My art's raison d'être

From my art lab in Switzerland

The ancient painting technique with pigments and tempera is not just a method for me; it's a passion that connects me deeply to the rich history of art. This time-honored approach to painting has captivated my imagination and become an integral part of my artistic practice.

My fascination with tempera painting stems from its remarkable history, dating back to the earliest civilizations. The Egyptians, Greeks, and Romans all utilized this versatile medium, and it reached its zenith during the Renaissance. The longevity of tempera paintings, with some surviving for thousands of years, is a testament to the technique's durability and timeless appeal.

What truly excites me about tempera is its unique qualities. The egg yolk binder, mixed with powdered pigments, creates a paint that dries quickly and produces luminous, long-lasting colors. This rapid drying time demands a decisive hand and clear vision, challenging me to work with precision and intentionality. The resulting paintings have a distinctive matte finish and a depth that I find unparalleled in other mediums.

I'm particularly drawn to the purity of working with raw pigments. The process of grinding my own colors from minerals and other natural sources connects me physically and spiritually to the earth and to the artists who have used these same materials for millennia. This hands-on approach allows me to intimately understand the properties of each pigment, leading to a deeper appreciation of color and its interactions.

Tempera's versatility never ceases to amaze me. It can be applied in thin, transparent layers to create subtle gradations of color, or built up in thicker impasto for textural effects. The medium lends itself beautifully to both highly detailed work and broader, more expressive strokes.

Moreover, I find that working with this ancient technique in a contemporary context creates an intriguing dialogue between past and present. It allows me to explore modern themes and subjects through a historical lens, bringing a unique perspective to my art.

My commitment to tempera painting extends beyond my own practice. I'm passionate about preserving and promoting this technique, sharing my knowledge with others through workshops and writings. I believe that by keeping this ancient art form alive, we maintain a vital link to our artistic heritage while continuing to discover its relevance in the modern world.

In essence, my passion for the ancient technique of pigment and tempera painting is a celebration of art history, a challenge to my skills as an artist, and a continuous source of inspiration and discovery. It's a journey that connects me to countless artists across time, and one that I find endlessly rewarding and enriching.

My great grandfather, Lucien Claudius Dedichen, was Edvard Munch's doctor and friend

My deep-rooted connection to the art world, particularly to the legacy of Edvard Munch, is a cherished part of my family history that has profoundly influenced my artistic journey. This connection spans generations and has shaped my understanding of art's role in society and personal relationships.

My great grandfather, Lucien Claudius Dedichen (1867-1944), played a significant role in Edvard Munch's life, not just as his doctor but also as a trusted friend. This close relationship provided my family with unique insights into the life and work of one of Norway's most celebrated artists. Through family stories and inherited memories, I've gained a personal understanding of Munch that goes beyond what's written in art history books.

The connection to Munch extends even further through my other great grandfather, Hans Blehr. His marriage to Tulla Larsen, who had previously been engaged to Munch, adds another layer to our family's intertwining with the artist's life. This connection offers a fascinating glimpse into the personal relationships that often underpin and influence artistic creation.

Growing up in this environment, where art and communication with artists were emphasized through generations, has profoundly shaped my perspective on art. It's instilled in me a deep appreciation for the human stories behind great artworks and the complex web of relationships that often influence artistic development.

This rich family history naturally led me to pursue a career in the art world. It seems fitting that my first job after graduating from university was at the Munch Museum. This experience allowed me to engage professionally with Munch's legacy, deepening my understanding of his work and its place in art history.

My family's connection to Munch and the broader art world has provided me with a unique vantage point from which to view and create art. It's taught me to see beyond the canvas, to understand the personal and societal contexts that shape an artist's work. This perspective informs my own artistic practice, encouraging me to consider the broader implications and connections in my work.

Moreover, this legacy has instilled in me a sense of responsibility to contribute to the ongoing dialogue in the art world. I strive to honor this rich heritage by creating art that is not only aesthetically compelling but also engaging on intellectual and emotional levels.

In essence, my family's history with Edvard Munch and the art world is more than just an interesting anecdote – it's a living legacy that continues to inspire and inform my work as an artist. It's a reminder of the power of art to connect people across generations and the importance of nurturing and preserving these connections for future generations.

My great grandmother, Agnes Mowinckel, was first to use Edvard Munch's paintings at a Norwegian stage

My artistic heritage is deeply rooted in the pioneering work of my great grandmother, Agnes Mowinckel (1875-1963). Her contributions to Norwegian theatre and her innovative approach to integrating visual arts with stage productions have significantly shaped my own artistic vision and practice.

Agnes Mowinckel was a trailblazer in every sense of the word. Born into a distinguished family in Bergen, she broke new ground by becoming Norway's first professional stage director at a time when such roles were predominantly held by men. Her accomplishments in this field cannot be overstated - she opened doors for generations of women in theatre to follow.

