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Apr

Review: ‘Andy Warhol | Ai Weiwei’ at the National Gallery of Victoria, Melbourne

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Tags: activist, Ai Qing, Ai Weiwei, Ai Weiwei at National Gallery of Victoria, Ai Weiwei At the Museum of Modern Art, Ai Weiwei Coloured Vases, Ai Weiwei Dropping a Han Dynasty Urn, Ai Weiwei Forever Bicycles, Ai Weiwei Illuminations, Ai Weiwei in conversation with Virginia Trioli, Ai Weiwei Mao (Facing Forward), Ai Weiwei Neolithic Pottery with Coca-Cola Logo, Ai Weiwei New York Photographs series, Ai Weiwei S.A.C.R.E.D., Ai Weiwei Study of Perspective, Ai Weiwei Sydney Opera House, Ai Weiwei Tiananmen Square, Ai Weiwei Williamsburg Brooklyn, Ai Weiwei with cat, American art, american artist, American Pop Art, American popular culture, andy warhol, Andy Warhol Blowing Up Silver Cloud Pillow, Andy Warhol Brillo Soap Pads Box, Andy Warhol Campbell's Soup II, Andy Warhol Campbell's Soup II: Tomato-Beef Noodle O's, Andy Warhol Cat Collage, Andy Warhol Cat in Front of Church, Andy Warhol Debbie Harry, Andy Warhol Electric Chair, Andy Warhol Electric Chairs, Andy Warhol Elvis, Andy Warhol Fabis Statue of Liberty, Andy Warhol Factory, Andy Warhol Factory Portrait, Andy Warhol Flowers, Andy Warhol Flowers 1970, Andy Warhol Gerard Malanga and Philip Fagan in New York, Andy Warhol Gun, Andy Warhol Holding Kitten, Andy Warhol in Tiananmen Square, Andy Warhol Jackie, Andy Warhol Mao, Andy Warhol Screen Test: Edie Sedgwick, Andy Warhol Self-Portrait, Andy Warhol Self-Portrait 1966-67, Andy Warhol Self-Portrait 1981, Andy Warhol Self-Portrait No. 9, Andy Warhol Self-Portrait with Skull, Andy Warhol Silver Liz, Andy Warhol So Happy, Andy Warhol Three Marilyns, Andy Warhol Under the Silver Cloud Pillow, Andy Warhol with Siamese Cat, Andy Warhol You're in, Andy Warhol | Ai Weiwei, Andy Warhol | Ai Weiwei National Gallery of Victoria, art of the oppressed, Arthur C. Danto, artist brand, At the Museum of Modern Art, avant-garde rock, Beijing, Brillo Soap Pads Box, Brillo Soap Pads Boxes, Campbell's Soup II, Campbell's Soup II: Tomato-Beef Noodle O's, Cat Collage, Cat in Front of Church, celebrity and tragedy, china, Chinese art, Chinese artist, Chinese human rights, Christopher Makos, Christopher Makos Andy Warhol in Tiananmen Square, Cold War, Conceptual Art, contemporary art, cult of personality, cultural producer, Cultural Revolution, culture in transition, cynical realism, Debbie Harry, Duchampian readymade, Edie Sedgwick, Edward Wallowitch, Edward Wallowitch Andy Warhol Holding Kitten, Edward Wallowitch Andy Warhol with Siamese Cat, Electric Chair, Elizabeth Taylor, Elvis Presley, EPI, Exploding Plastic Inevitable (EPI) gallery, Fabis Statue of Liberty, Flaming Star, Forever Bicycles, freedom of expression, Gao Yuan, Gao Yuan Ai Weiwei, historical Chinese images, human-rights, Illuminations, impresario, individual and the state, individual freedom and state power, Jackie Kennedy, Julia Warhola, Julius and Ethel Rosenberg, Little Red Book, Mao, Mao (Facing Forward), Mao Zedong, Marilyn Monroe, Melbourne, memento mori, Museum of Modern Art, National Gallery of Victoria, nationalism, Neolithic Pottery with Coca-Cola Logo, New York, New York / Beijing, New York Photographs series, Nico, official state imagery, Pop and postmodern critiques of Socialist Realism, Pop Art, pop-cultural icon, post-industrial modes of production, postmodern death mask, readymade commercial imagery, resistance art, S.A.C.R.E.D., Screen Test: Edie Sedgwick, Self Portrait With Skull, Self-Portrait No. 9, Silver Liz, Silver Liz [Ferus Type], social media, Socialist realism, state and cultural power, Steve Schapiro, Steve Schapiro Andy Warhol Blowing Up Silver Cloud Pillow, Steve Schapiro Andy Warhol Factory Portrait, Steve Schapiro Andy Warhol Under the Silver Cloud Pillow, Study of Perspective, Sydney Opera House, the Factory, The Philosophy of Andy Warhol, The Velvet Underground, Three Marilyns, Tiananmen Square, tradition and modernity, transience of fame, Ugo Mulas, Ugo Mulas Andy Warhol, Ugo Mulas Andy Warhol Gerard Malanga and Philip Fagan in New York, Valerie Solanas, You're in

In their artExhibition dates: 11th December 2015 – 24th April 2016

In collaboration with The Andy Warhol Museum, Pittsburgh, USA

Time lapse

This mega-exhibition has been a popular success for the National Gallery of Victoria, Melbourne, with over 300,000 visitors during its run. But does that make it an interesting, or even memorable, exhibition? Personally, I think this is an exhibition based on a curatorial concept, an interesting concept, that does not then lead to a memorable exhibition. I will explain why.

The idea behind the exhibition, to compare and contrast the work of Andy Warhol (one of the most influential artists of the twentieth century) and the work of Ai Weiewei (that denizen and superstar of contemporary art and free speech, in China and around the world) is sound but in reality, on actual viewing, the relationship between the ideas of both artists seems rather forced.

While the synergy of ideas between both artists is present – “a vocabulary which celebrates freedom of speech and, at the same time, the wisdom of pop culture” – evidenced through the symbology of popular culture and the specificity and uniqueness of the original, the installation of the work does neither of the artist’s work justice. In this game of comparisons (where Andy Warhol’s photographs of New York sit opposite those of Ai Weiwei’s, where Andy Warhol’s portraits of Chairman Mao sit diagonally opposite Ai Weiwei’s) neither artist’s work can be contemplated as a whole… and it is Warhol’s work that comes out a poor second best in this artistic exchange. Why? Mainly because both artist’s are talking about completely different things from completely different eras and it is Ai who dominates the conversation. As Monica Tan observes in an article on the Guardian website, “In their art, Ai aggressively engages with politics and current affairs… while Warhol was forever occupied with consumerism, pop culture iconography and celebrity.”1

With regard to the work of Ai Weiwei there is the key word, aggressively. His brazen installations simply overwhelm the sophistication of the work of Andy Warhol, and this should never have happened, should never have been allowed to happen. The exhibition does not do Warhol’s work justice. Ai Weiwei comments, “We’re dealing with different societies, Andy Warhol and I. We are involved with very different social and political circumstances. But we’re both trying to face out reality honestly and to give a better illustration of our time.”2 While the last sentence is true, facing out reality honestly does not mean that both mens work can be understood or compared in the same breath, which is what happens in this exhibition. For each artist’s work I felt there was no space to breathe in the whole eight galleries. The visitor needs at least three hours, and a couple of visits, to get through all of the work and at the end of it all you feel is rather exhausted and only a little enlightened. After the forced curatorial concept of the whole exhibition, this is my second major criticism of the show: the unnecessary “noise” of the installation. Everything and the art kitchen sink (preferably teamed with an ancient Chinese sink with ceramic flowers growing out of it) has been thrown at the installation of the exhibition, not necessarily to its benefit.

Susan Sontag despairs of the “ambience of distraction” that pervades contemporary museums – less room to contemplate, more rooms for noise. The NGV seems particularly adept at this distraction and this exhibition is just another example of the phenomenon. Room after room is filled to the brim with artefacts which are then placed on more noise – busy, repetitious wallpaper! Andy Warhol’s silkscreen portraits of Mao (1972) are hung on his Mao Wallpaper (1974, reprint 2015), on the exterior of Ai Weiwei’s Letgo room (2015) meaning that you can’t really “read” the colours of the silkscreens properly as they are subsumed amongst this mass of wallpaper noise. A similar thing happens with Warhol’s Electric Chairs (1971) silkscreens and his Electric Chair (1967) painting which are hung on Warhol’s Washington Monument Wallpaper (1974, reprint 2015). This means that the luminosity of the colours of the silkscreens and painting completely loose their impact if you were viewing the works against a plain wall. They just blend into the gallery wall. It’s as though the curators at the NGV are frightened of empty wall space, both in the number of objects in a room and the lack of negative space (plain coloured walls) behind the art works. And this is not a singular occurrence of this phenomenon at the NGV… the exhibition David McDiarmid: When This You See Remember Me featured this installation technique while the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great was nearly ruined by garish wall colourings and patterned floors. Less is more.

Speaking of which, some of superstar of the contemporary art world Ai Weiwei’s work was, dare I say it, woeful. When he hits the mark, such as in bodies of work like the photographic series Study of Perspective (1995-2011, below), his incisive commentary on freedom and surveillance With Flowers (2013-15) or his installation of S.A.C.R.E.D. Maquettes (2011), which depicts scenes from the detention cell where he was held without charge by the Chinese government for eighty-one days – he is masterful as an artist, in complete control of his visual and symbolic language. But then you have pieces of work such as the dire Letgo (2015) (focusing on Australian activists, advocates and champions of human rights and freedom of speech) made of pseudo-LEGO which is just a hideous and ugly art work that has very few redeeming features. There also seems no logical reason to remake the famous photographic triptych Dropping a Han Dynasty Urn (1995, below) in children’s building bricks. To no particularly good effect, why is this statement, this re-imagining being made? Similarly, when Ai remakes a pair of handcuffs in jade and wood, Handcuffs (2015), other than the historic qualities of the materials in relation to the history of China and issues of freedom of speech, where does the work actually take you? Not very far. Noise, noise and more noise, just a symptom and comment on our social media society.

The third major criticism of this exhibition and the most crucial to its failure to be a memorable exhibition: is its lack of TIME.

Lumping both Warhol and Ai Weiwei side by side, cheek by jowl, gives neither artist’s work the time to breathe and the viewer no time to contemplate, to IMAGINE, the relationship between the two artists. Two artist’s from different eras separated by time. Here, time (and space) is conflated as though the intervening period between them never existed. My idea was this: first, have the first four gallery rooms full of Warhol’s work so that you could understand the ambience of his colour and subtlety, yes subtlety, of his visual language. Then a dark passageway before emerging into four galleries of Ai Weiwei’s work. In this way, you could have understood each artist’s work independently of each other in a holistic way, and then made you own linkages between the two artist’s works… instead of, oh look, here’s Warhol’s photographs of NY and, oh, there’s Ai Weiwei’s photographs of NY! This simplistic, popularist, comparative curatorial strategy never allows these major artists work room to breathe or the time and space to exist in the sphere and realm of each other. Warhol’s work is denuded by Ai’s aggressive, contemporary take on politics and freedom of speech. Warhol did not deserve that. A sense of TIME and SPACE is what this exhibition needed in its installation in order for the viewer to be able to fully contemplate and IMAGINE the relationship between the two artists. To trust the intelligence of the viewer to make the connections, not treat them as some number walking through the door. Less noise and more imagination.

