The Andy Warhol Museum

    Andy Warhol, Ladies and Gentlemen (Marsha P. Johnson), 1975, The Andy Warhol Museum, Pittsburgh, © The Andy Warhol Foundation for the Visual Arts, Inc.


    Important Identities: Recognizing and Remembering the Faces of Ladies and Gentlemen

    Author, Rebecca Moser, Milton Fine Museum Profession Fellow at the Andy Warhol Museum – Summer 2018

    As the most comprehensive single-artist museum and archive in the world and the largest in North America, The Andy Warhol Museum certainly doesn’t lack research material. During my Fine Foundation Fellowship at the museum under the supervision of Milton Fine Curator of Art, Jessica Beck, I spent the summer experiencing the daily operations of the museum and learning about the curatorial process. My favorite thing about working at the Warhol was seeing the lengths that the dedicated staff go to exhibiting Warhol’s artworks in new contexts in order to connect with diverse communities.  The opportunity to participate in these efforts was one of the most rewarding experiences of my internship.

    This summer I assisted in the curatorial staff’s research on Warhol’s Ladies and Gentlemen series (1975) as they prepared for a temporary exhibition opening this fall. Ladies and Gentlemen is portrait series featuring predominantly black and Latinx drag queens and transgender women from New York. The series was commissioned by Luciano Anselmino, an Italian art dealer, and is arguably Warhol’s largest undertaking. The series, including Warhol’s preliminary work, is comprised of 268 paintings, 65 drawings, a print portfolio containing 10 collages, and over 500 Polaroids of 14 models. Select prints, paintings, drawings, and Polaroids from Ladies and Gentlemen will be exhibited for the first time as a comprehensive group at the Andy Warhol Museum in conjunction with Devan Shimoyama’s first solo museum exhibition, Devan Shimoyama: Cry, Baby (October 13, 2018–March 17, 2019).

    In an effort to recuperate the stories of figures who have historically been marginalized and overlooked, even by Warhol himself, we focused on the models’ biographies. During Warhol’s lifetime, the models for the series were left anonymous at exhibitions. Due to this persistent disregard for the individuality of the models, they were grouped together and commodified as anonymous faces of an oppressed subculture. After Warhol’s death, when works from the series were displayed, the models were occasionally named, but still little was known about their lives. Thanks to efforts by the researchers behind the Andy Warhol Catalogue Raisonne: Volume 4, published in 2014, extensive information about the models and the series was uncovered and compiled. We now know they did not lead easy lives and most of them lived on the streets fighting homophobia and transphobia in society, even in gay activist circles.

    By revealing their names and their stories, the images of Ladies and Gentleman become more personal, allowing viewers to connect with the artworks in new ways; especially when the series is put into conversation with Shimoyama’s portraits of black boys and men in queer spaces. Over forty years after the completion of this series, these drag queens and transgender women of the past will be recognized as early advocates in the fight for racial and queer justice and equality that continues today.

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  • Proposed flyer for the LGBTQ Youth Prom


    LGBTQ Legacy at The Andy Warhol Museum

    Museum Studies Intern at The Andy Warhol Museum - Spring 2018

    Campbell’s Soup. Crazy Hair. Artistic Icon. These were the things I knew about Andy Warhol.

    However, before my Museum Studies internship at The Andy Warhol Museum, I didn’t know much about his role in gay culture. However, after working in the Education department with Shannon Thompson, I have a better understanding the importance and legacy of Warhol and his art.

    For my internship, I was tasked with helping the Prom Planning committee held every third Thursday. During these meetings, LGBTQ+ teens from all over Western Pennsylvania came to plan their alternative prom at their respective schools. At the first meeting that I was a part of, I kept seeing all different kinds of teens coming through the doors: individuals of all colors, sizes, labels, and orientations. I was in charge of facilitating the flyer subcommittee. In this subcommittee, I was able to have more intimate conversations with the teens and get to know them. After speaking with a student about what this Prom means to them, they said: “Prom is essential to any high school kid’s experience. For us, we can’t necessarily be ourselves at every school’s prom. This prom allows us to be ourselves and have the most fun we can.”

