[{"id":648,"title":"Mao Tse Tung","dimensions":"910 x 910 mm","date_begin":"1972-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection VAM, Eindhoven","cached_tag_list":"silkscreen","publishing_process_id":1,"annotation":"","date_end":"1972-01-01","reference":"1037","stream_count_app":20,"permalink":"mao-tse-tung","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":"Andy Warhol","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/612/large/1037.JPG?1308150245","poster_credits":"(c)image: Van Abbemuseum, Eindhoven / Peter Cox","translations":[{"locale":"en","description":"Back in 1972, the portrait of Mao appeared very often in the media due to the political situation between America and China. The phenomenon Mao fascinated Warhol and, despite all the negative coverage about communist China, Mao became a symbol of absolute political and cultural power. \r\n\r\nWarhol makes him then even more popular with his screen-print series, which at the same time removes his aura of untouchable greatness. Would you like a yellow, red or blue Mao? On a green, pink or peach background? The coloured areas appear to have been printed in a hurry and do not always match, causing overlaps at times. All of that leads to a – literal and figurative – flattening of the image. Coca-cola bottles or electrical chair, seductive film star or terrifying political leader, Warhol treats them all in the same way, as products reflecting our society.\r\n"},{"locale":"nl","description":"In 1972 duikt het portret van Mao steeds vaker op in de Amerikaanse media vanwege de politieke toenadering tussen Amerika en China. Het verschijnsel Mao fascineert Warhol. Ondanks alle negatieve berichtgeving over het communistische China is Mao een symbool van absolute politieke en culturele macht. Warhol populariseert hem verder met zijn zeefdrukseries, maar ontdoet hem ook van zijn aura van onaantastbare grootheid. Wilt u een gele, rode of blauwe Mao? Tegen een groene, roze of perzikkleurige achtergrond? De gekleurde vlakken lijken haastig gedrukt. Ze sluiten niet overal precies aan, en overlappen elkaar hier en daar. Dat leidt letterlijk en figuurlijk tot vervlakking van het beeld. Colaflesje of elektrische stoel, verleidelijke filmster of gevreesd politiek leider, Warhol behandelt alles en iedereen hetzelfde. Het zijn allemaal producten die een afspiegeling vormen van de samenleving."},{"locale":"fr","description":""}]},{"id":5258,"title":"a, A novel","dimensions":"23,2 x 15,7 cm, 451 p, language: English, publisher: Grove Press Inc, New York, ISBN: N/A","date_begin":"1968-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"artist novel","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2024/445","stream_count_app":27,"permalink":"a-a-novel","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/700/large/Artistnovel_001.jpg?1342085901","poster_credits":"(c)M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLiterary synopsis\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn the late 60s Andy Warhol set out to turn a trade book into a piece of pop art, and the result was this astonishing account of the famously influential group of artists, superstars, addicts and freaks who made up the Factory milieu. Created from audiotapes recorded in and around the Factory, \u003cem\u003ea, A Novel\u003c/em\u003e begins with the fabulous Ondine popping several amphetamines and then follows its characters as they converse with inspired, speed-driven wit and cut swaths through the clubs, coffee shops, hospitals, and whorehouses of 1960s Manhattan. It includes a glossary by Warhol biographer Victor Bockris, giving more explanation to this conceptually unique work.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRelation of the novel to the artist\u0026rsquo;s practice\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003ea, A Novel\u003c/em\u003e is largely unreadable, in the same way that Warhol\u0026#39;s films are largely unwatchable. Warhol wanted to be a writer but much like his film work, spontaneous performances and an explicit lack of editing was used as a device. Warhol wanted to write a \u0026quot;bad\u0026quot; novel, \u0026quot;because doing something the wrong way always opens doors.\u0026quot; Four typists were employed to transcribe the Warhol/Ondine tapes. Maureen Tucker, the drummer for the Velvet Underground was an expert typist. However, she refused to transcribe the swear words and left them out. Two high school girls were hired to work on some of the tapes. When one girl\u0026#39;s mother heard what they were listening to she threw out the tape, losing several hours of conversation. All four hired typists transcribed the dialogue differently, some identifying the speakers, others not. The editor for \u003cem\u003ea, A Novel\u003c/em\u003e, Billy Name, preserved the transcripts as is, with every typo and inconsistent character identification, and even moving from two column pages to single-column based on each typist\u0026#39;s style. The final printed version was identical to the typed manuscripts.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eLiteraire synopsis\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn de late jaren 1960 maakte Andy Warhol een verkoopsboek tot popart, en het resultaat is dit verbazingwekkende relaas van de invloedrijke groep kunstenaars, supersterren, verslaafden en freaks die de Factory was. \u003cem\u003ea, A Novel\u003c/em\u003e werd gecre\u0026euml;erd op basis van audiotapes opgenomen in en rond de Factory en begint met de wonderlijke Ondine die enkele amfetamines slikt, waarna het zijn personages volgt terwijl ze ge\u0026iuml;nspireerde, gevatte en door speed gedreven conversaties houden en impressies nalaten in de clubs, koffiebars, ziekenhuizen en bordelen van Manhattan in de sixties. Het bevat een verklarende woordenlijst door de Warholbiograaf Victor Bockris, die meer uitleg biedt bij dit conceptueel unieke werk.