The exhibition is structured in five thematic sections: "Daily News: From Banality to Disaster," "Portraiture: Celebrity and Power," "Queer Studies: Shifting Identities," "Consuming Images: Appropriation, Abstraction, and Seriality," and "No Boundaries: Business, Collaboration, and Spectacle."
From the Catalogue
The Warhol Effect: A Timeline, by Rebecca Lowery, surveys some of the most notable moments in Warhol's lifetime and beyond.
Daily News: From Banality to Disaster
"Daily News: From Banality to Disaster" explores Warhol's engagement with the imagery of everyday life, his interest in items of consumerist American culture in the 1960s, and its his keen attention to advertising, tabloids, and magazines. This section also examines the connection to later artists who also appropriate objects from the supermarket or the department store or share Warhol's fascination with disaster or death, including Jeff Koons, Damien Hirst, and Ai Wei Wei.
Portraiture: Celebrity and Power
"Portraiture: Celebrity and Power" looks at Warhol's engagement with portraiture to illuminate contemporary artists' continuing interest in the issues of fame or infamy in the age of the tabloid. Here the best of Warhol's notable portraits of celebrities are paired with contemporary examples by Elizabeth Peyton, Karen Kilimnik, and Cindy Sherman. Warhol's practice of society portraiture of the 1970s, as well as his artistic engagement with political figures, is explored here through links with the work of artists who take this practice in new directions.
Queer Studies: Shifting Identities
"Queer Studies: Shifting Identities" outlines Warhol's importance as an artist who broke new ground in representing issues of sexuality and gender in the post-war period. This section also strives to represent a new openness toward different varieties of queer identity that Warhol's oeuvre ushered in, largely through work by photographers such as Richard Avedon, Peter Hujar, Christopher Makos, Robert Mapplethorpe, and Catherine Opie.
Consuming Images: Appropriation, Abstraction, and Seriality
"Consuming Images: Appropriation, Abstraction, and Seriality" explores Warhol's formal strategies and groundbreaking use of pre-existing photographic sources, often endlessly repeated in grid patterns; his appropriation of art history; and his interest in abstraction. These works are grouped with Pictures Generation artists such as Richard Prince and Cindy Sherman for their uses of appropriation, or with contemporary painters such as Christopher Wool, whose patterned painting Untitled plays with all-over abstraction and seriality in Warholian ways.
No Boundaries: Business, Collaboration, and Spectacle
"No Boundaries: Business, Collaboration, and Spectacle"—the final section of the exhibition—examines Warhol's interest in artistic partnership through filmmaking, magazine publishing, music, and design. Also foregrounded is his fascination with creating environments that envelop the viewer entirely. Warhol's frequent use of decorative motifs, such as flowers, are part of this practice, and are contrasted with similar work by artists such as Jeff Koons and Takashi Murakami.
