Andy Warhol From a to B and Back Again Lacma
Introduction
Few American artists are as always-present 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 power of images in gimmicky life and helped to expand the role of the artist in society. This exhibition—the first Warhol retrospective organized by a U.S. institution since 1989—reconsiders the work of 1 of the well-nigh inventive, influential, and important American artists. Building on a wealth of new materials, enquiry and scholarship that has emerged since the creative person's untimely death in 1987, this exhibition reveals new complexities about the Warhol nosotros think we know, and introduces a Warhol for the 21st century.
Explore the artworks below to acquire more about the life and work of Andy Warhol.
Events
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Lord's day,
Mar 31
Warhol Film Screening—Minimalism and Seriality: Role I
7 pm
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Sunday,
Mar 31
Weekend Early Access for Members
10–10:30 am
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Sabbatum,
Mar 30 Weekend Early Access for Members
10–10:30 am
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Thurs,
Mar 28
Member Dark
seven:30–x pm
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Monday,
Mar 25
Contemporaries Salon: The Musculus Behind Andy Warhol—From A to B and Dorsum Once more
seven–ix:30 pm
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Dominicus,
Mar 24
Insider Focus: Making, Breaking, and Remaking Paintings
12 pm
Audio Guides
"Andy's piece of work really goes to the middle of the matter of what information technology ways to exist a man and what our potential is . . . Information technology's the real bargain."—Jeff Koons
Hear from a range of contemporary 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 appear that he was sponsoring a ring: 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. "Nosotros were doing what he was doing," Reed recalls, "except nosotros were using music and he was doing it with lights." Warhol later invited the band to rehearse at the Factory, providing them with new, louder amplifiers. He also recruited German chanteuse, Nico Päffgen, to serve as the band's second pb vocaliser. Warhol went on to produce and provide cover fine art for the band'due south beginning album, The Velvet Cloak-and-dagger and Nico (1967), too every bit to blueprint the art for their second release, White Light/White Heat (1968). This playlist combines tracks from each of the Velvets' iv albums, along with songs from solo releases by Cale, Reed and Nico through 1972.
Installation Photography
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). 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 Once more(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 past 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 Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Flowers, 1967–68; Flowers, 1964; Flowers, 1964. 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 Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, top to lesser: 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 past Artists Rights Club (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 correct, elevation 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 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, meridian to bottom: Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers [Large Flowers], 1964–65. Photograph past Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Order (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, Nov 12, 2018–March 31, 2019). Acrylic and silkscreen enamel on canvass. The Metropolitan Museum of Art, New York; gift of Mr. and Mrs. Peter Yard. Brant, 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, 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 Tuck-In Plough—Human being"], 1962; Trip the light fantastic toe Diagram [4] ["The Lindy Constrict-In Turn—Woman"], 1962. 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, November 12, 2018–March 31, 2019). From left to right: Green Coca-Cola Bottles, 1962; Southward&H Green Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original). Flooring vitrines: Dance Diagram [3] ["The Lindy Tuck-In Turn—Human being"], 1962; Dance Diagram [4] ["The Lindy Tuck-In Turn—Woman"], 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 Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Green Coca-Cola Bottles, 1962; S&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 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 correct, superlative to bottom: Two Heads, c. 1957; Portrait of John Butler with Dancer, 1952; 129 Die in Jet, 1962; Earlier and Afterward [4], 1962; Mister Moore, c. 1956; Kate Smith, c. 1956; Leo Lerman, c. 1956; David Evans, c. 1956; Beatrice Lielie, c. 1956; Babe Paley, c. 1955; Diana Vreeland, c. 1956; Truman Capote, c. 1956; Elvis Presley, c. 1956; Mae West, c. 1956; Christine Jorgenson, 1956; B.[ernard] One thousand.