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eVerhouding van de roman tot de praktijk van de kunstenaar\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003ea, A Novel\u003c/em\u003e is grotendeels onleesbaar, net zoals Warhols films grotendeels niet te bekijken zijn. Warhol wou een schrijver zijn, maar net als in zijn filmwerk maakte hij gebruik van spontane performances en een expliciet gebrek aan bewerking. Warhol wou een \u0026lsquo;slechte\u0026rsquo; roman schrijven, \u0026lsquo;want iets op de verkeerde manier doen opent altijd deuren\u0026rsquo;. Vier typistes werden ingezet om de Warhol/Ondine-tapes te transcriberen. Maureen Tucker, de drummer van The Velvet Underground, was een expert daarin, maar ze weigerde de scheldwoorden over te nemen en liet die weg. Twee schoolmeisjes werden ingehuurd om aan enkele tapes te werken. Toen een moeder van een van de meisjes hoorde waar ze naar luisterden, gooide ze de tape weg; verschillende uren conversatie raakten zo kwijt. De vier typistes transcribeerden de dialoog telkens anders \u0026ndash; sommigen vermeldden de identiteit van de sprekers, anderen niet. De redacteur van \u003cem\u003ea, A Novel\u003c/em\u003e, Billy Name, bewaarde de transcripties zoals hij ze kreeg, met elke typfout en verkeerdelijke personage-aanduiding. Hij ging zelfs van tweekolompagina\u0026rsquo;s naar een eenkolommer naar gelang de stijl van de typiste. De uiteindelijke gedrukte versie was identiek aan de getypte manuscripten.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":16902,"title":"Andy Warhol. Für die Grünen","dimensions":"","date_begin":"1978-01-01","material":"offset print; ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"andy-warhol-fur-die-grunen-d17d3cfc-6a96-4658-a6ec-4ed4e16f1251","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/540/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_43.jpg?1507816704","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":20126,"title":"GA - Tijdschrift van de Galerij van de Akademie Van Waasmunster, Jrg.8, nrs.4+5, 1 november 1989","dimensions":"57.7 x 41.7 cm, 2 p., ill., language : Dutch, publisher : Galerij van de Akademie Van Waasmunster","date_begin":"1989-01-01","material":"Ink, paper","short_description":"\u003cp\u003eArtikelen :\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e- L\u0026#39;Art en Otage : Kunst in de greep 1985 - 1989 (Guy Schraenen)\u003c/p\u003e\r\n\r\n\u003cp\u003e-\u0026nbsp;Films van Andy Warhol : \u0026quot;Kitchen\u0026quot; en een compilatie van \u0026quot;Empire, Haircut, Sleep en 13 Most Beautiful Women\u0026quot; (Andy Warhol)\u003c/p\u003e\r\n\r\n\u003cp\u003e-\u0026nbsp;ADORATA - Gorik Lindemans (Marco Leus \u0026amp; Gorik Lindemans)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":59,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"T \u0026 P/GA - Tijdschrift van de Galerij van de Akademie Van Waasmunster","stream_count_app":21,"permalink":"ga-tijdschrift-van-de-galerij-van-de-akademie-van-waasmunster-jrg-8-nrs-4-5-1-november-1989","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/043/115/medium_500/Image00072.jpg?1546512921","cached_actor_names":"Wilfried Huet, Andy Warhol, Gorik Lindemans , Guy Schraenen ","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/043/115/large/Image00072.jpg?1546512921","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":24969,"title":"Birmingham Race Riot","dimensions":"","date_begin":"1964-01-01","material":"screenprint on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00382","stream_count_app":14,"permalink":"birmingham-race-riot","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/053/678/medium_500/Warhol__Birmingham_Race_Riot.jpg?1586422033","cached_actor_names":"Andy Warhol","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/053/678/large/Warhol__Birmingham_Race_Riot.jpg?1586422033","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eWarhol\u0026rsquo;s print edition \u003cem\u003eBirmingham Race Riot\u003c/em\u003e appropriates images of the Birmingham Race Riots of 1963 as documented by Charles Moore for a photo-essay in \u003cem\u003eLife\u003c/em\u003e magazine. The riots gained notoriety across America, and is considered one of the key events of the Civil Rights Movement in the USA. Supporters of Martin Luther King protesting racial segregation were attacked by the police. King himself was arrested. Americans were shocked by images of protesters being attacked by police dogs and water hoses. President John F. Kennedy even said the events they depicted were \u0026quot;so much more eloquently reported by the news camera than by any number of explanatory words\u0026quot;. Warhol contributed this print to a portfolio of work by ten artists, published by the Wadsworth Athenaeum, Hartford, Connecticut, the year after the riot. Warhol considered \u003cem\u003eBirmingham Race Riot\u003c/em\u003e as part of his wider \u003cem\u003eDeath and Disaster\u003c/em\u003e series, along with his \u003cem\u003eCar Crash\u003c/em\u003e and \u003cem\u003eElectric Chair\u003c/em\u003e series. The work today becomes topical once again in light of police killings of African-Americans, and additionally raises questions today around debates on artistic freedom in relation to \u0026lsquo;cultural appropriation\u0026rsquo;.