From a to Z and Back Again
Introduction
Few American artists are equally ever-nowadays and instantly recognizable equally Andy Warhol (1928–1987). Through his carefully cultivated persona and willingness to experiment with non-traditional art-making techniques, Warhol understood the growing ability of images in contemporary life and helped to aggrandize the office of the artist in society. This exhibition—the first Warhol retrospective organized past a U.South. institution since 1989—reconsiders the work of 1 of the most inventive, influential, and of import American artists. Edifice on a wealth of new materials, research and scholarship that has emerged since the artist's untimely death in 1987, this exhibition reveals new complexities near the Warhol we remember we know, and introduces a Warhol for the 21st century.
Explore the artworks beneath to learn more nearly the life and work of Andy Warhol.
Events
View all-
Sun,
Mar 31
Warhol Film Screening—Minimalism and Seriality: Part I
7 pm
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Sunday,
Mar 31
Weekend Early Access for Members
10–ten:30 am
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Sat,
Mar thirty Weekend Early Admission for Members
10–ten:30 am
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Thurs,
Mar 28
Member Dark
7:30–10 pm
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Mon,
Mar 25
Contemporaries Salon: The Muscle Backside Andy Warhol—From A to B and Back Over again
vii–9:30 pm
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Sun,
Mar 24
Insider Focus: Making, Breaking, and Remaking Paintings
12 pm
Sound Guides
"Andy's work really goes to the heart of the affair of what it means to exist a human being beingness and what our potential is . . . It's the existent bargain."—Jeff Koons
Hear from a range of gimmicky 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 February 1966, Warhol announced that he was sponsoring a band: the Velvet Underground. After seeing them play one 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 information technology with lights." Warhol later invited the band to rehearse at the Manufactory, providing them with new, louder amplifiers. He besides recruited German chanteuse, Nico Päffgen, to serve as the band'due south 2d lead vocalist. Warhol went on to produce and provide embrace art for the band'southward offset album, The Velvet Underground and Nico (1967), besides as to design the fine art for their second release, White Low-cal/White Estrus (1968). This playlist combines tracks from each of the Velvets' iv albums, along with songs from solo releases past Cale, Reed and Nico through 1972.
Installation Photography
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). 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 Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Brillo Boxes, 1969 (version of 1964 original); Big Electric Chair, 1967–68; Large Electric Chair, 1967. 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 Once again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, superlative to bottom: Flowers, 1967–68; Flowers, 1964; Flowers, 1964. 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 Once again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to correct, tiptop 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 Dorsum Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, meridian to bottom: 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 [Large Flowers], 1964–65. 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 Dorsum Over 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; 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 Gild (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 canvas. The Metropolitan Museum of Fine art, New York; gift of Mr. and Mrs. Peter M. Brant, 1979. 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: 192 One Dollar Bills, 1962; Campbell's Soup Cans, 1962. In center of gallery: Dance Diagram [3] ["The Lindy Constrict-In Turn—Homo"], 1962; Trip the light fantastic toe Diagram [4] ["The Lindy Constrict-In Plough—Adult female"], 1962. 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 Over again(Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Light-green Coca-Cola Bottles, 1962; S&H Green Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original). Floor vitrines: Dance Diagram [three] ["The Lindy Tuck-In Turn—Man"], 1962; Dance Diagram [4] ["The Lindy Constrict-In Turn—Adult female"], 1962. 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 Once again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Green Coca-Cola Bottles, 1962; Due south&H Green Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original). Photo 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 Fine art, New York, November 12, 2018–March 31, 2019). From left to right, meridian to bottom: Two Heads, c. 1957; Portrait of John Butler with Dancer, 1952; 129 Die in Jet, 1962; Before and After [four], 1962; Mister Moore, c. 1956; Kate Smith, c. 1956; Leo Lerman, c. 1956; David Evans, c. 1956; Beatrice Lielie, c. 1956; Baby 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.[bluster], c. 1956. 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 right, tiptop to bottom: Green Coca-Cola Bottles, 1962; S&H Green Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original); Living Room, c. 1948; Upper Torso Male child Picking Nose, 1948–49; Constipated Women, 1940s; Female person with Brute at Chest, 1948–49; Man with Lines Exuding from Mouth, 1948–49; Unidentified Male Portrait, 1950s; Unidentified Male Portrait, 1950s; Otto Fenn, c. 1952; Unidentified Male person Portrait, c. 1952; Billy Loew, c. 1952; Otto Fenn, c. 1952. Photo by 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 Dorsum Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, top to bottom: Feet, 1950s; Male 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 Manus," 1950s; Unidentified Male, 1950s; Unidentified Male, 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 past Artists Rights Guild (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: Unidentified Male, 1950s; Unidentified Male, 1950s; C., 1950s; "Geoffrey Holder," 1950s; Tom Imperial, 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, Mon June 4, 1962), 1962; Facsimile of Journal 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 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, 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] G.