Dr Marcus Bunyan for Art Blart

Word count: 1,313

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Many thankx to the National Gallery of Victoria for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

Monica Tan. “Ai Weiwei interview: ‘In human history, there’s never been a moment like this’,” on The Guardian website, 10th December 2015 [Online] Cited 23/03/2016.
“Max Delany in conversation with Ai Weiwei,” in Gallery magazine, January-February 2016. National Gallery of Victoria, 2016, p. 29.

“This major international exhibition features two of the most significant artists of the twentieth and twenty-first centuries: Andy Warhol and Ai Weiwei.

Andy Warhol | Ai Weiwei, developed by the NGV and The Andy Warhol Museum, with the participation of Ai Weiwei, explores the significant influence of these two exemplary artists on modern art and contemporary life, focusing on the parallels, intersections and points of difference between the two artists’ practices. Surveying the scope of both artists’ careers, the exhibition at the NGV presents more than 300 works, including major new commissions, immersive installations and a wide representation of paintings, sculpture, film, photography, publishing and social media.

Presenting the work of both artists, the exhibition explores modern and contemporary art, life and cultural politics through the activities of two exemplary figures – one of whom represents twentieth century modernity and the ‘American century’; and the other contemporary life in the twenty-first century and what has been heralded as the ‘Chinese century’ to come.

Andy Warhol | Ai Weiwei premieres a suite of major new commissions from Ai Weiwei, including an installation from the Forever Bicycles series, composed from almost 1500 bicycles; a major five-metre-tall work from Ai’s Chandelier series of crystal and light; Blossom 2015, a spectacular installation in the form of a large bed of thousands of delicate, intricately designed white porcelain flowers; and a room-scale installation featuring portraits of Australian advocates for human rights and freedom of speech and information.”

Text from the National Gallery of Victoria website

“Marilyn Monroe, the electric chair, Mickey Mouse, Mao Zedong, wallpaper, disasters, comic books, the Empire State Building, dollar bills, Coca-Cola, Einstein – no one knows how many works he left behind; they are varied and miscellaneous, touching upon almost all the important personalities and things of his time, and encompassing almost any possible means of expression: design, painting, sculpture, installation, recordings, photography, video, texts, advertising … Andy Warhol’s creations have rebelled against traditional, commercial, consumerist, plebeian, capitalist and globalised art… no matter when or where he was he was always taking photographs and recording; he was several decades ahead of his time. …

Andy Warhol was a self-created product, and the transmission of that product was a characteristic of his identity, including all of his activities and his life itself. He was a complicated composite of interests and actions; he practiced the passions, desires, ambitions and imaginations of his era. He shaped a broad perception of the world, an experimental world, a popular world, and a non-traditional, anti-elitist world. This is the true significance of Andy Warhol that people aren’t willing to accept, and the reason that he is still not recognised as a true artist by everyone.”

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Ai Weiwei. “Ai Weiwei: A tribute to Andy Warhol,” in Gallery magazine, January-February 2016. National Gallery of Victoria, 2016, pp. 31-32.

“Warhol is someone I think of as a unique treasure from the past century, which I call the ‘American Century’. His work has all the qualities of that time and reflects all its mythologies. Warhol’s value has always been underrated. He was many evades ahead of his time. I think, even today, he is still one of the most important figures in contemporary art.”

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Ai Weiwei quoted in “Max Delany in conversation with Ai Weiwei,” in Gallery magazine, January-February 2016. National Gallery of Victoria, 2016, p. 27.

Ai Weiwei in conversation with Virginia Trioli

Icons and iconoclasm

Andy Warhol is among the most influential artists of the twentieth century. He was a leading figure in the development of Pop Art, and his influence extended to the worlds of film, music, television and popular culture. Warhol created some of the most defining iconography of the late twentieth century through his exploration of consumer society, fame and celebrity, media and advertising, politics and capital.

Ai Weiwei is a Chinese artist, social activist and one of today’s most renowned contemporary artists. His provocative work encompasses diverse fields, including visual art, architecture, curatorial practice, cultural criticism, social media and activism. Ai’s practice addresses some of the most critical global issues of the early twenty-first century, such as the relationship between tradition and modernity, the role of the individual and the state, questions of human rights and the value of freedom of expression.

In this gallery we are introduced to the artists through their engagement with self-portraiture and self-representation, and through some of their most iconic, performative and iconoclastic works. These works not only attest to both artists’ transformation of aesthetic value through artistic innovation and experimentation, but also reference their shared interest in cultural heritage and vernacular expression in the United States and China, respectively. (Text from exhibition wall panel)

Ai Weiwei (Chinese 1957- )
Mao (Facing Forward)
1986
Oil on canvas
233.6 x 193.0 cm
Private collection
Image courtesy Ai Weiwei Studio
© Ai Weiwei

Andy Warhol (American 1928-87)
Mao
1972
Acrylic and silkscreen ink on linen
208.3 x 154.9 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

The source image for Warhol’s numerous portraits of Mao Zedong is the frontispiece to the Chairman’s famous Little Red Book of quotations. Mao’s image was in the media spotlight in 1972, the year US President Richard Nixon travelled to China, and his official portrait could be seen on the walls of homes, businesses and government buildings throughout the country. It was also extremely popular among literary and intellectual circles in the West. Warhol’s repetition of the image as pop-cultural icon underlines the cult of celebrity surrounding Mao, and the ways in which the proliferation of images in media and advertising promotes consumer desire and identification. (Text from exhibition wall panel)

Cultural revolutions

Andy Warhol’s Mao paintings, based on a photograph of Mao Zedong taken from his famous Little Red Book of quotations (1964-76), adopt the subject matter of totalitarian propaganda to create pop portraits of the communist leader. Created in 1972, the year US President Richard Nixon travelled to China – signalling a thawing of relations between the two nations after almost three decades of intense political rivalry – Warhol’s paintings address the cult of personality surrounding Mao. Warhol’s Mao paintings, prints and wallpaper highlight not only the status and influence of the Chinese leader at the height of the Cold War, but also the instrumental role the repetition of images played in establishing his fame.

In the aftermath of the Cultural Revolution, avant-garde artists in China embraced a wide range of aesthetic positions, including Pop and postmodern critiques of Socialist Realism, sometimes known as cynical realism, to recalibrate historical Chinese images and propaganda. These deadpan critiques of official state imagery are apparent in Ai Weiwei’s large-scale, handpainted images of Mao produced in the mid 1980s in New York. Ai’s representations of Mao subject the communist leader to various distortions familiar from television signals and screens and painterly gestural abstraction. (Text from exhibition wall panel)

Gao Yuan
Ai Weiwei
2012
Image courtesy Ai Weiwei Studio

Andy Warhol (American 1928-87)
Self-Portrait with Skull
1977
Polaroid™ Polacolor Type 108
10.8 x 8.6 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Gao Yuan
Ai Weiwei
2009
Image courtesy Ai Weiwei studio

Ai Weiwei (Chinese 1957- )
Illuminations
2014
Digital lambda print
126.0 x 168.0 cm
Ai Weiwei Studio
© Ai Weiwei

This self-portrait was shot by Ai in an elevator while being taken into police custody in 2009. On the night before the trial of a fellow political activist in Chengdu Ai was preparing for, Chinese police officers forced their way into his hotel room around 3 am and arrested him. This candid, documentary-style snap plays on the tradition of the ‘selfie’ in contemporary social media, transforming the form into a political tool. Illumination is a defiant expression of personal autonomy. (Text from exhibition wall panel)

Andy Warhol (American 1928-87)
Gun
1981-82
Acrylic and silkscreen ink on linen
177.8 x 228.6 x 3.2 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Images of death and disaster were a recurrent theme for Warhol from the early 1960s onwards – a preoccupation fatefully realised at a personal level in 1968 when he was shot and seriously injured by the radical feminist writer Valerie Solanas. The gun in the painting is similar to the .22 pistol that Solanas used. While it may be read as autobiographical, Warhol’s Gun series can also be considered in the tradition of still life. It reflects on the ubiquity of violence in popular culture and the media, as well as the role of guns in US culture. (Text from exhibition wall panel)

Andy Warhol (American 1928-87)
Jackie
1964
Acrylic and silkscreen ink on linen
50.8 x 40.6 x 1.9 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Andy Warhol (American 1928-87)
Cat in Front of Church
c. 1959
Ink, graphite, and Dr. Martin’s Aniline dye on Strathmore Seconds paper
57.5 x 45.1 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Andy Warhol (American 1928-87)
Cat Collage (from 25 Cats Name Sam and One Blue Pussy)
c. 1954
Ink, Dr. Martin’s Aniline dye, and collage on Strathmore paper
73.7 x 58.4 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Andy Warhol (American 1928-87)
Julia Warhola (American 1892-1972)
So Happy
1950s
Ink, graphite and aniline dye on paper
24.8 x 31.8 cm
The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Early drawings

Andy Warhol’s and Ai Weiwei’s practices, like those of many artists, began with a strong interest in drawing. Following art school at the Carnegie Institute of Technology, Pittsburgh, Warhol relocated to New York and worked as a commercial illustrator throughout the 1950s. His professional success was largely due to a simple yet sophisticated style and his ability to create art quickly using the ‘blotted line’ technique – a signature style which combined drawing with very basic printmaking. One of his best known advertising campaigns in the 1950s was for I. Miller Shoes; other clients included book publishers, record companies and fashion magazines. These early drawings are of a more personal nature and reveal Warhol’s interest in themes explored in later paintings, screen-prints and films, such as beauty, celebrity, commodities and urban life.

Ai’s early drawings display the poetic sensibility of a young artist whose childhood was largely spent in western Xinjiang Province, a remote desert area where his father, the eminent poet and intellectual Ai Qing had been sent for manual labour and ‘re-education’ during the Cultural Revolution. Made in the late 1970s, when Ai became involved in burgeoning democracy movements and the avant-garde artists’ collective the Stars group, the drawings – while classical in appearance – are marked by an individualistic world view and artistic experimentation at odds with the officially sanctioned aesthetics of Socialist Realism. (Text from exhibition wall panel)

Andy Warhol (American 1928-87)
You’re In
1967
Spray paint on glass bottles in printed wooden crate
Crate: 20.3 x 43.2 x 30.5 cm
Bottles (each): 20.3 x 5.7 cm
Diameter: 18.7 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Ai Weiwei (Chinese 1957- )
Neolithic Pottery with Coca Cola Logo
2007
Paint, Neolithic ceramic urn
27.94 x 24.89 cm
Private collection
Image courtesy Ai Weiwei Studio
© Ai Weiwei

Andy Warhol (American 1928-87)
Three Marilyns
1962
Acrylic, silkscreen ink, and graphite on linen
35.6 x 85.1 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Warhol’s paintings of Marilyn Monroe were made from a production still from the 1953 film Niagara, and are among his first photo-silkscreen works. Warhol recalls that he began using this process in August 1962: ‘When Marilyn Monroe happened to die that month, I got the idea to make silkscreens of her beautiful face – the first Marilyns’. The repetition of Monroe’s image can be read as a memorial for the deceased American icon as well as a reflection of the media’s insatiable appetite for celebrity and tragedy. (Text from exhibition wall panel)

Andy Warhol (American 1928-87)
Self-Portrait No. 9
1986
Synthetic polymer paint and screenprint on canvas
203.5 x 203.7 cm
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of the National Gallery Women’s Association, Governor, 1987
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

It is perhaps surprising, in view of his self-consciousness and fondness for the anonymity of silkscreen printing, that Warhol produced many self-portraits over a twenty-year period. In Self-Portrait No. 9 his gaunt, disembodied image floats against a starry black background, partially concealed by a fluorescent camouflage pattern – an eloquent reflection on the nature of fame and privacy in an age of mass media. Produced only months before Warhol’s death from surgical complications, this haunting self-portrait is sometimes interpreted as a postmodern death mask.

