Factory Work examines Andy Warhol's (1928-1987) role as a mentor for two younger artists from opposite corners of the art world. Jamie Wyeth (b. 1946) and Jean-Michel Basquiat (1960-1988) were young, independent artists with their own substantial reputations when Andy Warhol invited each of them to paint in his "Factory" on 860 Broadway, New York City. In 1976 Andy Warhol and Jamie Wyeth painted each other's portraits. They jointly attended openings from 1976 to 1980; the exhibitions were known informally as "The Patriarch of Pop Paints the Prince of Realism," and Warhol visited Wyeth's farm in Pennsylvania. Basquiat rented a studio on Great Jones Street from Warhol beginning in August 1983 and collaborated with Warhol (first as part of a trio including Francesco Clemente) later the same year and in 1984 began joint projects with Warhol alone and exhibited in 1985. Warhol influenced these younger artists, and they enabled him to stay connected to new audiences of an evolving art world. At the same time, Warhol's paintings demonstrably changed due to his contact with Wyeth and Basquiat. The works illustrated provide clues toward further investigation of these two unique partnerships, also documented in Warhol's published diary entries, Interview magazines, and Warhol's tape-recorded conversations. There are four catalogue essays: Robert Rosenblum, Professor of Fine Arts at New York University and internationally known curator of 20th-century art at the Guggenheim Museum, examines Warhol as mentor for Jamie Wyeth, "a card-carrying member of a Yankee dynasty of three generations of ultra-WASP artists," as well as for Basquiat, the "dark-skinned crazy kid from Brooklyn who began his meteoric career by raucously embracing a counter-cultural life"; Christine Daulton, consultant conservator for the Warhol Museum, describes and provides recreations of the unusual techniques used by Warhol to create his oxidation portraits in the 1970s and 1980s; Joyce Hill Stoner, conservator, art historian, and Director of the University of Delaware Preservation Studies Program, writes about Wyeth's influence on Warhol that can be seen in Warhol's 1976 cat and dog paintings, his 1979 pig photographs and print, and his 1976-1977 skull paintings and self-portraits with skull; Margaret Rose Vendryes of the City University of New York discusses Basquiat's work and his "tagging" of Warhol's commercial images on their collaborative paintings and collages. The text and illustrations also offer insights into the celebrity-obsessed culture of the '70s and the drug- and money-mad art market of the '80s.

Factory Work: Warhol, Wyeth, Basquiat

Arts & Photography

Vendryes, Margaret Rose

Stoner, Joyce Hill

Rosenblum, Robert

History & Criticism

W A Farnsworth Library & Art museum

Richmond Barthé (1901-1989) was the first modern African American sculptor to achieve real critical success. His accessible naturalism led to unprecedented celebrity for an artist during the 1930s and 1940s. After four years of academic training at the School of the Art Institute of Chicago, Barthé reaped the benefits of the 1920s New Negro Arts Renaissance. He also endured difficulties as a gay, Roman Catholic, Creole sculptor working during the nation's post-World War II era. He gave his black subjects in particular an intensity and sensuality that attracted important European American patrons and the press. 
Much of Barthé's biography is recorded here for the first time in tandem with analyses and interpretations of his sculpture. Born to Creole parents in Bay St. Louis, Mississippi, Barthé's art brought him out of poverty. At the height of his fame, he was often criticized for not talking about injustices African Americans faced. He expected his art to speak not only for itself, but also for him. He fled the United States for an expatriate's life in Jamaica only to learn that, as an artist and a black man, he could not be accepted on his own terms, and there was no such thing as a perfect home. Barthé: A Life in Sculpture reveals the breadth of Barthé's oeuvre through readings of his figurative masterworks that attest to accomplishments in a life lived well beyond race.

Barthe: A Life in Sculpture

UNIVERSITY PRESS OF MISSISSIPPI

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Books by Vendryes, Margaret Rose