[bluster], 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; Ane Million Dollar Neb, 1950s; Sketch: "Miss Dior," 1950s; Mitt and Flowers, 1957; Virginia Roehl, facsimile of Andy Warhol'southward 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's Nightmare, 1952; Facsimile of "Living Off the Main Line" advertisement, 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; Two Shoes with Registration Marks, 1957; Honour for Distinctive Merit from the Art Directors Club of New York 35th Annual Exhibition of Ad and Editorial Art, 1956; Julia Warhola, Cat with a Lid with "Purr" Inscriptions, c. 1953; A Gold Volume, 1957; 3 More Novels of Ronald Firbank: Caprice, Vainglory, Inclinations (Norfolk, CT: New Directions, 1951); Amy Vanderbilt's Complete Cookbook (Garden Urban center, NY: Doubleday, 1961); The Nation's Nightmare, 1951; Contact sheet (Unidentified man with hypodermic needle), 1951; Facsimile of "The Friendly Sport of Giving Gifts," Glamour, December 1953, pp. 72-73; Shoe, 1950s. Photo past 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, top to lesser: "Pirates Sieze Ship…", 1961; "News," 1961; "Liner Hijacked," 1961; 129 Dice in Jet, 1962; Before and After [4], 1962; Close Embrace Before Striking (Coca-Cola), 1962. 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 right: Close Cover before Striking (Coca-Cola), 1962; Coca-Cola [3], 1962; Coca-Cola [2], 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 Again (Whitney Museum of American Art, New York, November 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 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, peak to lesser: Aureate Marilyn, 1962; Silver Liz (diptych), 1963; Edward Wallowitch, Still Life (Campbell'southward Cream of Craven Soup and Coca-Cola Bottle), c. 1962; Edward Wallowitch, Continuing roll of dollar bills tied with rubber band, c. 1962; Invoice (from Edward Wallowitch to Andy Warhol, April 13, 1959), 1959; Edward Wallowitch, Andy Warhol, 1957–58; Edward Wallowitch, Andy Warhol, 1957; Close 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 Dorsum Once again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct, top to bottom: Curl of Bills, 1962; Campbell'due south Soup Can with Ketchup Canteen, 1962; Campbell's Soup Can over Coke Bottle, 1962; The Princton Leader, c. 1956; Journal American, c. 1959. 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 Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: "Pirates Sieze Transport…," 1961; "News," 1961; "Liner Hijacked," 1961; Wigs, 1961; Where Is Your Rupture? [ane], 1961. 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 Dorsum Again (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; Before and After [4], 1962. 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 Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to correct: Silver Marlon, 1963; Triple Elvis [Ferus Type], 1963; Single Elvis [Ferus Type], 1963; Large Sleep, 1965; Marilyn Diptych, 1962. 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 Over 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 Improve Than One, 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 Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Gold Marilyn, 1962; Silver Liz (diptych), 1963; Large Sleep, 1965; Argent Marlon, 1963; Triple Elvis [Ferus Type], 1963. Photo 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 again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to correct: Marilyn Diptych, 1962; The American Man (Portrait of Watson Powell), 1964. Photo 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 Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Marilyn Diptych, 1962; Tunafish Disaster, 1963; Ethel Scull 36 Times, 1963. 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 Once more (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, tiptop to bottom: Triple Elvis [Ferus Blazon], 1963; Single Elvis [Ferus Type], 1963; Exhibition declaration (Andy Warhol—The Personality of the Artist/Stable Gallery, April 21-May 9, 1964), 1964; Facsimile of Source Textile (Most Wanted Men #9 and #10), 1962; Eric Pollitzer, facsimile of Installation view of Andy Warhol's About Wanted Men at the New York World'south Off-white, 1964–65; Photographer unknown, facsimile of Installation view of Andy Warhol's About Wanted Men at the New York Earth'due south Fair, 1964–65; Most Wanted Men No. four, Redmond C., 1964; Nearly Wanted Men No. 3, Ellis Ruiz B., 1964; Most Wanted Men No. 1, John M., 1964; Most Wanted Men No. 6, Thomas Francis C., 1964; Virtually Wanted Men No. seven, Salvatore Five., 1964; Near Wanted Men No. 12, Frank B., 1964; Virtually Wanted Men No. v, Arthur Alvin M., 1964. 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 Back Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, top to bottom: Cocky-Portrait, 1963–64; Self-Portrait, 1964; Cocky-Portrait, 1964; Most Wanted Men No. iv, Redmond C., 1964; Well-nigh Wanted Men No. 3, Ellis Ruiz B., 1964; Most Wanted Men No. i, John M., 1964; Well-nigh Wanted Men No. 6, Thomas Francis C., 1964; Nigh Wanted Men No. 7, Salvatore V., 1964; Nearly Wanted Men No. 12, Frank B., 1964; Most Wanted Men No. 5, Arthur Alvin Yard., 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 Dorsum Once again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: The American Man (Portrait of Watson Powell), 1964; Thirty Are Better Than I, 1963; Self-Portrait, 1963–64; Self-Portrait, 1964; Cocky-Portrait, 1964. Photograph past 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 Over again(Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to correct: Orange Car Crash Fourteen Times, 1963; Crowd, 1963; Nine Jackies, 1964; Saturday Disaster, 1964. 