End Times: Now at the Warhol Museum

Mirta Tabrizian, Untitled
Mirta Tabrizian, Untitled

If a crisis does nothing else, it makes for good art. I’m not so sure I would go so far as saying it’s the end of the world as we know it, but there does seem to be a seismic change or two in the air.

The Andy Warhol Museum (in Pittsburgh) has arranged a show of works by contemporary artists titled The End that seeks to analyze the power of art in troubled times.

The End confronts this hard-edged topic of a spiral into economic collapse. In addition, Warhol’s Death and Disasters, Skulls, Jackie, and Electric Chair series will be on view in the permanent collection galleries to explore Warhol’s own fixation and fascination with the theme of disaster. “The financial industry tanked mere days before I started my position here at The Warhol, and when presented with the opportunity of organizing my first exhibition at the Museum, I wanted to jump right into the abyss and confront this crisis head-on. Andy Warhol was no stranger to death and disaster, and it only makes sense that we, as an institution, respond to this momentous period in history as it plays out,” said Eric C. Shiner, The Warhol’s Milton Fine Curator of Art.

The contemporary artists included in the exhibition are Lida Abdul, Beth Campbell, Luis Camnitzer, Daniel Canogar, Castromori (Hiroshi McDonald Mori + Stefano Castronovo), Davis/Langlois, David Deutsch, Mary Beth Edelson, Karen Finley, Roland Flexner, Daniel and Geo Fuchs, Felix Gonzalez-Torres, Lukas Maximilian Hüller, Rashid Johnson, Cary Liebowitz, Daniel Joseph Martinez, Jonathan Meese, Trevor Paglen, Hirsch Perlman, Raymond Pettibon, Jane Philbrick, Martha Rosler, Diane Samuels, Shelly Silver, Susanne Slavick, Althea Thauberger, Mitra Trabizian, Banks Violette, Hugh Walton, Lawrence Weiner, Christopher Wool, and Aaron Young.

About Art After X

With the death of President Kennedy in 1963, America changed. As hard as it is to minimize that sentiment, the effect of Dallas was even greater. The same year saw the merging of the Dallas Museum for Contemporary Arts, which had been central to the art scene, and the Dallas Museum of Fine Arts. Douglas MacAgy, then the director of DMCA, not only opposed the merger, but also declined to directorship of the combined museum. The regionalist movement which had been strong for decades, was giving way to more of an interest in what was going on nationally, and internationally. Like it or not, Dallas was on the national stage. When the Kennedy’s arrived in Fort Worth, local collectors had decorated a hotel room with internationally-renowned works. While the president and his wife learned a great deal about the ability of Texans to collect major art, there was little they could glean about the local scene in this era-defining city. With this in mind, we have begun a project to look not back at the art scene in Dallas, but foreword from 1963. We are interviewing gallery owners, curators and others involved in the art scene then, but this will be a story told mostly through interviews with artists active in the city from that point into the 1980s. The result will be a book with a video component. We hope you will join us in our journey. The hashtag for the project is #artafterx and the url artafterx.com will point to the latest updates on this weblog.

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