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eWarhols \u003cem\u003eBirmingham Race Riot\u003c/em\u003e, een zeefdruk-en-acryl op doek, eigent zich beelden toe van de Birmingham Race Riots van 1963, zoals Charles Moore ze documenteerde voor een foto-essay in \u003cem\u003eLife\u003c/em\u003e. De rellen kregen bekendheid in heel Amerika en worden beschouwd als een van de belangrijkste gebeurtenissen van de Amerikaanse Civil Rights Movement. Aanhangers van Martin Luther King die protesteerden tegen rassenscheiding werden aangevallen door de politie. King zelf werd gearresteerd. Veel Amerikanen waren geschokt door de mediabeelden van demonstranten tegen wie politiehonden en waterkanonnen werden ingezet. President John F. Kennedy zei zelfs dat de gebeurtenissen \u0026ldquo;zoveel welsprekender werden gerapporteerd door de nieuwscamera dan door eender welke verhelderende woorden.\u0026rdquo; Warhol droeg met dit werk bij aan een portfolio met werk van tien kunstenaars, dat een jaar na de rellen werd gepubliceerd door het Wadsworth Athenaeum in Hartford (Connecticut), Warhol zag \u003cem\u003eBirmingham Race Riot\u003c/em\u003e als deel van de omvangrijkere \u003cem\u003eDeath and Disaster\u003c/em\u003e-reeks, waartoe ook \u003cem\u003eCar Crash\u003c/em\u003e- en \u003cem\u003eElectric Chair\u003c/em\u003e-subreeksen horen. Het werk is vandaag weer actueel in het licht van politiemoorden op Afro-Amerikanen, en de \u0026#39;culturele toe-eigening\u0026#39;-debatten rond artistieke vrijheid.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eL\u0026#39;\u0026eacute;dition imprim\u0026eacute;e de Warhol intitul\u0026eacute;e \u003cem\u003eBirmingham Race Riot\u003c/em\u003e s\u0026#39;approprie des images des \u0026eacute;meutes raciales de Birmingham de 1963 telles que document\u0026eacute;es par Charles Moore pour un reportage photo dans le magazine \u003cem\u003eLife\u003c/em\u003e. Les \u0026eacute;meutes gagn\u0026egrave;rent en notori\u0026eacute;t\u0026eacute; \u0026agrave; travers l\u0026#39;Am\u0026eacute;rique et sont aujourd\u0026rsquo;hui consid\u0026eacute;r\u0026eacute;es comme l\u0026#39;un des \u0026eacute;v\u0026eacute;nements cl\u0026eacute;s du mouvement des droits civiques aux \u0026Eacute;tats-Unis. Les partisans de Martin Luther King qui protestaient contre la s\u0026eacute;gr\u0026eacute;gation raciale furent attaqu\u0026eacute;s par la police. King lui-m\u0026ecirc;me fut arr\u0026ecirc;t\u0026eacute;. Les Am\u0026eacute;ricains furent choqu\u0026eacute;s par les images de manifestants attaqu\u0026eacute;s par des chiens policiers et des canons \u0026agrave; eau. Le pr\u0026eacute;sident John F. Kennedy d\u0026eacute;clara m\u0026ecirc;me que les \u0026eacute;v\u0026eacute;nements d\u0026eacute;peints \u0026eacute;taient \u0026laquo; rapport\u0026eacute;s de fa\u0026ccedil;on tellement plus \u0026eacute;loquente par les cam\u0026eacute;ras de t\u0026eacute;l\u0026eacute;vision que par tout nombre de mots descriptifs \u0026raquo;. Warhol apporta cette impression \u0026agrave; un portefeuille d\u0026#39;\u0026oelig;uvres de dix artistes, publi\u0026eacute; par le Wadsworth Athenaeum, \u0026agrave; Hartford dans le Connecticut l\u0026#39;ann\u0026eacute;e suivant l\u0026#39;\u0026eacute;meute. Warhol consid\u0026eacute;rait \u003cem\u003eBirmingham Race Riot\u003c/em\u003e comme faisant partie de sa s\u0026eacute;rie plus large \u003cem\u003eDeath and Disaster\u003c/em\u003e (Mort et d\u0026eacute;sastre) et de ses s\u0026eacute;ries \u003cem\u003eCar Crash\u003c/em\u003e (Accident de voiture) et \u003cem\u003eElectric Chair \u003c/em\u003e(Chaise \u0026eacute;lectrique). Cette \u0026oelig;uvre redevient aujourd\u0026#39;hui d\u0026#39;actualit\u0026eacute; \u0026agrave; la lumi\u0026egrave;re des meurtres par la police d\u0026#39;Afro-Am\u0026eacute;ricains, et soul\u0026egrave;ve en outre des questions autour des d\u0026eacute;bats sur la libert\u0026eacute; artistique en relation avec \u0026laquo;\u0026nbsp;l\u0026#39;appropriation culturelle \u0026raquo;.\u003c/p\u003e\r\n"}]},{"id":24968,"title":"from The American Indian series","dimensions":"","date_begin":"1976-01-01","material":"","short_description":"\u003cp\u003e\u003cem\u003eThe American Indian (Russell Means)\u003c/em\u003e is a silk-screen painting by Andy Warhol from a series of eighteen he produced in 1976 depicting the American Indian activist and actor Russel Means. Means, who was from the Oglala Lakota people, became widely known for his leadership during the occupation of the South Dakota town of Wounded Knee by the American Indian Movement in 1973. The occupation was in protest against the alleged corruption of the local government as well as their mistreatment of American Indians. The site was symbolic, as Wounded Knee was at the centre of the 1890 massacre of the Sioux by the U.S. Army. The siege between the activists and federal law enforcement lasted 71 days, and was covered widely in the media. In the 1970s, Warhol made many portraits of celebrities and people that he admired across the political and cultural spectrum. Means appealed to Warhol as a figure who sat at the intersection of activism, celebrity and popular culture. The representation of American Indians was a common, and also controversial, subject in Hollywood movies. Warhol\u0026rsquo;s \u0026lsquo;Pop\u0026rsquo; treatment of Means, in traditional dress, reflects how American Indians are part of the distinct American cultural iconography. Ace Gallery in Los Angeles, who first exhibited this series of painting in 1977, contributed $5,000 to\u0026nbsp;the American Indian Movement in exchange for Means\u0026rsquo; participation. Means found fame once again decades later for his role as Chingachgook in the Oscar-winning movie,\u0026nbsp;\u003cem\u003eThe Last of the Mohicans\u003c/em\u003e.