The Andy Warhol Foundation for the Visual Arts

Home
United States
New York, NY
The Andy Warhol Foundation for the Visual Arts

The Foundation was established in 1987. In accordance with Andy Warhol's will, its mission is the advancement of the visual arts.

08/17/2026

Tri-Star Arts recently opened two new exhibitions by artists Lynne Marinelli Ghenov, John C. Kelley, and Hammet Reavis at the historic Candoro Marble Building.

Lynne Marinelli Ghenov makes drawings, collages, and works on paper using various substrates, such as photo paper, deconstructed vintage books, ledgers, graphs, and lined paper. Her works explore memory, loss, and the assembling of the present through summoning the past, forming a space that allows for an intuitive call and response between the found and the triggered in the imaginary.

John C. Kelley's site responsive, multichannel sound installations titled "Occlusion Numbers" play a number of audio files consisting of field recording, modular synthesis, experimental sound design, and occasional musical instrumentation. The sound is culled together from many sources to create auditory spaces that trigger emotional responses in the same way that film music and sound design do.

The Foundation supports Tri-Star Arts for nuturing creative practice and increaing visibility of artists across the state of Tennessee.⁠⁠
1. Lynee Marinelli Ghenov, The Interstice of the Senses, 2017. Graphite, colored pencil, found graph paper, 13 x 17 inches.

2. John C. Kelley, Apocalyptic Visions of Water; Slick with Fever, 2021. Pine, electronics, variable looping audio, dimensions variable.⁠⁠⁠
.C.Kelley

08/16/2026

The funded 59th Carnegie International entitled, "If the word we” considers the first-person plural as an open and evolving proposition, one shaped by listening, translation, and transformation, bringing together artistic practices that engage shared experience, circulation, and worlds in transition. Across a wide range of media, from painting, photography, and sculpture, to installation, video, performance, and theater, participating artists traverse cultural, political, intellectual, and spiritual geographies that extend beyond national boundaries. ⁠
⁠ ⁠
The Foundation supports this exhibition for highlighting the concept “we”, not as a unified subject but as a complex and porous position, attentive to contradiction and change. ⁠⁠ ⁠
⁠1. Torkwase Dyson, Tomorrow Was Yesterday, 2026. Animation still.

2. Eric Gyamfi, Untitled, 2025, chromogenic print, 40 x 32 in.
⁠ ⁠
3. Installation view of Cinthia Marcell, Anexo do Sala o Verde (Green Hall Annex), 2026. Photo by Zachary Riggleman. ⁠⁠ ⁠⁠ ⁠⁠ ⁠

08/15/2026

The funded exhibition, “Raymond Saunders: Flowers from A Black Garden” now on view at the UC Irvine Langson Orange County Museum of Art investigates Saunders' multifaceted and nonlinear process of picture-making, which carries forward, in reference and reverence, myriad histories and languages of art. Since the 1960s, he has developed a painting practice rooted in improvisation. Working across mediums, he combines everyday objects, found imagery, drawing, notational markings, and text in constellated compositions that blend abstraction and figuration against the complex backdrop of American history.
⁠ ⁠
Co-organized by the Carnegie Museum of Art and UC Irvine Langson Orange County Museum of Art, the Foundation supports this exhibition for highlighting Saunders' multifaceted and nonlinear process of picture-making, which carries forward, in reference and reverence, myriad histories and languages of art.
⁠
1. Raymond Saunders, Dr Jesus, 1968/1986. Acrylic, chalk, collage and mixed media on canvas, 61 ½ x 55 inches.
⁠ ⁠
2. Raymond Saunders, Joseph Fitzpatrick Was Our Teacher, 1991. Mixed media on canvas, 114 x 82 ½ x 1 ½ inches. ⁠ ⁠ ⁠
⁠

08/14/2026

"If there's ever a problem, I film it and it's no longer a problem. It's film."—Andy Warhol.

Andy Warhol, Andy Warhol, 1971. Polaroid glued to board, 4 ¼ x 3 3/8 inches. ©The Andy Warhol Foundation for the Visual Arts, Inc.

08/13/2026

This Saturday, August 15th from 7am - 3pm, new Korea Art Forum's second set of public participatory events of the 2026 Shared Dialogue, Shared Space (SDSS) will take place on 41st Ave between Vernon Blvd and 10th St in Astoria, Queens.

