. Joseph Liatela, A WOMAN CALLING HERSELF JEANNE THE PUCELLE (THE MAID), LEAVING OFF THE DRESS AND CLOTHING OF THE FEMININE SEX, A THING CONTRARY TO DIVINE LAW AND ABOMINABLE BEFORE GOD, AND FORBIDDEN BY ALL LAWS, WORE CLOTHING AND ARMOR SUCH AS IS WORN BY MEN.”, 2017–ongoing. Redwood, nylon, metal chain, glass, salt, and ocean water, 68 × 18 × 13in.
3. Devan Shimoyama, Le Monde, 2024. Oil, colored pencil, glitter, Flashe, collage, sequins, and Swarovski crystals on canvas stretched over panel, 84 × 68 in.
.
.
.
#TeeCorinne @JosephLiatela #JosephLiatela @DevanShimoyama #DevanShimoyama @PSArtMuseum @DavidEvansFrantz #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #QueerArt #QueerArcana #Magic #Spirituality #Tarot
Now on view at the Remai Modern in Saskatoon, Saskatchewan is the #WarholFoundation funded major survey by Lakota artist Dyani White Hawk entitled “Love Language”. The exhibition gathers 15 years of the artist’s work that centers on connection—between one another, past and present, earth and sky. By foregrounding Lakota forms and motifs, she challenges prevailing histories and practices surrounding abstract art.
The exhibition includes early pieces that combine quillwork, beadwork, and painting, a multichannel video installation featuring contemporary Indigenous women speaking in their Native languages on their homelands, and a new series of glass mosaics, beaded sculptures that marry traditional techniques with outsize scale.
Co-organized by the Walker Art Center, Minneapolis, the Foundation supports this exhibition for providing space for discussions surrounding the influence of Indigenous cultural production on modern and contemporary art.
.
1. & 2. Dyani White Hawk, grassesgrassesgrasses, 2023. Acrylic and rhinestone chain on canvas, 48 x 48 inches.
3. & 4. Dyani White Hawk, Walk With Me, 2024. Acrylic and rhinestone chain on canvas, 42 x 72 inches
.
.
.
@RemaiModern #RemaiModern @walkerartcenter @dwhitehawk #WalkerArtCenter #DyaniWhiteHawk #AndyWarhol #Warhol #WarholGrantee #Philanthropy #Multimedia #IndigenousArt #LakotaArt #ContemporaryArt #IndigenousArtists #LakotaArtist #Painting, #Mixedmedia
Now on view at the Remai Modern in Saskatoon, Saskatchewan is the #WarholFoundation funded major survey by Lakota artist Dyani White Hawk entitled “Love Language”. The exhibition gathers 15 years of the artist’s work that centers on connection—between one another, past and present, earth and sky. By foregrounding Lakota forms and motifs, she challenges prevailing histories and practices surrounding abstract art.
The exhibition includes early pieces that combine quillwork, beadwork, and painting, a multichannel video installation featuring contemporary Indigenous women speaking in their Native languages on their homelands, and a new series of glass mosaics, beaded sculptures that marry traditional techniques with outsize scale.
Co-organized by the Walker Art Center, Minneapolis, the Foundation supports this exhibition for providing space for discussions surrounding the influence of Indigenous cultural production on modern and contemporary art.
.
1. & 2. Dyani White Hawk, grassesgrassesgrasses, 2023. Acrylic and rhinestone chain on canvas, 48 x 48 inches.
3. & 4. Dyani White Hawk, Walk With Me, 2024. Acrylic and rhinestone chain on canvas, 42 x 72 inches
.
.
.
@RemaiModern #RemaiModern @walkerartcenter @dwhitehawk #WalkerArtCenter #DyaniWhiteHawk #AndyWarhol #Warhol #WarholGrantee #Philanthropy #Multimedia #IndigenousArt #LakotaArt #ContemporaryArt #IndigenousArtists #LakotaArtist #Painting, #Mixedmedia
Now on view at the Remai Modern in Saskatoon, Saskatchewan is the #WarholFoundation funded major survey by Lakota artist Dyani White Hawk entitled “Love Language”. The exhibition gathers 15 years of the artist’s work that centers on connection—between one another, past and present, earth and sky. By foregrounding Lakota forms and motifs, she challenges prevailing histories and practices surrounding abstract art.
The exhibition includes early pieces that combine quillwork, beadwork, and painting, a multichannel video installation featuring contemporary Indigenous women speaking in their Native languages on their homelands, and a new series of glass mosaics, beaded sculptures that marry traditional techniques with outsize scale.
Co-organized by the Walker Art Center, Minneapolis, the Foundation supports this exhibition for providing space for discussions surrounding the influence of Indigenous cultural production on modern and contemporary art.
.
1. & 2. Dyani White Hawk, grassesgrassesgrasses, 2023. Acrylic and rhinestone chain on canvas, 48 x 48 inches.
3. & 4. Dyani White Hawk, Walk With Me, 2024. Acrylic and rhinestone chain on canvas, 42 x 72 inches
.
.
.
@RemaiModern #RemaiModern @walkerartcenter @dwhitehawk #WalkerArtCenter #DyaniWhiteHawk #AndyWarhol #Warhol #WarholGrantee #Philanthropy #Multimedia #IndigenousArt #LakotaArt #ContemporaryArt #IndigenousArtists #LakotaArtist #Painting, #Mixedmedia
Now on view at the Remai Modern in Saskatoon, Saskatchewan is the #WarholFoundation funded major survey by Lakota artist Dyani White Hawk entitled “Love Language”. The exhibition gathers 15 years of the artist’s work that centers on connection—between one another, past and present, earth and sky. By foregrounding Lakota forms and motifs, she challenges prevailing histories and practices surrounding abstract art.
The exhibition includes early pieces that combine quillwork, beadwork, and painting, a multichannel video installation featuring contemporary Indigenous women speaking in their Native languages on their homelands, and a new series of glass mosaics, beaded sculptures that marry traditional techniques with outsize scale.
Co-organized by the Walker Art Center, Minneapolis, the Foundation supports this exhibition for providing space for discussions surrounding the influence of Indigenous cultural production on modern and contemporary art.
.
1. & 2. Dyani White Hawk, grassesgrassesgrasses, 2023. Acrylic and rhinestone chain on canvas, 48 x 48 inches.
3. & 4. Dyani White Hawk, Walk With Me, 2024. Acrylic and rhinestone chain on canvas, 42 x 72 inches
.
.
.
@RemaiModern #RemaiModern @walkerartcenter @dwhitehawk #WalkerArtCenter #DyaniWhiteHawk #AndyWarhol #Warhol #WarholGrantee #Philanthropy #Multimedia #IndigenousArt #LakotaArt #ContemporaryArt #IndigenousArtists #LakotaArtist #Painting, #Mixedmedia
#PhilosophyFriday
“I think ‘aura’ is something that only somebody else can see, and they only see as much of it as they want to.” – Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again).
.
Andy Warhol, Self-portrait, 1973.Polaroid Type SX-70, 4 ¼ x 3 3/8 inches. ©The Andy Warhol Foundation for the Visual Arts, Inc.
.
.
.
#WarholFoundation #AndyWarhol #Warhol @Polaroid #Polaroid #Photography #Selfportrait #Portrait #Aura
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.