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"from-the-american-indian-series","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003e\u003cem\u003eThe American Indian (Russell Means)\u003c/em\u003e is een zeefdruk-en-acryl op doek van Andy Warhol, uit een reeks van achttien beelden die hij in 1976 maakte en die de Amerikaanse activist en acteur Russel Means afbeelden. Means, een lid van het Oglala Lakota-volk, werd in 1973 bekend door zijn leiderschap tijdens de bezetting van de stad Wounded Knee in South Dakota door de American Indian Movement. Het was een protest tegen de vermeende corruptie van de lokale overheid en tegen de manier waarop die indianen (of zoals sommigen verkiezen: native Americans, inheemse Amerikanen) behandelde. De locatie was symbolisch, aangezien Wounded Knee zich exact daar bevindt waar het Amerikaanse leger in 1890 een bloedbad aanrichtte tegen de Sioux. De activisten bezetten de stad gedurende 71 dagen, zich verwerend tegen een belegering van federale politie en FBI, en de actie werd breed uitgemeten in de media. In de jaren 1970 maakte Warhol veel portretten van beroemdheden en mensen die hij bewonderde, over het hele politieke en culturele spectrum. Means sprak Warhol aan in de hoedanigheid van figuur op het kruispunt van activisme, celebrity en populaire cultuur. De representatie van indianen, bijvoorbeeld in Hollywood-films, was algemeen verspreid maar ook controversieel en Warhols popart-versie van Means in traditionele kleding laat zien hoe indianen deel uitmaken van een aparte Amerikaanse culturele iconografie. De Ace Gallery in Los Angeles, die deze reeks in 1977 voor het eerst toonde, droeg $5.000 bij aan de American Indian Movement in ruil voor Means\u0026#39; participatie. Means werd decennia later opnieuw bekend met zijn rol als Chingachgook in Michael Manns \u003cem\u003eThe Last of the Mohicans\u003c/em\u003e, die in 1992 een Oscar won.\u003c/p\u003e\r\n","short_description_fr":"\u003cp\u003e\u003cem\u003eThe American Indian (Russell Means)\u003c/em\u003e est une peinture s\u0026eacute;rigraphi\u0026eacute;e d\u0026#39;Andy Warhol faisant partie d\u0026#39;une s\u0026eacute;rie de dix-huit qu\u0026#39;il produisit en 1976 et qui repr\u0026eacute;sentaient l\u0026#39;activiste et acteur am\u0026eacute;rindien Russel Means. Means, qui appartenait au peuple Oglala Lakota, devint largement connu pour ses qualit\u0026eacute;s de meneur pendant l\u0026#39;occupation de la ville de Wounded Knee dans le Dakota du Sud par l\u0026#39;American Indian Movement en 1973. L\u0026#39;occupation avait pour but de protester contre la corruption pr\u0026eacute;sum\u0026eacute;e du gouvernement local ainsi que contre les mauvais traitements inflig\u0026eacute;s aux Indiens d\u0026#39;Am\u0026eacute;rique. Le site \u0026eacute;tait symbolique, car Wounded Knee avait \u0026eacute;t\u0026eacute; au centre du massacre des Sioux par l\u0026#39;arm\u0026eacute;e am\u0026eacute;ricaine en 1890. Le si\u0026egrave;ge entre les militants et les forces de l\u0026#39;ordre f\u0026eacute;d\u0026eacute;rales dura 71 jours et fut largement couvert par les m\u0026eacute;dias. Dans les ann\u0026eacute;es 1970, Warhol r\u0026eacute;alisa de nombreux portraits de c\u0026eacute;l\u0026eacute;brit\u0026eacute;s et de personnes qu\u0026#39;il admirait \u0026agrave; travers le spectre politique et culturel. Means fit appel \u0026agrave; Warhol en tant que personnalit\u0026eacute; \u0026agrave; l\u0026#39;intersection de l\u0026#39;activisme, de la c\u0026eacute;l\u0026eacute;brit\u0026eacute; et de la culture populaire. La repr\u0026eacute;sentation des Indiens d\u0026#39;Am\u0026eacute;rique \u0026eacute;tait un sujet courant, et \u0026eacute;galement controvers\u0026eacute;, dans les films hollywoodiens. Le traitement \u0026laquo; Pop \u0026raquo; de Warhol de Means, en costume traditionnel, refl\u0026egrave;te la fa\u0026ccedil;on dont les Indiens d\u0026#39;Am\u0026eacute;rique font partie de l\u0026#39;iconographie culturelle am\u0026eacute;ricaine distincte. La Ace Gallery \u0026agrave; Los Angeles, qui exposa pour la premi\u0026egrave;re fois cette s\u0026eacute;rie de peintures en 1977, versa 5 000 $ \u0026agrave; l\u0026#39;American Indian Movement en \u0026eacute;change de la participation de Means. Means retrouva la c\u0026eacute;l\u0026eacute;brit\u0026eacute; des d\u0026eacute;cennies plus tard pour son r\u0026ocirc;le de Chingachgook dans le film oscaris\u0026eacute;\u0026nbsp;\u003cem\u003eLe dernier des Mohicans\u003c/em\u003e.