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These days, Frida Kahlo is inescapable.
The Mexican artist’s work, image and influence has become ubiquitous over the past few decades. She has unquestionably become an icon, her likeness plastered on everything from mugs and T-shirts, to more irreverent items like chocolate bars and Barbie dolls.
But when we stop to envision some of the seminal portraits of Kahlo, chances are they were taken by the photographer Nickolas Muray. The Hungary-born, New York City-based photographer took dozens of photos of Kahlo after their first meeting in 1931. After that initial acquaintance and over the next decade, the two would become close, even intimates, and remained friends until her death in 1954.
“People who know about Frida will walk into the museum and see a minimum half-dozen images of her that are so iconic,” says Beth Solomon Marino, the director of museum and visual arts at the California Center for the Arts, Escondido (CCAE). “And then there’s this realization of, ‘Oh, the same photographer was taking all of these pictures of her over these 10 years.’ They had this relationship. It wasn’t just a one-off where this great photographer snapped this picture that we all know. Even I didn’t know all these Frida photos I think of were all taken by Muray.”
Most patrons will already be familiar with a few of the pictures of Kahlo hanging within “Frida Kahlo: Through the Lens of Nickolas Muray,” a traveling exhibition opening Saturday at CCAE. There’s the seminal image of Kahlo sitting on a white bench in front of a green floral background — meditative, almost defiant, with roses pinned into her hair. There’s also the portrait of her, taken in 1939, wearing a vibrantly magenta rebozo (a shawl-like wrap) — stoic, celestial, her arms crossed.
“Frida with Nick in her Studio, Coyoacan,” a 1941 photograph by Nickolas Muray featured in the Escondido exhibit “Frida Kahlo: Through the Lens of Nickolas Muray.”
(Courtesy of Nickolas Muray Photo Archives)
However, the exhibition also includes more than one hundred other images taken of Kahlo by Muray. These include candid shots taken in more private, intimate moments, as well as group photos taken at parties and gatherings. Besides the photographs, there are also reproductions of various Kahlo paintings, as well as letters exchanged between Kahlo and Muray. Taken all together, the exhibition offers the viewer a sense of how the two artists, despite working in different media, came to influence one another. Both within their respective art and in becoming lovers, the two developed something of a symbiotic relationship, each igniting the other’s creativity.
“They had this very complex, but cerebral relationship that I was kind of stunned by,” says Cynthia Graves, the founder and director of GuestCurator Traveling Exhibitions, which circulates the “Through the Lens …” exhibition. “When I read their letters, I saw how they were working off one another. And in the photographs, you can see that as well.”
Both Graves and Solomon Marino point out that the exhibition’s main aims are twofold: First, to give an overview of Kahlo and Muray’s unique relationship and, second, to bring attention to Muray himself. The exhibition was first organized by the Nickolas Muray Archives and offers a startling overview of one of the most revered photographers of his time, albeit through one of his most beloved muses. Besides his portraits of Kahlo, he also took pictures and portraits of everyone from Marilyn Monroe and Babe Ruth, to F. Scott Fitzgerald and Franklin D. Roosevelt.
“Frida with Magenta Rebozo, New York,” a 1939 photograph by Nickolas Muray. It’s featured in the Escondido exhibit “Frida Kahlo: Through the Lens of Nickolas Muray.”
(Courtesy of Nickolas Muray Photo Archives)
“That was his job, but he also knew those people,” Graves explains, pointing out that Muray was also an Olympic medalist for fencing and developed revolutionary photographic techniques. “So because he knew his subjects, he was able to capture these very personalized images with this method that was very unique to him.”
“The exhibit is as much about him as it is about her,” Graves continues. “She’s an icon and everyone knows her. Bbut almost nobody knows about Nickolas Muray and he was such an intriguing person.”
What’s more interesting is that many of the Kahlo photographs in the exhibition were discovered after Muray’s death in 1965, undeveloped and stored away in a trunk as negatives.
“Once they realized what they had, they tried to figure out what to do with them,” says Graves. “And then, slowly, things began to develop from there.”
Pun intended.
Of course, at this time of discovery, Kahlo and her work had not reached the level of status it has today. It wasn’t until the 2000s that the Muray Archives curated an exhibition of the images and letters. It has since been expanded to include more information, photos and items, and has traveled to over a dozen institutions all over the world. The CCAE iteration of the exhibition will also include some Kahlo ephemera that was purchased by a San Diego collector in the 1980s. These include clothing, a necklace, a personal phone book and even a small calaca skeleton craft that once belonged to the artist.
