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Andy Warhol, Portrait of Conceptual Artist Joseph Kosuth, 1974

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1.00 LBS
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Product Description

 

Photographic Acetate Positive
 
16.5 x 12 in. (41.91 x 30.48 cm.)
Accompanied by a detailed hand signed letter of provenance from the representative of the Lowell family, owners of the printing studio Chromacomp that published Andy Warhol's prints
Printed 1974
 
Andy Warhol's Factory, publisher
 
This is the only known acetate positive in the world by Andy Warhol of famous American conceptual art pioneer Joseph Kosuth (b. 1945). This work is accompanied by a signed Letter of Provenance. 

This portrait is fresh to market and has excellent provenance as it came directly from Andy Warhol's studio, The Factory, to Warhol's printer, and was used to create Warhol's famous portrait of Kosuth. This work bears rouge paste and glue, hand applied by Warhol as part of the silkscreen creation process, and is unevenly cut by Warhol himself. 

Bob Colacello, former Editor in Chief of Interview magazine (and right hand man to Andy Warhol) explained, "many hands were involved in the rather mechanical silkscreening process...but only Andy in all the years I knew him, worked on the acetates." An acetate is a photographic negative transferred to a transparency, allowing an image to be magnified and projected onto a screen. As only Andy worked on the acetates, it was the last original step prior to the screenprinting of an image, and the most important element in Warhol's creative process for silkscreening. Warhol would hand cut and sometimes mark up the acetates like this one, which were then sent to a commercial silkscreen shop - Chromacomp - where they were transferred onto the silk or silk-like fabric and printed. 

This acetate was brought by Warhol to Eunice and Jackson Lowell, owners of Chromacomp. During the 1970s and '80s, Chromacomp was the premier atelier for fine art limited edition silkscreen prints - the largest studio producing fine art prints in the world for artists such as Andy Warhol, David Hockney, Leroy Neiman, Erte, Robert Natkin, Larry Zox, Nell Blaine, and many more. 

Famed printer Alexander Heinrici worked for Eunice and Jackson Lowell at Chromacomp and brought Andy Warhol in as an account. Shortly after, Warhol or his workers brought in several boxes of photographs, paper and/or acetates and asked Jackson Lowell to use his equipment to enlarge certain images or portions of images. Warhol made comments and or changes and asked the Lowells to print some editions; others were printed elsewhere. 

The Lowells allowed the printer to be named as Alexander Heinrici rather than Chromacomp, since Heinrici was the one who brought the account in. Warhol left the acetates, including this one, with Eunice and Jackson Lowell. After the Lowells closed the shop, the photographs were packed away where they remained for nearly a quarter of a century, until they were opened last year. 

This work is fine vintage condition. It was unevenly cut by Andy Warhol himself exactly as he delivered it to the Lowells - part of his working process, as he alone would cut the acetates. It also bears rouge paste and glue, which Warhol himself applied as part of his silkscreen creation, evaluation and experimentation process. 

In 2008, Sweden's famous Moderna Museet Museum held an exhibition entitled "Kosuth and Warhol: An Exchange." Curator Peter Nilsson wrote that the exhibition consisted of four parts: "A “One and Three Shadows” by Kosuth, a Warhol quote presented by Kosuth, a shadow-painting by Warhol and a portrait of Kosuth by Warhol. The parts evoke the sensation of a hall of mirrors. We see an installation by an artist using a quote from another artist, presenting a portrait of himself by this other artist and contextualising different interpretations of what a shadow can be – both as definitions in themselves and as references to a painting of the other artist. I’m getting lost in the complexity of meanings. What is on display? Who is on display? Joseph Kosuth “uses,” or should I say appropriates, Andy Warhol...."

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