Nine months before his untimely death due to complications after gall bladder surgery, Warhol undertook a large series of iconic self-portrait paintings. Many viewers and critics alike regard these gaunt staring faces as memento mori, or reminders of human mortality. Each work centres on a levitating head surrounded by a halo of spiky hair. Monumental in scale, the works have a melancholic, haunting quality created in part by the use of dark tones and a dense black ground, and in part by variations across the series in the ghostlike negative photographic reproduction. (Text from exhibition wall panels)

Andy Warhol (American 1928-87)
Silver Liz [Ferus Type]
1963
Silkscreen ink, acrylic, and spray paint on linen
101.6 x 101.6 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

The first series of Warhol paintings on a silver background – the Electric Chairs and Tunafish Disasters of 1963 – suggest that the artist’s silver paintings are related to death. Even in the Liz paintings, which appear to highlight Elizabeth Taylor’s Hollywood career, there is an underlying theme of mortality. Warhol created this portrait when Taylor was at the height of stardom, but also very ill with pneumonia. He later recalled: ‘I started those a long time ago, when she was so sick and everyone said she was going to die. Now I’m doing them all over, putting bright colours on her lips and eyes’. (Text from exhibition wall panel)

Andy Warhol (American 1928-87)
Fabis Statue of Liberty
1986
Acrylic and silkscreen ink on linen
127.0 x 177.8 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Warhol returned to the Statue of Liberty image many times during his career, repeatedly adapting the iconic form from different stylistic angles. In this work, Warhol focused on Lady Liberty’s face to produce a heroic celebrity portrait. The painting was created in 1986 – 100 years after the statue arrived in New York as a gift from France. The Fabis logo in the painting’s left corner is that of a French cookie company. Warhol played with all sorts of brands and logos in large-scale paintings of this period, often juxtaposing brands on top of images in contradictory and humorous ways. (Text from exhibition wall panel)

Ai Weiwei (Chinese 1957- )
Sydney Opera House, Sydney, Australia
2006
From the Study of Perspective series 1995-2011
Type C photograph
Various dimensions
Ai Weiwei Studio
© Ai Weiwei

The Study of Perspective series of photographs depicts Ai defiantly raising his middle finger to architectural monuments symbolic of state and cultural power. Measuring the distance between the artist and his subject, the composition of these works invokes the spatial relationship between the individual and the state while also echoing the unforgettable image of a lone demonstrator blocking the path of a military tank at Tiananmen Square in 1989. (Text from exhibition wall panel)

Ai Weiwei (Chinese 1957- )
Tiananmen Square, Beijing, China
1995
From the Study of Perspective series 1995-2011
Type C photograph
Various dimensions
Ai Weiwei Studio
© Ai Weiwei

Christopher Makos
Andy Warhol in Tiananmen Square
1982
© Christopher Makos 1982, makostudio.com

Andy Warhol | Ai Weiwei at the NGV maps out where the two artists intersect. Works such as Ai’s neolithic urn defaced with a Coca-Cola logo seem to echo Warhol’s Campbell’s Soup Cans. But it would be reductive to call Ai “the Andy Warhol of 2015”. He says the show is interesting because it simultaneously highlights how close but also “so far away, so far apart” the artists are in their respective cultural backgrounds.

In their art, Ai aggressively engages with politics and current affairs (such as his moving roll call of the more than 5,000 students that died in the 2008 Sichuan earthquake) while Warhol was forever occupied with consumerism, pop culture iconography and celebrity.

A frisson is created by their respective portrayals of Mao Zedong hung in tandem. Ai says Warhol was a “very keen and very sensitive” artist, but portrayed the chairman as “no different to Marilyn Monroe or a Coca-Cola sign – purely a sign or signature of that time.”

The Chinese artist has a very different relationship to the ruthless political leader who he says was “very responsible” for damaging the nation, the destruction of so much Chinese tradition and so much personal, family crisis (Ai’s father, the notable poet Ai Qing, was exiled to Xinjiang as part of the late 1950s anti-rightist campaign).

In another room Warhol’s photographic impressions of China during a 1982 visit face Ai’s photos of his life in New York. Ai finds it strange Warhol visited the country since it was “every bit” the opposite of what he believed. “He said China was not beautiful because it didn’t have McDonald’s yet.”

Extract from Monica Tan. “Ai Weiwei interview: ‘In human history, there’s never been a moment like this’,” on The Guardian website, 10th December 2015 [Online] Cited 23/03/2016.

Andy Warhol (American 1928-87)
Self-Portrait
1981
Polaroid™ Polacolor 2
3 3/8 x 4 1/4 in. (8.6 x 10.8 cm.)
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Edward Wallowitch (American 1933-1981)
Andy Warhol Holding Kitten
1957
Gelatin silver photograph
13.3 x 17.5 cm (sheet)
The Andy Warhol Museum, Pittsburgh
Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. (1998.3.2810)
© 2015 Estate of Edward Wallowitch, all rights reserved

Edward Wallowitch (American 1933-1981)
Andy Warhol with Siamese Cat
c. 1957
Gelatin silver photograph
14.9 × 21.6 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 Estate of Edward Wallowitch, all rights reserved

“AW: Contemporary art always changes its own form; it is always questioning its own condition. Social media is a way to connect and, for me as an artist, it is also a way to connect to reality and search for new expressions and ways to communicate. This has become essential because contemporary art is not a series but a practice. It is connected to our inherent human need to express our inner world, and to make that association possible with others. Social media is the best for this purpose.

MD: Warhol’s Polaroids and portrait paintings not only document his social milieu but also constitute a form of history painting. You recently embarked upon two major portrait projects, including Trace, 2014, and Letgo, 2015, focusing on Australian activists, advocates and champions of human rights and freedom of speech. Can you expand on the relationship between portraiture, celebrity, dissidence and political authority?

AW: These things differ a lot and they form different sections of human expression. As humans, our feelings relate to our desires, fears, anxieties or inner needs for justice and fairness. Above all, we have the idea of right or wrong, but we also make aesthetic judgements about proportion, light, colour, shape and sound. All these aspects have to work together to express ourselves.

Our values are not abstract. They are really about out wellbeing as humanity. We’re dealing with different societies, Andy Warhol and I. We are involved with very different social and political circumstances. But we’re both trying to face out reality honestly and to give a better illustration of our time.”

Ai Weiwei quoted in “Max Delany in conversation with Ai Weiwei,” in Gallery magazine, January-February 2016. National Gallery of Victoria, 2016, p. 29.

Ai Weiwei (Chinese 1957- )
Ai Weiwei with cat, @aiww, Instagram
2006
Ai Weiwei Studio
© Ai Weiwei

Andy Warhol (American 1928-87)
Screen Test: Edie Sedgwick [ST308]
1965
16mm film, black-and-white, silent, 4.6 minutes at 16 frames per second
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved

Steve Schapiro
Andy Warhol Under the Silver Cloud Pillow, New York
1965
© Steve Schapiro; Andy Warhol artwork
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

“A major international exhibition featuring two of the most significant artists of the twentieth and twenty-first centuries – Andy Warhol and Ai Weiwei – will open at the National Gallery of Victoria (NGV), Melbourne, in December 2015, and The Andy Warhol Museum, Pittsburgh, in June 2016.

Andy Warhol | Ai Weiwei, developed by the NGV and The Warhol, with the participation of Ai Weiwei, will explore the significant influence of these two exemplary artists on modern and contemporary life, focussing on the parallels, intersections and points of difference between the two artists’ practices. Surveying the scope of both artists’ careers, the exhibition at the NGV will present over 300 works, including major new commissions, immersive installations and a wide representation of paintings, sculpture, film, photography, publishing and social media.

Presenting the work of both artists’ in dialogue and correspondence, the exhibition will explore modern and contemporary art, life and cultural politics through the activities of two exemplary figures – one of whom represents twentieth century modernity and the ‘American century’; and the other contemporary life in the twenty-first century and what has been heralded as the ‘Chinese century’ to come.

Ai Weiwei commented, “I believe this is a very interesting and important exhibition and an honour for me to have the opportunity to be exhibited alongside Andy Warhol. This is a great privilege for me as an artist.”

Ai Weiwei lived in the United States from 1981 until 1993, where he experienced the works of Marcel Duchamp, Andy Warhol and Jasper Johns, among others. The Philosophy of Andy Warhol (From A to B & Back Again) was the first book that Ai Weiwei purchased in New York, and was a significant influence upon his conceptual approach. Ai Weiwei’s relationship to Warhol is explicitly apparent in a photographic self-portrait (taken in New York in 1987) in which Ai Weiwei poses in front of Warhol’s multiple self-portrait, adopting the same gesture.

Each artist is also recognised for his unique approach to notions of artistic value and studio production. Warhol’s Factory was legendary for its bringing together of artists and poets, film-makers and musicians, bohemians and intellectuals, drag queens, superstars and socialites, and for the serial-production of silkscreen paintings, films, television, music and publishing.

The studio of Ai Weiwei is renowned for its interdisciplinary approach, post-industrial modes of production, engagement with teams of assistants and collaborators, and strategic use of communications technology and social media. Both artists have been equally critical in redefining the role of ‘the artist’ – as impresario, cultural producer, activist, and brand – and both are known for their keen observation and documentation of contemporary society and everyday life.

Andy Warhol (born Pittsburgh 1928 – died New York 1987) was a leading protagonist in the development of Pop Art, and his influence extended beyond the world of fine art to music, film, television, celebrity and popular culture. Warhol created some of the most defining iconography of the late twentieth century, through his exploration of consumer society, fame and celebrity, media, advertising, politics and capital.

The NGV will present over 200 of Warhol’s most celebrated works including portraits, paintings and silkscreens such as Campbell’s Soup, Mao, Elvis, Three Marilyns, Flowers, Electric Chairs, Skulls and Myths series; early drawings and commercial illustrations from the 1950s; sculpture and installation, including Brillo Boxes 1964, Heinz Tomato Ketchup Boxes 1964, and Silver Clouds 1968; films such as Empire 1964, Blow job 1964, and Screen Tests 1965, among others from Warhol’s extensive filmography; music and publishing; alongside a selection of previously unseen work. The exhibition will also bring together a wide range of photography including over 500 Polaroids documenting Warhol’s friends, colleagues, artistic and social milieux.

Ai Weiwei (born Beijing 1957) is an artist and social activist who is among the most renowned contemporary artists practicing today. One of China’s most provocative artists, his work encompasses diverse fields including visual art, architecture, publishing and curatorial practice, cultural criticism, social media and activism. Ai Weiwei’s work addresses some of the most critical global issues of the early twenty-first century, including the relationship between tradition and modernity, the role of the individual and the state, questions of human rights, and the value of freedom of expression.