“Frida with Blue Satin Blouse,” a 1939 photograph by Nickolas Muray. It’s featured in the Escondido exhibit “Frida Kahlo: Through the Lens of Nickolas Muray.”
(Courtesy of Nickolas Muray Photo Archives)
“For me, it’s these items, along with the letters and coupled with the images, that you really feel like a voyeur in some ways.” says Solomon Marino. “You know that these letters and items weren’t meant to be put in a museum, but here they are. It really makes you fall in love so much more with the photographs. Knowing the story behind them, behind their love, you look at the photos differently when you know that story.”
“They were both extremely extroverted people,” Graves adds. “They might actually be proud of those letters, that they shared that connection together. The letters take that physical relationship they had off-and-on for 10 years into another dimension. They show how they actually worked and respected one another, how they helped each other.”
So while the main subject of “Frida Kahlo: Through the Lens of Nickolas Muray ‘’ is iconic, it’s Muray’s keen eye and deliberate posing that offers a distinct window into Kahlo.
As with some of the best photographers, he manages to both ground his muse (a casual photo of her, hair down, lying face down in a bed) and add to her legend (the portrait of her, brush in hand, in front of her masterful 1939 painting, “The Two Fridas”). After seeing the exhibition, the viewer could certainly come away with the sense that while Muray may not have directly influenced Kahlo’s art, he almost certainly helped cultivate her image, both among the public and within the artist herself.
“They sort of fed off each other, just like artists do,” says Graves. “They were both such passionate, totally alive people. It must have been an energy that was beyond anything I could imagine.”
When: Opens Saturday and runs through Nov. 5. Hours, 11 a.m. to 5 p.m. Wednesdays through Saturdays, 1 p.m. to 5 p.m. Sundays
Where: California Center for the Arts, Escondido, 340 N. Escondido Blvd., Escondido
Admission: Free-$12
Phone: (800) 988-4253
Online: artcenter.org
Combs is a freelance writer.
Today, The Old Globe opens its 42nd season of outdoor Shakespeare productions on its festival stage in Balboa Park with a production of “Twelfth Night.”
Today also marks the 10th summer of Shakespeare in San Diego for Barry Edelstein, who is celebrating his 10th anniversary this year as artistic director of the Old Globe.
Edelstein came to the Globe on Jan. 1, 2013, from New York City, where he oversaw Shakespeare programming at the Public Theater, the huge nonprofit entity founded by Joseph Papp in 1954. His duties included running Shakespeare in the Park, the free summer festival that is one of New York’s signature cultural events, and the Public’s Mobile Unit, which took the Bard’s plays into prisons and homeless shelters.
A decade later under Edelstein’s leadership, the Old Globe’s Shakespeare programming has also expanded far beyond the stage of the Lowell Davies Festival Theatre into this region’s prisons, refugee centers, senior centers, schools, libraries and community centers.
Edelstein has also created Shakespeare educational “Thinking Shakespeare Live!” events onstage, lectures on YouTube during the pandemic, and a Shakespeare-themed podcast earlier this year — all designed to teach San Diegans how the Bard’s words are just as timely and meaningful today as they were 400 years ago.
Old Globe Artistic Director Barry Edelstein leads a “Thinking Shakespeare Live!” event in 2014.
(Doug Gates)
Edelstein has also transformed how the Globe presents Shakespeare’s works on its own stages.
First he oversaw the installation of a $250,000 sound system at the festival theater that made the actors’ words crystal-clear for audiences.
He replaced the repertory company approach of two plays alternating each night from June through September to presenting two independent productions in shorter, 10-week runs. This made it easier for him to attract big-name actors — like Blair Underwood to play Othello and Grantham Coleman to play Hamlet — who are too busy to commit to a five-month rep season.
“That has put major actors at the center of our work in a really important way,” Edelstein said. “That harkens back to the days of Ellis Rabb, Rosemary Harris and Richard Easton in the golden age of the Globe and Shakespeare.”
And, in contrast to the Globe’s previous Shakespeare fest director, former Royal Shakespeare Company leader Adrian Noble, Edelstein introduced an American style of Shakespeare, where American actors speak in their own voices, not faux English accents, as a way of communicating to the audience that Shakespeare is for everyone and for all times.