    There is no single reason why Andy Warhol is remains a cultural icon; there are many. For teens and adults living an LGBTQ+ life, he can resonate with many. During his lifetime, Warhol was a pioneer for gay rights in that he was an openly gay artist. He paved the way for future artists to do the same, and allowed LGBTQ+ people an outlet in the popular culture.

    Today, at The Andy Warhol Museum, they are using these messages and meanings around Warhol’s life to help LGBTQ+ teens in the Pittsburgh Area. With programs like the LGBTQ+ Prom, teens from across the Pittsburgh Area can look to this museum as a safe space to be themselves. I know Warhol would be proud if he saw what his legacy means to all these teens and to others across the globe.

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    José Díaz talking about the jar series Faghat Eshgh-Only Love, 2007


    On Farhad Moshiri’s Solo Exhibition at The Andy Warhol Museum

    Author: Golnar Touski

    Graduate student. History of Art and Architecture

    Farhad Moshiri: Go West, an exhibition curated by Jose Carlos Diaz, The Andy Warhol Museum’s chief curator, is currently on view at The Andy Warhol Museum. This is the Iranian artist’s first solo exhibition in the United States, surveying two decades of Moshiri’s career.

    Moshiri rose to fame with his embellished, jeweled paintings adorned with calligraphic inscriptions of Iranian pop poetry. Over two decades, his works referenced the Iranian pop culture, calligraphy and decorative arts in dialogue with the prevalent American culture of entertainment and consumerism, ubiquitous in Iran of 1980s and 1990s. Often profiled as a Pop artist, his art defies categories of art commonly associated with the Middle East. He uses icons of the Iranian and ancient Persian art, but unlike his Iranian modern predecessors of the 1960 and 70s, he is not much interested in abstraction. Rather he employs visual markers of Middle Eastern art to comment on consuming an imagined Persia.

    In the context of The Andy Warhol Museum, Farhad Moshiri’s works find a situated-ness that otherwise would not be as visible to the Iranian and non-Iranian audiences alike. Seen in this context Moshiri initiates a dialogue with the Western imported pop culture, Western movies, Disney cartoons and French postcards on the one hand; and iterations of the Iranian consumerism on the other. Seen next to Warhol’s interest in and referencing of the American pop culture, Moshiri’s labor-intensive, elaborate remaking of popular everyday objects juxtapose infinite reproducibility with an obsessive hand-making of images; a way of making reproducible objects of one’s own by dense, rich textural adornment and adoration.  

    Moshiri’s art could be thought of as a playful manipulation of mechanisms of desire, labor and language. By flattening ancient objects in his famous jar series (Faghat Eshgh-Only Love, 2007) he generates a metonymy of the Ancient Persia, an imagined identity referring to everyday lives of Iranians who were exposed to the globalized capitalism especially during the years after the 1979 revolution and who found it necessary to define Iranian-ness in the face of an increasing political isolation of the country.

    Such artistic strategy also redefines objects linguistically, linking the Persian calligraphy, a form of “sublime” artistic production to consumerism. Moshiri notices how calligraphy, an art of Persian royal courts and a revered form of art practice became a commodity of the world of art and a marker of identity.

    But perhaps the most striking about his recent works, such as the Frosting Stories series, is their uniquely sensory quality. Viewing Moshiri’s art closely is a completely different experience. The glittery, ornate details strike a chord with the viewer's sense of nostalgia and desire; and it would be fair to say that the Iranian and American audiences both experience such an affective, visceral response. The rich textures and subtle details recreate the Persian 17th century architectural elements, Persian manuscript illumination and calligraphy, but in the shape of cake frosting and cheap jewelry; something thet one wants to touch, and taste. Something that is commodifiable Yet the commodities Moshiri offers us always entail an uncomfortable encounter that is either sexually charged or implicitly violent.

    Moshiri’s use of domestic labor is also worth noting. He employs local craftswomen whose specialty is making wedding dresses to create garish, glittery beaded surfaces and embroidered paintings; a form of low-brow, domestic art which was never taken seriously vis-à-vis sublimity of the Iranian Modern art movement of mid-1960s and 1970s. While the imagery is playful and cartoonish, the rich texture is indicative of hours and hours of labor, hence implying a subtle sense of discomfort in the contradictory co-existence of labor and consumerism.