What truly sets Agnes apart in the annals of Norwegian cultural history is her visionary approach to theatre production. She was a pioneer in recognizing the potential of bringing painters and their works into the realm of theatre. This interdisciplinary approach was revolutionary for its time, blurring the lines between different art forms and creating rich, immersive theatrical experiences.

Perhaps the most significant of her innovations was her decision to incorporate Edvard Munch's paintings into her stage productions. She was the first to use Munch's artwork on a Norwegian stage, a move that not only elevated the visual aspect of her productions but also brought Munch's expressive and emotive art to a new audience in a completely different context. This fusion of visual art and theatre created a synergy that was both groundbreaking and deeply influential.

Growing up with the knowledge of Agnes's achievements and her approach to art has profoundly influenced my own artistic practice. It has instilled in me a deep appreciation for the power of interdisciplinary approaches in art and the importance of pushing boundaries and exploring new territories.

The impact of Agnes's work and legacy extends beyond her direct contributions to theatre. Her connections in the art world led to her being immortalized in portraits by some of Norway's most renowned artists. Paintings of Agnes by Edvard Munch, Christian Krogh, Kai Fjell, Henrik Sørensen, and Arne Kavli not only serve as a testament to her significance in Norwegian cultural circles but also provide a fascinating glimpse into how she was perceived by her artistic contemporaries.

These portraits, each unique in style and perspective, offer a multi-faceted view of Agnes. They serve as a visual biography, capturing different aspects of her personality and her role in Norway's artistic community. The fact that so many prominent artists chose to paint her speaks volumes about her influence and the respect she commanded in cultural circles.

For me, these paintings are more than just family heirlooms or historical artifacts. They are a constant source of inspiration, a reminder of the rich artistic legacy I've inherited, and a challenge to continue pushing the boundaries of artistic expression in my own work.

In essence, Agnes Mowinckel's legacy - her innovative spirit, her interdisciplinary approach to art, and her connections to some of Norway's greatest artists - continues to live on through my work. It's a legacy that I strive to honor and build upon in my own artistic practice, always seeking new ways to integrate different art forms and push the boundaries of creative expression.

My first job after graduating from the university was at the Munch Museum

My journey in the art world began in earnest with my first job after graduating from university - a position at the prestigious Munch Museum in Oslo. This experience was not merely a job, but a profound immersion into the world of one of Norway's most celebrated artists, Edvard Munch, and an invaluable introduction to the intricacies of museum work and art conservation.

At the Munch Museum, I had the privilege of assisting the chief conservator in a monumental task: examining the museum's vast collection of 17,300 prints in preparation for the catalog raisonné. This project was of immense importance in the art world, as a catalog raisonné is the definitive, comprehensive listing of all known artworks by an artist.

The sheer scale of the collection - 17,300 prints - was both daunting and exhilarating. Each print represented a piece of Munch's artistic journey, a snapshot of his evolving style, techniques, and themes. Handling these works, many of which were rarely seen by the public, gave me an intimate understanding of Munch's printmaking process and his artistic development over time.

My role in this project was multifaceted and deeply educational. I assisted in carefully examining each print, documenting its condition, size, paper type, and any distinguishing marks or annotations. This meticulous process required a keen eye for detail and a deep understanding of printmaking techniques and materials.

Working alongside the chief conservator, I learned the delicate art of print conservation. I gained insights into the various factors that affect the preservation of artworks - from environmental conditions to handling techniques. This experience instilled in me a deep respect for the fragility of art and the importance of proper conservation practices.

Moreover, this job provided me with a unique opportunity to study Munch's artistic process in depth. By examining multiple states of the same print, I could trace the evolution of his ideas and techniques. This close study of Munch's work has had a lasting influence on my own artistic practice, particularly in my approach to composition and the use of line and texture.

The experience of working on the catalog raisonné also taught me about the scholarly side of the art world. I learned about the rigorous research and documentation processes that underpin art historical scholarship. This experience has informed my approach to my own work, encouraging me to maintain detailed records and to consider how my art might be interpreted and cataloged in the future.

Perhaps most importantly, my time at the Munch Museum allowed me to forge connections with other professionals in the art world. The collaborative nature of the project, working closely with conservators, curators, and scholars, gave me valuable insights into the various career paths within the museum sector and the art world at large.

This formative experience at the Munch Museum has had a lasting impact on my career and artistic practice. It deepened my appreciation for Munch's work, honed my technical skills, and provided me with a comprehensive understanding of the inner workings of a major art institution. The knowledge and experiences gained during this time continue to influence my approach to art creation, conservation, and curation to this day.