“I’ve devoted my entire professional life to the idea that there is such a thing as American Shakespeare,” Edelstein said. “That’s why it’s such an honor to be working at one of the great American Shakespeare companies.”
Another clear change has been the rise in diversity onstage in the Shakespeare and other productions, with many actors of color in lead roles, and in some cases male characters played by women actors and vice-versa.
Now, Edelstein is embarking on his next Shakespeare project, “Henry 6,” which will be presented on the Globe’s festival stage next summer. He has written a two-play adaptation of Shakespeare’s history plays “Henry VI, Parts I, II and III.” They’re the only plays in Shakespeare’s canon that the Globe has never produced in its 88-year history.
Among Shakespeare’s earliest works, the “Henry VI” history plays tell the story of the War of the Roses, a decades-long war between England’s York and Lancaster dynasties in the 1400s. Edelstein has condensed the three plays, which would normally run a total of nine hours, to two 2-1/2-hour plays that will focus on the characters’ quest to achieve power at any cost, and how that single-minded purpose can lead to chaos, violence and anarchy.
To prepare audiences for what Edelstein has nicknamed “H6,” the Globe is embarking on an extensive education blitz at the end of June to work with community members citywide for dialogues offstage and, possibly, onstage.
“I’m proud of putting Shakespeare in the middle of our community-based work. So many of our arts engagement programs have Shakespeare in them somewhere,” he said. “I imagine the idea that Shakespeare is a kind of glue that binds together so many different parts of American culture and speaks to so many different sectors of American society powerfully and eloquently. I think the Globe is doing that in a way that nobody else is doing.”
A scene from the Old Globe’s 2017 production of “Hamlet,” directed by artistic director Barry Edelstein and starring Grantham Coleman, center left in black doublet and hose, in the title role.
(Courtesy of Jim Cox)
But Shakespeare represents just a part of Edelstein’s job at the Old Globe.
Over the past decade he has overseen the production of 130 plays and musicals, and has directed 12 of those shows himself (his favorite self-directed Globe shows are “What We Talk About When We Talk About Anne Frank” (2022); “The Wanderers” (2018); “Hamlet” (2017); and the Michael John LaChiusa musical “Rain” (2016).
Eden Espinosa, pictured in The Old Globe’s “Rain” in 2016, will perform outdoor cabaret concerts at the Globe July 9-11.
(Jim Cox)
During the past 10 years, the Old Globe’s budget has doubled, from $19.1 million in 2013 to $40 million in 2022. Last year’s budget was enhanced by investments from the Broadway producers of “Bob Fosse’s Dancin’,” which debuted at the Globe last summer and went on to a two-month Broadway run this spring.
“The Globe has doubled in size over the past 10 years,” he said. “The thing that makes me happiest about that is last year the Globe issued nearly 1,200 W-2s and 1099s. In addition to this place being a real asset, we’re also a huge employer.”
Edelstein said his biggest challenge now is teaching San Diegans that the Globe is much more than just a producer of Shakespeare plays an the annual “Grinch” musical. A marketing campaign launching this fall aims to help San Diegans see the Globe’s impact beyond the stage.
“Ten years later, we still haven’t been able to penetrate the city’s imagination about all the stuff that we do beyond putting on plays,” he said. “It’s amazing how hard it has been to tell that story. There are maybe three other theaters in the country (the Public, The Goodman in Chicago and the Guthrie in Minneapolis) that do the work at the level we do.”
Edelstein recently sat down for a wide-ranging interview to talk about what brought him to the Globe, what he’s most proud of and his favorite productions of the past decade. The following comments have been edited for length.
Q: What attracted you to come work for the Old Globe?
A: I was working at the Public Theater which produced outdoor Shakespeare, indoor plays, new plays, classic revivals and community-based work. The Old Globe is all those things … but I wasn’t the boss there (at the Public). The Globe is this famous place with an amazing reputation, and San Diego is one of the country’s most beautiful cities and I’d get to raise my kids there. Absolutely nothing about it had a downside.
Q: Having spent the earlier part of your career on the East Coast, what did you know about the Old Globe’s history?
A: Even in the ‘80s when I graduated from Oxford, I knew what Jack (O’Brien) was doing with Shakespeare outdoors at the Globe. I thought then, and I think now, that the Public Theater on the East Coast and the Old Globe on the West Coast are the polar theaters of the United States. Certainly at this moment I think the numbers would bear out that we’re the largest nonprofit theater outside New York.
