The #WarholFoundation funded exhibition "Rodney McMillian: A Son of the Soil" at the Columbia Museum of Art, broadly locates McMillian’s artistic investigations within the cultural and political landscape of the American South, highlighting his diverse engagements with topics of land, the body, and the domestic sphere.
Born in Columbia, SC, McMillian registers the complexity of a nation and its multifarious systems and employs post-consumer objects, such as thrifted bedding and discarded furniture, in an extended meditation on class and domesticity. In the artist’s hands, these materials assume new life, registering experience in tears and stains that bear the weight of history.
The Foundation supports this exhibition for highlighting the work of a renowned teacher whose multifaceted practice looks to disrupt artistic precedents and is a liberating model for younger artists.
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1. Rodney McMillian, Untitled (Red Swirl), 2023 . Latex and acrylic on bedsheet, 98 x 62 in. Photo by Brica Wilcox
2. Rodney McMillian, Mississippi Appendectomy, 2020. Ink, acrylic, latex, and vinyl on paper mounted on canvas, 53 x 90 in. Photo by Brica Wilcox
3. Rodney McMillian, Stripes, 2016, Latex on bedsheet, 96 ½ x 79 in. Photo by John Berens
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#RodneyMcMillian @ColaMuseum #ColumbiaMuseumofArt #WarholGrantee #AndyWarhol #Warhol #Philanthropy #SonoftheSoil #ContemporaryArt #Sculpture #Textiles #Mixedmedia #AmericanSouth
Now on view at #WarholGrantee Catskill Art Space is Ian McMahon’s latest body of work "Reliquary". Composed of towering stacked forms, the “Bub Stack” sculptures embody the history and effort of their making—totemic structures that act as both containers and records of process. Cast in plaster, steel, and fiberglass, their rigid volumes belie the eye, projecting a soft, almost tactile illusion that invites closer inspection.
At once imposing and intimate, these columns command the space, becoming portals into curiosity, perception, and material transformation—holding within them the blueprints of their own evolution.
The Foundation supports Catskill Art Space for fostering the creative community in the Catskills through its program of exhibitions, performances, classes, lectures and screenings.
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1. Ian McMahon, Bub Stack .001 and Bub Stack .002, 2026. Fiberglass, 64 x 64 x 108 inches. Photo by Zach Hyman.
2. Ian McMahon, Bub Stack .001 and Bub Stack .002, 2026. Fiberglass, 64 x 64 x 108 inches. Photo by Zach Hyman.
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@ian.mcm #IanMcMahon @catskillartspace #CatskillArtSpace #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Sculpture #BubStack #Totem #Fiberglass
Now on view at #WarholGrantee Tri-Star Arts is a two person exhibition "Looking At Looking Through," featuring recent works by Linda King Ferguson and Alex Lopez.
Linda King Ferguson thinks of her abstract paintings as social bodies defined by relational determinants. Through a material language of open and closed forms, color gradients, surface depths, and spatial proximities she explores the subjectivity of vulnerability and strength.
Lopez's current work is influenced by meteorological mapping that uses polygons to precisely track and identify localized severe storms, thereby reducing risk. These images are processed, layered, and then minimized or redacted to lessen the psychological impact of the events.
The Foundation supports Tri-Star Arts for nuturing creative practice and increaing visibility of artists across the state of Tennessee.
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1. Linda King Ferguson, Equivalence 13, 2013. Acrylic and acrylic wash on cut linen, 24” x 24”.
2. Alex Lopez, Untitled SS 2_ YYSF, 2026. Steel, colored plexiglass, paint, 16” x 24” x 25”.
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@linda_king_ferguson #LindaKingFerguson @alexlopez_arts #AlexLopez @TriStar_Arts #TriStarArts #WarholFoundation #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #abstraction #AbstractArt @CandoroMarbleBuilding
#WarholGrantee DePaul Art Museum's current exhibition "Rose Obsolete" is the first solo museum presentation of Chicago-based artist Alice Tippit. Tippit's paintings and works on paper generate multiple layers of meaning through poetic techniques like metaphor, serving as indirect references rather than clear, straightforward representations. The images in Tippit’s paintings float between the familiar and the enigmatic––recognizable forms and shapes are removed from any clear context or obvious meaning. Included in this exhibition are a selection of Tippit’s works from the past ten years as well as new commissioned works.
