The exhibition at the National Galleries of Scotland in Edinburgh (at the Mound) commemorating the 20th anniversary of Warhol's death has dramatically set to rights the prevalent theory of the 1990s that by the time he died Warhol's best work was long back in time, that he was by then a spent force. Now more tellingly the art market has shown dramatic rises in the saleroom value of Warhol works, into the stratosphere brackets usually occupied by such key artists in history as Picasso and Duchamp. The curators of the Edinburgh Festival show had taken a precautionary line by pursuing not a chronological sequence of his work, but a thematic approach, dealing with such groupings as 'Consumer Products'. 'War, Death and Religion' and 'Death and Disaster'. Warhol had focussed critically in America on 'the Rise of the Religious Right', tellingly for today, and the assassination of President Kennedy and the tragedy of his widow Jacqueline. As well as the images of Mao, such themes do mark out critical turning points in recent American history, and plot social impact and change in a manner not usually recognised at the time. Warhol has become America's equivalent megastar to Picasso and Duchamp. The exhibition will be reviewed here in September.
Picasso in Edinburgh
Two exhibitions in Edinburgh this summer enable the public to view different aspects of work by Pablo Picasso. Both his ceramics and his works on paper are pivotal in his vast oeuvre as works in their own right and in the role they play individually and collectively - interacting between different stages in his career, different media and in the development of ideas and formal concerns.
The Changing Face of Oz
For millions of people, The Wizard of Oz brings to mind the 1939 MGM movie musical starring Judy Garland. She is the image of Dorothy in the collective imagination, the one who clicks her red shoes to return home. 'No, this is not a Judy show,' says Michael Patrick Hearn, curator of 'The Wonderful Art of Oz', an exhibition of original art work at the The Eric Carle Museum of Picture Book Art in Amherst, Massachusetts.1
In the darkest hour, there may be light: Works from Damien Hirst's murderme collection
A range of symbols spring to mind when thinking about death: the hooded figure wielding a sickle, the faceless boatman ferrying the souls of the dead across the River Styx, the watery existence ascribed to the souls in Hades' underworld and Purgatory - the quintessential departure lounge where Christian souls gather waiting to pass into eternal bliss.
Face to Face - The Daros Collections
'Face to Face' presents the two facets, or faces, of the Daros Collections, finding similarities between works by artists from the USA and Europe and works by Latin American artists. Some of the parallels suggested by the exhibition make direct associations between one work and another. On a broader scale, when both collections are gathered together, links between them surface, providing a unique perspective on the major international art trends over a significant period of time.
Warhol: A celebration of life ... and death
From February 2007 through to September 2008 there have been over a dozen dedicated Warhol exhibitions/events/publications across the globe, from the Stedelijk Museum, Amsterdam to the Samsung Museum of Art, Seoul, Korea, to Winnipeg and Memphis, USA, and to Queensland, Australia.