Learning printmaking in New York

My journey as an artist has been profoundly shaped by my commitment to understanding and mastering various printmaking techniques. This pursuit has taken me to some of the world's most renowned print studios, each experience adding new layers to my artistic practice and technical knowledge.

Learning printmaking in New York, particularly at Pace Editions, was a transformative experience in my artistic journey. Pace Editions, known for its collaboration with leading contemporary artists, provided me with an unparalleled opportunity to delve into a wide array of printing techniques. In this vibrant, innovative environment, I was able to explore everything from traditional methods like etching and woodcuts to more contemporary approaches like digital printing and photogravure.

The expertise of the master printers at Pace Editions was invaluable. Their willingness to share their knowledge, accumulated over years of working with diverse artists and techniques, gave me insights that went far beyond what one might learn in a traditional academic setting. I was able to observe and participate in the creation of prints for renowned artists, witnessing firsthand the problem-solving and creative thinking that goes into translating an artist's vision into a print medium.

My experience at Pace Editions was complemented by visits to other prestigious print studios around the world. At Gemini G.E.L. in Los Angeles, I was exposed to their groundbreaking approach to artist collaborations. Gemini's history of working with artists like Robert Rauschenberg and Jasper Johns, pushing the boundaries of what's possible in printmaking, was incredibly inspiring. Observing their processes gave me new ideas about scale, materials, and the integration of printmaking with other media.

The time I spent at Atelier Clot in Paris was equally enlightening. This historic studio, with its rich heritage in lithography, offered a different perspective on printmaking. Here, I gained a deeper appreciation for the nuances of stone lithography and the unique qualities it can bring to an image. The tradition and craftsmanship preserved at Atelier Clot provided a beautiful counterpoint to the more contemporary approaches I encountered elsewhere.

These experiences have been crucial in shaping my approach to printmaking and art in general. I've come to see printmaking not just as a reproduction technique, but as a unique art form with its own expressive possibilities. The collaborative nature of printmaking, working closely with master printers to realize an artistic vision, has influenced how I think about the creative process and the potential for collaboration in art.

Moreover, learning these various techniques has given me a broader palette of artistic tools. Whether I'm working on a delicate etching, a bold lithograph, or experimenting with digital printing, I can draw upon this wealth of knowledge to choose the technique that best serves my artistic vision for each project.

This ongoing journey of learning and experimentation in printmaking techniques continues to influence my work profoundly. It has instilled in me a deep respect for the craft of printmaking and a constant desire to push the boundaries of what's possible in this medium. As I continue to create, I carry with me the lessons learned from these experiences, always seeking new ways to incorporate and innovate upon these time-honored techniques in my artistic practice.

Working as research associate at Harvard University and meeting collectors

My time as a research associate at Harvard University from 1999 to 2000 was a pivotal period in my career, not only for the academic experience but also for the invaluable connections I made in the art world. This position opened doors to extraordinary opportunities, particularly in meeting and learning from passionate art collectors who have since had a profound impact on my career and artistic perspective.

One of the most significant encounters during this time was with Phil and Lynn Straus, renowned collectors who, at that time, possessed the most impressive collection of Edvard Munch's works in the world. Their generosity in welcoming me into their homes and sharing their collection was nothing short of transformative for my understanding of art collecting and appreciation.

The Straus collection was a treasure trove of Munch's works, offering an unparalleled opportunity to study the artist's oeuvre in depth. Seeing such a comprehensive collection in a private setting allowed me to observe nuances in Munch's work that might not be apparent in a museum context. It was a unique chance to trace the evolution of his style, techniques, and themes across various periods of his career.

But beyond the art itself, what truly marked me was the Strauses' passion for collecting. They approached their collection not just as an assemblage of valuable objects, but as a curated narrative of Munch's artistic journey. Their deep knowledge of each piece, the stories behind acquisitions, and their personal connection to the artworks were inspiring.

From the Strauses, I learned the intricacies of building a focused, high-quality collection. They taught me the importance of provenance, condition, and the subtle qualities that distinguish an exceptional print or painting from a merely good one. This knowledge has been invaluable in my subsequent career, particularly as I've been engaged by collectors worldwide to assist in building their art collections.

The experience also gave me insights into the relationship between artists and collectors. I saw how dedicated collectors like the Strauses could play a crucial role in preserving an artist's legacy and bringing their work to a wider audience. This understanding has influenced my own approach to creating art, making me more conscious of how my work might be perceived and collected in the future.

Moreover, my time at Harvard and these interactions with collectors broadened my perspective on the art world. I began to see how academic research, artistic creation, and private collecting all play interconnected roles in shaping our understanding and appreciation of art.

This experience has had a lasting impact on my career. The knowledge I gained about works on paper - their creation, preservation, and collection - has informed both my artistic practice and my advisory work with collectors. I've been able to bridge the worlds of artistic creation and collection, offering insights to collectors that are grounded in both practical experience and academic understanding.