Q: Looking back on what you’ve built over the past decade, what are some of your proudest achievements?
A: I take pains to make this not a story about me. So many people have been part of what this is: the artists who come and work here, the huge effort of forging partnerships with community-based organizations; our arts engagement department; the board and philanthropists; the magnificent staff of the Old Globe. And I’m proud of Freedome (Bradley-Ballentine, the Globe’s former associate artistic director and director of arts engagement) who built the arts engagement work with help from the Irvine Foundation.
I’m happy to conceive of myself as a leader who articulated a point of view and who worked really hard to suggest a path. But what actually happened was done by hundreds and hundreds of people who did the heavy lifting over the years.
A scene from “Time and the Conways” which was produced at the Old Globe in 2014. It’s one of Globe artistic director Barry Edelstein’s favorite productions since he came to the San Diego theater in 2013.
(Jim Cox)
Q: What was your perception of San Diego’s theater community when you arrived in 2013, and how has it changed?
A: I got here and saw this amazing theater community. I saw the La Jolla Playhouse and San Diego Rep and a network of small theater companies. But what’s happened in the past 10 years is a huge explosion of energy.
The growth of the San Diego Symphony, the growth of the museums in Balboa Park and at the Museum of Contemporary Art in La Jolla. It’s been a sea change in the arts and culture sector of the city. The city has adopted an arts and culture plan, energized its arts commission in a new way and the county has an arts commission. And the building of the Rady Shell was a game changer.
I would like to think that the Globe’s energy has been a real catalyst for that. I thinking of the Globe’s investment in our community-based work; the idea that we should take the insides of these nonprofits and turn them to face outside; and the idea that we should enfranchise our neighbors who are not participating to the extent that they would love to and invite them to become part of our work.
I don’t think in 2012 I would have believed it if someone would have said that a decade from now San Diego will be a city in the country that people are talking about as a real innovator in the arts.
Q: The pandemic was devastating for San Diego’s theater community, but the Globe was a rare bright spot, offering so many online community engagement, education, playwriting and other programs when everything else was shut down.
A: I had this idea to try to activate things here at the Globe and I’m just thrilled with what happened. Lots of theaters that tried to turn their lights back on in 2022 found they didn’t have any people anymore. They’d moved on, left the field. We kept everyone on health insurance, whether they were furloughed or not. We tried to keep a big chunk of our staff working and making content to keep our audience engaged. And I’m proud of the Old Globe’s Social Justice Roadmap that came out of that time.
Jōvan Dansberry with the cast of “Bob Fosse’s Dancin’”.
(Courtesy photo by Julieta Cervantes)
Q: What is another achievement you’re proud of from the past 10 years?
A: I think we and La Jolla Playhouse are doing incredible work contributing to the future of American musical theater.
“Bob Fosse’s Dancin’” was the sixth (Globe-born) Broadway show that happened during my time. So much of our new playwriting has gone on to productions all over the country, not just New York. “Dial M For Murder,” that we did last summer, is being produced all over the country now.
You can’t do that work unless you know there’s an audience that’s hungry for what’s going to be next in the American theater. Playwrights want to come and be produced here and that’s what makes directors want to come and work here. So I think that recommitting the Globe to its historic musical theater roots and really building the infrastructure for new playwriting has been a huge part of it.
I have to share this with (director of new plays and dramaturgy) Danielle Mages Amato and (philanthropists) Paula and Brian Powers, whose huge gift turbocharged that work.
Carmen Cusack in the musical “Bright Star,” which premiered at The Old Globe in 2014 and transferred to Broadway.
(Joan Marcus)
Q: One thing I really enjoyed this spring was your new eight-episode podcast series, “Where There’s a Will,” which was about how Shakespeare lives in our world today. Where did you get the idea?
A: A job like this is such an extraordinary platform. There’s such an opportunity to evangelize for the idea of Shakespeare. That’s the real gift this community has given me over the past 10 years. (The podcast) has allowed me to make a public case for this thing that I revere and value and I think is so important.
Q: How is the Shakespeare audience at the Old Globe different than it was at the Public?
A: The San Diego Shakespeare audience listens extremely carefully. The New York Shakespeare audience tells you how hard it’s listening. There’s a certain kind of laugh (there) that is telling the person next to you that you got the joke. Here it’s a real genuine connection to it. That intense listening, that intense sense of discovery, is really special and fresh about this audience.