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 right: Orange Auto Crash Fourteen Times, 1963; Nine Jackies, 1964; Saturday Disaster, 1964; Lavender Disaster, 1963. 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 more (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to correct: Saturday Disaster, 1964; Lavender Disaster, 1963; Mustard Race Riot, 1963. 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 Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Mustard Race Riot, 1963; Most Wanted Men No. 3, Ellis Ruiz B., 1964; Most Wanted Men No. i, John M., 1964; Most Wanted Men No. 6, Thomas Francis C., 1964; Nearly Wanted Men No. 7, Salvatore 5., 1964; Almost Wanted Men No. 12, Frank B., 1964; Almost Wanted Men No. 5, Arthur Alvin Thousand., 1964; Tunafish Disaster, 1963; Suicide (Fallen Body), 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 Once again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, summit to bottom: Selections from Flash—November 22, 1963, 1968; Water, 1971; Self-Portrait, 1966; Large Electrical Chair, 1967–68; Big Electric Chair, 1967. 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 Once more (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to correct: Saturday Disaster, 1964; Lavender Disaster, 1963; Selections from Flash—November 22, 1963, 1968; Water, 1971. Photo by 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 correct: Manufacturing plant 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, Processed Darling at the Factory, 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'south Exploding Plastic Inevitable, 1966. Photo by 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 Dorsum Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Construction, c. 1970; Sunset, 1972; Mao, 1972. 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: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol's Silver 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 past Artists Rights Guild (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: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol'due south 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 Guild (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: Mylar and Plexiglas Structure, c. 1970; Mao, 1972; Willard Mass, Andy Warhol'south Silver 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 Back Again (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'southward Silver 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 Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, height to lesser: Sunset, 1972; Andy Warhol's Fifteen Minutes, episode three, 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 past 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, 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 Gild (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, peak to lesser: Hammer and Sickle, 1976; Hammer and Sickle, 1976; Cantankerous, 1981–82; Gun, 1981–82; Self-Portrait with Skull, 1978; The Last Supper (Be a Somebody with a Trunk), 1985–86; Hamburger (Negative), 1985–86; Reagan Budget, 1985–86; Dollar Sign, 1981; Apologize and Sin No More! (Positive), 1985–86; Stress! (Negative), 1985–86; Somebody Wants to Purchase Your Flat Building!, 1985; Are You "Different"? (Negative), 1985–86; Dollar Sign, 1981; Heaven and Hell are But One Breath Away! (Negative), 1985–86; Stress! (Positive), 1985–86; Physiological Diagram, 1985–86; Map of Eastern United states of americaSouth.R., Missile Bases, 1985–86; Cover-up, 1987; Andy Warhol and Keith Haring, Untitled, 1985; Daily News (Gimbel's Anniversary Auction/Artist Could Have Choked), 1983; Heaven and Hell are Just One Breath Away! (Positive), 1985–86; Map: Soviet Footholds, 1985; Over 40 (How You Can), 1986; Mark of the Beast (Positive), c. 1985–86; Map: Nicaragua and Republic of 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. 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 Once again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct, tiptop to lesser: Gun, 1981–82; Self-Portrait with Skull, 1978; The Final Supper (Exist a Somebody with a Trunk), 1985–86; Hamburger (Negative), 1985–86; Reagan Upkeep, 1985–86; Dollar Sign, 1981; Repent and Sin No More! (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 Ane Breath Away! (Negative), 1985–86; Stress! (Positive), 1985–86; Physiological Diagram, 1985–86; Map of Eastern United states of americaS.R., Missile Bases, 1985–86; Cover-up, 1987; Andy Warhol and Keith Haring, Untitled, 1985; Daily News (Gimbel's Anniversary Sale/Artist Could Have Choked), 1983; Heaven and Hell are Just One Breath Abroad! (Positive), 1985–86; Map: Soviet Footholds, 1985; Over forty (How You Tin can), 1986; Mark of the Fauna (Positive), c. 1985–86; Map: Nicaragua and Honduras, 1984–85; Dollar Sign, 1981; New York Post, Forepart Page ("Jessica Savitch/Marine Death Cost"), 1983; Skull, 1976; Skull, 1976. 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 Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to right, top 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; Still Life, 1975; Still Life, 1975. 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 Once more (Whitney Museum of American Fine art, New York, Nov 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 Middle, 1985. 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 Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, superlative to bottom: Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; Still 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 Gild (ARS), New York