\u003c/p\u003e\r\n","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/627/medium_500/2020_Monoculture_Photo_M_HKA_cc_35.JPG.jpg?1662478905","cached_actor_names":"Andy Warhol","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/627/large/2020_Monoculture_Photo_M_HKA_cc_35.JPG.jpg?1662478905","poster_credits":" © The König Family Collection. Photo: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27628,"title":"Marilyn Monroe (Marilyn) - Reversal Series","dimensions":" 79×59 cm ","date_begin":"1978-01-01","material":"Screenprint on HMP paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection of Samuel Vanhoegaerden, Belgium","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"marilyn-monroe-marilyn-reversal-series","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/239/medium_500/IMG_4072kop_crop2.jpg?1600957068","cached_actor_names":"Andy Warhol","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/239/large/IMG_4072kop_crop2.jpg?1600957068","poster_credits":" © Andy Warhol. Collection of Samuel Vanhoegaerden, Belgium","translations":[{"locale":"en","description":"\u003cp\u003eIn the late 1970s, Warhol began his \u003cem\u003eReversals\u003c/em\u003e and \u003cem\u003eRetrospectives\u003c/em\u003e series, which recycled some of his best-known images. Using, and reusing images at will, Warhol was post-modern in his approach, toying with notions of \u0026lsquo;high\u0026rsquo; and \u0026lsquo;low\u0026rsquo; culture, and imbuing existing images with new ideas and perspectives. The work \u003cem\u003eMarilyn Monroe (Marilyn)\u003c/em\u003e from the \u003cem\u003eReversal Series\u003c/em\u003e, uses one of his iconic images, that of Marilyn Monroe. Warhol would look to reflect the optics of fame and celebrity, making portraits of some of the world\u0026rsquo;s most renowned people, from Monroe to Mao. The \u0026lsquo;surface\u0026rsquo; of his images were a part of this critical reflection on the superficiality of the phenomenon and the visual culture that sustains it. Here, as the image is in negative, Marilyn appears black, evoking the dark underbelly of fame.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEind jaren 1970 ving Warhol aan met zijn reeks \u003cem\u003eReversals and Retrospectives\u003c/em\u003e, waarin enkele van zijn bekendste beelden werden gerecycled. Warhol gebruikte en herbruikte beelden naar believen. Hij had een postmoderne benadering, waarbij hij speelde met de noties \u0026#39;hoge\u0026#39; en \u0026#39;lage\u0026#39; cultuur, en bestaande beelden voorzag van nieuwe idee\u0026euml;n en perspectieven. Het werk \u003cem\u003eMarilyn Monroe (Marilyn)\u003c/em\u003e uit de \u003cem\u003eReversal Series\u003c/em\u003e gebruikt een van zijn iconische beelden, namelijk dat van Marilyn Monroe. Warhol probeerde de glamour van faam en beroemdheid te weerspiegelen door portretten te maken van enkele van \u0026#39;s werelds bekendste mensen, van Mao tot Monroe. Het \u0026#39;oppervlak\u0026#39; van zijn beelden maakte deel uit van deze kritische reflectie op de oppervlakkigheid van het fenomeen en op de visuele cultuur die het ondersteunt. Hier ziet Marilyn Monroe er akelig uit, gezien het beeld in negatief is, wat de donkere keerzijde van faam evoceert.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026Agrave; la fin des ann\u0026eacute;es 1970, Warhol lan\u0026ccedil;a ses s\u0026eacute;ries \u003cem\u003eReversals\u003c/em\u003e et \u003cem\u003eRestropectives\u003c/em\u003e, qui recyclaient certaines de ses images les plus connues. Utilisant et r\u0026eacute;utilisant les images \u0026agrave; volont\u0026eacute;, Warhol \u0026eacute;tait postmoderne dans son approche, jouant avec les notions de culture \u0026laquo;\u0026nbsp;\u0026eacute;lev\u0026eacute;e \u0026raquo; et \u0026laquo; basse \u0026raquo; et insufflant aux images existantes de nouvelles id\u0026eacute;es et perspectives. L\u0026#39;\u0026oelig;uvre \u003cem\u003eMarilyn Monroe (Marilyn)\u003c/em\u003e de la s\u0026eacute;rie \u003cem\u003eReversal\u003c/em\u003e utilise l\u0026#39;une de ses images iconiques, celle de Marilyn Monroe. Warhol cherchait \u0026agrave; refl\u0026eacute;ter l\u0026#39;optique de la gloire et de la c\u0026eacute;l\u0026eacute;brit\u0026eacute; en faisant les portraits de certaines des personnes les plus renomm\u0026eacute;es au monde, de Monroe \u0026agrave; Mao. La \u0026laquo; surface \u0026raquo; de ses images faisait partie de cette r\u0026eacute;flexion critique sur la superficialit\u0026eacute; du ph\u0026eacute;nom\u0026egrave;ne et sur la culture visuelle qui le soutient. Ici, comme l\u0026#39;image est en n\u0026eacute;gatif, Marilyn appara\u0026icirc;t noire, \u0026eacute;voquant le ventre sombre de la c\u0026eacute;l\u0026eacute;brit\u0026eacute;.\u003c/p\u003e\r\n"}]},{"id":27629,"title":"Dollar Bill ","dimensions":"","date_begin":"1981-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"dollar-bill-1981-dollar-sign-1982","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eWith their qualities of surface and repetition, Warhol\u0026rsquo;s works offer profound critical reflection on the dominance of the American capitalist system of the post-war period. As Warhol once said: \u0026ldquo;\u003cem\u003eBeing good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art\u003c/em\u003e\u0026rdquo;. It is because of this embrace in Warhol\u0026rsquo;s art of capitalism \u0026ndash;\u0026nbsp;its vast potential, it global reach, and its great capacity to perpetuate both prosaic \u0026lsquo;pop\u0026rsquo; culture and global icons \u0026ndash; that makes him a key American artist of the post-war period. Often described as a Pop Artist, Warhol has also been described as a protagonist of Capitalist Realism, a term mimicking the Socialist Realism of the USSR. Capitalist Realism is used to describe practices that embody liberal capitalism. The dollar bill and dollar sign were recurring motifs in Warhol\u0026rsquo;s art since the 1960s, and he would regularly sign dollar bills.