Our Shakespeare audience is, by and large, younger than our indoor audience because a lot of people bring their kids or friends here to experience this thing they know they should have in their lives for the first time.
A scene from the Old Globe’s 2018 production of “Uncle Vanya,” which is one of Globe artistic director Barry Edelstein’s favorite Globe productions from the past 10 years.
(Courtesyof Jim Cox)
“Time and the Conways” by J.B. Priestley (2014)
“Bright Star” by Steve Martin and Edie Brickell (2014)
“Camp David” by Lawrence Wright (2016)
“The Lion” by Benjamin Scheuer (2016)
“Uncle Vanya” by Anton Chekhov (2018)
“In-Zoom” by Bill Irwin (2020)
“Bob Fosse’s Dancin’” by Bob Fosse (2022)
“The Old Man and the Old Moon” by PigPen Theatre Co. (2022)
A scene from “The Wanderers,” directed by Barry Edelstein at The Old Globe in 2018, had a New York City run in early 2023.
(Courtesy of Jim Cox)
pam.kragen@sduniontribune.com
It is one thing to be a good photographer, but running a successful photo business takes a large set of skills that have nothing to do with a camera. If you are new to working as a professional, check out this fantastic video tutorial that discusses some common business mistakes photographers make and how to fix them.
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Explore the art of local photographer, Becky Field, at the Concord Public Library and the City-wide Community Center.
The Opening Reception will be held on Wednesday, June 14th, 6:00 pm – 7:30 pm at the City-wide Community Center.
This press release was produced by the City of Concord. The views expressed here are the author’s own.
Growing up in the suburban Sherman Oaks district of Los Angeles, Larry Sultan lived close to a public swimming pool. His regular visits there were undertaken with a degree of trepidation. “I was petrified of water, of deep water, especially,” he recalled in 1980. “When I was 12, I almost drowned in the ocean. Water is the only bit of nature I know that we can’t control, that seems overwhelming when you enter it and are totally immersed in it.”
In 1974, partly as a way of confronting his own primal fear, Sultan began photographing the participants in a local swimming class for blind people. He abandoned the series soon afterwards and began working on more conceptual projects alongside Mike Mandel, whom he had met at art school in San Francisco. In 1977, the pair published Evidence, an enigmatic book of monochrome found photographs from various American technological and research institutions that is now considered a landmark of conceptual photography. It was both the apex and end point of their creative partnership.
In 1978, inspired by a Red Cross swimming and life-saving manual, Sultan once again began photographing people in the San Francisco area learning to swim. For the following four years, using a small underwater camera and a snorkel, he shot regularly at the Jewish Community Center of San Francisco, the Richmond Plunge and the Recreation Center for the Disabled. Throughout, what he called “the groundlessness of the experience” of swimming in the deep end remained an issue for him and for many of his subjects. It also determined his approach. “I knew I had to get underneath the water to photograph this lack of support, lack of control,” he said, describing how, by doing so, he became a participant in the very experience he was photographing.
The resulting images, titled Swimmers, evoke the sometimes balletic, sometimes ungainly, sometimes sensual dance of submerged bodies in motion: floating, flailing, sinking and resurfacing. The water itself is the defining element, altering his photographic perception and subverting any attempt at capturing the decisive moment. Submerged bodies often appear elongated or distorted, the play of light on water dappling limbs and torsos, sometimes rendering his fellow swimmers translucent, even ghostlike. Here and there, bodies fall though water or are kept afloat with the help of instructors. He later described his time at the Recreation Center as “the most profound experience”.
Sultan found the physicality of photographing bodies partially or totally submerged in water as unsettling as it was liberating, and his own fear is a constant subliminal presence in the images. Formally, too, it was risky, not least because it meant abandoning the more cerebrally driven approach that had characterised the projects he had undertaken with Mandel. Perhaps for this reason, the series seems like a brief, but heady, interruption of his usual practice, neither as conceptually playful as the work that preceded it, nor as formally rigorous as the work that followed it.
Larry Sultan died in December 2009, aged 63, by which time he had reinvented himself once again through meticulously choreographed series such as Pictures From Home, in which he photographed his ageing parents in their sumptuous suburban house in the San Fernando valley, and The Valley, which featured middle-class homes there that had been rented out as sets for porn films.
Painterly and impressionistic, filled with movement and gesture, Swimmers is Larry Sultan’s most instinctive and unselfconscious body of work. A creatively liberating moment that reveals as much, if not more, about the person behind the lens as those in front of it.
