Apple finally unveils new MacBook Air with stunning 15.3-inch Liquid Retina display and 18-hour battery life

At the highly anticipated Worldwide Developers Conference (WWDC) 2023, Apple took the stage to introduce a ground-breaking addition to its product line-up, the all-new MacBook Air! Boasting a large 15.3-inch Liquid Retina display, this remarkable device redefines the idea of a portable laptop.

The MacBook Air’s expansion into the 15-inch territory is accompanied by the expected combination of exceptional performance, a cutting-edge design, and long battery life. Building upon the success of its smaller sibling, the larger MacBook Air offers users an immersive experience on a bigger canvas while retaining its hallmark sleekness and Apple-ness.

Designer: Apple

Apple claims that the new MacBook Air is the “world’s thinnest 15-inch laptop,” measuring an astonishing 11.5mm in thickness and weighing 3.3 pounds (1.5 grams). Under the sleek hood, the MacBook Air is powered by Apple’s M2 chip, which delivers an unparalleled performance. Apple claims that the M2 chip makes the MacBook Air 12 times faster than its fastest Intel-based laptops.

The M2 chip features an 8-core CPU and has four high-performance cores with four energy-efficient cores. On the new MacBook Air, you get a 10-core GPU and a 16-core Neural Engine. The display on the other hand is a visual treat, capable of achieving up to 500 nits of brightness and supporting a staggering 1 billion colors. Not only is the 15-inch MacBook Air twice as sharp as the leading Intel Core i7 PC laptops, but it also boasts a 25 percent increase in brightness.

Apple has gone the extra mile in improving the MacBook Air’s audio and video capabilities. The laptop features a fanless design, ensuring silent operation, and houses a high-definition 1080p FaceTime HD camera. Onboard are three-microphone array for clear audio capture and introduces a new six-speaker system comprising two tweeters and four force-canceling woofers.

Apple has taken battery life seriously with the new MacBook Air, which promises up to 18 hours on a single charge, enabling users to stay productive throughout the day without worrying about finding a power outlet. In terms of connectivity, the MacBook Air features MagSafe, includes two Thunderbolt ports, and Apple has retained the 3.5mm headphone jack to ensure it is compatible with a variety of audio devices.

The new 15-inch MacBook Air will come in four colors: Silver, Space Gray, Starlight, and Midnight starting at $1,299. Pre-orders for the super exciting laptop will being next week. Apple is also introducing the MacBook Air for a special price of $1,199 to students.

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What are the Actual Applications for Apple's Vision Pro Goggles?

Apple’s recently-unveiled Vision Pro goggles are meant to usher in “the era of spatial computing.” What does that really mean, to the layperson? What would using these add to our everyday lives?

Here are the cases Apple makes:

Spatial Computing

Spatial computing, in Apple’s vision, means “seamlessly [blending] digital content with your physical space.” You pop the goggles on, and now you see app icons floating in space, overlaid on your actual environment.

You navigate using your eyes, which the goggles track…

…and you interact with the apps via gesture: “Tap your fingers together to make a selection and gently flick to scroll.” None of us will know how great, or terrible, this is until we try it. (You can also dictate, telling it to go to a particular website, for instance.)

For apps that require text input, you can pair a Bluetooth keyboard. Now the use case starts to look more compelling, at least to me, as I could benefit from having multiple monitors but do not have the physical desktop space.

Another thing that would be useful, at least for those of us with failing eyesight, is that it allows you to see things much larger than a physical monitor can.

You can also choose to have your visible environment replaced by a sort of immersive desktop image.

In a nod to safety/awareness, Apple says that should any human enter your space, they become immediately visible through whatever virtual vision you’re looking at.

Screen Mirroring

The Vision Pro can connect with your computer, virtually creating a much larger version of the screen that floats in space. I could see this being useful. (Whether the trade-off of having this thing strapped to your face for long stretches would be worth it, remains to be seen.)

FaceTiming

This gets a little weird. In Apple’s demo, we see a Vision Pro user FaceTiming with people who are not wearing the goggles. She sees them in their natural forms.

But what do they see? As it turns out, you’re meant to scan your face while setting up the goggles. It then creates this virtual avatar of you, and I don’t think the tech is ready for primetime. Uncanny valley in full effect.

Entertainment

The Vision Pro of course allows you to view photos, watch movies/TV and play videogames. Apple also says they’ll offer a series of Immersive Videos recorded in 3D.

The chief drawback, as I see it, is that these confine what were once group activities to just one user. Family or friends cannot gather around to view/experience the same event, unless everyone has a pair of Vision Pros. But perhaps this is the way society is going, anyway.

I will say, this would probably be amazing on an airplane.

Photo/Video Capture

The demo video creeps me out a bit: We see what I assume is the father of these two girls, watching/recording them play with the goggles strapped to his face. It seems disconnected and jarring to me. (Also note the strap going over the top of his head; perhaps this is an early prototype.)

I suppose this has been happening for a while—people holding out their phones to record a moment, rather than experiencing the moment. (Been to a concert or live music event recently?) So I guess that ship has already sailed.

Here’s Apple’s full pitch:

The Vision Pro goggles are expected to debut next year, for $3,500. The high price will perhaps help delay the future where we all wear these all the time, rather than staring into our phones.

Paris reinstates skyscraper ban following Tour Triangle backlash

Tour Triangle render by Herzog & de Meuron

Paris has reimposed a height limit for new buildings in the city, following the controversial construction of Tour Triangle tower designed by Swiss studio Herzog & de Meuron.

The height limit, announced yesterday, will limit new buildings in the French capital to a height of 37 metres or 12 storeys.