For the NGV exhibition, a suite of major commissions will be premiered, including a new installation from the Forever bicycles series and a new monumental work from his Chandelier series, among others. These will be presented alongside key works by Ai Weiwei from his early drawings in the 1970s, readymades of the 1980s, and painting, sculpture and photography of the 1990s and 2000s. New and recent installations, including new configurations of major works such as S.A.C.R.E.D. 2013 and Trace 2014, will sit alongside a wide range of photography, film and social media from over the past four decades. It will be the most comprehensive representation of the artist’s work in Australia to date.

Three major illustrated publications

The Andy Warhol | Ai Weiwei exhibition will be accompanied by a suite of three dynamic and visually-led publication formats: a deluxe collectors’ book in a presentation case, including an original limited-edition print by Ai Weiwei; a prestigious hardback edition; and sumptuous paperback volume. The major publications will explore the conceptual, formal, strategic and historical resonances between both artists’ work.”

Press release from the National Gallery of Victoria

The Andy Warhol Museum, Pittsburgh, Exploding Plastic Inevitable (EPI) gallery
© Abby Warhola

Andy Warhol’s expanded cinema and multimedia performance the Exploding Plastic Inevitable (EPI), featuring legendary rock group The Velvet Underground and Nico, debuted in April 1966 at The Dom, a Polish meeting hall in New York City. In the context of Warhol’s own practice, the EPI evolved from his work as a filmmaker, the social environment of his studio and earlier performances known as Andy Warhol, Up-Tight, in which members of Warhol’s entourage antagonistically confronted the audience while The Velvet Underground played onstage.

The EPI was a sensory assault – an immersive sound-andlight environment involving numerous collaborators. Warhol shot new footage that was projected simultaneously with older films as part of the show. Danny Williams helped orchestrate light effects, including strobes, spotlights and assorted coloured gels and mattes; Jackie Cassen created psychedelic slides; Gerard Malanga, Mary Woronov, and Ingrid Superstar staged dance routines with sadomasochistic theatrics; and The Velvet Underground performed their proto-punk songs and avant-garde rock improvisations at ear-splitting volume.

This evocation of the EPI is the result of detailed research by The Andy Warhol Museum into the original performances. It includes films that were projected during the shows, digitised copies of the slides, mattes that were used and live recordings of the Velvet Underground and Nico. (Text from exhibition labels)

Steve Schapiro
Andy Warhol Blowing Up Silver Cloud Pillow, Los Angeles
1966
© Steve Schapiro; Andy Warhol artwork
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Ai Weiwei at National Gallery of Victoria exhibition Andy Warhol | Ai Weiwei, 11 December 2015 – 24 April 2016
Ai Weiwei artwork © Ai Weiwei
Photo: John Gollings

Ugo Mulas
Andy Warhol, Gerard Malanga and Philip Fagan in New York
1964
Image courtesy Ugo Mulas Archive
© Ugo Mulas Heirs. All rights reserved. Courtesy Archivio Ugo Mulas, Milano – Galleria Lia Rumma, Milano/Napoli; Andy Warhol artwork
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Ai Weiwei (Chinese 1957- )
Coloured Vases
2006
Neolithic vases (5000-3000 BC) and industrial paint
Dimensions variable
Image courtesy Ai Weiwei Studio
© Ai Weiwei

In Ai’s series of Coloured Vases, ongoing since 2006, Neolithic and Han dynasty urns are plunged into tubs of industrial paint to create an uneasy confrontation between tradition and modernity. In what might be considered an iconoclastic form of action painting, Ai gives ancient vessels a new glaze and painterly glow, appealing to new beginnings and cultural change through transformative acts of obliteration, renovation and renewal. (Text from exhibition wall panel)

Andy Warhol (American 1928-87)
Campbell’s Soup II: Tomato-Beef Noodle O’s
1969
Screen print on paper
88.9 x 58.4 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Warhol’s paintings of Campbell’s Soup Cans were first exhibited at the Ferus Gallery, Los Angeles, in 1962, and he returned to the subject repeatedly throughout his career. The works’ readymade commercial imagery, mechanical manufacture and serial production ran counter to prevailing artistic tendencies, offering a comment on notions of artistic originality, uniqueness and authenticity. The familiar red-and-white label of a Campbell’s Soup can was immediately recognisable to most Americans, regardless of their social or economic status, and eating Campbell’s Soup was a widely shared experience. This quintessential American product represented modern ideals: it was inexpensive, easily prepared and available in any supermarket. (Text from exhibition wall panel)

Ai Weiwei (Chinese 1957- )
Williamsburg, Brooklyn
1983
From the New York Photographs series 1983-93
Silver gelatin photograph
Ai Weiwei Studio
© Ai Weiwei

Andy Warhol (American 1928-87)
Brillo Soap Pads Box
1964
Silkscreen ink and house paint on plywood
43.2 x 43.2 x 35.6 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

First created in late 1963, Warhol’s Brillo Soap Pads Box recasts the Duchampian readymade through the lens of American popular culture. Warhol produced approximately 100 of these boxes for his exhibition at Stable Gallery, New York, in March 1964, where they were tightly packed and piled high in a display reminiscent of a grocery warehouse. Unlike Duchamp’s use of real objects as readymade works of art, Warhol’s Brillo Soap Pads Boxes are carefully painted and silkscreened to resemble everyday consumer items. For philosopher Arthur C. Danto, Warhol’s Brillo boxes marked the end of an art-historical epoch and represented a new model of how art could be produced, displayed and perceived. (Text from exhibition wall panel)

Ai Weiwei (Chinese 1957- )
Forever Bicycles
2011
Installation view at Taipei Fine Arts Museum
Image courtesy Ai Weiwei Studio
© Ai Weiwei

The assembly and replication of readymade bicycles in Ai’s Forever Bicycles series, ongoing since 2003, promotes an intensely spectacular effect. ‘Forever’ is a popular brand of mass-produced bicycles manufactured in China since the 1940s and desired by Ai as a child. Composed from almost 1500 bicycles, this installation suggests both the individual and the multitude, with the collective energy of social progress signalled in the assemblage and perspectival rush of multiple forms.

Forever Bicycles disconnects the bicycles from their everyday function – reconfiguring them as an immense labyrinth-like network. The multi-tiered installation also achieves an architectural presence, much like a traditional arch or gateway to the exhibition. (Text from exhibition wall panel)

Andy Warhol (American 1928-87)
Flowers
1970
Screen print on paper
91.4 x 91.4 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Experimenting with decoration – one of modernist painting’s most controversial subjects – Warhol’s Flowers prints were exhibited in tight grids at his first show at Leo Castelli Gallery, New York City, in 1964. A subsequent series was exhibited in Paris, where more than 100 works were hung almost edge to edge, mimicking the decorative effect of wallpaper. The source photograph, taken by Patricia Caulfield, appeared in the June 1964 issue of Modern Photography magazine. Caulfield sued to maintain ownership of the image, and while the suit was settled out of court, the issues of authorship and copyright it raised remain relevant to contemporary art debates. (Text from exhibition wall panel)

Flowers

Flowers in Western art history have symbolised love, death, sexuality, nobility, sleep and transience. In Chinese culture flowers also carry rich and auspicious symbolic meanings; from wealth and social status to beauty, reflection and enlightenment. The flower is a repeated motif in Andy Warhol’s work, from his earliest drawings and commercial illustrations to his Pop paintings and prints, first shown at the Leo Castelli Gallery, New York, in 1964. While the production of Warhol’s Flower paintings and silkscreens through the 1960s and early 1970s coincided with the burgeoning Flower Power movement, their bold plasticity, mechanical reproduction and seriality also suggested a more commercial undercurrent to the counterculture.

Flowers feature repeatedly in the work of Ai Weiwei, from his celebrated Sunflower Seeds, 2010, to a new installation, Blossom, 2015, composed of thousands of delicate white flowers created in the finest traditions of Chinese porcelain production. Along with poetic ideals of beauty, remembrance and renewal Ai directs the symbolism of flowers towards political ends in projects such as With Flowers, 2013-15, a daily act of placing fresh flowers in the basket of a bicycle outside Ai’s studio, for the benefit of surveillance cameras trained upon it. The act was a form of protest against the Chinese authorities’ confiscation of the artist’s passport and restriction of his right to travel freely. (Text from exhibition wall panel)

Andy Warhol (American 1928-87)
Debbie Harry
1980
Acrylic and silkscreen ink on linen
106.7 x 106.7 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Andy Warhol (American 1928-87)
Self-Portrait
1966-67
Acrylic and silkscreen ink on canvas
55.9 x 55.9 cm
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Ai Weiwei (Chinese 1957- )
At the Museum of Modern Art
1987
From the New York Photographs series 1983-93
Silver gelatin photograph
Ai Weiwei Studio
© Ai Weiwei; Andy Warhol artwork © 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

New York / Beijing

Andy Warhol fanatically recorded his everyday life on audiotape, celluloid and photographic film. He moved effortlessly between underground, avant-garde and glamorous social circles and his photographs of the 1970s and 1980s provide an intimate insight into his social world. They also show his keen observation of the urban life, architecture, advertising, popular culture and personalities of his adopted New York City. When Warhol visited China in 1982, he turned his photographic gaze to the people and significant sites of a culture in transition.

Ai Weiwei lived in New York for a decade from 1983 onwards, and his New York Photographs document the young artist’s social context as part of the city’s Chinese artistic and intellectual diaspora community. The images also show his participation on the margins of the New York art world; his commitment to social activism; his involvement with influential poets, such as Allen Ginsberg; and his identification with the work of Marcel Duchamp, Jasper Johns and Warhol.

In one photograph, taken at the Museum of Modern Art in 1987 – the year of Warhol’s death – Ai, in his late twenties, identifies himself explicitly with Warhol by adopting a Warholian pose in front of the Pop artist’s multiple Self-Portrait of 1966. (Text from exhibition wall panel)

Steve Schapiro
Andy Warhol Factory Portrait, New York
1963
© Steve Schapiro

Andy Warhol (American 1928-87)
Electric Chair
1967
Synthetic polymer paint screenprinted onto canvas
137.2 x 185.1 cm
National Gallery of Australia, Canberra
Purchased 1977
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

This stark, singular image of an empty electric chair is one of Warhol’s most austere works. It is based on a 1953 death chamber photograph taken at New York’s notorious Sing Sing Prison, where the convicted Soviet spies Julius and Ethel Rosenberg had been executed in January 1953 at the height of the Cold War. Warhol used this image for all of his Electric Chair paintings and prints, varying the cropping and background colours. As Warhol noted: ‘You’d be surprised how many people want to hang an electric chair on their living-room wall. Specially if the background colour matches the drapes’.