    Moshiri was born in 1963 in the early years of the Iranian modern art movement; he is well aware of the legacy of the Iranian modern art as a form of 'committed art' which at the same time drew heavily on the EuroAmerican tradition of modernism. It so seems that Moshiri’s glittery, elaborate surfaces respond to a culmination of events before and after the Iranian revolution of 1979, when revolutionary aspirations of the modern art were replaced by a fervor to accumulate objects and consumption of identity.


    Golnar Yarmohammad Touski presented her response to a tour of the Fahrad Moshiri: Go West exhibition by Jose Carlos Diaz on October 20 at The Andy Warhol Museum. The above blog post records her comments and reflections on this occasion.

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    The Andy Warhol Museum: The Legacy of an Icon

    Author: Leslie Rose

    Milton Fine Museum Profession Fellowship at The Andy Warhol Museum - Summer 2017

    Recently, I have heard one of the truest statements that I will probably ever come to understand: “Once you’ve got The Warhol bug, you’ve got it for life.” This “bug” is much more than just an admiration for the iconic artist. It’s appreciation for all that he and his legacy, The Andy Warhol Museum, represents.

    Until my fellowship with The Warhol, I didn’t fully comprehend the importance of such an institution. I respected and enjoyed Warhol’s work as much as any other artist, but this museum is far more than a single artist museum. As the University of Pittsburgh’s Fine Foundation Fellow for the summer, I had the opportunity to work with the Warhol’s chief curator, Jose Diaz, and Milton Fine curator, Jessica Beck. My experiences in this internship opened my eyes to the necessity of The Andy Warhol Museum and institutions like it. In almost every possible way, from its programs and publications to its exhibitions and staff, The Warhol provides an inclusive environment and enriching content that generates a dialogue amongst the people of the Pittsburgh community and thousands of visitors from around the world. The museum brings together people from all walks of life, something that I believe people need in today’s divisive social and political atmosphere. It is not just me taking notice.

    One way The Andy Warhol Museum promotes inclusivity is through their staff. The Warhol received recognition by Ithaka S+R as one of eight institutions in the country striving to make the museum world more open to marginalized groups. I participated in Ithaka S+R’s research interviews and when learning of the other museum in that list, Brooklyn Museum, the Contemporary Arts Museum Houston, Detroit Institute of Art, the Los Angeles County Museum of Art, the Museum of Contemporary Art, Chicago, the Spelman College Museum (Atlanta), and the Studio Museum in Harlem, I was elated that the Warhol ranked among them. It thrilled me that I was a part of an institution that made diversity a priority. As faces and voices of the institution, a diverse staff means numerous perspectives are being explored and welcomed.

    Through my fellowship, I was able to assist the curatorial team on their upcoming exhibitions. With each project, I learned more of what it truly means to carry on Warhol’s legacy. This legacy means more than finding artists who similarly practiced art, but it is Warhol’s mindset—critiquing and questioning today’s culture head on. The 2017 Spring show, Firelei Baez: Bloodlines featured the works of contemporary Dominican artist Firelei Baez, who’s work tackled past and present understandings of race, power and beauty. In the fall of this year, The Warhol will open Farhad Moshiri: Go West, which will showcase the works of Iranian artist Farhad Moshiri. Throughout my internship, my primary focus was Go West and I helped to create an exhibition catalogue and didactic wall labels. Moshiri’s work explores Iranian traditions, the appeal and influence of Western culture, and how people have come to define their own cultural identities. In the wake of recent, caustic, political rhetoric, aimed to make people’s differences seem like dangers, the museum finds that Moshiri’s work highlights the commonalities between the East and West. Addressing complex current issues of identity, race, power, The Warhol aims to bridge gaps, acknowledge, and celebrate people’s differences through exhibitions and events such as these.

