Andy Warhol’s death left us wondering how the quintessential Pop artist would have reacted, or shaped, a society that fulfilled his prophesy of universal, albeit short-lived, fame. But aside from speculating what he would have thought of Rebecca Black, his passing left a hole in New York City nightlife. His friend, author Tama Janowitz, said “The ’80s died in Manhattan in 1987, along with Andy Warhol,” and Michael Musto famously declared the death of the Downtown scene in the Village Voice. No longer could kids from the Midwest escape to the best parties in New York, trying to spot Andy’s silver wig in a crowd.
The party last night also saw the premiere of a new Warholian video art project. Brooklyn-based artist and editor-in-chief of Useless magazine Conrad Ventur rehashed Andy Warhol’s famous screen tests two years ago in a piece entitled 13 Most Beautiful/Screen Tests Revisited originally shown at the Andy Warhol Museum and recently screened at MoMA. Approximating the lighting, blocking and playback speed, Ventur filmed thirteen former Factory Superstars decades after their original film portraits including UltraViolet, Ivy Nicholson and Beck’s mother Bibbe Hansen, who was in attendance last night, shielding her eyes in Ray-Ban’s.
Ventur has conceptually expanded on this project in this new series, which debuted last night in the VIP rooms of the party. Untitled (Night Life) is comprised of fourteen new screen tests with new subjects plucked from New York’s contemporary nightlife scene, a group that Columbia sociologist Victor P. Corona posits as the third-wave of Warholian Superstars (the second being Michael Alig’s Club Kids). Tommy Hottpants, Veronica Ibarra and Darian Darling (a host of last night’s festivities, her narrow frame wrapped in a bright red dress) are just some of the gorgeous faces that mug for their black-and-white portraits in Ventur’s new piece.
Where 13 Most Beautiful/Screen Tests Revisited was infused with nostalgia and perhaps a bit too reactionary to make an impact, this continuation of the idea offers a refreshing play on the old concept and ushers in a new reign of fame monsters, and a new interpretation of Warholian art history. Like Andy’s videos of Edie, Nico, Candy Darling and the likes, Ventur’s revamped vamps will hopefully survive as an archive for New York City’s post-Warhol nightlife of the twenty first century.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.
Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
With her clay relief sculptures, Brie Ruais probes the exit wound and its deep psychological implications.
In Doomscrolling, Rob Swainston and Zorawar Sidhu assume the task Walter Benjamin set for the articulation of history — to “seize hold of the past as it flashes up at a moment of danger.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
When we honor King publicly, as many in the art circle did on Monday, we use these moments to do more than just remember and pay tribute.
A study that reexamined Homo sapiens fossils found our species is 30,000 years older than previously believed.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.