The Electric Chairs series of prints from 1971 employ imagery first developed in Warhol’s paintings of 1967. The repeated single image derives from a photograph of the electric chair in New York’s Sing Sing Penitentiary released by the press service Wide World Photo on the day two Soviet spies were executed in 1953, at the height of the Cold War. Warhol’s treatment, using pastel decorator colours applied in a painterly manner, contrasts with the macabre scene devoid of human presence. (Text from exhibition wall panels)

Ai Weiwei (Chinese 1957- )
S.A.C.R.E.D. (detail)
2011-13
6 dioramas; fibreglass, iron
377.0 x 197.0 x 148.4 cm (each)
Ai Weiwei Studio
© Ai Weiwei

Ai’s major installation S.A.C.R.E.D., [is] a series of architecturally scaled dioramas depicting scenes from the detention cell where he was held without charge by the Chinese government for eighty-one days in 2011. The work consists of six parts to which its acronymic title refers: Supper, Accusers, Cleansing, Ritual, Entropy and Doubt. The maquettes serve as archaeological evidence of the denial of personal freedom and dignity that Ai and many other dissidents have experienced, and cast him in the dual roles of rebel and victim of oppression. (Text from exhibition wall panel)

The individual and the state

The relationship between individual freedom and state power is a relevant subject for both Andy Warhol and Ai Weiwei. Warhol began exploring the electric chair as a motif in 1963, and the image remains a potent symbol of state disciplinary power. The artist’s celebrated Death and Disaster series – including representations of political assassinations, guns and knives, the hammer and sickle and most-wanted men – also explores the glamourisation of violence in the United States. These works, as well as the spectacular images of capital itself in Warhol’s Dollar Signs series, might be seen as a grand narrative of his time.

As an artist and human rights activist committed to freedom of expression, Ai Weiwei has been a longstanding advocate of individual acts of resistance against state, political or corporate power. Ai’s irrepressible impulse to defy the authority of the state is illustrated through his art and political activism. Vocal criticisms of Chinese government policy made by Ai on his blog led to its shutdown by authorities in 2009, and he was detained without charge for eighty-one days in 2011. Ai regained the right to travel only recently, in July 2015, when his passport was reinstated. (Text from exhibition wall panel)

Ai Weiwei (Chinese 1957- )
Dropping a Han Dynasty Urn
1995
3 silver gelatin photographs
148.0 x 120.0 cm each (triptych)
Ai Weiwei Studio
© Ai Weiwei

Ai Weiwei (Chinese 1957- )
Dropping a Han Dynasty Urn (details)
1995
3 silver gelatin photographs
148.0 x 120.0 cm each (triptych)
Ai Weiwei Studio
© Ai Weiwei

Andy Warhol (American 1928-87)
Elvis
1963
Synthetic polymer paint screenprinted onto canvas
208 x 91 cm
National Gallery of Australia, Canberra
Purchased 1973
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York. Licensed by Viscopy, Sydney

Warhol’s full-length portraits of Elvis Presley were first shown in 1963, accompanied by a series of portraits of film star Elizabeth Taylor. These large-scale screen-printed paintings show Warhol’s innovative painterly approach in the early 1960s. The image of popular American singer and actor Elvis Presley – derived from a publicity still for the film Flaming Star (1960) – captures him at the height of his acting career. The painting references the power and transience of fame while also highlighting violence in the cultural mythology of America. (Text from exhibition wall panel)

NGV International
180 St Kilda Road

Opening hours for exhibition
10am – 5pm daily

National Gallery of Victoria website

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Dec

Exhibition: ‘Andy Warhol | Ai Weiwei’ at the National Gallery of Victoria, Melbourne Part 1

By Dr Marcus Bunyan Leave a Comment

Categories: black and white photography, colour photography, documentary photography, drawing, exhibition, existence, film, gallery website, installation art, intimacy, Melbourne, memory, National Gallery of Victoria, New York, painting, photographic series, photography, photojournalism, Polaroid photography, portrait, printmaking, psychological, reality, sculpture, space, time, Uncategorized, video and works on paper
Tags: A star moves (Ai Weiwei), Ai Weiwei, Ai Weiwei Blossom, Ai Weiwei Circle of Animals (in Gold), Ai Weiwei Coloured Vases, Ai Weiwei Dropping a Han Dynasty Urn, Ai Weiwei Feet, Ai Weiwei Forever Bicycles, Ai Weiwei Grapes, Ai Weiwei Handcuffs, Ai Weiwei Letgo room, Ai Weiwei Mao, Ai Weiwei Neolithic Pottery with Coca-Cola Logo, Ai Weiwei Pillar through Round Table, Ai Weiwei S.A.C.R.E.D. Maquettes, Ai Weiwei Tonne of Tea, Ai Weiwei With Flowers, Ai Weiwei With Flowers project, Ai Weiwei  Study of Perspective, American popular culture, andy warhol, Andy Warhol and Ai Weiwei, Andy Warhol and Ai Weiwei at the National Gallery of Victoria, Andy Warhol Brillo Soap Pads Box, Andy Warhol Campbell's Soup II, Andy Warhol Dollar Sign, Andy Warhol Electric Chair, Andy Warhol Electric Chairs, Andy Warhol Flowers (Hand Coloured), Andy Warhol Gun, Andy Warhol Mao, Andy Warhol Mao Wallpaper, Andy Warhol You're in, Andy Warhol | Ai Weiwei, Blossom, Brillo Soap Pads Box, Campbell's Soup II, china, Chinese art, Chinese artist, Chinese cultural history, Chinese culture, Chinese history, Circle of Animals (in Gold), Coca-Cola logo, Coloured Vases, consumerism, Dropping a Han-Dynasty Urn, Electric Chair, Electric Chairs, Emperor Qianlong, Flowers for Freedom movement, Forever Bicycles, freedom, freedom of expression, freedom of speech, Irony (Ai Weiwei), Jingdezhen, LEGO, LEGO company, Letgo room, Little Red Book, Mao Wallpaper, Mao Zedong, Mao's Little Red Book, Marcus Bunyan A star moves (Ai Weiwei), Marcus Bunyan Andy Warhol | Ai Weiwei, Marcus Bunyan Irony (Ai Weiwei), Melbourne, National Gallery of Victoria, Neolithic Pottery with Coca-Cola Logo, NGV Andy Warhol | Ai Weiwei, NGV International, painted Neolithic vase, Pillar through Round Table, Pop Art, postwar American artists, Pu'er tea, Qing Dynasty, Qing Dynasty furniture, Readymade, readymade tradition, S.A.C.R.E.D. Maquettes, Study of Perspective, The Warhol, Tonne of Tea, With Flowers, With Flowers project, You're in, Yuanmingyuan palace, zodiac animal heads

Exhibition dates: 11th December 2015 – 24th April 2016

A monster posting of installation images of the exhibition Andy Warhol | Ai Weiwei at the National Gallery of Victoria, in chronological order. Thoughts to follow.

Marcus

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Many thankx to the National Gallery of Victoria for allowing me to take and publish the photographs in the posting. Please click on the photographs for a larger version of the image.

All photographs © Marcus Bunyan and the National Gallery of Victoria.

Marcus photographing the exhibition Andy Warhol | Ai Weiwei at the National Gallery of Victoria
Photo: Nick Henderson

Ai Weiwei talking to the media in front of his installation Forever Bicycles (2015)

Ai Weiwei (Chinese, 1957- )
Forever Bicycles (details)
2015
Stainless steel bicycle frames
Courtesy Ai Weiwei and Lisson Gallery, London

Marcus Bunyan
‘A star moves (Ai Weiwei)’
2015
© Marcus Bunyan

Installation view of the first room including Andy Warhol’s Dollar Sign (1981) and screen prints from his Campbell’s Soup II series (1969), with Ai Weiwei’s Dropping a Han Dynasty Urn (2015) made of LEGO-style plastic bricks at back left with, on the floor, his Coloured Vases (2015).

Installation view of the first room including Andy Warhol’s screen prints from his Campbell’s Soup II series (1969), with Ai Weiwei’s Coloured Vases (2015, detail)

Installation view of the first room including Andy Warhol’s Dollar Sign (1981), with Ai Weiwei’s Dropping a Han Dynasty Urn (2015) made of LEGO-style plastic bricks, with on the floor his Coloured Vases (2015, detail)

Ai Weiwei (Chinese, 1957- )
Coloured Vases (details)
2015
Synthetic polymer paint, Neolithic earthenware jars
Ai Weiwei Studio, Beijing

Marcus Bunyan
‘Irony (Ai Weiwei)’
2015
© Marcus Bunyan

Ai Weiwei (Chinese, 1957- )
Dropping a Han Dynasty Urn
2015
Plastic
Ai Weiwei Studio, Beijing

Ai Weiwei (Chinese, 1957- )
Dropping a Han Dynasty Urn (details)
2015
Plastic
Ai Weiwei Studio, Beijing

Ai’s photographic triptych Dropping a Han Dynasty Urn, 1995, which shows the artist holding, releasing and smashing a Han dynasty vase, is one of the artist’s most iconic works and demonstrates his critical engagement with China’s violent cultural tradition. Drawing attention to the desecration of cultural heritage, the artist’s performative action is presented matter-of-factly, with the viewer left to contemplate the event and what might be salvaged from the destruction. Ai has recreated the image here in children’s building blocks, in pixelated form, attesting to the distribution of images by digital technologies.

Ai Weiwei (Chinese, 1957- )
Neolithic Pottery with Coca-Cola Logo
2007
Metallic paint, earthenware jar
Collection of Larry Warsh, New York

Bringing together a readymade cultural artefact (after Marcel Duchamp) and pop-cultural imagery (after Andy Warhol), Ai’s painted Neolithic vase presents a rich albeit uneasy confrontation of elements. The Coca-Cola logo – emblem of American capitalism and brand identity – adorns an ancient, revered Chinese artefact. In branding a unique handcrafted object with a product of mass-consumption, Ai delivers a nuanced cultural comment, candidly invoking the conflicted contemporary identity of Chinese cultural heritage, socialist government and capitalist economics.

Installation view of second room including, at centre, Ai Weiwei’s Pillar through Round Table (2004-5) with Ai’s black and white photographs behind

Ai Weiwei (Chinese, 1957- )
Pillar through Round Table
2004-5
Elm, ironwood
Queensland Art Gallery/Gallery of Modern Art, Brisbane, Purchased 2006

Pillar through Round Table is constructed from a pair of elmwood half-tables bisected horizontally by an ironwood pillar. It is one of an extensive body of works by Ai composed of furniture and architectural fragments from the Qing dynasty period (1644-1911) which have been dismantled and painstakingly reassembled with the assistance of highly skilled carpenters to create new and often confounding arrangements. Ai’s reinvention of historical forms serves to enliven traditional crafts and skills, while his disavowal of modern industrial production processes also acts as a counterpoint to contemporary models of productivity and efficiency in Chinese industrial production.

Installation views of Ai Weiwei’s Pillar through Round Table (2004-5, detail)

Installation view of second room including, at centre, Ai Weiwei’s Pillar through Round Table (2004-5) with a group of Andy Warhol’s black and white photographs behind

Passageway between second and third rooms

Installation views of the third room including, at centre, Ai Weiwei’s Tonne of Tea (2006) and And Warhol’s Brillo Soap Pads Box (1964)

Ai Weiwei (Chinese, 1957- )
Tonne of Tea
2006
Compressed pu’er tea, wood base
Ai Weiwei Studio, Beijing

Ai’s Tonne of Tea is a readymade object redolent of the artist’s cultural context and heritage. Ai’s compressed cube of Pu’er tea – a staple of Chinese life, trade and custom – recalls not only the commercial aesthetics of Warhol’s Brillo Soap Pads Box but also the minimalist sculpture of postwar American artists such as Donald Judd, while introducing a specifically Chinese historical reference and cultural narrative into the readymade tradition.