In my subsequent engagements with collectors around the world, I've drawn upon these lessons repeatedly. Whether advising on acquisitions, discussing conservation, or explaining the nuances of printmaking techniques, the foundation laid during my time at Harvard and my interactions with collectors like the Strauses has been invaluable.

This period of my career underscores the importance of cross-pollination between different aspects of the art world - academia, artistic practice, and collecting. It's a reminder that art exists not in isolation, but as part of a rich ecosystem of creation, appreciation, and preservation. As an artist and advisor, I strive to contribute to and nurture this ecosystem, always remembering the passion and dedication I witnessed in those formative experiences at Harvard and in the homes of visionary collectors.

Warhol and Tim Hunt at the Warhol Foundation

My encounter with Tim Hunt at the Andy Warhol Foundation for the Visual Arts Inc. in New York was a pivotal moment in my artistic journey, opening up new perspectives on contemporary art and the legacy of one of the 20th century's most influential artists.

Tim Hunt, as the exclusive agent for prints and photographs at the Warhol Foundation, was a veritable fountain of knowledge about Warhol's work and processes. Our meeting quickly blossomed into a friendship, and through Tim's generosity, I gained unprecedented access to the inner workings of the Foundation and Warhol's artistic world.

One of the most enlightening aspects of this experience was Tim's introduction to Warhol's "After Munch" silkscreens. This series, where Warhol reinterpreted works by Edvard Munch, was particularly fascinating to me given my own connection to Munch's legacy. Seeing how Warhol approached Munch's iconic images through the lens of pop art was a revelation. It demonstrated the power of reinterpretation and the dialogue that can exist between artists across time and artistic movements.

The "After Munch" series provided a unique perspective on how artists can engage with and reimagine the work of their predecessors. Warhol's bold colors and commercial printing techniques applied to Munch's emotionally charged images created a fascinating juxtaposition. This encounter deeply influenced my thinking about artistic lineage and the potential for contemporary artists to engage with historical works in fresh, provocative ways.

Tim's guided tour of the Warhol Foundation was an extraordinary opportunity to delve into the mechanics of preserving and promoting an artist's legacy. I observed how the Foundation managed Warhol's vast body of work, from cataloging and conservation to licensing and exhibition planning. This behind-the-scenes look provided valuable insights into the business side of art, the importance of estate planning for artists, and the role of foundations in shaping an artist's posthumous reputation.

During my time at the Foundation, I was able to examine Warhol's printing techniques up close. His innovative use of silkscreen printing, which revolutionized the art world, was particularly intriguing. Understanding the technical aspects of Warhol's process enhanced my appreciation of his work and influenced my own explorations in printmaking.

Moreover, this experience shed light on Warhol's working methods and philosophy. His famous quote, "I want to be a machine," and his Factory approach to art production challenged traditional notions of artistic creation. This perspective prompted me to reconsider my own artistic process and the potential for incorporating more collaborative and mechanical elements into my work.

The time spent with Tim and at the Warhol Foundation also deepened my understanding of the art market and the factors that contribute to an artist's long-term significance. Observing how the Foundation managed Warhol's market, balancing between maintaining the value of his work and ensuring its accessibility to the public, was an education in itself.

This experience has had a lasting impact on my career, influencing both my artistic practice and my approach to the business side of art. It reinforced the importance of documentation and archive-keeping, inspired me to think more boldly about artistic reinterpretation, and gave me a new appreciation for the role of foundations in the art world.

My friendship with Tim Hunt and the insights gained at the Warhol Foundation have become an integral part of my artistic journey, continually informing my work and my engagement with the broader art community. It stands as a testament to the value of building relationships in the art world and the unexpected ways in which these connections can shape one's artistic path.

Munch and Warhol after Munch on the residential ship, The World

In 2002, I had the extraordinary opportunity to curate and organize the inaugural exhibition aboard The World, the largest private residential ship on the planet. This unique venture, titled "Munch and Warhol after Munch," was a groundbreaking fusion of art and travel that set sail from London, embarking on a journey around the globe.

The World is not just any cruise ship; it's a floating luxury residence, a community of global citizens who call this vessel their home as it continuously circumnavigates the globe. This distinctive setting provided an unparalleled backdrop for an art exhibition, offering a constantly changing geographical and cultural context for the artworks on display.

Curating "Munch and Warhol after Munch" for this inaugural exhibition was both a challenge and an incredible opportunity. The concept behind the exhibition was to create a dialogue between two iconic artists from different eras and artistic movements: Edvard Munch, the Norwegian expressionist, and Andy Warhol, the American pop art pioneer.