[rant], c. 1956. 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 Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to correct, top to lesser: Green Coca-Cola Bottles, 1962; S&H Greenish Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original); Living Room, c. 1948; Upper Body Boy Picking Olfactory organ, 1948–49; Constipated Women, 1940s; Female 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 Portrait, c. 1952; Baton Loew, c. 1952; Otto Fenn, c. 1952. 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 Fine art, New York, November 12, 2018–March 31, 2019). From left to right, acme to bottom: Feet, 1950s; Male Genitals, 1950s; Pes with Dollar Bills, c. 1955–57; Feet with Candlesticks, c. 1955–57; Male Nude, c. 1957; Self-Portrait, 1950s; "Truman Capote," c. 1952; "Truman'southward Manus," 1950s; Unidentified Male, 1950s; Unidentified Male person, 1950s; C., 1950s; "Geoffrey Holder," 1950s; Tom Royal, c. 1952; Untitled (Mitt in Pocket), c. 1956; James Dean, 1955; Portrait of Kenneth Jay Lane with Butterflies, c. 1958. 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 more(Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to correct, tiptop to bottom: Unidentified Male person, 1950s; Unidentified Male person, 1950s; C., 1950s; "Geoffrey Holder," 1950s; Tom Regal, 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, Monday June iv, 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 Guild (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, top to bottom: Close Comprehend before Striking (Coca-Cola), 1962; Mister Moore, c. 1956; Kate Smith, c. 1956; Leo Lerman, c. 1956; David Evins, c. 1956; Beatrice Lielie, c. 1956; Baby 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] Thousand.[rant], c. 1956; Untitled (Pair of Legs in Loftier Heels), c. 1955; Hand and Flowers, 1957; Tattooed Adult female 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; One Meg Dollar Bill, 1950s; Sketch: "Miss Dior," 1950s; Hand and Flowers, 1957; Virginia Roehl, facsimile of Andy Warhol's Miss Dior window brandish for Bonwit Teller, 1955; Business card (Andy Warhol, 242 Lexington Ave.), 1959; In the Lesser of My Garden, 1956; Digital facsimile; Andy Warhol and Ralph Thomas Ward (Corkie), selections from A Is an Alphabet, 1953; Hand Holding Leafy Branch, 1957; CBS Broadcast Series: The Nation's Nightmare, 1952; Facsimile of "Living Off the Main Line" advertisement, New York Times, September 13, 1951; Perfume Canteen, 1953; "a sewing machine," c. 1952; Facsimile of "What Is Success?" Glamour, September 1949, pp. 146, 148-54; Ii Shoes with Registration Marks, 1957; Honour for Distinctive Merit from the Art Directors Club of New York 35th Annual Exhibition of Advertisement and Editorial Fine art, 1956; Julia Warhola, Cat with a Lid with "Purr" Inscriptions, c. 1953; A Gold Book, 1957; Iii More Novels of Ronald Firbank: Caprice, Vainglory, Inclinations (Norfolk, CT: New Directions, 1951); Amy Vanderbilt'south Complete Cookbook (Garden City, NY: Doubleday, 1961); The Nation'southward Nightmare, 1951; Contact canvass (Unidentified human being with hypodermic needle), 1951; Facsimile of "The Friendly Sport of Giving Gifts," Glamour, December 1953, pp. 72-73; Shoe, 1950s. 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, summit to bottom: "Pirates Sieze Ship…", 1961; "News," 1961; "Liner Hijacked," 1961; 129 Die in Jet, 1962; Before and After [iv], 1962; Close Encompass Before Striking (Coca-Cola), 1962. 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 Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to correct: Close Cover before Striking (Coca-Cola), 1962; Coca-Cola [three], 1962; Coca-Cola [2], 1961. 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 more (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct: 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, Nov 12, 2018–March 31, 2019). From left to correct, summit to lesser: Aureate Marilyn, 1962; Silvery Liz (diptych), 1963; Edward Wallowitch, Still Life (Campbell's Cream of Chicken Soup and Coca-Cola Bottle), c. 1962; Edward Wallowitch, Standing roll of dollar bills tied with rubber ring, c. 1962; Invoice (from Edward Wallowitch to Andy Warhol, April xiii, 1959), 1959; Edward Wallowitch, Andy Warhol, 1957–58; Edward Wallowitch, Andy Warhol, 1957; Shut Cover earlier Striking (Coca-Cola), 1962; Coca-Cola [three], 1962. 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 Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Roll of Bills, 1962; Campbell's Soup Tin with Ketchup Bottle, 1962; Campbell's Soup Tin 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 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, top to lesser: "Pirates Sieze Ship…," 1961; "News," 1961; "Liner Hijacked," 1961; Wigs, 1961; Where Is Your Rupture? [1], 1961. Photo 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 Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Wigs, 1961; Where Is Your Rupture? [1], 1961; Before and Later [four], 1962. 