Installation views of the third room including Ai Weiwei’s Tonne of Tea (2006) and And Warhol’s Brillo Soap Pads Box (1964) and You’re in (1967)

Andy Warhol (American, 1928-87)
Brillo Soap Pads Box
1964
Silkscreen ink and house paint on plywood
The Andy Warhol Museum, Pittsburgh
Founding Collection, Contribution
The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol (American, 1928-87)
You’re in
1967
Spray paint, glass bottles, printed wooden crate
The Andy Warhol Museum, Pittsburgh
Founding Collection, Contribution
The Andy Warhol Foundation for the Visual Arts, Inc.

Warhol was interested in the democratic cultural significance of mass-produced consumer goods. Popular grocery items distributed in vast quantities worldwide, at an affordable price, represented the best and brightest of American consumer society. Warhol’s first paintings of Coke bottles appeared in 1961. Here the artist turned to readymade objects as source material, coating the actual softdrink bottles with silver paint. Three years later Warhol went a step further by filling 100 silver bottles with a perfume he rakishly labelled ‘You’re In’ / ‘Eau d’Andy’. Not surprisingly, the Coca-Cola Company responded with a cease and desist letter.

“A major international exhibition featuring two of the most significant artists of the twentieth and twenty-first centuries – Andy Warhol and Ai Weiwei – opened at the National Gallery of Victoria, Melbourne, on 11 December 2015.

Andy Warhol | Ai Weiwei, developed by the NGV and The Warhol, with the participation of Ai Weiwei, explores the significant influence of these two exemplary artists on modern art and contemporary life, focussing on the parallels, intersections and points of difference between the two artists’ practices. Surveying the scope of both artists’ careers, the exhibition at the NGV presents over 300 works, including major new commissions, immersive installations and a wide representation of paintings, sculpture, film, photography, publishing and social media.

The exhibition explores modern and contemporary art, life and cultural politics through the activities of two exemplary figures – one of whom represents twentieth century modernity and the ‘American century’; and the other contemporary life in the twenty-first century and what has been heralded as the ‘Chinese century’ to come. Ai Weiwei commented, “I believe this is a very interesting and important exhibition and an honour for me to have the opportunity to be exhibited alongside Andy Warhol. This is a great privilege for me as an artist.”

Andy Warhol | Ai Weiwei premieres a suite of major new commissions from Ai Weiwei, including an installation from the Forever bicycles series, composed from nearly 1500 bicycles; a major five metre-tall work from Ai’s Chandelier series of crystal and light; Blossom 2015, a spectacular installation in the form of a large bed of thousands of delicate, intricately designed white porcelain flowers; and a room-scale installation featuring portraits of Australian advocates for human rights and freedom of speech and information.

Ai Weiwei lived in the United States from 1981 until 1993, where he experienced the works of Marcel Duchamp, Andy Warhol and Jasper Johns, among others. The Philosophy of Andy Warhol (From A to B & Back Again) was the first book that Ai Weiwei purchased in New York, and was a significant influence upon his conceptual approach. Ai Weiwei’s relationship to Warhol is explicitly apparent in a photographic self-portrait, taken in New York in 1987, in which Ai Weiwei poses in front of Warhol’s multiple self-portrait, adopting the same gesture.

Each artist is also recognised for his unique approach to notions of artistic value and studio production. Warhol’s Factory was legendary for its bringing together of artists and poets, film-makers and musicians, bohemians and intellectuals, ‘drag queens’, ‘superstars’ and socialites, and for the serial-production of silkscreen paintings, films, television, music and publishing.

The studio of Ai Weiwei is renowned for its interdisciplinary approach, post-industrial modes of production, engagement with teams of assistants and collaborators, and strategic use of communications technology and social media. Both artists have been equally critical in redefining the role of ‘the artist’ – as impresario, cultural producer, activist and brand – and both are known for their keen observation and documentation of contemporary society and everyday life.”

Text from the National Gallery of Victoria

Installation view of the fourth room including, at centre, Ai Weiwei’s Blossom (2015) with his Grapes (2011) rear left, and Andy Warhol’s Flowers (Hand Coloured) (1974) on the wall behind

Ai Weiwei (Chinese, 1957- )
Blossom (details)
2015
Porcelain
Ai Weiwei Studio, Beijing

Blossom is a new installation in the form of a garden bed, comprising thousands of flowers made from fine white porcelain. In response to the Flowers for Freedom movement which grew out of the artist’s With Flowers project, Blossom serves as a memorial to people who live in restricted conditions because of their fight for freedom of speech or human rights. The work was fabricated in collaboration with the finest craftspeople from Jingdezhen, whose predecessors once produced the highest quality porcelain for emperors of the past. Because of its size, the technical aspect of manufacturing this work was highly complex.

Ai Weiwei (Chinese, 1957- )
Grapes (details)
2011
Qing Dynasty stools
Collection of Larry Warsh, New York

By reassembling Qing Dynasty furniture, which was constructed by traditional joinery techniques without glue or nails, Ai transforms the meaning and function of these cultural artefacts. Here he reconfigures a collection of wooden stools into a group resembling an organically formed cluster of grapes. The arrangement serves as a metaphor for the relationship between the individual and the collective, signifying the deferral of personal interests to those of the community and state characteristic of China’s socialist history. The linked structure of Grapes also recalls the idea of networks and communication, which are recurrent motifs in the Ai work. Manufactured by skilled craftsmen, this type of three-legged stool was used for centuries in China by all kinds of people – the rich and the poor, in towns and in the country. Every family had one, and they were passed on through many generations.

Ai Weiwei (Chinese, 1957- )
With Flowers (detail)
2013-15
Bicycle, flowers, digital print on paper
Ai Weiwei Studio, Beijing

In 2011 Ai was detained by Chinese authorities for eighty-one days without being charged. Upon his release, Ai’s passport was revoked and his studio placed under constant surveillance. With Flowers saw the artist place a fresh bunch of flowers in the basket of a bicycle outside his studio on a daily basis in a poetic protest against restriction on his right to travel. Images of the flowers were posted to Ai’s social media feeds, and an internet movement called Flowers for Freedom emerged. The project concluded upon the return of Ai’s passport in July 2015.

Installation view of part of the fifth room showing Andy Warhol’s portraits of friends and celebrities

Ai Weiwei (Chinese, 1957- )
Letgo room (details)
2015
Plastic
Ai Weiwei Studio, Beijing

Composed of more than three million plastic building blocks, Ai Weiwei’s Letgo room is a new installation featuring portraits of Australian activists and champions of human rights and freedom of speech. Ai has chosen people who represent grassroots community activism and advocacy within the fields of international law and academia, social welfare and the rights of Indigenous people, asylum seekers, sex workers and the gender nonspecific, among other cultural contexts. Each subject was asked to provide a one-line statement reflecting their philosophy and views to accompany his or her portrait.

The work attests to Ai’s longstanding commitment to liberty, manifested in his work as an artist, social commentator, activist and public intellectual. Letgo room was intended to be constructed from LEGO blocks; however, the LEGO company declined to provide a bulk order of their product due to the purported ‘political’ nature of the proposed work. Instead, the installation is composed of building blocks manufactured in China, continuing the artist’s exploration of the copy and fake.

Installation view of part of the fifth room showing Andy Warhol’s silkscreen portraits of Mao (1972) hung on his Mao Wallpaper (1974, reprint 2015), on the exterior of Ai Weiwei’s Letgo room (2015)

Andy Warhol (American, 1928-87)
Mao
1972
Colour silkscreens on paper, ed. 162/250
National Gallery of Australia, Canberra
Purchased, 1973

The source image for Warhol’s numerous portraits of Mao Zedong is the frontispiece to the Chairman’s famous Little Red Book of quotations. Mao’s image was in the media spotlight in 1972, the year US President Richard Nixon travelled to China, and his official portrait could be seen on the walls of homes, businesses and government buildings throughout the country. It was also extremely popular among literary and intellectual circles in the West. Warhol’s repetition of the image as pop-cultural icon underlines the cult of celebrity surrounding Mao, and the ways in which the proliferation of images in media and advertising promotes consumer desire and identification.

Installation view of part of the fifth room showing, on the far wall, Ai Weiwei’s portraits of Mao: Mao (Facing Right) (1986) and Mao (Facing Forward) (1986)

Installation view of the sixth room with, on the floor, Ai Weiwei’s S.A.C.R.E.D. Maquettes (2011) with Andy Warhol’s Electric Chairs (1971) silkscreens at left, and his Electric Chair (1967) painting at right, hung on Warhol’s Washington Monument Wallpaper (1974, reprint 2015)

Installation view of the sixth room with, on the floor, Ai Weiwei’s S.A.C.R.E.D. Maquettes (2011) and Andy Warhol’s Gun (1981-82) paint and silkscreen ink on linen work on the wall behind

Ai Weiwei (Chinese, 1957- )
S.A.C.R.E.D. Maquettes (details)
2011
Fibreglass
Ai Weiwei Studio, Beijing

These maquettes are sculptural models for Ai’s major installation S.A.C.R.E.D., a series of architecturally scaled dioramas depicting scenes from the detention cell where he was held without charge by the Chinese government for eighty-one days in 2011. The work consists of six parts to which its acronymic title refers: Supper, Accusers, Cleansing, Ritual, Entropy and Doubt. The maquettes serve as archaeological evidence of the denial of personal freedom and dignity that Ai and many other dissidents have experienced, and cast him in the dual roles of rebel and victim of oppression.

Installation view of Ai Weiwei’s Feet (2005) in the sixth room of the exhibition Andy Warhol | Ai Weiwei at the National Gallery of Victoria, Melbourne

Ai Weiwei (Chinese, 1957- )
Feet
2005
Set of 13 fragments of sculpture from the Northern Wei dynasty CE 386-535 and North Qi dynasty CE 550-77 on a table stone, wood
Queensland Art Gallery/Gallery of Modern Art, Brisbane
Purchased, 2006

Ai Weiwei is a connoisseur of Chinese antiquity and Feet is an example of his practice of giving new life to found cultural artefacts. These stone feet are the remains of looted Buddhist statues dating from the Northern Wei (386-535 CE) and Northern Qi (550-577 CE) dynasties. Much destruction took place during periods of dynastic change in China as new regimes attempted to destroy the cultural and aesthetic achievements of former rulers. These fragments gathered by Ai demonstrate that the past cannot be erased that easily.

Installation view of Ai Weiwei’s Handcuffs (2015) in the sixth room of the exhibition with his Study of Perspective (1995-2011) series of photographs on the wall behind

Ai Weiwei (Chinese, 1957- )
Handcuffs
2015
Jade
Ai Weiwei Studio, Beijing

This pair of handcuffs sculpted in jade – the most precious stones in Chinese culture – replicate those worn by Ai during his imprisonment in 2011. Historically, the wearing of jade was reserved for high-ranking members of the imperial family, and today wearing jade jewellery is still believed to bestow good health and protection upon the wearer. Here Ai recasts this material and its historical cultural connotations in relation to the containment of dissident political expression in contemporary China.

