T h e A n d y W a r h o l F o u n d a t io n fo r t h e V is u a l A r ts 2 0 - Y e a r R e p o r t 1 9 8 7 – 2 0 0 7 The Andy Warhol Foundation for the Visual Arts 20-Year Report 1987–2007 Introduction 08 The Program: Origins and Evolution 14 Introduction 14 Grantmaking 15 Creative Capital 19 Warhol Initiative 20 Arts Writing Initiative 20 Emergency Grants 20 Conclusion 21 Freedom of Expression 26 Financial Support 26 Public Events 27 Arts, Culture and Society 27 Wynn Kramarsky Freedom of Expression Grant 27 Exhibitions 32 Catalogues Raisonné 42 Paintings Sculptures and Drawings 42 Prints 43 Film 44 Museums 50 Andy Warhol Museum 50 Museum Sales Program 51 The Andy Warhol Photographic Legacy Program 51 Andy Warhol Nature Preserve 53 Licensing 58 Sales 66 Financials 72 Authentication Board 86 Board and Staff 92 ©2007 The Andy Warhol Foundation for the Visual Arts, Inc. 65 Bleecker Street, 7th Floor New York, NY 10012 telephone 212-387-7555 fax 212-387-7560 www.warholfoundation.org Works appearing in this publication may not be reproduced without authorization from The Andy Warhol Foundation for the Visual Arts. ISBN 0-9765263-1-X   “Anybody what can I do do.” Four Men Wearing Andy Warhol Costumes, 1983, Gelatin silver print, 8 x 10 inches Andy Warhol, 1982, Gelatin silver print, 8 x 10 inches 8 9 Introduction Introduction Andy Warhol’s untimely death on February 22, 1987 was a shock catalogues raisonné of Warhol’s entire artistic output expand the Of special note in the foundation’s history was its rapid to us all. Little did anyone imagine that when he entered the possibilities for scholarship even further. response to the devastating events of both September 11, 2001 hospital for routine gallbladder surgery at the age of 58 he would and hurricanes Katrina and Rita in summer 2005. Through the never come out. That a figure whose prodigious creative out- The foundation has used its ownership of the copyright to immediate authorization of crucial emergency relief grants put and seductively enigmatic public persona had secured him Warhol images as an opportunity to craft creative and respon- targeted at affected artists and arts organizations, the Warhol a central — even mythic — position in the public imagination sible licensing policies that are friendly to scholars and artists board acted on the foundation’s dearly held belief that should die such an avoidable, ignoble death seemed inconceiv- wishing to use Warhol images for educational and creative arts and culture have a significant role to play in re-building able. And yet it confirmed one of the most basic, inescapable purposes, and profitable to the foundation when the images are communities in times of crisis. truths about even the most celebrated among us: we are all used for commercial purposes. Revenues from licensing agree- mortal. Andy’s death, a tragic loss to the art world and to the ments add significantly to those earned through the continued Thanks to the leadership of our founding President, Archibald many other worlds with which his life and work were so inextrica- sale of work from the foundation’s remaining art collection, Gillies; past board chairs Brendan Gill and Wynn Kramarsky; bly intertwined, left a huge void for his friends and associates to enabling the foundation to build an endowment which now a distinguished and diverse national board; and a talented and grapple with. Luckily for all involved, however, Andy had pre- exceeds $240 million and from which it will make cash grants dedicated staff, the moral and financial fiber of the foundation pared for this moment. In 1982 he had drafted a will providing for in excess of $11 million this year. is stronger than ever, enabling our programs and initiatives to the creation, upon his death, of a charitable foundation dedicated evolve and expand to address the needs of the visual arts com- to “the advancement of the visual arts”. The foundation would The primary focus of the foundation’s grant making activity has munity nationwide. Twenty years after his death, Andy Warhol’s be the primary beneficiary of his estate. been to support the creation, presentation and documentation impact on artists, art institutions and the creative culture of of contemporary visual art, particularly work that is experimen- our country is stronger than ever, and in honor of our twentieth This gesture towards the unknown future proved to be one of tal, under-recognized, or challenging in nature. The program anniversary, we are proud to announce a new program that will the most consequential of his career. Founded with the fervor has been both pro-active in its approach to the field of cultural extend his influence even further. Through the Andy Warhol of grieving friends determined to enact Warhol’s final wishes, philanthropy and responsive to the changing needs of artists. Photographic Legacy Program, the foundation is donating The Andy Warhol Foundation for the Visual Arts has been A strong commitment to freedom of artistic expression led the over 28,500 unique Warhol photographs valued at more than keeping the memory of Warhol alive, enhancing his creative foundation to play an active advocacy role for artists during the $25 million to college and university art museums, galleries legacy and championing the significance of his work while culture