The Foundation supports DePaul Art Museum for the important role it plays by fostering dialogues between regional and international communities, and engaging with both legacies and futures of communities within Chicago.
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1. Alice Tippit, Oubliette, 2023. Oil on canvas.
2. Alice Tippit, Share, 2022. Oil on canvas, 20 x 18 in.
3. Alice Tippit, Monitor, 2015. Oil on canvas
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@AliceTippit #AliceTippit @DePaulArtMuseum #DePaulArtMuseum #WarholFoundation#AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Painting #Form #Shape
Steven Arnold: Cocktails in Heaven," on view at #WarholGrantee Del Vaz Projects through June 6th, is an exhibition, publication, and public programming series exploring the life and legacy of the Oakland-born, Los Angeles-based queer artist Steven Arnold. Arnold's kaleidoscopic practice spanned drawing, sculpture, painting, printmaking, costuming, set design, art direction, theater, film, and photography. The exhibition, created in collaboration with the Steven Arnold Museum & Archives, charts Arnold’s odyssey through the countercultural movements of the twentieth century and investigates the individuals, philosophies, and aesthetics that collectively influenced his world-building practice.
The Foundation supports Del Vaz Projects for its commitment to collaborate with artists across generations and geographies to manifest projects in its space and throughout Los Angeles’ cultural and historical institution, infusing diverse environments with a sense of collective intimacy, intellectual inquiry, and expressive invention.
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1. Steven Arnold, Snail Man, 1988. Silver gelatin photograph, 14 x 14 in.
2. Steven Arnold, Death of Simplicity, 1984. Silver gelatin photograph on museum board, 7 ¾ x 7 13/16 in.
3. Steven Arnold, Birthing in Madripoor (Gestation), 1985. Silver gelatin print, 14 x 14 in.
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@StevenArnoldArchive #StevenArnold @DelVazProjects #DelVazProjects @OrrinWhalen #OrrinWhalen @OneArchivesUSC #OneArchiives #WarholFoundation #AndyWarhol #Warhol #Philanthropy #Installation #Photography #collage #Archives #QueerArtist
#WarholWednesday
In 1964, Warhol was commissioned by John and Dominique de Menil to create a new film with spiritual significance. Although he captured numerous sunsets throughout the country, he ultimately abandoned the project stating, “I filmed so many sunsets for that project, but I never got one that satisfied me.” The incomplete film depicts a sunset over the Pacific Ocean, transitioning from atmospheric light to dusk while Nico's husky voice recites poetry, off-camera.
In 1972, Warhol was commissioned by the architecture firm Johnson & Burgee to make works for the Hotel Marquette in Minneapolis. His suite of prints entitled “Sunset” used three screens—one to apply the background bands of color, one for the sun itself, and one with a single-color dot pattern. 472 of the prints were used in the hotel, while 160 were assembled into forty unique portfolios of four prints.
In the mid-1980s, Warhol was asked to create menu covers and wine labels for Spago, a restaurant owned by Wolfgang Puck in LA. The image used for Spago shows a picturesque sunset along a shoreline, depicted in Warhol’s signature pop colors, with several working versions incorporating elements of a collage which were first seen in his “Ladies and Gentlemen” series from 1975.
These depictions of a sunset diverge from Warhol’s more recognizable subjects associated with consumer culture and celebrity. Instead, the sunsets focus on a natural phenomenon which invites viewers to contemplate the beauty and transience of nature while simultaneously exploring the aesthetic possibilities of color and form.