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDollar Sign\u003c/em\u003e was a series of prints Warhol originally produced in 1982. After Warhol published his renowned Factory Editions prints,\u0026nbsp;he began collaborating with two anonymous acquaintances from Belgium in 1970 on a second series of prints, including portraits of Marilyn Monroe, with their company Sunday B. Morning. The original idea behind this partnership was to play on the concept of mass production and originality, and the prints would have a black ink stamp on the back saying \u0026ldquo;fill in your own signature\u0026rdquo;. The new prints were identical to the Factory Editions and so Warhol was deliberately undermining the strict \u0026lsquo;authenticity\u0026rsquo; of Factory Edition prints. At a certain moment, conversations between Warhol and the Belgians faltered, and he started to have second thoughts. However, by this time, he had already handed over the photo negatives, colour codes and other tools used to produce the prints. Printing in Belgium went ahead, retaining the rights to do so. Warhol decided not to pursue the matter. To add to this quirk in Belgian art history, Warhol would even sign some of the Sunday B. Monday prints with: \u0026rdquo;This is not by me. Andy Warhol\u0026rdquo;, which served to increase their value.\u003c/p\u003e\r\n","short_description_fr":"\u003cp\u003eAvec leurs qualit\u0026eacute;s de surface et de r\u0026eacute;p\u0026eacute;tition, les \u0026oelig;uvres de Warhol offrent une r\u0026eacute;flexion critique profonde sur la domination du syst\u0026egrave;me capitaliste am\u0026eacute;ricain de l\u0026#39;apr\u0026egrave;s-guerre. Comme l\u0026#39;a dit Warhol : \u0026laquo;\u003cem\u003e \u0026Ecirc;tre bon en affaires est le genre d\u0026#39;art le plus fascinant. Gagner de l\u0026#39;argent est un art et travailler est un art et faire de bonnes affaires est le meilleur des arts\u003c/em\u003e \u0026raquo;. C\u0026#39;est cette adoption du capitalisme par l\u0026#39;art de Warhol, son vaste potentiel, sa port\u0026eacute;e mondiale et sa grande capacit\u0026eacute; \u0026agrave; perp\u0026eacute;tuer \u0026agrave; la fois la culture superficielle prosa\u0026iuml;que et les ic\u0026ocirc;nes mondiales, qui fait de lui un artiste am\u0026eacute;ricain cl\u0026eacute; de l\u0026#39;apr\u0026egrave;s-guerre. Souvent d\u0026eacute;crit comme un artiste pop, Warhol a \u0026eacute;galement \u0026eacute;t\u0026eacute; d\u0026eacute;peint comme un protagoniste du r\u0026eacute;alisme capitaliste, un terme imitant le r\u0026eacute;alisme socialiste de l\u0026#39;URSS. Le r\u0026eacute;alisme capitaliste est utilis\u0026eacute; pour d\u0026eacute;crire les pratiques qui incarnent le capitalisme lib\u0026eacute;ral. Le billet d\u0026#39;un dollar et le symbole du dollar \u0026eacute;taient des motifs r\u0026eacute;currents dans l\u0026#39;art de Warhol depuis les ann\u0026eacute;es 1960, et il signait r\u0026eacute;guli\u0026egrave;rement des autographes sur des billets d\u0026#39;un dollar.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDollar Sign\u003c/em\u003e \u0026eacute;tait une s\u0026eacute;rie d\u0026#39;impressions produites \u0026agrave; l\u0026#39;origine par Warhol en 1982. Apr\u0026egrave;s avoir publi\u0026eacute; ses c\u0026eacute;l\u0026egrave;bres impressions Factory Editions, Warhol entama en 1970 une collaboration avec deux de ses connaissances anonymes en Belgique sur une deuxi\u0026egrave;me s\u0026eacute;rie d\u0026#39;impressions, dont des portraits de Marilyn Monroe, au sein de leur entreprise Sunday B. Morning. L\u0026#39;id\u0026eacute;e originale derri\u0026egrave;re ce partenariat \u0026eacute;tait de jouer sur le concept de production de masse et d\u0026#39;originalit\u0026eacute;, les impressions ayant un tampon \u0026agrave; l\u0026#39;encre noire au dos disant \u0026laquo; apposez votre propre signature \u0026raquo;. Les nouvelles impressions \u0026eacute;taient identiques aux Factory Editions. Ainsi, Warhol sapait d\u0026eacute;lib\u0026eacute;r\u0026eacute;ment la stricte \u0026laquo; authenticit\u0026eacute; \u0026raquo; des impressions Factory Editions. Au cours du processus, les discussions entre Warhol et les Belges ne furent plus satisfaisantes et Warhol commen\u0026ccedil;a \u0026agrave; avoir des doutes. Il avait cependant d\u0026eacute;j\u0026agrave; remis les n\u0026eacute;gatifs photo, les codes couleur et d\u0026#39;autres outils utilis\u0026eacute;s pour produire les impressions. La production en Belgique continua, avec les droits n\u0026eacute;cessaires pour le faire. Warhol d\u0026eacute;cida de ne pas s\u0026#39;y opposer. Pour ajouter \u0026agrave; cette bizarrerie de l\u0026#39;histoire de l\u0026#39;art belge, Warhol signa m\u0026ecirc;me certaines des impressions de Sunday B. Monday : \u0026laquo; Ce n\u0026#39;est pas de moi. Andy Warhol \u0026raquo;, ce qui contribua \u0026agrave; en augmenter la valeur.