In the summer of 2021, a formerly little-known museum at the College of DuPage in Glen Ellyn presented a blockbuster exhibition of 25 paintings and drawings by famed Mexican painter Frida Kahlo from the Museo Dolores Omedo in Mexico City. It proved to be a huge hit, drawing 102,000 people from 43 countries and all 50 states.
The immediate question afterward was what to do as a comparable follow-up. And the answer is a multifaceted look at the life and work of Andy Warhol, one of the most famous and influential artists of the second half of the 20th century. Titled simply “WARHOL,” the exhibition opens June 3 and runs through Sept. 10.
“The idea is that every other year, the museum space works with the entire arts center to create not only a really unique experience for our visitors but also a key draw in DuPage County,” said Justin Witte, the show’s curator.
The centerpieces of this summer’s presentation in the college’s Cleve Carney Museum of Art are 94 works from the wide-ranging Bank of America Collection called “Andy Warhol Portfolios: A Life in Pop.”
The touring show features some of Warhol’s best-known original screenprints, including such portfolios as “Campbell’s Soup Cans II” (1969), “Flowers” (1970) and “Ten Portraits of Jews of the Twentieth Century” (1979).
Bank of America began collecting art in the mid-20th century, and it acquired additional holdings as it merged with other banks in subsequent decades, developing strengths in photography, contemporary art, regional art and such styles as American Impressionism.
Since 2009, more than 170 exhibitions from the bank’s collection have been loaned to non-profit art spaces around the world at no cost. “Once we realized we had this extraordinary repository of works, we wanted to make the art more accessible,” said Kerry Miles, Bank of America’s senior vice president and art and heritage program manager.
“Andy Warhol Portfolios” is one of Bank of America’s longest-running shows, and it has been seen in American institutions including the Fresno (California) Art Museum and Nassau County Museum of Art in Roslyn Harbor, New York, as well as the Dulwich Picture Gallery in London.
Warhol had his first solo gallery show in 1952, but he did not achieve widespread success until the 1960s with the explosive rise of pop art. His now instantly identifiable imagery parodied and commented on mass media, mass marketing and celebrity culture.
The celebrated artist made sense as a subject of a major exhibition, according to Diana Martinez, director of the McAninch Arts Center, where the Cleve Carney Museum is located, because he has the name recognition to attract substantial crowds and a life story that holds considerable interest in itself.
“With Frida, we were able to tell her whole story, and the same with Andy,” Martinez said. “We love an artist with a good story as well as someone who has a broad range of appeal.”
To help recount that story and give visitors a broader look at Warhol’s impact, organizers have added a series of supplementary offerings beyond “Andy Warhol Portfolios.” They fill up the entirety of the college’s 11,000-square-foot McAninch Arts Center, turning it into what Martinez called an “interactive experience, in a way.”
In addition to an extensive timeline of Warhol’s life in the lobby, these extras include a Studio 54 experience, a printmaking workshop for children and an exhibition of 157 Warhol photographs from the 1970s and ‘80s from the College of DuPage collection.
The Cleve Carney Museum was one of 180 college and university art spaces around the country to receive an allotment of the more 28,500 photographs that the Andy Warhol Foundation for the Visual Arts donated in 2007 as part of the Andy Warhol Photographic Legacy Project.Â
“So, it’s a really thorough, fun experience,” Martinez said. “There is even a selfie station, where you can stand in a soup can and a Brillo box. I think Andy Warhol would love it, because you can take pictures and have fun in that area.”
If all that wasn’t enough, 20 communities across DuPage County are undertaking related Warhol and pop-art events during the run of the show, including Studio 54 parties, art classes and restaurant specials. In addition, the museum commissioned local artist Geoffrey Bevington to create Warhol-style outdoor portraits of four notable persons from each of the participating towns.
“It’s been fun to see everyone getting on the Warhol bus,” Martinez said, “and it’s super exciting to see the ideas and creativity that are coming out all over.”
The McAninich Arts Center is committed to presenting a high-profile, summer exhibition like those devoted to Kahlo and Warhol every two years. And planning is already under way for the 2025 offering.
College officials had a recent meeting with an Italian agent who represents a group of major art collections in Europe. She came to the college to see the facilities and how it was handling the Warhol show.
“So, we’re talking with them about what we can do in two years,” Martinez said. “By the end of the summer, we need to know.”