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 Back Over again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Silver Marlon, 1963; Triple Elvis [Ferus Blazon], 1963; Single Elvis [Ferus Type], 1963; Large Sleep, 1965; Marilyn Diptych, 1962. Photo 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: 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 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: Golden Marilyn, 1962; Silver Liz (diptych), 1963; Large Slumber, 1965; Silver Marlon, 1963; Triple Elvis [Ferus Type], 1963. 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 Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Marilyn Diptych, 1962; The American Homo (Portrait of Watson Powell), 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 Once again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Marilyn Diptych, 1962; Tunafish Disaster, 1963; Ethel Scull 36 Times, 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 Again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to right, superlative 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 nine, 1964), 1964; Facsimile of Source Material (Most Wanted Men #9 and #10), 1962; Eric Pollitzer, facsimile of Installation view of Andy Warhol's Most Wanted Men at the New York World's Fair, 1964–65; Photographer unknown, facsimile of Installation view of Andy Warhol's Most Wanted Men at the New York World'southward Off-white, 1964–65; Most Wanted Men No. 4, Redmond C., 1964; Most Wanted Men No. three, Ellis Ruiz B., 1964; Most Wanted Men No. 1, John Thousand., 1964; Nigh Wanted Men No. vi, Thomas Francis C., 1964; Most Wanted Men No. 7, Salvatore V., 1964; Most Wanted Men No. 12, Frank B., 1964; Most Wanted Men No. 5, Arthur Alvin G., 1964. 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 Once more (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Self-Portrait, 1963–64; Self-Portrait, 1964; Self-Portrait, 1964; Almost Wanted Men No. 4, Redmond C., 1964; Virtually Wanted Men No. iii, Ellis Ruiz B., 1964; Most Wanted Men No. 1, John M., 1964; Nearly Wanted Men No. vi, Thomas Francis C., 1964; Well-nigh Wanted Men No. 7, Salvatore Five., 1964; Most Wanted Men No. 12, Frank B., 1964; Near Wanted Men No. 5, Arthur Alvin M., 1964. 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: The American Man (Portrait of Watson Powell), 1964; Thirty Are Ameliorate Than Ane, 1963; Cocky-Portrait, 1963–64; Cocky-Portrait, 1964; Self-Portrait, 1964. 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 Over again(Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Orange Car Crash 14 Times, 1963; Crowd, 1963; Nine Jackies, 1964; Saturday Disaster, 1964. 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 Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Orange Car Crash Fourteen Times, 1963; Nine Jackies, 1964; Saturday Disaster, 1964; Lavender Disaster, 1963. 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 Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Sabbatum Disaster, 1964; Lavender Disaster, 1963; Mustard Race Riot, 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 Dorsum Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Mustard Race Riot, 1963; Most Wanted Men No. three, Ellis Ruiz B., 1964; Most Wanted Men No. ane, John G., 1964; Most Wanted Men No. half-dozen, Thomas Francis C., 1964; About Wanted Men No. seven, Salvatore V., 1964; Most Wanted Men No. 12, Frank B., 1964; Nearly Wanted Men No. 5, Arthur Alvin Thou., 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 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, top to bottom: Selections from Flash—November 22, 1963, 1968; Water, 1971; Self-Portrait, 1966; Big Electric Chair, 1967–68; Big Electric Chair, 1967. 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 Art, New York, Nov 12, 2018–March 31, 2019). From left to right: Saturday Disaster, 1964; Lavander Disaster, 1963; Selections from Wink—Nov 22, 1963, 1968; Water, 1971. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by 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). From left to right: Manufacturing plant Diary: Andy Paints Mao, 1972; Vote McGovern, 1972; Mao (Edition iv/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; Mill Diary: Andy Warhol, Geri Miller, Candy 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 [Body], 1966; Ronald Nameth, Andy Warhol'southward Exploding Plastic Inevitable, 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 Once more (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Structure, c. 1970; Sunset, 1972; Mao, 1972. 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: Mylar and Plexiglas Structure, c. 1970; Mao, 1972; Willard Mass, Andy Warhol's Silver Flotations, 1966; Vote McGovern, 1972; Mao, 1973; White Painting [Torso], 1966. 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 Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol'due south Argent 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 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 correct: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol's Argent Flotations, 1966; Vote McGovern, 1972; Mao, 1973; White Painting [Trunk], 1966. 