    My time at The Andy Warhol Museum has taught me more than I can imagine— Andy Warhol’s life and work, working with contemporary artists, planning an exhibition, and how a museum of this size operates on a day to day basis. It was the museum’s mission, continuing Warhol’s legacy and making it accessible to all people, that has made the greatest impact on me and is something that I will carry with me.

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  • The Andy Warhol Museum, front facade, 1994, photo by Paul Rocheleau


    The Many Hats at The Warhol

    Museum Studies Intern at The Andy Warhol Museum - Spring 2017

    This semester I was the communications intern at The Andy Warhol Museum. I put my skills to the test in tasks that involved things such as editing, research, and marketing. The Warhol gave me the chance to work on a wide variety of projects, ranging from smaller tasks to multi-stage projects.

    One of these multi-stage projects I helped a lot with was a survey revamp. The museum wanted to update their exit surveys to try to get more responses. There is currently one iPad setup for surveys near the information desk. My first task was to try to get the survey working on a second iPad. After careful research and testing, it was determined that the current iPad would not be able to run the survey software because of the age of the hardware. Since the current equipment was not up to the task, my second objective was to create a budget for the new equipment, researching tablets and software that would be the best fit for an unassisted exit survey. While researching, I contacted the Carnegie Museum of Art employee who is dealing with the surveys at their museum to compare notes.

    Other things I helped with in the communications department included social media and website analytics, using sites such as iQ Media and Sprout Social. I researched press to reach out to for upcoming exhibitions such as Farshad Moshiri: Go West, and thought of strategies of how to market the exhibitions to those specific members of the press. Also, I edited and contributed ideas to a new marketing style guide. On top of all my work for the communication department, I was able to use my skill set to assist the publication department.

    The publication department had me assisting with an upcoming book The Warhol is writing. For this project I did copy editing for multiple parts of the book, and worked on some of the bibliography. On top of that, I also edited book related materials using inDesign.

    It was really interesting to see how different departments work and interact with each other within the museum, and across other Carnegie Museums. A lot of the departments work with each other frequently, and the communication between the departments was strong.

    I really enjoyed my time at the Warhol, my coworkers were passionate about art and the museum’s mission, and they created a great working environment.

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    From Duchamp to Diamond Dust: My Research at the Warhol

    Museum Studies Intern at The Andy Warhol Museum - Spring 2016

    I’m currently a Curatorial Intern at the Andy Warhol Museum. My official job description entails assisting the Associate Curator, Ms. Jessica Beck, with two upcoming exhibitions: Andy Warhol/Ai Weiwei, from June through August of 2016, and Andy Warhol: My Perfect Body, scheduled for later in the fall of 2016. ‘Assisting’ is quite a broad term, but as a whole, most of my work encompasses utilizing the library here as well as scholarly databases for research, namely on the biographies of artists involved in the exhibitions as well as their individual works of art and exhibition histories – needless to say, I’ve done a number of searches on Warhol.

    Ultimately, my research is compiled into concrete documents for either the public or the curatorial department – I’ve written up bibliographies for exhibition research, wall texts, and the like. My current big project is working on a blog post - on Warhol’s ties to China and Chinese contemporary art - that will hopefully be published on the Warhol’s blog in tandem with the upcoming exhibition.

    My experience as a whole has been absolutely inspiring so far. I love research, so getting to learn about Andy Warhol’s fascinating life has been a treat in itself, but beyond just that, the experience I’m getting here at the museum has only reaffirmed my love for both art history and museum studies. From running around the offices to waiting in line at the café to overseeing actual exhibitions being put together, my internship at the Warhol has given me a taste of what working in a museum environment (and an office!) is like, with all of its varied departments (that come together in the most excellent ways) and talented staff. I know that the skills I’ve learned – compiling exhibition materials, working with a varied staff, and powerwalking through the Cultural District to catch the bus on time – are all skills that I will utilize many more times in the future, and I’m grateful that I got the chance to learn so much here as well.

    Working at the Warhol has been a humbling, inspiring, and incredibly rewarding experience. I haven’t got much time left here, but I know that there will be new projects for me to work on, and new things for me to learn about Warhol, his work, and his legacy even in this brief span left until the end of the term. If there’s anything that this internship isn’t, it’s unexciting!

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