Lucia Warck-Meister will lead collective sculpture-making events, where participants cut and assemble cardboard to create mythological Ceibo (coral tree) flowers, contributing to a collaborative sculpture that explores immigrant experiences.

Sohhee Oh will guide participants in creating a collective puzzle painting. Participants draw and paint on puzzle-shaped boards, contributing to evolving imagery.

Mashiyat Zaman will install an interactive digital kiosk. Visitors engage with a digital virtual living room with bookshelves, reading reflections and suggestions left by previous participants, fostering intergenerational and intercultural dialogue.

The Foundation suports Korea Art Forum's SDSS for providing a unique opportunity to engage directly with artists and work with them to develop projects that address issues of language, identity, migration, conflict, and cultural production – key issues that define the experience of New Yorkers.
1. Lucia Warck-Meister, Rendering envisioning the public art, Tell Me Your Tree Story, 2026. Proposed Medium: Wood, paint, resin. Proposed Dimensions: 6 x 7 x 3 ft.

2. Sohhee Oh, Piece by Piece, 2026. Mixed Media. Proposed Dimensions: 5 x 8 ft.

3. Mashiyat Zaman and Jo Suk, This Reminded Me of You, 2026. Touchscreen kiosk, 71.44 × 23.48 × 24.29 in.
.Dev

08/12/2026

Billy Squier epitomized early 1980s rock music with mainstream hit songs and videos in heavy rotation on MTV. He gained recognition as a musician in New York, playing in various bands in the 1970s. Squier released his debut solo album “The Tale of the Tape” in the spring of 1980. The album may be best known for the track “The Big Beat” which went on to be sampled by everyone from Beck to Jay-Z, A Tribe Called Quest, and others.

Squier achieved more success with his second album “Don’t Say No” which included the this “The Stroke” and “My Kinda Lover”.

In 1982 Squier released his third studio album “Emotions in Motion”. The album contains the hit song "Everybody Wants You", which peaked at #32 on the Billboard Hot 100, and stayed at #1 on the Mainstream Rock Tracks chart for 6 weeks. Squier was familiar with Warhol’s work and asked him to create the album art. Of his portrait by Warhol on the cover of the album, Squier said “In a way it is very much like my record. When you see it, you know it’s Andy. It incorporates a lot of things that you’ve seen in his work before, but it is totally different.”

Squier wore (and famously tore open) an Emotions in Motion t-shirt in a music video that many consider the worst of all time. In the video for Rock Me Tonite Squier wakes up in a bed with satiny, pastel-colored sheets, then prancing around the bed as he gets dressed, he rips off the shirt and replaces it with a pink tank top and then continues to prance around the set. Squier credits the video with destroying his career.
1. Billy Squier, Andy Warhol, Emotions in Motion, 1982.

2. Andy Warhold, Billy Squier, 1982. Polacolor, 4 ¼ x 3 3/8 in. (all)

3. Andy Warhol, Andy Warhol and Billy Squier, 1982. Photographic reproduction from 35mm negative.

4. Andy Warhol, Billy Squier, 1982. Screenprint on Lenox Museum Board, 60 x 40 1/8 in. (both).

5. Andy Warhol, Billy Squier, 1982, Black and white print 10 x 8 in.

6. 6. Andy Warhol, Billy Squier, 1982. Screenprint on Lenox Museum Board, 60 x 40 1/8 in.

All images except #1. ©The Andy Warhol Foundation for the Visual Arts, Inc.

08/11/2026

New the Institute of Contemporary Art Santa Fe's (ICA Santa Fe) upcoming exhibition "WOVEN FUTURES, UNBOUND PATTERNS: Contemporary Diné Weaving" brings together weavers across generations to foreground weaving as a living, evolving practice. Moving beyond historical frameworks shaped by trading posts, static ethnographic framings, and external narratives, the exhibition centers weaving as a practice led by the weavers themselves. Diné weaving emerges as an active site of innovation, where material, pattern, and process carry forward complex cultural, social, and aesthetic lineages.

The Foundation supports ICA Santa Fe for fostering the exchange of ideas across cultures, fields, and generations, creating space for artistic practices that engage complex histories and emergent forms of knowledge.
1. Venancio Aragón, Abstract Landscape, 2026. Wool/mohair weft, wool warp
Natural and synthetic dyes.