Installation view of the seventh room of the exhibition featuring part of Ai Weiwei’s Circle of Animals (in Gold) (2010), with Andy Warhol’s silkscreen skulls on the wall behind

Ai Weiwei (Chinese, 1957- )
Circle of Animals (in Gold) (details)
2010
Gilt-bronze
Private collection, New York

Ai Weiwei’s Circle of Animals is based on twelve zodiac animal heads which functioned as a water clock-fountain in the European-style gardens of Yuanmingyuan palace, Beijing, designed in the eighteenth century by two European Jesuits for the Qing dynasty Emperor Qianlong. In 1860 Yuanmingyuan was ransacked by French and British troops and the heads were pillaged. In reinterpreting these objects, Ai focuses attention on the ethics of looting and repatriation, the role of the fake and the copy and power relations between China and the West.

Installation view of part of room eight of the exhibition Andy Warhol | Ai Weiwei at the National Gallery of Victoria, Melbourne.

This room was based on interactivity with not much of interest photographically speaking, hence only one image.

NGV International
180 St Kilda Road

Opening hours:
10am – 5pm daily

National Gallery of Victoria website

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May

Exhibition: ‘Cai Guo-Qiang: Falling Back to Earth’ at the Gallery of Modern Art (GOMA), Brisbane

By Dr Marcus Bunyan Leave a Comment

Exhibition dates: 23rd November 2013 – 11th May 2014

99 wolves a leaping
99 replicas of animals a drinking
31-metre suspended eucalyptus tree a leaning
170 tonnes of water a seeping
3,000 square metres of GOMA’s ground floor a taking
and not a partridge in a pear tree in sight…

FANTASTIC ART!

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Many thankx to the Gallery of Modern Art (GOMA) for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Cai Guo-Qiang (China b. 1957)
Heritage
2013
99 life-sized replicas of animals, water, sand, drip mechanism
Installed dimensions variable
Commissioned for the exhibition Falling Back to Earth, 2013
Purchased 2013 with funds from Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation
Photograph: Queensland Art Gallery | Gallery of Modern Art

“Thought-provoking and spectacular new installations inspired by Queensland landscapes will premiere in the first Australian solo exhibition of leading international contemporary artist Cai Guo-Qiang, opening tomorrow at the Gallery of Modern Art (GOMA). Cai Guo-Qiang: Falling Back to Earth, on display from November 23 to May 11, 2014, builds on a longstanding working relationship between the artist and the Gallery, which dates back to Cai’s participation in the Asia Pacific Triennial of Contemporary Art exhibitions in 1996 and 1999.

For the first time ever, all 3,000 square metres of GOMA’s ground floor will be dedicated to an exhibition of work by a single living artist. Falling Back to Earth features installations of 99 replicas of animals drinking from a pristine lake; 99 wolves leaping en masse and colliding with a glass wall; a suspended 31-metre eucalyptus tree, creating a space for contemplation; and a tea pavilion where visitors can pause, drink tea, and find out more about the artist and the exhibition. There will also be an interactive installation for children and a chronological display of the artist’s career, with photographs, ephemera, and original art works selected by the artist.

Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Director Chris Saines said Cai Guo-Qiang’s ground-breaking practice over 25 years used unexpected materials to create transformative event-based and social projects. “This exhibition is a significant evolution for one of today’s most compelling and highly respected global artists, realised with a level of ambition unprecedented for an Australian art museum,” Mr Saines said. “Cai is shifting his focus from the cosmos to the Earth and to humanity’s complex relationship with nature, while maintaining his keen eye on both the seen and unseen forces that impact life.”

Cai Guo-Qiang said the exhibition title Falling Back to Earth was inspired by fourth-century poet Tao Yuanming’s well-known prose poem, Ah, homeward bound I go! “The text captures the concept behind the exhibition, and expresses the idea of going home, returning to the harmonious relationship between man and nature, and re-embracing the tranquillity in the landscape,” he said.

Exhibition curator Russell Storer, Curatorial Manager of Asian and Pacific Art, QAGOMA, said the new commissions drew on the striking beauty of Queensland landscapes and the exquisite imagery in historical Chinese painting and poetry, to express concerns regarding the ecological and social issues of our time. “Heritage 2013 is an installation of 99 replicas of animals including pandas, tigers, bears, giraffes and kangaroos, lowering their heads to drink water together from a lake that is surrounded by white sand, evoking the islands of Brisbane’s Moreton Bay,” Mr Storer said. “Seemingly a peaceful gathering of predator and prey, the menagerie of Heritage conveys an almost reverential solemnity, in a lyrical utopian vision loaded with uncertainty. It embodies Cai’s image of a ‘last paradise’ and his awareness of a sense of crisis in contemporary societies across the world.”

The first single artwork to take up the entire 1,100m2 of GOMA’s largest gallery space, Heritage presents animals drinking from a lake filled with 170 tonnes of water, which is viewable from a walkway that circles the entire installation. The Gallery will acquire Heritage thanks to a generous contribution from benefactor Win Schubert, through the Josephine Ulrick and Win Schubert Diversity Foundation with the assistance of the QAGOMA Foundation.

“Eucalyptus 2013, a 31-metre tree suspended along GOMA’s central Long Gallery, came from a plantation earmarked for clearing for urban community development. The work was inspired by the ancient trees of Lamington National Park, and creates a meditative, immersive experience for visitors,” Mr Storer said. “Drawing on his history of socially provocative projects, Cai presents Eucalyptus as an unfinished work to be completed by the audience, who are invited to draw and write their ideas on the tree’s past and future. A third major installation, Head On 2006 – Cai’s signature work of 99 life-size sculptures of wolves, which was commissioned by Deutsche Bank, Berlin – is appearing in Australia for the first time.”

In the free interactive installation, Let’s Create an Exhibition with a Boy Named Cai 2013, Cai Guo-Qiang and the QAGOMA Children’s Art Centre invite children to participate, using the artist’s working methods to create their own exhibition through hands-on and multimedia activities, which include an online ‘gunpowder drawing’ making program. An illustrated storybook written by the artist and created in collaboration with the Children’s Art Centre will be available from the QAGOMA Store.

The Tea Pavilion in the River Room invites visitors to pause, rest and reflect on the works in the exhibition. Visitors can sample Tie Guan Yin tea from Cai’s home province of Fujian and watch a documentary created especially for ‘Falling Back to Earth’ to learn more about the processes behind the exhibition. A detailed chronology of Cai’s work, including early works, ephemera, photographs and artefacts selected by the artist from his private collection and the QAGOMA Research Library, will be presented in the GOMA Foyer. The display will offer insights into the artist’s history with QAGOMA and the complexity and risk involved in Cai’s work. The exhibition will be fully documented in a major publication, available in January 2014. The book will feature photography of the new works and essays from leading curators, as well as reflections from Cai Guo-Qiang on his collaboration with children throughout his career.

Cai’s recent solo exhibitions and projects have included the retrospective Cai Guo-Qiang: I Want to Believe, presented at the Solomon R. Guggenheim Museum, New York, the National Art Museum of China in Beijing in 2008 and the Guggenheim Bilbao in 2009. He was Director of Visual and Special Effects for the opening and closing ceremonies of the Beijing Olympics in 2008, and his first exhibition in the Middle East was staged in Doha, Qatar, in 2011. In 2012, the artist appeared in solo exhibitions in Los Angeles, Hangzhou and Copenhagen. His first South American exhibition toured to Brasília, São Paolo and Rio de Janeiro in Brazil in 2013.”

Press release from the Gallery of Modern Art website

Cai Guo-Qiang (China b. 1957)
Tea Pavilion
2013
Spotted gum (Corymbia maculata), wooden stools, Fujian Tie Guan Yin tea and video documentary
Commissioned for the exhibition Falling Back to Earth, 2013
Photo by Yuyu Chen, courtesy Cai Studio

Cai Guo-Qiang (China b. 1957)
Eucalyptus
2013
Spotted gum (Corymbia maculata), wooden stools, paper and pencils
Length: 3150 cm (approx.)
Commissioned for the exhibition Falling Back to Earth, 2013
Photograph: Queensland Art Gallery | Gallery of Modern Art

Cai Guo-Qiang (China b. 1957)
Head On
2006
99 life-sized replicas of wolves and glass wall. Wolves: gauze, resin, and hide
Dimensions variable
Deutsche Bank Collection, commissioned by Deutsche Bank AG
Photograph: Queensland Art Gallery | Gallery of Modern Art

Gallery of Modern Art (GOMA)

The Queensland Art Gallery (QAG) and Gallery of Modern Art (GOMA) are located 150 metres from each other, on the south bank of the Brisbane River. Entrance to both buildings is possible from Stanley Place, and the river front entrance to the Queensland Art Gallery is on Melbourne Street. The Galleries are within easy walking distance to the city centre and South Bank Parklands.

Opening hours:
Daily 10.00 am – 5.00 pm
Closed Christmas Day, Good Friday, open from 12.00 noon ANZAC Day

Gallery of Modern Art (GOMA) website

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Oct

Exhibition: ‘Humanism in China: A Contemporary Record of Photography’ at the China Institute in America, New York

By Dr Marcus Bunyan 2 Comments

Categories: black and white photography, colour photography, documentary photography, exhibition, existence, gallery website, landscape, memory, New York, photography, photojournalism, portrait, psychological, reality, space, street photography, time and works on paper
Tags: A Contemporary Record of Photography, A Parent-Official Like This, A soldier bids farewell to his wife and child, A soldier bids farewell to his wife and child who have just visited him, At the Red Flag Canal construction project, China Institute in America, Chinese, Chinese art, Chinese artists, Chinese Institute in America, Chinese photographers, Chinese photography, contemporary Chinese photography, documentary photography in China, Feng Jianxin, Feng Jianxin A soldier bids farewell to his wife and child, Feng Jianxin A soldier bids farewell to his wife and child who have just visited him, Geng Yensheng, Geng Yensheng Miners at Wumeng Mountain, Hao Junchen, Hao Junchen Hugging a portrait of his wife deceased wife, Having a Chat, Having a Chat Cheng Du, Hei-Ming, Hei-Ming Iron Rice Bowl, history of documentary photography in China, Hu Wugong, Hu Wugong Migrant wheat farmer in the field in Guanzhong, Hugging a portrait of his wife deceased wife, Humanism in China, Humanism in China: A Contemporary Record of Photography, Iron Rice Bowl, Li Dan, Li Dan Tourists at the Wenshu Temple in Chengdu, Liu Jun, Liu Jun A Parent-Official Like This, Migrant wheat farmer in the field in Guanzhong, Miners at Wumeng Mountain, New York, social photography, Tourists at the Wenshu Temple in Chengdu, Wei Dezhong, Wei Dezhong At the Red Flag Canal construction project, Wu Jialin, Wu Jialin Having a Chat

Exhibition dates: 24th September – 13th December 2009

Many thankx to the China Institute in America for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Hao Junchen
Hugging a portrait of his wife deceased wife, an elderly man fulfils their dream of visiting Beijing
2003
Gelatin silver print

Feng Jianxin
A soldier bids farewell to his wife and child who have just visited him and are now returning home
Weichang, Hebei
Winter 1987

Hu Wugong
Migrant wheat farmer in the field in Guanzhong
1998
Gelatin silver print

Wei Dezhong
At the Red Flag Canal construction project, suspended labourers cut a channel
1960
Gelatin silver print

Liu Jun
A Parent-Official Like This
1985
Gelatin silver print
51 × 40.7 cm

“A new exhibition of documentary photography, Humanism in China: A Contemporary Record of Photography, will be on view at China Institute Gallery from September 24 through December 13, 2009, revealing a glimpse of China never before seen in the U.S. The photographs, dating from 1951 though 2003, offer intimate portraits of rural and urban daily life in China, beyond the glossy veneer of the economic boom. A fully illustrated catalogue will accompany the exhibition.

