Andy Warhol & Keith Haring Exhibition @ Museum Brandhorst, Munich - "Andy Warhol & Keith Haring. Party of Life"

Andy Warhol & Keith Haring 

Party of Life

Museum Brandhorst, Munich

28 June 2024 - 26 January 2025

Andy Warhol & Keith Haring. Party of Life

Museum Brandhorst

28 June 2024 - 26 January 2025

Design: Parat.cc

Nan Goldin 

Keith Haring & Andy Warhol at Palladium, 1985

© Nan Goldin, Courtesy Nan Goldin, New York

Andy Warhol and Keith Haring, Undated

Polaroid, 10.8 x 8.35 cm

© Collection: Keith Haring Foundation, New York, NY

They were pop stars, social butterflies and (self-)marketing geniuses: Andy Warhol and Keith Haring were not only two of the most famous artists of the second half of the 20th century. They also revolutionized established ideas about art and its distribution. Andy Warhol’s pop paintings and Keith Haring’s dancing figures are part of our collective visual memory and are still omnipresent to this day in the areas of advertising, fashion, music and film. Despite the large age gap and their different styles, the two artists were friends and companions. In New York's art and clubbing scene, they met and influenced each other—and many others besides.

With “Andy Warhol & Keith Haring. Party of Life,” Museum Brandhorst presents the world’s first comprehensive institutional exhibition dedicated to the two artists. The title of the show is borrowed from the motto of Keith Haring’s birthday celebrations: “Party of Life” tells of the cosmos of the 1980s, of MTV, discos, voguing, hip-hop, New Wave and graffiti. Within this context, the exhibition traces the two artists’ friendship. It reveals parallels in their artistic identity, their openness to cooperations and community projects, and their inclusive attitude: Art and its messages should reach as many people as possible.

Keith Haring

Andy Mouse, 1985

Acrylic and oil on canvas, 122,4 x 122,4 cm

Rogath Family Collection, courtesy of Prince & Wooster

© The Keith Haring Foundation

The exhibition shows over 120 works by Andy Warhol and Keith Haring, collaborations between the two as well as works realized together with artists, performers, authors or music and fashion icons of the time. Alongside key works, it focuses on film and photography, archival material as well as posters, records and everyday objects designed by the artists. “Party of Life” will open up new perspectives on both artists at Museum Brandhorst, which houses the largest Andy Warhol collection outside the United States with more than 120 works, as well as a growing body of Keith Haring works.

Curated by Franziska Linhardt in collaboration with Arthur Fink

MUSEUM BRANDHORST

Theresienstrasse 35A, 80333 München

www.museum-brandhorst.de

Nan Goldin Exhibition @ Fraenkel Gallery, San Francisco

Nan Goldin

Fraenkel Gallery, San Francisco

March 2 – April 29, 2023 

NAN GOLDIN:

Memory Lost, 2020 

Pigment print, 44 x 65 inches (framed) [111.8 x 165.1 cm]

© Nan Goldin, courtesy of Fraenkel Gallery

Fraenkel Gallery presents Nan Goldin’s fifth exhibition with the gallery since 1994. Memory Lost, the exhibition’s centerpiece, is a slideshow in which Nan Goldin explores the darkness of drug addiction through images and recordings from her extensive archive. The exhibition also features dreamlike photographs from Memory Lost, along with a recent series of intimate portraits made at home during the pandemic. 

Projected in a darkened room, Memory Lost presents a haunting and emotional narrative comprised of outtakes drawn from Nan Goldin’s archive of thousands of slides. Depicting scenes from her life and circle of friends, the 24-minute piece recounts the pain and fleeting moments of beauty in life lived through the lens of addiction. Presented for the first time on the West Coast, the piece includes a score commissioned from composer and musician Mica Levi, with additional music by CJ Calderwood and Soundwalk Collective, interwoven with Nan Goldin’s own voice, answering machine tapes from the 1980s, and contemporary interviews.

The still photographic prints from Memory Lost convey Nan Goldin’s distinct sensibility with mysterious depictions of skies, beaches, animals, and crowds. Often blurred or overexposed, the images suggest luminous fragments from a partially remembered past. 

The most recent works in the exhibition were made at home during quarantine in 2020-21, portraying writer Thora Siemsen, who moved into Nan Goldin’s apartment early in the pandemic. Tender, intimate, and quiet, the photographs exhibit the artist’s singular understanding of chiaroscuro, and mark Nan Goldin’s rare return to portraiture.