The exhibition showcased original works by Munch alongside Warhol's reinterpretations in his "After Munch" series. This juxtaposition offered viewers a unique opportunity to explore the evolution of artistic expression and the enduring power of Munch's imagery. It also highlighted how Warhol's pop art sensibilities transformed Munch's emotionally charged works into commentary on reproduction and mass media in the 20th century.

Organizing this exhibition required careful consideration of the ship's unique environment. Issues such as climate control, security, and display logistics in a constantly moving venue had to be meticulously addressed. We worked closely with the ship's designers and engineers to create a suitable exhibition space that could withstand the rigors of sea travel while providing an optimal viewing experience for the residents and guests.

The opening of the exhibition coincided with The World's departure from London, adding an extra layer of excitement and symbolism to the event. As the ship set sail, so too did this artistic voyage through time and artistic styles. The exhibition became a floating cultural ambassador, bringing the works of Munch and Warhol to ports around the world.

Throughout the journey, we organized lectures, workshops, and discussions about the exhibition, engaging the ship's community in ongoing dialogue about the art. This created a unique, immersive experience where residents could live with the artwork, seeing it in different lights and contexts as the ship traveled to various destinations.

This project was groundbreaking in many ways. It challenged traditional notions of art exhibition spaces, bringing high-caliber artworks into the daily lives of The World's residents. It also demonstrated how art can transcend geographical boundaries, with the exhibition literally crossing oceans and continents.

The success of "Munch and Warhol after Munch" on The World opened up new possibilities for art curation and exhibition. It showed how unconventional spaces could be transformed into dynamic art venues, and how the context of a traveling exhibition could add new layers of meaning to the artwork on display.

This experience profoundly impacted my approach to curation and art presentation. It reinforced my belief in the power of art to connect people across cultures and the importance of creating innovative, immersive experiences for viewers. The project's success also established my reputation as a curator capable of executing complex, unconventional exhibitions, leading to further opportunities in my career.

The "Munch and Warhol after Munch" exhibition on The World remains a highlight of my career, a testament to the possibilities that emerge when art, travel, and innovation intersect. It exemplifies my commitment to pushing boundaries in the art world and creating unique, memorable experiences that challenge viewers' perceptions and deepen their engagement with art.

Warhol After Munch at the Louisiana

In 2010, I had the privilege of contributing significantly to a groundbreaking exhibition at the Louisiana Museum of Modern Art in Copenhagen, Denmark. The exhibition, titled "Warhol After Munch," was a culmination of years of passion, research, and collection, bringing together two artistic giants in a way that had never been done before on such a scale.

The Louisiana Museum, renowned for its innovative approach to presenting modern and contemporary art, provided the perfect backdrop for this ambitious project. As a museum that seamlessly blends art, nature, and architecture, it offered a unique context for exploring the dialogue between Munch's emotionally charged expressionism and Warhol's cool pop art aesthetic.

My role in this exhibition was pivotal. I provided all the Warhol works and most of the Munch pieces, drawing from my extensive connections and years of dedicated collecting. This contribution was the result of long-standing relationships with collectors, institutions, and foundations, as well as a deep understanding of both artists' oeuvres.

The exhibition showcased Warhol's reinterpretations of Munch's iconic works, including "The Scream," "Madonna," and "Self-Portrait." Seeing these works side by side offered visitors a unique opportunity to explore how Warhol transformed Munch's intense, psychological images into commentaries on mass media and reproduction in the 20th century.

What made this exhibition particularly special was its scale and comprehensiveness. The walls of the Louisiana were adorned with numerous iterations of Warhol's takes on Munch, truly embodying Warhol's philosophy of quantity and repetition. This approach not only paid homage to Warhol's artistic ethos but also created a powerful visual impact, allowing visitors to immerse themselves in the dialogue between these two influential artists.

The repetition of images, a hallmark of Warhol's style, took on new meaning in this context. It highlighted how Munch's original, emotionally charged works were transformed through Warhol's lens into a commentary on the reproducibility of images in the modern era. This juxtaposition invited viewers to consider questions of originality, emotional resonance, and the nature of artistic influence.

Organizing this exhibition was a complex undertaking, involving delicate negotiations, meticulous planning, and careful curation. Ensuring the safe transport and display of these valuable works required close collaboration with the museum's staff, conservators, and security teams.

The opening of the exhibition was a moment of immense pride and satisfaction. Seeing these works, many of which I had personally handled and studied over the years, displayed together in the beautiful spaces of the Louisiana was truly moving. It was a physical manifestation of the connections I had long seen between these two artists, now shared with a wider audience.

The exhibition's success was not just in its visual impact but also in its educational value. It sparked discussions about the nature of artistic influence, the evolution of artistic movements, and the ways in which artists from different eras can engage in dialogue through their work. The museum organized lectures, guided tours, and workshops that further explored these themes, enriching the visitor experience and contributing to the broader discourse in the art world.

