From there, the exhibit bleeds into The Madonna and Child collection, which spans three decades and many mediums-the “odd” breastfeeding photographs slickly featured within a direct eye-line of Warhola’s kitchen sketches. Once standing between the two, the line separating the typecasts becomes gently porous through a mirrored somberness between the two series. His series of both Jackie Kennedy Onassis and Marilyn Monroe portraits face one another in opposition, operating as their respective roles of mother and lost lamb. A queer male from a conservative Ruska Dolina neighborhood, Warhol’s fascination with women often vacillated between matriarchal (old Italian, ma “my” + donna “lady”) and muse (Magdalen). Walking through, “Madonna and Magdalen: Warhol and Women” operates as the most poignant module. It is a deft curatorial choice that breaks up a predominantly print and painting-based exhibition, helping to cleverly distinguish this period as both exit and entry point. The childhood ephemera, including a baptism certificate, assorted crosses, and a painted figurine, add texture and tangibility to Warhol’s religious upbringing. His mother’s influence is apparent in both subject matter and style throughout the exhibit-herself an exceptional doodler, often depicting angels and cats, which are featured upon entry and stylistically revisited through Warhol’s graphite drawings. Through “Immigrant Roots and Religion,” Diaz and Hermo distance the viewer from “The Factory Andy” and introduce us to Andrew Warhola, son of devout Catholic and Polish immigrant Julia Warhola. Revelation’s seven interconnected sections progressively build the exhibition’s thesis-taking us through a journey that begins and ends in Pittsburgh, just like Warhol himself. By the time you leave, it seems comical that Warhol’s religious affinity isn’t already common knowledge. The editing skills of both Diaz and Hermo provide a concise throughline for viewers to follow, with unexpected eurekas dabbled throughout, revealing troves of potential (and joyful) rabbit holes. Curated by José Carlos Diaz and organized by Carmen Hermo, and on view from Novemto June 19, 2022, Revelation has parsed out Warhol’s spiritual depth and duality with exacting finesse-acting more as a biography than retrospective. Few funerals so aptly represent the deceased.Īt the Brooklyn Museum, Andy Warhol: Revelation recasts the icon through a personal religious lens. Patrick’s Cathedral and head to Diamond Horseshoe Nightclub. Afterward, the funeral procession, which included Roy Lichtenstein, David Hockney, Fran Lebowitz, and Calvin Klein, would exit St. A full Memorial Mass ensued, where Velvet Underground’s Lou Reed sang. At his funeral weeks later, eulogist John Richardson revealed Warhol attended Mass multiple times a week, “was responsible for at least one conversion,” and “took considerable pride in financing nephew’s studies for the priesthood.” Some funeral attendees were shocked, others not so much-when it came to Andy, whimsical contradictions were par for the course. Not to be mistaken as satirical or impish, The Last Supper’s exhaustive catalog reflected Warhol’s obfuscated relationship with the Catholic church. One month later, he’d unexpectedly die from gallbladder surgery complications. He’d enlist Jean-Michel Basquiat for a collaboration, screen-print “Last Supper” replicas in neon yellow and hot pink, and in the end, he’d wear a spectacular silver wig to the opening. The Last Supper (1986) featured 22 of over 100 works Warhol had created under the commission: an excédent outturn from an artist consumed by his, then unknown, last assignment. Alexander Iolas, a Greek ballet dancer turned art dealer, once had an idea that seemed mad: he wanted Andy Warhol to reimagine Leonardo da Vinci’s “Last Supper” for the Palazzo delle Stelline refectory in Milan, directly across the street from da Vinci’s original masterpiece.
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