Installation view of Andy Warhol – From A to B and Back Once again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Shadow (Diamond Grit), 1979; Shadow (Diamond Dust), 1978; Shadow (Diamond Dust), 1978; Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; Oxidation Painting, 1978. 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 Once more (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, top to bottom: Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; Oxidation Painting, 1978. 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 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; 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 Once again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, peak to lesser: Self-Portrait, 1966; Large 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 Dorsum Once more(Whitney Museum of American Fine 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. 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 Fine art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Hammer and Sickle, 1976; Hammer and Sickle, 1976; Cross, 1981–82; Gun, 1981–82; Self-Portrait with Skull, 1978; Self-Portrait, 1986. Photograph past 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 Once again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Self-Portrait, 1986; Shadow (Diamond Grit), 1979; Shadow (Diamond Dust), 1978; Shadow (Diamond Dust), 1978. 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 Art, New York, November 12, 2018–March 31, 2019). From left to right: 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 Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct: Sixty-Three White Mona Lisas, 1979; Rorschach, 1984; Cover-up Concluding Supper, 1986. 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 Art, New York, November 12, 2018–March 31, 2019). From left to correct: Rorschach, 1984; Camouflage Terminal Supper, 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 Dorsum Once again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Camouflage Concluding Supper, 1986; Rorschach, 1984. 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 Over again (Whitney Museum of American Fine art, New York, Nov 12, 2018–March 31, 2019). From left to right: Rorschach, 1984; Sixty-Iii White Mona Lisas, 1979. 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 Once more (Whitney Museum of American Art, New York, Nov 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 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). Time Sheathing 100, 1973–74 (majority: 1974). 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, Nov 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 Club (ARS), New York
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). From left to correct: Campbell'southward Soup Cans, 1962; Camouflage, 1986. 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 Dorsum Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). Left wall, left to right, top 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. Heart wall, left to right, top to lesser: 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, 1979–80; 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 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, peak to lesser: 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 Invitee, 1983. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past 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). Left wall, left to correct, height to bottom: 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 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, acme 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 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; 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. 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). Left wall, left to right, summit 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, meridian 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; Self-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. 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, November 12, 2018–March 31, 2019). Left wall, left to correct, acme to bottom: 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 right, top 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. Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed past 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). Left wall, left to correct, elevation 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, acme 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; Suzie Frankfurt, c. 1985; 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; Debbie Harry, 1980; David Whitney, 1980; Jon Gould, 1981; Cornelia Invitee, 1983; Tina Grub, 1983–84; Michael Chow, 1984; Pat Hearn, 1985; Donald Baechler, 1986; Aretha Franklin, 1986; Dolly Parton, 1986. Correct wall, left to correct, top to bottom: Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971. Photo by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Club (ARS), New York
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In the News
"It explores tensions betwixt conformity and innovation, celebrity and privacy, and examines how Warhol expressed commentary and desire in his fine art."
—PBS News Hour
"A sweeping retrospective shows a personal side of the Pop primary — his hopes, fears, faith — and reasserts his power for a new generation."
—The New York Times
"It tin exist guaranteed that 'From A to B and Back Again' will prove an inescapable cultural outcome. It also promises an equal intellectual bonanza."
—Artforum
"'To humanize Warhol and become people to actually expect at what he made is not as piece of cake as information technology might audio.' At present Ms. De Salvo is tackling that challenge in 'Andy Warhol—From A to B and Back Again,' the first Warhol retrospective organized by a United States museum since 1989."
