Clive Arrowsmith, Vanessa Beecroft, Ashley Bickerton, Sanford Biggers, Olaf Breuning, Scott Campbell, Leo Gabin, Nan Goldin, Douglas Gordon, Kim Gordon, Tom Hegen, Calle Henzel, Carsten Höller, Jonathan Horowitz, Katerina Jebb, Robert Knoke, Helmut Lang, Linder, Linda Linko, Bjarne Melgaard, Marilyn Minter, Tim Noble & Sue Webster, Tony Oursler, Richard Phillips, Jack Pierson, Richard Prince, Anselm Reyle, Wilhelm Sasnal, Juergen Teller, Mickalene Thomas, Andy Warhol, Lawrence Weiner, Jwan Yosef, AVAF, Tom of Finland
Richard Bernstein, Tim Noble & Sue Webster and Mary McCartney
Featured artists are all groundbreaking and leading forces within their respective fields and media, ranging from sculpture, drawing, textile, collage, photography, installations, reliefs and video art. Their mark has not only been honored and highlighted at leading galleries and institutions worldwide, but also widely documented and manifested as a mirror of cultural movements.
Image: Carsten Höller, portrait by © Pierre Björk, courtesy of the artist.
ANSELM REYLE, portrait by © Hedi Slimane, courtesy of the artist.
The Marilyn Maquette - Obscure, Unknown… And Iconic
The exhibition ANDY WARHOL: The Marilyn Maquette: Obscure, Unknown… And Iconic, brings to light one of Warhol’s most obscure and unknown works, while paying homage to his most iconic and popular subject; Marilyn Monroe. The exhibition features nine handmade rugs by Henzel Studio created in close collaboration with The Andy Warhol Foundation for the Visual Arts. Alongside fourteen original Warhol paintings made available by The Andy Warhol Foundation for the Visual Arts, further contextualizing the artist’s accomplishments of both replicating, abstracting and deconstructing the recognizable subject. Curated by Joakim Andreasson.
VIEW IN VR
Select works from the exhibition: ANDY WARHOL, Marilyn's Lips, 1962, Painting, Acrylic, silkscreen ink and pencil on linen 210.2 × 410.2 cm (82.8 × 161.5 in), ANDY WARHOL, Marilyn Diptych, 1962, Painting, Acrylic, silkscreen ink and pencil on linen, 144.8 × 205.7 cm (57 × 81 in), ANDY WARHOL, Two Marilyn (Marilyn Twice), 1962, Painting, Silkscreen ink and pencil on linen, 80 × 59.7 cm (31.5 × 23.5 in) © /® /™ The Andy Warhol Foundation for the Visual Arts, Inc.
Object / Object
The exhibited works in Jwan Yosef’s Object / Object are no redundancy. A selfdescribed conceptual painter, Yosef’s works are attentive to the formal values that physically shape a work of art, yet more readily discourses the language constructs inherent to the social and psychological processes of projecting and interpreting objects. In the case of Object / Object, Yosef invites us to examine the dimensionality of the ubiquitous term’s many façades and functions—from the anonymity of its description as a noun to its performance as a radically actionoriented verb. Mirroring the transitory states of this word unfolds Yosef’s Object series. The objects here hold no singular identity. At once painting and sculpture, the works subtly introduce a limbo of being. While the pulling action of the artist’s hand can be interpreted as an iconoclastic or even violent maneuver, the gesture is performed as a revelatory exercise, which Yosef describes as an “undressing of the canvas.” The canvas’ cor oreality reveals its naked anatomy, expressing a most sensual disrobing. With the painting’s interior elements bared, grids of threaded linen are exposed, and the limbs of the stretcher bars posture a new relaxed silhouette. The façade of the canvas, fortified with gesso and white paint, holds a sculptural form reminiscent of the folds of wet drapery carved in Greco-Roman frieze figures. The undressing gesture transforms the painting into sculpture or an entity existing in-between. This transfigurative quality of the Object series engenders allegorical poetics to each painting’s essence—as an objection, as an objectification, as an art object. Each iteration examines mark-making manifested in folding, tucking, pulling, concealing, and preserving the visual planes—indexing the artist’s hand in grappling meaning within the lexicons of minimalism, to ultimately dialogue the power dynamics that instigate objectification. Curated by Joakim Andreasson.
VIEW IN VR
Select works from the exhibition: JWAN YOSEF, Ahmad, 201, Painting, Oil on linen, 188 × 132 × 5 cm (74 × 52 × 2 in), Framed, JWAN YOSEF, Duct, 210 x 350 cm ( 83 x 138 ins), Edition of 20 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity, Hand knotted art rug, Silk, High & Low Cut
TOM OF FINLAND
This exhibition has been developed in honor of PRIDE to highlight Tom of Finland’s undeniable influence as an artist and human rights activist.
The exhibition'Drawings reappropriated' highlights Tom of Finland’s preparatory drawings and sketches created as part of the artist’s process in producing his influential works. The exhibition has been developed in honor of PRIDE to highlight Tom of Finland’s undeniable influence as an artist and human rights activist. The integration Tom of Finland’s work into the media at hand was ignited by the unique environment and interior elements of TOM House. Located in Echo Park, Los Angeles, it is home of Tom of Finland Foundation, guardians of the artist’s body of work and living archive for the erotic arts, and where Tom lived for the last decade of his life. Founded in 1984, it a place where Tom’s relentlessly butch aesthetic and drawings mingle with different styles of décor, artifacts, rotating art displays and open aircinstallations. It is a place that is marked by a community that disarms shame and judgment, and promotes Tom’s message of encouraging respect, acceptance and love through art. Curated by Joakim Andreasson.
VIEW IN VR
Select works from the exhibition: TOM OF FINLAND, Untitled, 1979, Drawing, Graphite on paper, 29.5 × 21 cm (11.6 × 8.3 in), TOM OF FINLAND, Untitled, 1977, Drawing, Graphite on paper, 29.5 × 21 cm (11.6 × 8.3 in)