Nan Goldin’s slideshows are the subject of a major touring retrospective, This Will Not End Well, organized by Moderna Museet in Stockholm, and traveling to the Stedelijk Museum, Amsterdam; Neue Nationalgalerie, Berlin; and Pirelli HangarBicocca, Milan. In 2017, Nan Goldin co-founded the group P.A.I.N. (Prescription Addiction Intervention Now), seeking to address the ongoing opioid epidemic by targeting the pharmaceutical companies that have profited from it. She is the subject of All the Beauty and the Bloodshed, the award-winning 2022 film directed by Laura Poitras, which follows the artist and P.A.I.N.’s fight to hold the Sackler family accountable for their role in the drug crisis. Her work has been the subject of major touring retrospectives organized by the Whitney Museum of American Art, New York; and by Centre Pompidou, Paris and Whitechapel Art Gallery, London; and solo exhibitions at the Louvre, Paris, and Tate Modern, London, among others. Goldin’s work is in the collections of major institutions around the world. Awards include inclusion in the French Legion of Honor, the Hasselblad Foundation International Award, the Edward MacDowell Medal, and the Kathë Kollwitz Award. 

FRAENKEL GALLERY

49 Geary Street, 4th Floor, San Francisco, CA 94108

fraenkelgallery.com

Philip Gefter, Photography after Frank

PHOTOGRAPHY AFTER FRANK ESSAYS BY PHILIP GEFTER

In Photography After Frank (Aperture, June 2009) New York Times writer and former picture editor Philip Gefter presents the tale of contemporary photography, starting with a pivotal moment: Robert Frank’s seminal work in the 1950s. Along the way, he connects the dots of photography’s transformation into what it is today. Philip Gefter begins with Frank’s challenge to photography’s formal objectivity with the grainy, off-handed spontaneity of The Americans. Next comes the challenge to the factual fidelity of “documentary” photography with the evolution of the “staged document.” Other topics and themes include photojournalism, portraiture, the influence of collectors, and the market’s effect on art-making, such as the spawning of super-sized prints. Throughout the book, Gefter deftly connects Frank’s legacy with the work of dozens of important artists who have followed in his wake, from Lee Friedlander and Nan Goldin to Stephen Shore and Ryan McGinley. The book includes texts written exclusively for this publication, as well as essays drawn from Gefter’s critical writings, reviews, and even obituaries for the New York Times and other publications. Photography After Frank offers a page-turning yet journalistic approach bound to appeal to students and art world aficionados, alike. Philip Gefter was on staff at the New York Times for more than fifteen years where his roles included page one picture editor and senior picture editor for culture. Early in his career, he was a picture editor at Fortune and an assistant editor at Aperture. He writes regularly about photography for the Times and other publications. He is a founding member of the National Lesbian and Gay Journalists Association.

Past Related Events Lecture and Book Signing with Philip Gefter Thursday, April 30, 7:00 pm SF Camerawork NYPH09 Aperture Presents: Philip Gefter in Conversation with Andy Grundberg Sunday, May 17, 5:00 pm St. Anne’s Warehouse, Brooklyn, New York

Photography After Frank Essays by Philip Gefter Published by Aparture June 2009 6 x 8 1/2 in. (15.2 x 21.6 cm) 224 pages 30 four-color and 45 black-and-white images Flexibind ISBN 978-1-59711-095-2 $29.95; £16.95

Nan Goldin, Meessen De Clercq, Bruxelles

Nan Goldin
Naomi with my dog Yuri and other pictures
Meessen De Clercq, Bruxelles
December 12, 2008 - January 17, 2009

Nan Goldin est l'une des plus importantes photographes actuelles. En adoptant l'esthétique directe de l'instantané photographique, elle a réuni une documentation de sa propre vie et celle de ses amis depuis plus de 30 ans. Sont exposées, dans la salle de gauche, une série de rares photographies noir et blanc datant du début des années 70 . Prises à Boston entre 1972 et 1974, Nan Goldin propose une observation intime du monde des drag queens et des homosexuels. Photographiant son entourage, elle débute à ce moment tout le travail autobiographique pour lequel elle est aujourd'hui reconnue. L'essentiel se retrouve déjà dans cette série qui montre de façon décalée ce que la société considère comme des marginaux.

Photographiant des amis, des drogués, des laissés-pour-compte issus du monde de la nuit à Boston ou New York, Nan Goldin laisse derrière elle des traces autobiographiques implacables alternant moments de détresse et moments de grâce. Toute cette observation de la vulnérabilité humaine rend son travail essentiel.

Nan Goldin travaille sur la représentation des êtres qui lui sont chers dans la solitude, la détresse, l'amusement, la défonce, les gestes quotidiens. Elle développe un travail narratif qui a connu un énorme retentissement avec la présentation de son diaporama The Ballad of sexual dependency composé de plus de sept cents images dans les années 80. Comme tout corpus d'oeuvres qui ausculte le réel dans ce qu'il a de marginal et de « peu propre », cette série, dont sont visibles à l'exposition trois photographies : un autoportrait intitulé Me on top of my lover, Suzanne in yellow hotel room et Brian in hotel room, Mexico, peut déranger. A travers la description de sa réalité, Nan Goldin pose son oeil sur les questions de la limite et de la détresse, de la norme et de la marginalité, de l'autodestruction comme issue potentielle, de la misère affective,...

