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An unmistakable silk-screened cover distinguishes the first volume of the Warhol catalogue raisonne, assembling paintings and sculptures completed between 1961 and 1963. Commenced in 1977 by Thomas Ammann, the ambitious multi-volume project, once completed, will be the definitive resource on the innumerable, controversial works of the Pop star. In 1993 Georg Frei and Neil Printz - the first a critic and curator, the latter an art historian specializing in 20th-century American art - began editing the catalogue in cooperation with Kynaston McShine, Robert Rosenblum, the Andy Warhol Foundation, and the Andy Warhol Authentication Board. In addition to essays and colour reproductions, Volume 1 contains an array of interesting sources used by the artist, including newspaper clippings and publicity shots of movie stars. -Tema Celeste If the Warhol catalogue raisonne stands to offer us new information about Warhol's project, we cannot ignore the fact that at the same time it functions as a tool of authentication for the market...In the end, even if the authenticating function of the catalogue raisonne comes up against the thornier issues by the artist's unique approach to authorship, we are left wih productive insights into Warhol's broader project. -Art Journal It's gratuitous, gigantic, gaudy-and expensive. Warhol would have loved it. -Details

'An unmistakable silk-screened cover distinguishes the first volume of the Warhol catalogue raisonne, assembling paintings and sculptures completed between 1961 and 1963. Commenced in 1977 by Thomas Ammann, the ambitious multi-volume project, once completed, will be the definitive resource on the innumerable, controversial works of the Pop star. In 1993 Georg Frei and Neil Printz - the first a critic and curator, the latter an art historian specializing in 20th-century American art - began editing the catalogue in cooperation with Kynaston McShine, Robert Rosenblum, the Andy Warhol Foundation, and the Andy Warhol Authentication Board. In addition to essays and colour reproductions, Volume 1 contains an array of interesting sources used by the artist, including newspaper clippings and publicity shots of movie stars.' (Tema Celeste) 'One does not ordinarily read catalogue raisonnes for fun, but the volume on Andy Warhol that deals with his paintings and sculptures from 1961 to 1963 takes you as close as I think you could get to the way his mind worked in that extraordinarily creative period. The mystery of Warhol's mind is undissolved, but how that mind worked on a day-to-day basis is thrilling to observe.' (Arthur C Danto, Emeritus Johnsonian Professor of Philosophy, Columbia University, The Art Newspaper) 'If the Warhol catalogue raisonne stands to offer us new information about Warhol's project, we cannot ignore the fact that at the same time it functions as a tool of authentication for the market...In the end, even if the authenticating function of the catalogue raisonne comes up against the thornier issues by the artist's unique approach to authorship, we are left wih productive insights into Warhol's broader project.' (Art Journal) 'It's gratuitous, gigantic, gaudy-and expensive. Warhol would have loved it.' (Details)

'An unmistakable silk-screened cover distinguishes the first volume of the Warhol catalogue raisonni'1/2, assembling paintings and sculptures completed between 1961 and 1963. Commenced in 1977 by Thomas Ammann, the ambitious multi-volume project, once completed, will be the definitive resource on the innumerable, controversial works of the Pop star. In 1993 Georg Frei and Neil Printz - the first a critic and curator, the latter an art historian specializing in 20th-century American art - began editing the catalogue in cooperation with Kynaston McShine, Robert Rosenblum, the Andy Warhol Foundation, and the Andy Warhol Authentication Board. In addition to essays and colour reproductions, Volume 1 contains an array of interesting sources used by the artist, including newspaper clippings and publicity shots of movie stars.' (Tema Celeste) 'One does not ordinarily read catalogue raisonni'1/2s for fun, but the volume on Andy Warhol that deals with his paintings and sculptures from 1961 to 1963 takes you as close as I think you could get to the way his mind worked in that extraordinarily creative period. The mystery of Warhol's mind is undissolved, but how that mind worked on a day-to-day basis is thrilling to observe.' (Arthur C Danto, Emeritus Johnsonian Professor of Philosophy, Columbia University, The Art Newspaper) 'If the Warhol catalogue raisonni'1/2 stands to offer us new information about Warhol's project, we cannot ignore the fact that at the same time it functions as a tool of authentication for the market...In the end, even if the authenticating function of the catalogue raisonni'1/2 comes up against the thornier issues by the artist's unique approach to authorship, we are left wih productive insights into Warhol's broader project.' (Art Journal) 'It's gratuitous, gigantic, gaudy-and expensive. Warhol would have loved it.' (Details)

Author Information

Georg Frei is a curator, art critic, and editor who has been affiliated with Thomas Ammann Fine Art AG in Zurich since 1988. Previously he wrote art, dance, and theatre criticism for several Swiss newspapers and magazines. For the Thomas Ammann gallery he has organized more than a dozen exhibitions and edited the accompanying catalogues on such artists as Picasso, Cy Twombly, Max Beckmann, and Willem de Kooning. For the Fondation Beyeler in Basel, he was the guest curator of the exhibition 'Andy Warhol: Series and singles, 2000-2001'. Neil Printz is an art historian with a focus on twentieth century American art. He is currently the editor of the Isamu Noguchi Catalogue Raisonne for the Isamu Noguchi Foundation in New York, and Professor of Art History at Caldwell College in Caldwell, New Jersey. From 1977 to 1983 he was the director of the Holly Solomon Gallery in New York. Dr. Printz has contributed and edited articles for several journals and museum publications, including The Menil Collection in Houston, Texas; the Rheinisches Landesmuseum in Bonn; the Stadel Museum in Frankfurt; and the St. Petersburg Foundation for Culture and Art. He was Research Curator at The Menil Collection from 1983 to 1991.

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