"Warhol After Munch" at the Louisiana Museum of Modern Art stands as a highlight of my curatorial career. It demonstrated the power of bringing together works from different periods and styles, challenging viewers to see familiar art in new ways. The exhibition's success reinforced my belief in the importance of creating innovative, thought-provoking art experiences that can change how we perceive and understand art.

This project also strengthened my relationships within the international art community and solidified my reputation as someone capable of bringing complex, high-profile exhibitions to fruition. The insights gained from this experience continue to inform my approach to art curation, collection, and interpretation to this day.

Warhol Munch

In 2010, I had the honor of editing and contributing significantly to the book "Warhol Munch," published by Louisiana Museum of Modern Art Publications. This project was a natural extension of my involvement with the "Warhol After Munch" exhibition at the Louisiana Museum, allowing me to delve deeper into the fascinating intersection of these two iconic artists' works.

My contribution to this publication was multifaceted. I edited the entire book, ensuring a cohesive narrative that would engage both scholars and art enthusiasts. Additionally, I authored four of the texts, each offering unique insights into Warhol's reinterpretation of Munch's works.

A primary focus of my writing was to elucidate the creation process of Warhol's "After Munch" series. This series, which reimagined four of Munch's most renowned works - "The Scream," "Madonna," "Self-Portrait," and "The Brooch" - in Warhol's distinctive style, represented a fascinating dialogue between two artistic giants separated by time and artistic movement.

In my texts, I explored how Warhol transformed Munch's emotionally charged images using his signature pop art aesthetic. I detailed Warhol's use of vibrant, sometimes unexpected color palettes, including the introduction of metallic silver and gold tones. This approach not only paid homage to Munch's originals but also infused them with a contemporary energy that spoke to Warhol's preoccupations with mass media, reproduction, and celebrity culture.

One of the most illuminating aspects of my research for this book was the series of interviews I conducted with individuals who had firsthand experience working with Warhol or who were involved in managing his estate. These conversations provided invaluable insights into Warhol's creative process, his fascination with Munch, and the technical aspects of creating the "After Munch" series.

A highlight of these interviews was my conversation with Tim Hunt, then the exclusive agent for print and photography at the Andy Warhol Foundation in New York. This interview, which I titled "On distinctiveness in Andy Warhol's after Munch series," offered readers a rare glimpse into the intricacies of Warhol's printmaking techniques and his approach to reinterpreting Munch's works.

Tim Hunt's vast experience and intimate knowledge of Warhol's prints and photographs made him an ideal subject for this interview. His insights shed light on the technical challenges and artistic decisions involved in creating the "After Munch" series. Hunt's perspective was particularly valuable in understanding how Warhol's team translated Munch's expressive brushstrokes and emotional intensity into the language of screen printing and pop art.

In our conversation, Hunt also touched upon the curatorial and market-related aspects of Warhol's work, offering a holistic view of how these pieces fit into Warhol's broader oeuvre and their significance in the art world. His comments on the distinctiveness of the "After Munch" series within Warhol's body of work provided crucial context for appreciating these pieces.

Through these interviews and my own analysis, I aimed to provide readers with a comprehensive understanding of the "After Munch" series - from its conception and creation to its place in art history. I explored how Warhol's reinterpretations both honored and transformed Munch's original works, creating a dialogue between expressionism and pop art that continues to fascinate viewers and scholars alike.

The process of editing and writing for "Warhol Munch" was intellectually stimulating and creatively fulfilling. It allowed me to synthesize my knowledge of both artists, my curatorial experience, and my research into a cohesive narrative that I hope enriches the understanding and appreciation of this unique artistic interchange.

This publication stands as a significant contribution to the scholarship on both Warhol and Munch, offering new perspectives on their work and the broader themes of artistic influence and reinterpretation. It remains a source of pride in my career, exemplifying my commitment to deepening the discourse around art history and fostering a greater appreciation for the complex interplay between artists across time and artistic movements.

My work on the "Warhol Munch" publication was further enriched by two more pivotal interviews that provided invaluable insights into the creation and context of Warhol's "After Munch" series.

In "On the making of Andy Warhol's after Munch series," I had the privilege of interviewing Donald Sheridan, a former assistant to Rupert Jason Smith, who was Andy Warhol's master printer. This interview was particularly illuminating as it offered a behind-the-scenes look at the technical process of creating Warhol's iconic silkscreen prints.

Sheridan's firsthand experience working in Warhol's studio provided a wealth of detailed information about the journey from initial concept to finished artwork. He explained the intricate process of translating photographs and found images into Warhol's distinctive silkscreen prints. This conversation revealed the meticulous attention to detail involved in each step of the printing process, from color selection to the layering of screens, offering readers a rare glimpse into the craftsmanship behind Warhol's seemingly effortless style.

