On July 20, 1969, the world watched, and was transfixed, as American astronaut Neil Armstrong — rendered on television as a ghostly black-and-white figure — descended from the Lunar Module onto the surface of the moon. These images, including LIFE magazine’s photos of the lunar terrain taken by Armstrong, were rapidly disseminated through various media and consumer channels, trumpeting the feat as a scientific and technological triumph. Apollo 11’s success captured the nation’s collective imagination and influenced a generation of science fiction fantasies and mod, futuristic fashion trends.
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When the Apollo astronauts traveled beyond the atmosphere and to the moon in the 1960s and ’70s, they carried Hasselblad cameras to document the NASA missions. The Project Apollo Archive launched last month and has released over 11,000 of these photographs into the public domain via Flickr, including almost every Apollo lunar mission film shot in its unprocessed form.
Art in the Outer Limits: A Look at NASA’s Space Art Program
Annie Leibovitz, “Eileen Collins” (detail) (1999), photograph. Collins was the first NASA female…
Warhol’s Cock (Drawing) on the Moon?
Did a tiny ceramic chip covered with original drawing by artists Andy Warhol, Claes Oldenburg, Robert Rauschenberg, David Novros, John Chamberlain, and Forrest Myers travel to the moon with the Apollo 12 lunar module in November 1969. PBS’History Detectives investigates …
Robert Rauschenberg and Photography
Installation view, Robert Rauschenberg and Photography (all images courtesy of Pace/MacGill)
It’s…
Everything Old Is New Again: Native Americans and the New York School
Robert Rauschenberg, untitled print (2000) (© Robert Rauschenberg Foundation/Licensed by VAGA, NY)
Leave it to Mattel, the maker of the Barbie doll, to fulfill Andy Warhol’s famous wish to be plastic.
According to InStyle, the children’s toy company has collaborated with the Andy Warhol Foundation to produce a Barbie doll that has all of Andy’s signature traits, from the white wig and sunglasses to the leather jacket and black-and-white striped shirt. It’s Warhol as we know him — with the addition of impossibly long legs, a teeny tiny waist, a disproportionately large bust, and thick, permanent eyeliner.
CHICAGO — Three major exhibitions devoted to Pop art opened in 2015: The World Goes Pop at Tate Modern in London; International Pop at the Walker Art Center in Minneapolis (opening soon at the Philadelphia Museum of Art); and Pop Art Design, still on view at the Museum of Contemporary Art (MCA), Chicago. Each broadened the purview of this art movement as a primarily Western (American) phenomenon by unearthing lesser-known artists to provide a global view of art in the 1960s and ‘70s. But, at the same time that these exhibitions effectively changed our notion of Pop art, they also lost something in translation. Each of the shows, heavily padded with work that proved a point, made us wonder what, exactly, the point was. By cracking open the geographic reach of Pop art, the exhibitions became amorphous, losing sight of what lay at the core of this art movement.
CHICAGO — The Modern Wing of the Art Institute of Chicago, which opened in 2009, has reinstated its contemporary collection after giving over most of the space in 2015 to a much-lauded retrospective of the American sculptor Charles Ray. Rather than just reinstalling everything that was there before, the contemporary galleries are now centered around 44 works donated to the museum by Chicago collectors Stefan Edlis and Gael Neeson, touted by the museum as “the largest gift in the Art Institute’s 136-year history.” The new collection was curated by James Rondeau, today appointed as the director of the museum.
Pop Irony’s Enduring Influence in the Art Institute of Chicago’s New Contemporary Collection
The Kitsch of Death, or Andy Warhol’s Birthday Livestream
A screen shot from the live feed, of two men visiting Warhol’s grave (screenshot by the author for…










