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From a to B and Baack Again

Introduction

Few American artists are as ever-nowadays and instantly recognizable as Andy Warhol (1928–1987). Through his carefully cultivated persona and willingness to experiment with not-traditional art-making techniques, Warhol understood the growing ability of images in contemporary life and helped to expand the office of the artist in society. This exhibition—the first Warhol retrospective organized past a U.S. institution since 1989—reconsiders the work of 1 of the almost inventive, influential, and important American artists. Building on a wealth of new materials, research and scholarship that has emerged since the artist'due south untimely death in 1987, this exhibition reveals new complexities about the Warhol nosotros recall we know, and introduces a Warhol for the 21st century.

Explore the artworks below to learn more about the life and work of Andy Warhol.

Events

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  • Sunday,
    Mar 31

    Warhol Film Screening—Minimalism and Seriality: Part I

    7 pm

  • Sun,
    Mar 31

    Weekend Early on Admission for Members

    ten–x:30 am

  • Sat,
    Mar 30

    Weekend Early Admission for Members

    10–10:30 am

  • Thurs,
    Mar 28

    Member Night

    7:30–10 pm

  • Monday,
    Mar 25

    Contemporaries Salon: The Musculus Behind Andy Warhol—From A to B and Back Once more

    vii–9:xxx pm

  • Sun,
    Mar 24

    Insider Focus: Making, Breaking, and Remaking Paintings

    12 pm

Sound Guides

"Andy's work really goes to the middle of the matter of what it ways to be a human and what our potential is . . . Information technology's the existent deal."—Jeff Koons

Hear from a range of contemporary artists, curators, and scholars speaking near iconic works on view. Contributors include Jeff Koons, Hank Willis Thomas, Deborah Kass, Peter Halley, Sasha Wortzel, and Richard Meyer.

Playlist

In Feb 1966, Warhol announced that he was sponsoring a band: the Velvet Underground. Afterward seeing them play ane of their first shows, Warhol asked the Velvets—Lou Reed, John Cale, Sterling Morrison, and Maureen "Moe" Tucker—to provide musical accessory 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 Manufactory, providing them with new, louder amplifiers. He also recruited German chanteuse, Nico Päffgen, to serve as the band's second lead vocalist. Warhol went on to produce and provide cover art for the band'southward outset album, The Velvet Underground and Nico (1967), likewise every bit to pattern the fine art for their 2d release, White Calorie-free/White Heat (1968). This playlist combines tracks from each of the Velvets' four albums, forth with songs from solo releases past Cale, Reed and Nico through 1972.

Store the Exhibition

Whitney exhibition catalogs in a stack.

Visit the online shop to buy Whitney catalogues, exhibition-inspired gifts, and more.

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In the News

"It explores tensions between conformity and innovation, glory and privacy, and examines how Warhol expressed commentary and desire in his art."
—PBS News Hr

"A sweeping retrospective shows a personal side of the Pop chief — his hopes, fears, faith — and reasserts his ability 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 consequence. Information technology also promises an equal intellectual bonanza."
—Artforum

"'To humanize Warhol and go people to actually look at what he made is not equally piece of cake as it might sound.' 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 expire. 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 feature the commencement U.S. retrospective of Andy Warhol's art in some 3 decades, in an exhibition that will occupy a great bargain of the institution's viii-story, High Line-adjacent edifice."
—The New Yorker

"De Salvo said she believes that the prove will inspire viewers to wait past the persona that the artist cultivated during his lifetime."
—ARTnews

"What more is there to learn about this deeply superficial artist? The Whitney's vivid curator Donna De Salvo answers the question with the largest Warhol survey e'er, featuring more than three hundred and fifty works."
—The New Yorker

"Titled 'Andy Warhol — From A to B and Back Again,' it stars a full cross-department of his epochal creations."
—The New York Times

"The center of Warhol's idea — that past playing the role of businessman, an creative person could turn himself into the latest, living case of a commodification he believed none of us tin can avoid — was perhaps as revolutionary in its time as Marcel Duchamp presenting a apprehensive urinal equally 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. Among the well-nigh revolutionary artists who ever lived, Warhol (was) an creative person in a state of creative grace feeding on, mirroring, doubling, and actually irresolute the culture he pictured. The Whitney'due south new retrospective…isn't to be missed."
—New York Magazine

"A remarkably handsome and topical testify."
—WNYC

"De Salvo aims to offer a unique perspective on his work—a personal 1. She looks behind Warhol'south carefully constructed mask to explore how a gay man raised by Czech immigrants in a Catholic family unit became one of the world'southward most experimental artists."
—Artnet

"The wonderful thing most the Whitney show is that information technology places Warhol's famous moments alongside the moments you lot have likely never seen or heard of… "
—The Daily Beast

"It's all about Andy!...More than three decades after his death, Warhol's art continues to draw crowds and remains relevant."
—CBS New York

"At that place are plenty of hits— mediated and sequential images, experiments with abstraction, and Popism on total display."
—Cultured

"The Best Function of the Whitney Warhol Retrospective Might Exist His Pre-Fame Drawings of Shoes and Boys."
—Vulture

"The Whitney's celebrated Warhol extravaganza explores lesser-known elements of the Popular artist's oeuvre, including his homoerotic drawings and portraits of men in drag from the 1960s."
—Artnet

"Warhol didn't make a marker on American civilisation. He became the musical instrument with which American civilisation designated itself."
—The New Yorker

"Warhol—a pale, oracular ghost—looms every bit a spiritual begetter of this media-saturated historic period."
—The Economist

About the Exhibition

The exhibition positions Warhol's career as a continuum, demonstrating that he didn't slow down after surviving the bump-off attempt that nigh took his life in 1968, but entered into a period of intense experimentation. The evidence illuminates the breadth, depth, and interconnectedness of the creative person's production: from his ancestry as a commercial illustrator in the 1950s, to his iconic Pop masterpieces of the early 1960s, to the experimental work in film and other mediums from the 1960s and 70s, to his innovative apply of readymade abstraction and the painterly sublime in the 1980s. His repetitions, distortions, camouflaging, incongruous color, and recycling of his own imagery challenge our faith in images and the value of cultural icons, anticipating the profound furnishings and issues of the current digital age.

This is the largest monographic exhibition to date at the Whitney'southward new location, with more than 350 works of fine art, many assembled together for the beginning fourth dimension.

The exhibition is organized by Donna De Salvo, Deputy Director for International Initiatives and Senior Curator, with Christie Mitchell, senior curatorial assistant, and Marking 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 past Kenneth C. Griffin.

Banking concern of America is the National Tour Sponsor

In New York, exhibition is too sponsored by


Generous back up is provided by Neil G. Bluhm and Larry Gagosian.

Major support is provided by The Dark-brown Foundation, Inc., of Houston; Foundation 14; Mr. and Mrs. J. Tomilson Hill; The Horace Due west. Goldsmith Foundation; the Philip and Janice Levin Foundation; The Thompson Family unit 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 back up is provided by Nib 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 Magazine is the exclusive media sponsor.

This exhibition is supported past 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–December 15, 2018, the Dia Art Foundation presents Andy Warhol, Shadows at 205 Due west 39th Street, a streetfront infinite in Calvin Klein, Inc.'south 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'southward original vision. Following its New York presentation, the work reopens equally a long-term installation at Dia:Beacon in 2019.

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Source: https://whitney.org/exhibitions/andy-warhol