2. & 3. Artist Once Known [Diné (Navajo)], Saddle cover, 1930-1940. Churro wool and dyes,18 × 31 1/2 in.

08/10/2026

For his current exhibition at Hyde Park Art Center in Chicago, "Jeff Carter: The Singer Pavilion Project," the artist presents 11 artworks as part of his ongoing investigation into the site, history, and significance of the Singer Pavilion–the last remaining building of the former Michael Reese Hospital complex in Bronzeville and a design collaboration by architect Walter Gropius, the founder of the Bauhaus School. Carter excavates materials from the abandoned site and transforms them into sculptures, conjuring both the events that happened in the building during its active years as a psychiatric institute (1948-2009) and the building’s life after the hospital’s closure.

"Waiting Room" is a sound installation consisting of a midcentury Modern chair found outside the vacant Singer Pavilion, and a sound pattern produced by programmed electromechanical devices attached to the chair. The exhibition and works in it prompt critical reflection on the Modernist promise of social progress, and considers how architectural ideals are compromised by histories of institutional failure, abandonment, and inequality.

The Foundation supports Hyde Park Art Center for uplifting whose work sustains the creative life of the city by taking risks and working toward social change.
1. - 4. Jeff Carter, Waiting Room, 2022. Found chair, solenoids, electronics, programmed microcontroller, sound pattern, 40 x 36 x 39 inches.

08/09/2026

Now on view at the Berkely Art Museum and Pacific Film Archive (BAMPFA) is the funded exhibition "Maren Hassinger: Living Moving Growing," the most significant retrospective of Hassinger to date, featuring half a century of work across sculpture, performance, video, and installation from the early 1970s to the present. Hassinger's work addresses social and cultural issues through an awareness of interconnectedness, ephemerality, and the relationships between humans and the natural world. These themes emphasize the importance of caring for the things we share in contrast to the things that divide us.⁠ The exhibition builds upon the understanding that collaboration and participation are crucial to Hassinger's practice, foregrounding how her work in sculpture and performance transcends disciplinary boundaries and engages with the natural world. ⁠
⁠
The Foundation supports this exhibition bringing long-overdue attention to Hassinger’s singular practice, positioning her as an exemplar of an artist whose interconnected feminist, ecological and racial lines of inquiry retain special relevance to artists working today.⁠⁠
1. Installation detail from Maren Hassinger: Living Moving Growing, 2026. Photo by Chris Grunder
⁠
2. - 4. Installation view from Maren Hassinger: Living Moving Growing, 2026. Photo by Chris Grunder⁠⁠⁠

08/08/2026

The funded exhibition "Into the Time Horizon," now on view at the Nevada Museum of Art, invites visitors to consider how to move forward on our planet—ethically, responsibly, and with care for coming generations. It strives to catalyze and amplify protection for the Earth and build an awareness around environmental concerns on many different levels. In the process, it promotes forward-thinking models rooted in collectivity, engagement, and collaboration. Bringing together nearly 100 diverse artists from around the globe to confront the climate crisis, one of the most pressing issues of our time. Through an extensive range of media, the exhibition asks how art might help reimagine humanity’s relationship with the Earth itself.

The Foundation supports this exhibition for the profound commitment to exploring the ways that art and the environment intersects the wide range of output, across all mediums, of makers who are integrating environmentalism into their innovative creative approaches.
⁠ ⁠
1. Beau Dick, Thunder Being Mask, 2005. Cedar, acrylic paint, horsehair, and artificial plastic hair. 11 x 8 x 6 in.

2. Cannupa Hanska Luger, Department of the Interior, 2023. Ceramic, steel, synthetic hair, hand-blown glass, repurposed speakers, repurposed industrial felt, and paint. 84 x 96 x 36 in.

3. Lena Yarinkura, Spider, 2015. Twined pandanus paim leaf, paperbark, natural pigments, and feathers. 60 x 48 in. ⁠ ⁠ ⁠ ⁠

Address

65 Bleecker Street
New York, NY
10012

Telephone

+12123877555

Website

http://warholfoundation.org/

Alerts

Be the first to know and let us send you an email when The Andy Warhol Foundation for the Visual Arts posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Organization

Send a message to The Andy Warhol Foundation for the Visual Arts:

Featured

Heart River Center for Intuitive Healing

Want your organization to be the top-listed Non Profit Organization in New York?