\u003c/p\u003e\r\n","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/238/medium_500/CAT-Andy_Warhol_Signature_1_Dollar_collection_M_HKA.jpg?1600956824","cached_actor_names":"Andy Warhol","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/238/large/CAT-Andy_Warhol_Signature_1_Dollar_collection_M_HKA.jpg?1600956824","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eWith their qualities of surface and repetition, Warhol\u0026rsquo;s works offer profound critical reflection on the dominance of the American capitalist system of the post-war period. As Warhol once said: \u0026ldquo;\u003cem\u003eBeing good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art\u003c/em\u003e\u0026rdquo;. It is because of this embrace in Warhol\u0026rsquo;s art of capitalism \u0026ndash;\u0026nbsp;its vast potential, it global reach, and its great capacity to perpetuate both prosaic \u0026lsquo;pop\u0026rsquo; culture and global icons \u0026ndash; that makes him a key American artist of the post-war period. Often described as a Pop Artist, Warhol has also been described as a protagonist of Capitalist Realism, a term mimicking the Socialist Realism of the USSR. Capitalist Realism is used to describe practices that embody liberal capitalism. The dollar bill and dollar sign were recurring motifs in Warhol\u0026rsquo;s art since the 1960s, and he would regularly sign dollar bills.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDoordat ze \u0026#39;oppervlakkig\u0026#39; zijn en herhaling centraal stellen, bieden Warhols werken een diepgaande kritische reflectie op de dominantie van het Amerikaanse kapitalistische systeem van de naoorlogse periode. Zoals Warhol ooit zei: \u0026ldquo;Goed zijn in zaken is de meest fascinerende kunstvorm. Geld verdienen is kunst en werken is kunst en goed zaken doen is de beste kunst.\u0026rdquo; Het is deze omhelzing van het kapitalisme in Warhols kunst \u0026ndash; het enorme potentieel van het kapitalisme, haar wereldwijd bereik en groot vermogen om zowel oppervlakkige proza\u0026iuml;sche cultuur als wereldwijde iconen te bestendigen \u0026ndash; die van hem een belangrijke Amerikaanse naoorlogse kunstenaar maakt. Warhol wordt vaak omschreven als een popartiest, maar hij wordt ook beschreven als een protagonist van het kapitalistisch realisme, een term die een soort ironisch pendant is van de USSR-term \u0026#39;socialistisch realisme\u0026#39;. Kapitalistisch realisme wordt gebruikt om praktijken te beschrijven die het liberaal kapitalisme belichamen. Het dollarbiljet en het dollarteken waren sinds de jaren zestig terugkerende motieven in Warhols kunst en hij signeerde regelmatig dollarbiljetten.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDollar Sign\u003c/em\u003e was een reeks prints die Warhol oorspronkelijk in 1982 produceerde. Nadat hij zijn vermaarde Factory Editions-prints had gemaakt, begon Andy Warhol in 1970 samen met twee (anoniem gebleven) kennissen uit Belgi\u0026euml; \u0026ndash; en hun bedrijf Sunday B. Morning \u0026ndash; aan een tweede reeks prints te werken, waaronder portretten van Marilyn Monroe. Het oorspronkelijke idee achter deze samenwerking was om te spelen met het concept van massaproductie en originaliteit, en de prints zouden een zwarte inktstempel op de achterkant hebben met de tekst \u0026#39;vul je eigen handtekening in\u0026#39;. De nieuwe prints waren identiek aan de Factory Editions en dus ondermijnde Warhol opzettelijk de strikte \u0026#39;authenticiteit\u0026#39; van die laatste. Op een gegeven moment liepen de gesprekken tussen Warhol en de Belgen spaak, en begon hij te twijfelen. Maar tegen die tijd had hij de fotonegatieven, de kleurcodes en andere tools waarmee de afdrukken waren gemaakt, al overhandigd. Het drukken in Belgi\u0026euml; ging door en Sunday B. Morning behield ook de rechten om zulks te doen. Warhol besloot geen klacht in te dienen. Om nog iets toe te voegen aan deze kronkel in de Belgische kunstgeschiedenis, signeerde Warhol zelfs enkele van de Sunday B. Monday-prints met: \u0026ldquo;This is not by me. Andy Warhol\u0026rdquo; \u0026ndash; wat hun waarde nog verhoogde.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAvec leurs qualit\u0026eacute;s de surface et de r\u0026eacute;p\u0026eacute;tition, les \u0026oelig;uvres de Warhol offrent une r\u0026eacute;flexion critique profonde sur la domination du syst\u0026egrave;me capitaliste am\u0026eacute;ricain de l\u0026#39;apr\u0026egrave;s-guerre. Comme l\u0026#39;a dit Warhol : \u0026laquo;\u003cem\u003e \u0026Ecirc;tre bon en affaires est le genre d\u0026#39;art le plus fascinant. Gagner de l\u0026#39;argent est un art et travailler est un art et faire de bonnes affaires est le meilleur des arts\u003c/em\u003e \u0026raquo;. C\u0026#39;est cette adoption du capitalisme par l\u0026#39;art de Warhol, son vaste potentiel, sa port\u0026eacute;e mondiale et sa grande capacit\u0026eacute; \u0026agrave; perp\u0026eacute;tuer \u0026agrave; la fois la culture superficielle prosa\u0026iuml;que et les ic\u0026ocirc;nes mondiales, qui fait de lui un artiste am\u0026eacute;ricain cl\u0026eacute; de l\u0026#39;apr\u0026egrave;s-guerre. Souvent d\u0026eacute;crit comme un artiste pop, Warhol a \u0026eacute;galement \u0026eacute;t\u0026eacute; d\u0026eacute;peint comme un protagoniste du r\u0026eacute;alisme capitaliste, un terme imitant le r\u0026eacute;alisme socialiste de l\u0026#39;URSS. Le r\u0026eacute;alisme capitaliste est utilis\u0026eacute; pour d\u0026eacute;crire les pratiques qui incarnent le capitalisme lib\u0026eacute;ral. Le billet d\u0026#39;un dollar et le symbole du dollar \u0026eacute;taient des motifs r\u0026eacute;currents dans l\u0026#39;art de Warhol depuis les ann\u0026eacute;es 1960, et il signait r\u0026eacute;guli\u0026egrave;rement des autographes sur des billets d\u0026#39;un dollar.