wars of the 1990s and continues to inform its support of and collections throughout the United States. advancing the entire field of contemporary art for the past twenty organizations that fight censorship, protect artists’ rights and years. We are proud of what we have accomplished and think defend their access to evolving technologies in the digital age. Andy’s desire to promote the “advancement of the visual that Andy himself would be pleased with the strength, vitality and arts” — and the realization of this desire by the foundation he cultural impact of his foundation. This twenty-year report traces Seeing the decline in national funding for individual artists in created — have placed him, posthumously, at the helm of what the major achievements of the foundation, which fall broadly the late 1990s, the foundation helped establish — and now is turning out to be a powerful new philanthropic movement into two categories: its ongoing efforts to secure Warhol’s legacy substantially supports — Creative Capital, an organization that among our nation’s artists. We hope that Andy’s example will and its role as the preeminent national funder of innovative directly addresses the needs of individual artists by awarding serve as a role model for the increasing number of artists who contemporary art. grants for innovative projects. The foundation’s concern with the wish to fortify the future of their field by helping other artists. conditions affecting artists’ lives has also inspired it to fund orga- Imagine how wonderful it will be when our nation, which has In helping to establish the comprehensive collection and study nizations which create artists’ housing, provide access to afford- been so beleaguered by battles over public versus private center of the Andy Warhol Museum in Pittsburgh, the foundation able health care and offer legal assistance on behalf of artists. funding for the arts, can look to this new and even more potent has paved the way for new Warhol scholarship and curatorial resource of artists supporting other artists. Toward this end, innovation as well as greater public understanding of Warhol’s In response to its recognition of a widespread need to stabilize we at the Warhol Foundation will continue to devote our energy profound significance. Through cooperative exhibitions, loans small visual arts organizations, the foundation established to expanding the depth and scope of our founder’s support and permanent placement of work in museums nationwide, the Warhol Initiative, a capacity-building program for non-profit for artists and art institutions throughout the country. We the foundation has ensured that Warhol’s vast and complex visual arts organizations with budgets under $1 million. The encourage others to follow his visionary lead. oeuvre is both widely accessible and properly cared for. Ongoing recently launched Warhol Foundation Arts Writing Initiative is a preservation and restoration of works in the foundation’s care similarly structured program aimed at strengthening the field of Joel Wachs, President complement these efforts. The foundation’s sustained support arts writing through grants to both arts writers and non-profit Sherri Geldin, Board Chair and oversight of thoroughly researched, extensively illustrated art journals. Are You “Different?”, c.198-86, Synthetic polymer paint on HMP paper, 31 1/8 x 23 1/2 inches Diamond Dust Shoes, 1980, Synthetic polymer paint, diamond dust and silkscreen ink on canvas, 90 x 70 inches 12 13 “I never I wanted wanted to be a to be tap- a painter; dancer.” 1 1 Program The Program: Origins and Evolution In the months after Andy Warhol’s unexpected death, Frederick Grantmaking education grants were phased out, while the last historic preser- Hughes, the artist’s business manager and executor; Vincent vation grants were made in 1999. Fremont, Vice-President of Andy Warhol Enterprises, Inc.; and The program that emerged from the early discussions had a Andy’s brother, John Warhola, began the effort to create the tripartite structure. Grants would be awarded in three areas: arts Curatorial foundation which Warhol’s will had mandated. Together they education, historic preservation, and curatorial — the program undertook extensive consultations with arts and philanthropic supporting the creation, presentation and documentation of The curatorial program has always been at the heart of the Warhol professionals on the design of the new organization, its goals, contemporary art. In later years, the first two categories would Foundation’s mission. Over the years the foundation has supported and its structure. The first question, it seemed, was what Warhol gradually be phased out, leaving the foundation free to concen- museum exhibitions and catalogues, visual arts programming would have wanted; and in the will, the key phrase “the advance- trate on the curatorial program. During its first decade, however, at smaller institutions, artist residencies and projects, arts publi- ment of the visual arts” offered the best clue to his intentions. it made significant contributions to both arts education and cations, and public programming. It has always searched for proj- historic preservation. ects that promise to be especially beneficial to artists, whether “Advancement” suggested a foundation that would take