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). From left to right: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol'due 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 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). From left to correct, 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; Ladies and Gentlemen (Wilhelmina Ross), 1975. 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, top 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. 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 correct, top to bottom: Hammer and Sickle, 1976; Hammer and Sickle, 1976; Cross, 1981–82; Gun, 1981–82; Cocky-Portrait with Skull, 1978; The Last Supper (Be a Somebody with a Body), 1985–86; Hamburger (Negative), 1985–86; Reagan Budget, 1985–86; Dollar Sign, 1981; Repent and Sin No More! (Positive), 1985–86; Stress! (Negative), 1985–86; Somebody Wants to Purchase Your Apartment 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 U.s.S.R., Missile Bases, 1985–86; Camouflage, 1987; Andy Warhol and Keith Haring, Untitled, 1985; Daily News (Gimbel's Anniversary Auction/Artist Could Have Choked), 1983; Heaven and Hell are Merely I Jiff Away! (Positive), 1985–86; Map: Soviet Footholds, 1985; Over 40 (How You Tin can), 1986; Mark of the Beast (Positive), c. 1985–86; Map: Nicaragua and Honduras, 1984–85; Dollar Sign, 1981; New York Post, Front Page ("Jessica Savitch/Marine Death Cost"), 1983; Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976. 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 Art, New York, November 12, 2018–March 31, 2019). From left to right, peak to bottom: Gun, 1981–82; Self-Portrait with Skull, 1978; The Last Supper (Be a Somebody with a Body), 1985–86; Hamburger (Negative), 1985–86; Reagan Budget, 1985–86; Dollar Sign, 1981; Repent and Sin No More! (Positive), 1985–86; Stress! (Negative), 1985–86; Somebody Wants to Buy Your Apartment Building!, 1985; Are You "Different"? (Negative), 1985–86; Dollar Sign, 1981; Heaven and Hell are Only 1 Breath Away! (Negative), 1985–86; Stress! (Positive), 1985–86; Physiological Diagram, 1985–86; Map of Eastern UsS.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 Ane Breath Abroad! (Positive), 1985–86; Map: Soviet Footholds, 1985; Over forty (How Yous Tin can), 1986; Mark of the Animal (Positive), c. 1985–86; Map: Nicaragua and Honduras, 1984–85; Dollar Sign, 1981; New York Post, Forepart Page ("Jessica Savitch/Marine Death Toll"), 1983; Skull, 1976; Skull, 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 Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, meridian 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; Withal Life, 1975; However Life, 1975. 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: Andy Warhol and Jean-Michel Basquiat, Paramount, 1984–85; Andy Warhol and Jean-Michel Basquiat, Third Eye, 1985. 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, 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 Big 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, Tertiary Eye, 1985. 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 Again (Whitney Museum of American Fine art, New York, Nov 12, 2018–March 31, 2019). From left to right, superlative to bottom: Shadow (Diamond Grit), 1979; Shadow (Diamond Grit), 1978; Shadow (Diamond Grit), 1978; Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; 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 Once more (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to correct, 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 Art, New York, November 12, 2018–March 31, 2019). From left to right, elevation to bottom: Dusk, 1972; Andy Warhol'due south 15 Minutes, episode iii, 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 activity Parts, 1978; Oxidation Painting, 1978. 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, peak to bottom: Self-Portrait, 1966; Large Electric Chair, 1967–68; Big Electric Chair, 1967; Mylar and Plexiglas Construction, c. 1970; Selections from Sexual practice Parts, 1978; Oxidation Painting, 1978; Hammer and Sickle, 1976; Hammer and Sickle, 1976. 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 Again(Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Andy Warhol and Jean-Michel Basquiat, Paramount, 1984–85; Oxidation Painting, 1978. 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 Over again (Whitney Museum of American Art, New York, Nov 12, 2018–March 31, 2019). From left to correct, elevation to bottom: Hammer and Sickle, 1976; Hammer and Sickle, 1976; Cross, 1981–82; Gun, 1981–82; Self-Portrait with Skull, 1978; Self-Portrait, 1986. 