\u003c/p\u003e\r\n"}]},{"id":33072,"title":"Dollar Sign (reprint 2013)","dimensions":"39.6×50.5 cm","date_begin":"1982-01-01","material":"4 Silkscreen prints","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection MHKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eAndy Warhol\u003cbr /\u003e\r\nDollar Sign, 1982 (reprint 2013)\u003cbr /\u003e\r\n4 Silkscreen prints\u003cbr /\u003e\r\n39.6\u0026times;50.5 cm\u003cbr /\u003e\r\nPublished by Sunday B. Morning\u003cbr /\u003e\r\nCollection M HKA\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":19,"permalink":"dollar-sign-reprint-2013","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/696/medium_500/_WIM5068.jpg?1662738039","cached_actor_names":"Andy Warhol","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/696/large/_WIM5068.jpg?1662738039","poster_credits":"© Andy Warhol. Prints published by Sunday B. Morning. Photo: Wim van Eesbeek","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eDollar Sign\u003c/em\u003e was a series of prints Warhol originally produced in 1982. After Warhol published his renowned Factory Editions prints, he began collaborating with two anonymous acquaintances from Belgium in 1970 on a second series of prints, including portraits of Marilyn Monroe, with their company \u003cem\u003eSunday B. Morning.\u003c/em\u003e The original idea behind this partnership was to play on the concept of mass production and originality, and the prints would have a black ink stamp on the back saying \u003cem\u003e\u0026ldquo;fill in your own signature\u0026rdquo;\u003c/em\u003e. The new prints were identical to the\u0026nbsp;Factory Editions and so Warhol was deliberately undermining the strict \u0026lsquo;authenticity\u0026rsquo; of Factory Edition prints. At a certain moment, conversations between Warhol and the Belgians faltered, and he started to have second thoughts. However, by this time, he had already handed over the photo negatives, colour codes and other tools used to produce the prints. Printing in Belgium went ahead, retaining the rights to do so. Warhol decided not to pursue the matter. To add to this quirk in Belgian art history, Warhol would even sign some of the Sunday B. Monday prints with: \u0026rdquo;This is not by me. Andy Warhol\u0026rdquo;, which served to increase their value.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eDollar Sig\u003c/em\u003en was een reeks prints die Warhol oorspronkelijk in 1982 produceerde. Nadat hij zijn vermaarde Factory Editions-prints had gemaakt, begon Andy Warhol in 1970 samen met twee (anoniem gebleven) kennissen uit Belgi\u0026euml; \u0026ndash; en hun bedrijf Sunday B. Morning \u0026ndash; aan een tweede reeks prints te werken, waaronder portretten van Marilyn Monroe. Het oorspronkelijke idee achter deze samenwerking was om te spelen met het concept van massaproductie en originaliteit, en de prints zouden een zwarte inktstempel op de achterkant hebben met de tekst \u0026lsquo;vul je eigen handtekening in\u0026rsquo;. De nieuwe prints waren identiek aan de Factory Editions en dus ondermijnde Warhol opzettelijk de strikte \u0026lsquo;authenticiteit\u0026rsquo; van die laatste. Op een gegeven moment liepen de gesprekken tussen Warhol en de Belgen spaak, en begon hij te twijfelen. Maar tegen die tijd had hij de fotonegatieven, de kleurcodes en andere tools waarmee de afdrukken waren gemaakt, al overhandigd. Het drukken in Belgi\u0026euml; ging door en Sunday B. Morning behield ook de rechten om zulks te doen. Warhol besloot geen klacht in te dienen. Om nog iets toe te voegen aan deze kronkel in de Belgische\u003cbr /\u003e\r\nkunstgeschiedenis, signeerde Warhol zelfs enkele van de Sunday B. Monday-prints met: \u0026ldquo;This is not by me. Andy Warhol\u0026rdquo; \u0026ndash; wat hun waarde nog verhoogde.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDollar Sign \u0026eacute;tait une s\u0026eacute;rie d\u0026rsquo;impressions produites \u0026agrave; l\u0026rsquo;origine par Warhol en 1982. Apr\u0026egrave;s avoir publi\u0026eacute; ses c\u0026eacute;l\u0026egrave;bres impressions Factory Editions, Warhol entama en 1970 une collaboration avec deux de ses connaissances anonymes en Belgique sur une deuxi\u0026egrave;me s\u0026eacute;rie d\u0026rsquo;impressions, dont des portraits de Marilyn Monroe, au sein de leur entreprise Sunday B. Morning. L\u0026rsquo;id\u0026eacute;e originale derri\u0026egrave;re ce partenariat \u0026eacute;tait de jouer sur le concept de production de masse et d\u0026rsquo;originalit\u0026eacute;, les impressions ayant un tampon \u0026agrave; l\u0026rsquo;encre noire au dos disant \u0026laquo; apposez votre propre signature \u0026raquo;. Les nouvelles impressions \u0026eacute;taient identiques aux Factory Editions. Ainsi, Warhol sapait d\u0026eacute;lib\u0026eacute;r\u0026eacute;ment la stricte \u0026laquo; authenticit\u0026eacute; \u0026raquo; des impressions Factory Editions. Au cours du processus, les discussions entre Warhol et les Belges ne furent plus satisfaisantes et Warhol commen\u0026ccedil;a \u0026agrave; avoir des doutes. Il avait cependant d\u0026eacute;j\u0026agrave; remis les n\u0026eacute;gatifs photo, les codes couleur et d\u0026rsquo;autres outils utilis\u0026eacute;s pour produire les impressions. La production en Belgique continua, avec les droits n\u0026eacute;cessaires pour le faire. Warhol d\u0026eacute;cida de ne pas s\u0026rsquo;y opposer. Pour ajouter \u0026agrave; cette bizarrerie de l\u0026rsquo;histoire de l\u0026rsquo;art belge, Warhol signa m\u0026ecirc;me certaines des impressions de Sunday B. Monday : \u0026laquo; Ce n\u0026rsquo;est pas de moi. Andy Warhol \u0026raquo;, ce qui contribua \u0026agrave; en augmenter la valeur.\u003c/p\u003e\r\n"}]}]