a pro- by providing needed exposure at important moments in their gressive, even visionary approach to the arts; contemporary art Arts Education and Historic Preservation careers, or by giving them their first documentation, or simply by at its most forward-looking would be its sphere of action. The offering them an opportunity to create an important new piece. foundation’s planners had to decide on many things, from the The foundation’s arts education program sought to advance the size of the board to the types of grantees to the structure of the visual arts by teaching young people to create and to appreci- Exhibitions staff, but their discussions had made one thing clear: the Warhol ate art. A notable early project was a photography instruction Foundation would follow the inventive, open-minded, experi- program in the Durham, NC public schools led by artist Wendy Throughout its twenty year history, the foundation has supported mental spirit of its founder. “The advancement of the visual arts” Ewald; closer to home, the foundation funded the Studio in hundreds of contemporary art exhibitions, from retrospectives would be its guiding principle; supporting artists and progressive a School, which placed professional artists in New York City of high-profile artists at major institutions — those of Eva Hesse, arts institutions would be at its heart. elementary schools. These projects, like others the foundation David Hammons, Jack Smith and Bruce Nauman are good supported, had the merit of assisting contemporary artists in examples — to group shows of emerging artists at small venues Once the basic parameters of the organizational mission and addition to their primary educational mission. in rural areas. While there is tremendous variety in the work the structure had been put into place, the foundation decided to con- foundation has supported, certain themes emerge that give a sult with the field to hear what its most urgent needs were and The foundation also incorporated its core values in its work in picture of the foundation’s concerns and interests over the years. how Warhol’s generosity could best serve them. In 1988, there- the field of historic preservation. A restoration of the Snow Clan fore, the fledgling foundation hosted a series of convenings. House on the Hopi Reservation in Second Mesa, Arizona, was a One of the most important of these is a commitment to the Artists, curators, administrators, educators, critics and others community development project that trained tribe members presentation of groundbreaking contemporary art that is sup- were brought together to offer their opinions on the role and in the construction and restoration techniques of their ancestors. ported by the strongest scholarship and documentation. An function of the Warhol Foundation. The goal was to create a A contribution to a major restoration of Fallingwater, the Frank example is the 1996 exhibition Inside the Visible at the Institute responsive, committed and engaged philanthropic organization Lloyd Wright house in western Pennsylvania, was a way for the of Contemporary Art, Boston. Curated by Catherine De Zegher, that would have the needs and goals of its constituency — foundation to support a masterwork of avant-garde architecture the show presented the work of 37 highly inventive women artists artists and the institutions that serve them — foremost in mind. within the context of historic preservation. from three decades of the twentieth century: the 30s, the 60s Out of these discussions and their own internal deliberations, and the 90s. It was accompanied by a film series which pre- the foundation’s leaders began to put in place the new founda- Such projects suggest the value of the foundation’s work in sented the work of such filmmakers as Maya Deren, Chantal tion’s program, with its aim of enabling cultural organizations both arts education and historic preservation. Over time, how- Akerman and Yvonne Rainer. The catalogue, published by MIT and, through them, contemporary artists. ever, the program evolved away from these two fields. In 1995, Press, contained impressive scholarship by a number of writers a study of the philanthropic landscape revealed that private including artists and critics Martha Rosler, Griselda Pollock, funding for arts education was increasing, whereas that for and Bracha Lichtenberg Ettinger, an artist and psychoanalyst. contemporary art was stagnant or decreasing. The board con- cluded that the foundation’s relatively limited resources would A little over a decade later, in 2007, the Los Angeles Museum best serve the advancement of the visual arts when directly of Contemporary Art presented WACK! Art and the Feminist supporting the kinds of challenging, experimental contemporary Revolution, a comprehensive survey of the international founda- art that had few other institutional funders. In 1995, arts tions and legacy of feminist art. With the work of over 120 artists, “We are grateful for the Foundation’s support and for the opportunities for advancement it has afforded the Art Center. The center has grown exponentially on all fronts, exhibiting greater confidence, stability and quality of programs. Your funding endorsement has been terrific, but it is the ripple effect for this organization, isolated in the reddest state in the 