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, November 12, 2018–March 31, 2019). From left to right: Self-Portrait, 1986; Shadow (Diamond Grit), 1979; Shadow (Diamond Grit), 1978; Shadow (Diamond Grit), 1978. Photograph past 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 Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to correct: Lx-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 right: Sixty-Three White Mona Lisas, 1979; Rorschach, 1984; Cover-up Terminal 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 right: Rorschach, 1984; Cover-up Final Supper, 1986. 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 Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Camouflage Last Supper, 1986; Rorschach, 1984. Photo 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, Nov 12, 2018–March 31, 2019). From left to right: Rorschach, 1984; Sixty-Three White Mona Lisas, 1979. 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 Back Again (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). From left to correct: Untitled (White Brick Wall), 1986; Masks, 1986. 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 Dorsum Once again (Whitney Museum of American Art, New York, November 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 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: Camouflage, 1986; Time Capsule 100, 1973–74. 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 Fine art, New York, November 12, 2018–March 31, 2019). From left to right: Campbell's 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 Back Once more (Whitney Museum of American Fine art, New York, November 12, 2018–March 31, 2019). Left wall, left to right, acme 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. Center wall, left to right, superlative 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–lxxx; 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 Islamic republic 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, top 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 Guest, 1983. 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, November 12, 2018–March 31, 2019). Left wall, left to right, top 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. Correct wall, left to right, superlative 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 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; David Whitney, 1980; Jon Gould, 1981; Cornelia Invitee, 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 by Artists Rights Order (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). Left wall, left to right, top 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. 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 Art, New York, November 12, 2018–March 31, 2019). Left wall, left to right, top to lesser: 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. Correct 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. 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). Left wall, left to right, top to bottom: Truman Capote, 1979; Gianni Versace, 1979–lxxx; 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 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; Debbie Harry, 1980; 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; Dolly Parton, 1986. Right wall, left to right, top to lesser: Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
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In the News
"It explores tensions between conformity and innovation, celebrity and privacy, and examines how Warhol expressed commentary and desire in his art."
—PBS News Hour
"A sweeping retrospective shows a personal side of the Pop master — his hopes, fears, organized religion — and reasserts his power for a new generation."
—The New York Times
"It can exist guaranteed that 'From A to B and Dorsum Once again' will prove an inescapable cultural effect. It also promises an equal intellectual bonanza."
—Artforum
"'To humanize Warhol and become people to actually await at what he fabricated is not as easy as it might sound.' Now Ms. De Salvo is tackling that challenge in 'Andy Warhol—From A to B and Back Over again,' the beginning Warhol retrospective organized by a U.s. museum since 1989."
—The New York Times
"His xv minutes of fame will never elapse. More than 350 works make upward this major retrospective that spans Warhol'due south entire career from illustrator to popular icon."
—Los Angeles Times
"In November, the Whitney Museum of American Fine art will feature the first U.S. retrospective of Andy Warhol's art in some iii decades, in an exhibition that volition occupy a smashing deal of the institution'south viii-story, High Line-next building."
—The New Yorker
"De Salvo said she believes that the prove will inspire viewers to await by the persona that the artist cultivated during his lifetime."
—ARTnews
"What more than is at that place to learn virtually this deeply superficial artist? The Whitney's brilliant curator Donna De Salvo answers the question with the largest Warhol survey e'er, featuring more than iii hundred and fifty works."
—The New Yorker
"Titled 'Andy Warhol — From A to B and Back Again,' it stars a full cross-section of his epochal creations."