—The New York Times
"His 15 minutes of fame volition never elapse. More than 350 works make up this major retrospective that spans Warhol'due south entire career from illustrator to pop icon."
—Los Angeles Times
"In November, the Whitney Museum of American Art will characteristic the first U.Southward. retrospective of Andy Warhol'southward art in some iii decades, in an exhibition that will occupy a peachy deal of the institution's eight-story, Loftier Line-next edifice."
—The New Yorker
"De Salvo said she believes that the show will inspire viewers to look past the persona that the artist cultivated during his lifetime."
—ARTnews
"What more is there to learn nearly this deeply superficial artist? The Whitney's brilliant curator Donna De Salvo answers the question with the largest Warhol survey ever, featuring more than than three hundred and fifty works."
—The New Yorker
"Titled 'Andy Warhol — From A to B and Back Again,' it stars a total cross-section of his epochal creations."
—The New York Times
"The heart of Warhol'south idea — that by playing the office of businessman, an creative person could turn himself into the latest, living example of a commodification he believed none of us can avoid — was possibly as revolutionary in its time as Marcel Duchamp presenting a humble urinal as sculpture had been in 1917."
—The New York Times
"I of its most groundbreaking aspects will be the concentration on the least-known fourth dimension of Warhol's life, the 1950s."
—W Magazine
"All the possible aspects of his four-decades-long, multilayered practice, meticulously analyzed and presented."
—Widewalls
"Andy is in the air we breathe. Among the near revolutionary artists who ever lived, Warhol (was) an artist in a state of creative grace feeding on, mirroring, doubling, and really irresolute the culture he pictured. The Whitney'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's carefully constructed mask to explore how a gay homo raised by Czech immigrants in a Cosmic family became one of the globe's most experimental artists."
—Artnet
"The wonderful thing almost the Whitney testify is that it places Warhol'south famous moments alongside the moments you have probable never seen or heard of… "
—The Daily Brute
"Information technology's all about Andy!...More than 3 decades later on his death, Warhol's fine art continues to describe crowds and remains relevant."
—CBS New York
"There are enough of hits— mediated and sequential images, experiments with abstraction, and Popism on full display."
—Cultured
"The All-time Function of the Whitney Warhol Retrospective Might Be His Pre-Fame Drawings of Shoes and Boys."
—Vulture
"The Whitney'south celebrated Warhol extravaganza explores bottom-known elements of the Pop artist'due south oeuvre, including his homoerotic drawings and portraits of men in drag from the 1960s."
—Artnet
"Warhol didn't make a mark on American civilisation. He became the musical instrument with which American civilisation designated itself."
—The New Yorker
"Warhol—a pale, oracular ghost—looms as a spiritual father of this media-saturated age."
—The Economist
About the Exhibition
The exhibition positions Warhol'southward career equally a continuum, demonstrating that he didn't slow down after surviving the bump-off try that nearly took his life in 1968, but entered into a period of intense experimentation. The show illuminates the latitude, depth, and interconnectedness of the creative person's production: from his beginnings as a commercial illustrator in the 1950s, to his iconic Pop masterpieces of the early on 1960s, to the experimental work in film and other mediums from the 1960s and 70s, to his innovative use of readymade abstraction and the painterly sublime in the 1980s. His repetitions, distortions, camouflaging, incongruous color, and recycling of his own imagery claiming 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 engagement at the Whitney'south new location, with more than 350 works of art, many assembled together for the get-go 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 associate.
The accompanying film program is co-organized with the Andy Warhol Museum, Pittsburgh, and curated by Claire K. Henry, assistant curator.
Leadership support of Andy Warhol—From A to B and Back Again is provided by Kenneth C. Griffin.
Banking company of America is the National Tour Sponsor
In New York, exhibition is also sponsored past
Generous back up is provided by Neil Grand. Bluhm and Larry Gagosian.
Major support is provided by The Brown Foundation, Inc., of Houston; Foundation fourteen; 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 back up is provided by Bill and Maria Bong, 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 Mag is the sectional 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 by
Related Exhibition
Also open from October 26–Dec 15, 2018, the Dia Art Foundation presents Andy Warhol, Shadows at 205 West 39th Street, a streetfront space in Calvin Klein, Inc.'s headquarters. The installation surrounds the viewer with a series of canvases, presented border-to-edge around the perimeter of the room, in conformity with Warhol's original vision. Post-obit its New York presentation, the piece of work reopens as a long-term installation at Dia:Beacon in 2019.
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Source: https://whitney.org/exhibitions/andy-warhol
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