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1. Andy Warhol, Sunset, 1972. Screenprint on paper, 36 ¾ x 35 1/8 in.
2. Andy Warhol, Sunset, 1972. Screenprint on paper, dimensions vary.
3. Andy Warhol, Sunset, 1967. Film still.
4. Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in
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5. Andy Warhol, Sunset, mid-1980s. Screenprint and colored art paper collage on board, 43 1/8 x 30 ½ in (top two and lower left). Andy Warhol, Spago, 1985. Screenprint on Lenox Museum Board, 40 x 30 ¼ in (lower right).
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The #WarholFoundation funded “Carmen Lomas Garza: Picturing the Familiar,” on view at Arizone State University (ASU) Art Museum, is the first major exhibition devoted to artist, activist and educator Carmen Lomas Garza since 2001. Bringing fresh insight to her expansive career, the exhibition follows Garza’s work across media. It also situates her practice within a broader cultural landscape, featuring works by contemporaries who collaborated with or influenced her at pivotal moments.Organized chronologically and shaped by thematic groupings, the exhibition traces Garza’s artistic evolution from the 1960s through the mid-2000s.
The Foundation supports ASU Art Museum for its delivery of critical, culturally responsive exhibitions and events that more accurately engage and reflect the population and artists of the Southwest.
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1. Carmen Lomas Garza, The Fighters, Las Peleoneras, 1988. Color lithograph on paper, 32½ x 39½ inches.
2. Carmen Lomas Garza, Cumpleaños de Lala y Tudi (birthday party for Lala and Tudi), 2003. Oil on canvas, 36 x 48 inches.
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#CarmenLomasGarza @Alana__Hernandez@ASUArtMuseum #ASUArtMuseum #WarholGrantee #AndyWarhol #Warhol #Philanthropy #ContemporaryArt #Artist #Educator #Activist #latinxartist #ChicanaArtist #NarativeArt
![On view through June 6 at #WarholGrantee Visual Studies Workshop is "Signal into Memory" an exhibition that traces the origins of video artist Peer Bode’s inquiry into the electronic signal as both a source and a substance in the video field, decoding the nature of video art and its ongoing impact as an interactive social system. In a career spanning over five decades, Bode has created an extensive body of work that investigates electronic media events, active perception systems and the cultural impact of media tools and technologies. His earliest works were made at the Experimental Television Center, where he worked with video processing tools and innovative engineers to expand upon the possibilities within the emerging field of video. This exhibition features an extended selection of Bode’s “Process Tapes”, many of which were recorded as real time events at the Experimental Television Center between 1975-83.The Foundation supports Visual Studies Workshop for nurturing experimental and expansive approaches to photography and media arts, and building community among artists and the public through exhibitions, publications and residencies..1. Peer Bode, Pieces (Nov. 15, 1975), 1975 (still). Video Camera, Video camera monitor rescan, Paik Abe six channel Colorizer, Tektronix industrial Oscillators.2. Peer Bode: Signal Into Memory, installation view. ©Visual Studies Workshop. Works pictured include (Left to Right): [on CRT monitor] Computer Tape #1, 1977; [projected on wall] Oscillator Deflections with sound, 19753. Peer Bode, Camel with Window Memory Two, 1986|2003. Digital print, 48 x 36 inches.4. Peer Bode: Signal Into Memory, installation view. ©Visual Studies Workshop. Works Pictured: Locating Interface (Cup), 1975....@BodePeer #PeerBode @VisualStudiesWorkshop #VisualStudiesWorkshop #WarholFoundation #AndyWarhol #Warhol #Philanthropy #VideoArt #Media #Experimental #ElectronicMedia #ExperimentalTelevisionCenter](https://sp1.picnob.com/p/pt_6727685953583332685354_0_9afa9756727db21694a12b36f19fac7a.jpg?o=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&h=f980eb047b5b235071d6594b8f2f8ef4)