Another crucial piece of the puzzle came from my dialogue with Matt Wrbican, the archivist at the Andy Warhol Museum in Pittsburgh, which I titled "Andy Warhol's Munch Source Material." This conversation unveiled fascinating details about the origins and planning of the "After Munch" series.

Wrbican shared information from a file in the Pittsburgh archives specifically related to the ordered "After Munch" series. This revelation was particularly significant as it confirmed that the series was indeed planned by Warhol, despite never being fully realized. As a result, all existing Warhol "After Munch" works are unique proofs, adding to their rarity and significance in Warhol's oeuvre.

The archival file Wrbican referenced contained crucial details about the intended scope of the project. It outlined the planned number of editions for each piece in the series, as well as the intended number of colors to be used. This information provided valuable context for understanding Warhol's vision for the series and how it fit into his broader artistic practice.

These interviews added layers of depth to the book, offering readers not just an analysis of the finished works, but a comprehensive understanding of their conception, planning, and the technical processes involved in their creation. They highlighted the complexity of Warhol's artistic practice and the collaborative nature of his studio work.

By including these diverse perspectives - from the technical insights of a printer to the archival knowledge of a museum professional - I aimed to provide a holistic view of the "After Munch" series. These conversations complemented my own analysis and the insights from Tim Hunt, creating a multi-faceted exploration of this fascinating intersection between two iconic artists.

The revelation that the "After Munch" series was planned but never fully realized adds an intriguing element to the narrative. It invites speculation about how the series might have evolved if completed and underscores the unique value of the existing proofs. This information not only enriches our understanding of Warhol's work but also adds to the ongoing dialogue about artistic process, intention, and the vagaries of creative production.

Through these interviews and the accompanying analysis, the "Warhol Munch" publication offers a comprehensive and nuanced exploration of this captivating artistic dialogue across time and styles. It stands as a significant contribution to the scholarship on both Warhol and Munch, shedding new light on a lesser-known but fascinating aspect of Warhol's oeuvre.

In "Andy Warhol's Munch Source Material", I'm in dialogue with Matt Wrbican, who was the archivist at the Andy Warhol Museum in Pittsburgh. Wrbican refers to a file containing information about the ordered After Munch series, stored in the Pittsburgh archives. The Warhol After Munch series was a planned series, but never realized, therefore all Warhol After Munch works are unique proofs. In this dialog, the information in the file shows the planned number of editions as well as the planned number of colors.

Warhol's Polaroids of H.M.Queen Sonja - Impulse and Intensity

In 2012, I had the privilege of contributing to the publication accompanying the exhibition of H.M. Queen Sonja's Art Collection at the Henie Onstad Art Center in Norway. My text, titled "Warhol's Polaroids of H.M. Queen Sonja - Impulse and Intensity," offered an in-depth exploration of a fascinating intersection between royalty and pop art.

The focus of my writing was a pivotal moment in 1982 when H.M. Queen Sonja of Norway, then Crown Princess, visited Andy Warhol's legendary studio, The Factory, in New York. This encounter between Warhol, the king of pop art, and Sonja, a future queen, was a captivating collision of two worlds - the avant-garde art scene of New York and European royalty.

My research for this text involved delving into the details of this visit, piecing together the events of the day through interviews, archival materials, and close examination of the resulting artworks. I aimed to paint a vivid picture of the atmosphere in The Factory during this royal visit, capturing the unique energy that Warhol cultivated in his studio.

A key aspect of my text was describing the preparation process for the photo shoot. Warhol's creative team, known for their ability to transform their subjects, worked their magic on the Crown Princess. This preparation was an integral part of Warhol's process, as he believed in presenting his subjects in a heightened, almost iconic state.

The heart of the text focused on the photo session itself. I detailed Warhol's use of his favorite camera, the Polaroid Big Shot. This camera, with its fixed focus and integrated flash, was perfect for Warhol's style of intimate, direct portraiture. I explored how Warhol used this tool to capture immediate, unguarded moments with his subjects.

I also delved into the dynamics between Warhol and Crown Princess Sonja during the shoot. Warhol was known for his ability to put his subjects at ease while simultaneously directing them to achieve his desired effect. Understanding this interaction was crucial to appreciating the resulting images.

The lighting in the studio was another key element I discussed. Warhol's mastery of studio lighting played a significant role in creating the distinctive look of his portraits. I explained how the lighting was set up to emphasize certain features and create the high-contrast images that would translate well into his silkscreen prints.

A critical part of the process was Warhol's selection of the final image from the 29 Polaroids taken. I analyzed the criteria Warhol might have used in making this choice, considering factors such as composition, expression, and potential for translation into his signature silkscreen style.