—The New York Times
"The middle of Warhol'southward thought — that by playing the role of businessman, an artist could plow himself into the latest, living instance of a commodification he believed none of united states can avoid — was perhaps every bit revolutionary in its time every bit Marcel Duchamp presenting a humble urinal as sculpture had been in 1917."
—The New York Times
"One of its most groundbreaking aspects will be the concentration on the to the lowest degree-known time 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 nosotros breathe. Amid the most revolutionary artists who e'er lived, Warhol (was) an creative person in a state of creative grace feeding on, mirroring, doubling, and actually changing the civilisation he pictured. The Whitney's new retrospective…isn't to exist missed."
—New York Magazine
"A remarkably handsome and topical testify."
—WNYC
"De Salvo aims to offer a unique perspective on his work—a personal one. She looks backside Warhol's advisedly constructed mask to explore how a gay man raised past Czech immigrants in a Cosmic family unit became i of the world's nigh experimental artists."
—Artnet
"The wonderful matter most the Whitney evidence is that it places Warhol's famous moments aslope the moments you lot accept probable never seen or heard of… "
—The Daily Beast
"Information technology'due south all about Andy!...More than three decades after his death, Warhol's fine art continues to depict crowds and remains relevant."
—CBS New York
"There are enough of hits— mediated and sequential images, experiments with brainchild, and Popism on full display."
—Cultured
"The Best Part of the Whitney Warhol Retrospective Might Be His Pre-Fame Drawings of Shoes and Boys."
—Vulture
"The Whitney's celebrated Warhol caricature explores lesser-known elements of the Pop artist's oeuvre, including his homoerotic drawings and portraits of men in drag from the 1960s."
—Artnet
"Warhol didn't make a mark on American culture. He became the instrument with which American civilization 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's career as a continuum, demonstrating that he didn't slow downwardly after surviving the assassination endeavour that nearly took his life in 1968, simply entered into a period of intense experimentation. The prove illuminates the breadth, depth, and interconnectedness of the artist's production: from his beginnings equally a commercial illustrator in the 1950s, to his iconic Pop masterpieces of the early 1960s, to the experimental work in pic and other mediums from the 1960s and 70s, to his innovative employ of readymade abstraction and the painterly sublime in the 1980s. His repetitions, distortions, camouflaging, incongruous color, and recycling of his ain imagery claiming our faith in images and the value of cultural icons, anticipating the profound effects and bug of the current digital age.
This is the largest monographic exhibition to engagement at the Whitney's new location, with more than 350 works of art, many assembled together for the kickoff time.
The exhibition is organized by Donna De Salvo, Deputy Director for International Initiatives and Senior Curator, with Christie Mitchell, senior curatorial banana, and Marker Loiacono, curatorial research associate.
The accompanying film program is co-organized with the Andy Warhol Museum, Pittsburgh, and curated by Claire Thou. Henry, assistant curator.
Leadership support of Andy Warhol—From A to B and Back Again is provided past Kenneth C. Griffin.
Bank of America is the National Tour Sponsor
In New York, exhibition is also sponsored by
Generous support is provided by Neil M. Bluhm and Larry Gagosian.
Major back up is provided by The Dark-brown Foundation, Inc., of Houston; Foundation fourteen; Mr. and Mrs. J. Tomilson Colina; The Horace W. Goldsmith Foundation; the Philip and Janice Levin Foundation; The Thompson Family Foundation, Inc.; and the Whitney's National Committee.
Meaning support is provided by the Blavatnik Family unit 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 support is provided past Bill and Maria Bell, 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 Magazine is the exclusive media sponsor.
This exhibition is supported by an indemnity from the Federal Quango on the Arts and the Humanities.
Support for the catalogue is provided past Acquavella Galleries and the Paul J. Schupf Lifetime Trust.
The opening dinner is sponsored by
Related Exhibition
Also open from Oct 26–December 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 edge-to-border around the perimeter of the room, in conformity with Warhol'south original vision. Following its New York presentation, the work reopens every bit a long-term installation at Dia:Beacon in 2019.
Source: https://whitney.org/exhibitions/andy-warhol
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