Much in the way that The Family of Man, the 1955 landmark photography exhibition curated by Edward Steichen at The Museum of Modern Art in New York, explored the universality of the human experience, Humanism in China: A Contemporary Record of Photography offers rare insight into ordinary and extraordinary human experiences – in this case, taking place in China over the last 50 years.

Humanism in China: A Contemporary Record of Photography was organised by the Guangdong Museum of Art and represents the first large-scale collection of photography acquired permanently by any museum in China. Opening at the Guangdong Museum in 2003, the exhibition has since traveled to seven venues in China, Germany and Scotland. The curators, Wang Huangsheng, An Ge and Hu Wugong, visited photographers’ homes and studios in more than 20 provinces and viewed an estimated 100,000 photographs before selecting 600 images by 248 photographers. The exhibition at China Institute Gallery will offer a more tightly focused selection – 100 photographs by more than 80 photographers – chosen by Dr. Jerome Silbergeld, Professor of Chinese Art History at Princeton University.

Together the images present an unvarnished, starkly realistic view of the hardships and rewards of social modernisation. “These photographs are not just about society and history but are equally about photography itself and the history of documentary photography in China,” Silbergeld writes in the catalogue essay.

Willow Hai Chang, the Director of China Institute Gallery, notes “The medium and language of photography provide an exceptional opportunity to foster a dialogue, enhancing communication and understanding about everyday life in China. Growing up in China and returning there often, I have witnessed the transforming relationship the Chinese have experienced with photography – from the fear that the camera could steal one’s soul that still exists in some remote regions to the urban proliferation of cell-phone cameras and social-networking sites filled with portraits. Photography also provides a most compelling method of recording history, and ‘Humanism in China: A Contemporary Record of Photography’ creates a contextual framework for both the traditional and modern elements of life in China.”

The emerging themes from the exhibition span an enormous range of human emotions. Tragedy can be seen in the eyes of a man holding a portrait of his deceased wife, while fear is evident as victims flee rising floodwaters. There is also a graceful patience on view as a couple awaits their country wedding, and utter joy is clearly evident as a man displays his wads of cash after winning the lottery.

One of the most striking images in the exhibition is Iron Rice Bowl (see below), Hei Ming’s 2000 portrait of a Muslim chef squatting in front of a crude construction workers’ restaurant, his skullcap mimicking the customers’ rice bowls hanging on the restaurant’s facade. Another notable image, Geng Yensheng’s painterly photograph Miners at Wumeng Mountain (see below), 2003, depicts the harsh working conditions in the mountainous district where Yunnan, Sichuan and Guizhou provinces come together. As Silbergeld writes, the photograph of the young bathing miners “brings social bitterness and formal beauty into a perfectly fused relationship.”

One of the images, A Parent-Official Like This (see above), became well known in China. In May 1985, Liu Jun had his camera ready when he witnessed a rural deputy chief from the Baishui region in Shaanxi province forcefully push a 60-year-old villager to the ground in a dispute over migration. The resulting photograph captures the horrific arrogance of the authority figure as he towers over the powerless villager whose mouth is contorted in pain. The award-winning image is considered the foremost work of photographic social criticism since the 1949 revolution.”

Press release from the China Institute in America website [Online] Cited 20/10/2009 no longer available online

Wu Jialin
Having a Chat, Cheng Du
1999
Gelatin silver print

Hei-Ming
Iron Rice Bowl
2000
Gelatin silver print

Li Dan
Tourists at the Wenshu Temple in Chengdu taking a souvenir photograph
1983
Gelatin silver print

Geng Yensheng
Miners at Wumeng Mountain
2003
Gelatin silver print

China Institute in America
125 East 65th St, between Lexington and Park Avenues
New York

Gallery hours:
Monday – Friday 10am – 5pm
Thursday 10am – 8pm
Saturday 11am – 5pm
Closed on Sundays

China Institute in America website

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Jul

Review: Guo Jian paintings at Arc One Gallery, Melbourne

By Dr Marcus Bunyan Leave a Comment

Exhibition dates: 30th June – 25th July 2009

Guo Jian (Chinese Australian, b. 1962)
No.c
2009
Acrylic on canvas
152 x 213 cm

This exhibition of eight new paintings and one older work by Chinese artist Guo Jian presented at Arc One Gallery in Melbourne is, with the exception of one outstanding painting, a disappointment. The new work addresses, variously, themes of consumerism, stardom, sex appeal, the military and Chinese culture. Using old photographs as reference and inserting the body and face of the artist into the canvases, Jian examines the paradoxes that exist between Western/American and Chinese culture to limited effect.

Using a restricted colour palette in each painting Jian’s ‘mise en scène’ places American soldiers and babes wearing bikinis of distorted American flags with the artist as lone Chinese soldier – his face pulled into focus while the other figures almost become cut-outs with the overlay of a “blur filter” softening their features. In another set piece Untitled 3 (2009) a seductive woman with flaming red hair and half open jacket holds a bottle of Chloe perfume in her hand while behind Chinese female military dancers brandish swords and red flags. In No.g (2009) two soldiers with guns propped behind them read contrasting books – one the ‘Little Red Book’ and the other ‘A Big Naughty Girly Magazine’. Marilyn and Madonna feature heavily, pastiches in a built environment – all pink and fleshy with a silver heart (perhaps it should have been a Purple Heart).

The iconography in these staged ‘tableaux vivants’ is a one shot idea repeated in all eight paintings. The themes seem hackneyed, their language a bricolage of ironic archetypes that don’t have anything new to say about the subject matter but repeat things we know already: vis a vis that Chinese society is struggling to cope with the burden of becoming a consumer culture. On reflection, the new paintings have not impinged on my consciousness – always a sign whether the work really has made a connection. However, the single work from 2003 is a different beast.

The Training from the series The Day Before I Went Away (2003) is a hypnotic, mesmerising and powerful work, lurid even, with it’s hyper-real colours and maniacal faces, eyes rolling in the back of heads, barring of teeth, the hand over the mouth, the upraised hand, the glistening white of the blade – oh the lust for blood!

This painting is so evocative it shames the new work by comparison – you think about this work, you remember it!

Here is the passion and insightfulness of the artist. Danger and terror grab you and shake you and force you to think about the human condition. This is what I want art to do in whatever way it can – subtly, quietly, psychologically, forcefully. Great art challenges us to look, feel and think. Unfortunately the new work, while clever on a superficial level, fails to deliver.

Dr Marcus Bunyan for the Art Blart blog.

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Many thankx to the Arc One Gallery for allowing me to publish the art work in the posting.

Guo Jian (Chinese Australian, b. 1962)
No.d
2009
Acrylic on canvas
152 x 213 cm

“This series is about looking at the persuasion or morale boosting efforts for soldiers from another perspective. I considered how starlets and celebrities are deployed in the West – often not dissimilarly to the way Chinese Entertainment Soldiers are used to influence and motivate in my part of the world.” ~ Guo Jian

Guo Jian (Chinese Australian, b. 1962)
No.f
2009
Acrylic on canvas
152 x 213 cm

Guo Jian (Chinese Australian, b. 1962)
No.g
2009
Acrylic on canvas
152 x 213 cm

Guo Jian (Chinese Australian, b. 1962)
Untitled 3
2009
Acrylic on canvas
152 x 213 cm

Born in China in 1963, Jian was raised in a controlled political environment. He served over three years in the Peoples Liberation Army and bore witness to the horrific Tiananmen Square massacre in 1989, where he assisted carrying the wounded to the hospital.

Jian’s personal atlas of history continues to feed his visual commentary. His voice is both satirical and erotic, challenging and confronting. He plays with irony and foreplay to exploit and raise potent questions surrounding propaganda and manipulation.

“As I have grown older, I have realised that all of the education I have received is rarely practical in real life. Reality and education are conflicting. The way in which you inherently view the world is influenced by education which is the perspectives of others. Our surrounding environment defines our perception of ‘right’ and ‘wrong’, ‘enemy’ and ‘friend’, ‘them’ and ‘us’. But, if you dare to open your eyes and liberate your mind, you will find that the world is not exactly the way you have been told. Put your feet into someone else’s shoes to think about the world and your own life differently. For me, if the surroundings change, are combined, are old or new, it doesn’t matter. My life is defined relative to my self-experience and the things I have heard or seen. From this perspective, I have discovered the freedom to reopen my eyes to a new world and to new possibilities.”

Guo Jian

Text from the press release on the Arc One Gallery website [Online] Cited 10/07/2009

Guo Jian (Chinese Australian, b. 1962)
The Training from the series The Day Before I Went Away
2003

Arc One Gallery
45 Flindes Lane
Melbourne, Victoria 3000

Opening hours:
Tuesday – Saturday 11 – 5pm

Arc One Gallery website

Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

ARCHIVE OF ALL AUSTRALIAN ARTISTS AND EXHIBITIONS THAT HAVE APPEARED ON THE BLOG AT THIS LINK

ARCHIVE OF ALL INTERNATIONAL ARTISTS AND EXHIBITIONS THAT HAVE APPEARED ON THE BLOG AT THIS LINK

Marcus Bunyan black and white archive: ‘Mask’ 1994

Marcus Bunyan black and white archive: 'Mask' 1994

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Auction: Holst manuscripts, Christie's, London. My mother (87) is selling these rare Holst manuscripts to raise mon… twitter.com/i/web/status/1… 15 hours ago
Auction: Holst manuscripts, Christie's, London. My mother (87) is selling some very rare Holst manuscripts. Christi… twitter.com/i/web/status/1… 15 hours ago
Photographs: Still life colour separation images by Bernard F. Eilers wp.me/pn2J2-brE #colourphotography… twitter.com/i/web/status/1… 4 days ago
Exhibition and auction, photographs and text: 'The Gay Day Archive 1974-83' - photographs by Hank O'Neal; text by A… twitter.com/i/web/status/1… 1 week ago
Exhibition and auction, photographs and text: 'The Gay Day Archive 1974-83' - photographs by Hank O'Neal; text by A… twitter.com/i/web/status/1… 1 week ago
Exhibition: 'Oscar Rejlander: Artist Photographer' at the J. Paul Getty Museum, Getty Center, Los Angeles… twitter.com/i/web/status/1… 2 weeks ago

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Posts Tagged ‘Chinese art

Exhibition: ‘Andy Warhol | Ai Weiwei’ at the National Gallery of Victoria, Melbourne Part 1

Exhibition dates: 11th December 2015 – 24th April 2016

Exhibition: ‘Cai Guo-Qiang: Falling Back to Earth’ at the Gallery of Modern Art (GOMA), Brisbane

Exhibition dates: 23rd November 2013 – 11th May 2014

Review: Guo Jian paintings at Arc One Gallery, Melbourne

Exhibition dates: 30th June – 25th July 2009

Dr Marcus Bunyan

Marcus Bunyan black and white archive: ‘Mask’ 1994

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