16 Program 17 Program curator Cornelia Butler’s thoroughly researched exhibition of unspeakable state crimes, is also an important demonstration expanded the boundaries of feminist art and presented new of artists’ collective role in ending the silence surrounding these material for historical consideration at a time when many extreme cases of human rights violations. emerging artists, scholars, and curators are turning to feminist art as a generative movement in contemporary art history. Artist-Centered Organizations Helen Molesworth, Catherine Lord and Abigail Solomon-Godeau, among others, contributed to the catalogue. In addition to supporting exhibitions at larger institutions, the Warhol foundation has always taken an interest in artist-centered The foundation has a commitment to supporting exhibitions and organizations — generally small, regional groups that serve artists organizations that present diverse and under-exposed artists. and their communities in many different ways. They present work, One such organization is the African Film Festival. Since 1993, (often providing emerging artists with their first significant expo- it has shown the work of independent African filmmakers at the sure), host residencies, offer studio or workshop space, present Film Society of Lincoln Center and the Brooklyn Museum of Art; public programming, and provide other key services to artists. a traveling component brings the films to numerous additional Most also have strong commitments to their local communities. cities across the U.S. The festival gives exposure to African film- Project Row Houses is a notable example. makers who would otherwise be almost completely unknown in this country. In 2003, with funding from the foundation, the festival Project Row Houses, a public art project located in the heart also published a comprehensive guide to African film that pro- of an African-American community, has a special mandate to vided important documentation of this little-known body of work. support artists creating work concerned with African-American culture and history and to connect this work with the revitaliza- An exhibition that deserves special mention here is the 1992 tion of the community. In 1992, artist Rick Lowe spotted a group show Mining the Museum, a breakout project for artist Fred of abandoned shotgun houses in a poor Houston neighborhood. Wilson. Organized by Lisa Corrin of The Contemporary Museum He raised the funds to acquire and restore them, and ten of in Baltimore, and presented at the Maryland Historical Society, the twenty-two buildings are now dedicated to art, photography, the show gave Wilson access to the society’s permanent collec- and literary projects, while seven others belong to The Young tion. Selecting artworks and artifacts from its storage rooms, he Mothers Residential Program which provides transitional housing presented them in the museum’s galleries, spotlighting peripheral and services for young mothers and their children. figures in paintings and re-contextualizing objects and artworks so that they made visible an alternative American history. Seen Another small artist-centered organization with equally strong from a new perspective, these objects told a tale in which slavery ties to its community is the Salt Lake City Art Center, which and racial oppression loomed large, and gave a different inflec- serves a strikingly different constituency in a different way. tion to traditional understandings of the past. Located in a part of the country that is often quite socially and politically conservative, the Salt Lake City Art Center is a pro- Another more recent exhibition to tackle a hidden history was gressive arts organization whose mission is to present high the North Dakota Museum of Art’s The Disappeared. Curated quality contemporary art. Although its community may have by Laurel Reuter in 2006, the exhibition revolved around artists’ some resistance to the questions and challenges raised by such responses to the “disappearance” of intellectuals, political work, the center has positioned itself as an ambassador for activists and religious dissenters during the military dictatorships contemporary art within it. While it readily presents work with of the 1950s-1980s in Latin America. The kidnapping, torture challenging content, it is also committed to programs that reach and death of tens of thousands of people, long a repressed out solicitously to engage local audiences. topic in the countries involved and never before addressed in an American museum, was fearlessly taken up by 14 contemporary A different kind of artist-centered organization altogether is Los artists from seven countries in Central and South America. Angeles’ quirky but ambitious Museum of Jurassic Technology. Their work, a viscerally and aesthetically powerful indictment Located in a major city, the museum benefits from its large Installation view of WACK! Art and the Feminist Revolution at The Geffen Contemporary at MOCA, 2007 country, that has perhaps been even more significant. The Board, the staff, our audiences and other donors acknowledged immediately the gravity of the “Warhol Foundation validation” and have given generously of time, money and commitment thanks to the leverage you provided.” ­—Salt ­Lake ­Art ­Center, ­Salt ­Lake ­City, ­UT