La seconde salle regroupe des photos en couleur étalées sur une période plus longue. Bien que le secret de la vie intime est souvent exhibée de façon crue dans le travail de Goldin, les oeuvres ici présentées évoquent l'amour, la tendresse et la fragilité et contrebalancent de cette façon la désespérance d'autres travaux. Les clichés de personnes couchées, dormant, rêvant, faisant l'amour mettent en exergue le lit comme lieu de vie.

Meessen De Clercq, Bruxelles
www.meessendeclercq.be

Susan Bright, Art Photography Now, Aperture

Susan Bright

Art Photography Now

Aperture, 2005

“As all the work in this book testifies, photography is no longer a ‘mortal enemy’ or a ‘humble servant’ to art. It is currently enjoying significant re-evaluation in terms of its profile, acceptance and status.”— Susan Bright

Photography helped shape art in the late twentieth century; in the twenty-first, it has begun to dominate it.Art Photography Now (Aperture, November 2005), is a survey that presents the work of eighty of the most important and best-known art photographers in the world today ––including Tina Barney, Gregory Crewdson, Philip-Lorca diCorcia, Nan Goldin, Andreas Gursky, Martin Parr, Cindy Sherman, Joel Sternfeld, Martin Parr, Mario Testino, to name a few. 

Susan Bright, former curator of the National Portrait Gallery, London, has organized the book into seven sections -- City, Portrait, Document, Object, Landscape, Fashion, and Narrative — each of which explores the diverse subjects, styles, and methods adopted by the artists. Introductions to each section outline the genres and consider why photographers are attracted to certain themes and how issues like memory, time, objectivity, politics, identity, and the everyday are tied to certain approaches. 

Each photographer’s work is then presented in sequence, with commentaries by the author highlighting the art’s most important aspects. Quotations from the artists appear alongside to offer valuable insights into the motivation, inspiration, and intentions behind the work. With an introduction that sets out the historical relationship between art and photography from the early nineteenth century and discusses the art world’s embrace of the medium in recent decades, Art Photography Now is a truly comprehensive guide to the essential aspects of contemporary photography. It is a visual feast and an essential resource for curators, collectors, scholars, practitioners, and anyone who wants a comprehensive, up-to-date exposure to the state of photography today. 

Susan Bright is an independent writer, lecturer, and curator. A former curator of photographs at the National Portrait Gallery and director of the Association of Photographers Gallery, both in London, currently she is an associate lecturer in photographic history and theory at the London College of Communication, acting director of the M.A. contemporary art course at Sotheby’s Institute of Art, London, and a course leader at Tate Modern. She has curated a variety of photography exhibitionsand has written numerous articles and essays for a number of catalogues, journals and magazines, including Photoworks, Source, Contemporary, Tema Celeste, and Showstudio. 

Art Photography Now Edited by Susan Bright 

Aperture November 2005 

9 x 10 ¾ in. (22.8 x 27.3 cm) 

224 pages, 250 four-color images 

Hardcover with jacket 

ISBN 1-931788-91-X $50.00 U.S.

Inside-Out Portrait Photographs at the Whitney Museum

Inside-Out: Portrait Photographs from the Permanent Collection 

Whitney Museum of American Art, New York

February 7 - May 23, 2004

Portraiture is the subject of the exhibition Inside-Out: Portrait Photographs from the Permanent Collection of the Whitney Museum of American Art. All recently acquired by the Whitney, these photographs explore the intricate dynamics involved in the relationship between subject and artist, examining issues such as vanity, comfort, and intimacy. The works, by such artists as Chuck Close, Nan Goldin, Sally Mann, Nicholas Nixon, Irving Penn, and Stephen Shore, assert photography’s capacity both to register a subject’s physical characteristics and to suggest the complexity within the subject’s emotional and psychological interior life.

Several artists, including Dawoud Bey, Chan Chao, and Melissa Pinney photograph unknown subjects within their environments. By contrast, Chuck Close, Nan Goldin, and Nicholas Nixon portray friends, family, or people with whom they have cultivated a relationship. More formal portraits describe an activity or commemorate an occasion, as in Paul Shambroom’s image of city council members at work, or in Irving Penn’s portrait of five esteemed American artists – Chuck Close, Jasper Johns, Ellsworth Kelly, Kenneth Noland, and Robert Rauschenberg.

“When a subject and a photographer come together and agree that a likeness will be made, a complex dynamic is set in motion,” said Sylvia Wolf, the Sondra Gilman Curator of Photography at the Whitney. “In the most compelling portraits there is often a collision of wills, an exposure of vulnerability, a seduction, or surrender. The public face that the sitter wants to show the world is tempered by something deeper. Multiple layers of experience are brought to the surface and the inside is turned out for us to see.”

Whitney Museum of American Art [Click the link for more information]