The culmination of this process was a series of six silkscreen prints of Crown Princess Sonja, which became part of Warhol's famous "Celebrities" series. In my text, I placed these works within the context of Warhol's broader oeuvre, discussing how they fit into his exploration of fame, power, and image-making.

I also considered the significance of these portraits from a cultural and historical perspective. The inclusion of Crown Princess Sonja in Warhol's "Celebrities" series spoke to the global reach of his work and the changing nature of celebrity in the late 20th century.

Throughout the text, I aimed to balance technical details about Warhol's artistic process with broader reflections on the cultural significance of this royal-artistic encounter. I explored how these portraits exemplified Warhol's ability to transform his subjects into iconic images, blurring the lines between individual identity and public persona.

This piece of writing not only contributed to the scholarship on Warhol's portraiture but also offered unique insights into a lesser-known aspect of Queen Sonja's public life. It highlighted the Queen's engagement with contemporary art and her willingness to participate in avant-garde artistic practices.

By providing this detailed account of the creation of these portraits, from the initial studio visit to the final silkscreen prints, I hoped to give readers a deeper appreciation of Warhol's artistic process and the complex interplay between artist and subject in portrait-making. This text stands as a testament to the enduring fascination with Warhol's work and its ability to capture and transform the essence of his subjects, regardless of their station in life.

Warhol's Queens

In 2013, I had the privilege of editing and contributing to a groundbreaking publication titled "Warhol's Queens," published by the prestigious art book publisher Hatje Cantz. This project was born out of a moment of inspiration when I realized that a fascinating aspect of Andy Warhol's oeuvre had been overlooked: the intriguing parallel between his portraits of royal queens and his depictions of drag queens.

The concept for "Warhol's Queens" emerged from my extensive research into Warhol's work and my growing awareness of the recurrent themes in his art. I was struck by the realization that no one had previously drawn a direct comparison between these two seemingly disparate subjects in Warhol's portfolio. This oversight presented an exciting opportunity to offer a fresh perspective on Warhol's art and his exploration of identity, femininity, and power.

In curating the content for this book, I sought to create a multifaceted exploration of the theme. I reached out to a carefully selected group of writers, each chosen for their unique expertise and perspective. My goal was to assemble a collection of texts that would approach the subject from various angles, providing readers with a rich, nuanced understanding of Warhol's treatment of 'queens' in all their forms.

The book delves deep into Warhol's fascination with the concept of the 'queen,' whether royal or drag. We explored how Warhol approached both types of queens as performers, each embodying a particular ideal of femininity. For Warhol, royal queens represented a kind of ultimate celebrity, figures of power and glamour that perfectly fit into his exploration of fame and image. Drag queens, on the other hand, allowed him to examine the construction and performance of gender identity.

One of the key insights presented in the book is how Warhol saw both royal and drag queens as slipping into the role of idealized movie-star femininity. This observation opens up fascinating discussions about the nature of femininity, the power of image, and the blurring lines between reality and performance - all central themes in Warhol's work.

We paid particular attention to Warhol's characterization of drag queens as "living testimony to the way women used to want to be, the way some people still want them to be, and the way some women still actually want to be." This quote provides a launching point for exploring Warhol's complex views on gender, beauty standards, and societal expectations.

The visual aspect of "Warhol's Queens" was crucial to the book's impact. We carefully curated a selection of Warhol's portraits that highlight his treatment of both royal and drag queens. The book showcases the intense faces, exaggerated features, and vibrant colors that characterize these works. The exceptionally colored lips, eyes, and hair in these portraits serve as a focal point for discussing Warhol's use of sexuality and fetishization in his art.

In my contribution to the text, I aimed to draw out the connections between these different types of 'queens' in Warhol's work. I explored how his portraits of both royal and drag queens challenge our perceptions of identity, authenticity, and the power of image. I also discussed how these works fit into the broader context of Warhol's artistic philosophy and his ongoing fascination with celebrity, gender, and the nature of representation.

"Warhol's Queens" represents a significant contribution to the scholarship on Warhol's work. By juxtaposing his portraits of royal queens with those of drag queens, we offered a new lens through which to view his art. This approach not only sheds new light on these specific works but also encourages a reconsideration of Warhol's entire oeuvre.

The book's publication by Hatje Cantz, a leader in art book publishing, ensured that it would reach a wide audience of art enthusiasts, scholars, and collectors. It has since become a valuable resource for those studying Warhol's work, gender representation in art, and the intersection of pop art with issues of identity and power.

Personally, "Warhol's Queens" stands as one of my proudest achievements in art scholarship. It embodies my commitment to uncovering new perspectives on well-known artists and my belief in the power of art to challenge our understanding of society and identity. The project allowed me to combine my curatorial skills, my deep knowledge of Warhol's work, and my interest in gender and identity studies, resulting in a publication that continues to inspire discussion and new interpretations of Warhol's enduring legacy.