It reinstates the same Parisian planning law that was introduced in 1977 following the construction of Tour Montparnasse, a 210-metre-tall office tower by architects Eugène Beaudouin, Urbain Cassan and Louis Hoym de Marien that was also highly contested.

Paris skyline
Paris has reintroduced a tall building ban. Photo is by Kedar Gadge

The 1977 height limit was in place until 2010. It was overturned by former mayor Bertrand Delanoë for a limit of 180 metres for office towers and 50 metres for housing blocks.

The ban has been reintroduced as part of mayor Anne Hidalgo’s Local Bioclimatic Urban Plan, which is aimed at reducing Paris’ carbon emissions.

It was also prompted by the construction of the pyramid-shaped tower Tour Triangle by Herzog & de Meuron, which started in 2021 and is scheduled for completion in 2026.

Its construction, which has faced backlash and was delayed by 12 years due to various legal and planning battles, has become the focus of the council’s drive to limit building heights, alongside the 180- and 125-metre-high Tours Duo skyscrapers by Jean Nouvel.

Once complete, Tour Triangle will be the city’s third tallest building. Its trapezoidal form means that from central Paris it will resemble a thin tower, but from the east and west, its full width will be visible. Inside it will contain a hotel and offices, alongside a conference centre, shops and restaurants.

According to newspaper The Times, the ban is part of a wider “bioclimatic” plan for the city that Hidalgo said aims to ensure Paris remains “attractive and pleasant in coming years despite the acceleration in the temperature”.

It also reported that the fight for the ban was led by Green councillor Émile Meunier.

“They said Paris was naff and needed high towers to compete with London’s city,” Meunier said. “Now it’s the end of towers in Paris.”

Tour Triangle nighttime
It has been prompted by the construction of Tour Triangle. Visual is courtesy of Herzog & de Meuron

On Twitter, Meunier also described the move as “historical”.

“The new local urban plan of Paris marks the end of the towers and returns to a reasonable height,” he wrote.

Elsewhere, China also recently limited the height of buildings in the country. The construction of supertall skyscrapers has been limited to 500 metres, with buildings over 250 metres “strictly restricted”. The new policy, released on the Ministry of Housing and Urban-Rural Development’s website, also banned “copycat behaviour” and established the role of chief architects in its cities.

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The Design of Apple's Vision Pro Goggles

Apple has unveiled their Vision Pro goggles, meant to usher in “The era of spatial computing” by delivering technology to your eyeballs in a new way. However, unlike previous groundbreaking Apple products like the iPod, iPhone and iPad, the Vision Pro’s use cases are not immediately obvious; that and the $3,500 price tag (and 2024 release date) suggest it’s a long ways away from gaining the ubiquity of the company’s previous hits.

So what should we look at here? I figure the Core77 reader will be interested in 1) The decisions Apple’s designers made in order to realize the product, which we’ll look at here, and 2) How this device will–or won’t–fit into everyday people’s lives, and what the social implications are. We’ll do that latter one in a separate entry.

Design Decisions

Apple has experience in the wearables space, starting with the original Apple Watch (2015) and AirPods (2016) up to the AirPods Pro (2019) and AirPods Max (2020). The Vision Pro most obviously carries over the design team’s learnings from the Watch and the AirPods Max.

First off, the seamless appearance of those earlier wearables has had to be jettisoned for the Vision Pro, which thus bears the deconstructed design aesthetic we’re seeing in everything from exoskeletons to scooters these days. The device is simply too complicated to wedge into a monolithic form. So Apple’s designers have broken it into five separate parts: The display/computing component, the Audio Straps containing the speakers, the light seal required to make the display viable, the adjustable headband required to hold the thing onto your head, and the battery.

Display/Computing Component

The display/computing component recalls the Apple Watch, with an aluminum housing, the laminated glass component—more sharply curved here, obviously—and even the digital crown on the top right portion of the unit for the physical UI.

When the goggles are donned, the default view is transparent, and you’re essentially just wearing a pair of tinted ski goggles.

When you press the Digital Crown, it brings up Home View, overlaying a menu of apps in your field of vision. (These are accessed via gesture; at press time specifics on the gestures were light, but we expect to get a closer look at this in the coming days.) Turning the crown increases or decreases the “level of immersion while using Environments,” a setting which replaces the view of the outside world with a background image.

Mirroring the Digital Crown, at the top left of the unit is a button for taking photos or starting video recording. (The forward-facing camera arrays are below your eyeballs and behind the glass.)

Inside the unit are a host of face-tracking sensors ringing the display lenses, which reportedly deliver 4K resolution to each eye.

And for those with poor vision, there’s an option to have special Zeiss “optical inserts” customized with your prescription. These then magnetically attach to the display lenses.

Light Seal

Apple’s previous experience with getting a material to provide a seal on human skin was with the earcups of the AirPods Max, and they’ve gone with the same woven material for the Light Seal. It is presumably stretched over a layer of foam, as the seal is pliable and conforms to one’s face.

Audio Straps

These hold the speakers, which Apple says deliver “rich Spatial Audio,” close to your ears. It’s not clear if these are user-removable, i.e. for cleaning or repair, but given Apple’s preferences we’d guess they aren’t.

Headband

While the AirPod Max’s mesh headband has gravity working for it, the lateral force required to hold the Vision Pro snug required a more robust solution. Here they’ve gone with a “3D-knitted” headband that the designers reckon provides the right balance of snugness, cushioning and breathability. The dial, which looks like a larger version of the Digital Crown, is in fact a mechanical adjustment knob.

Battery

The designers decided that with current technology, the battery size required to provide Apple’s 2-hours-of-power target was too big/heavy to wear on one’s head. Thus it is meant to be carried in a pants pocket, and attaches to the side of the headset via a braided tether. The design language suggests the point of connection at the headband might be magnetic (at press time it was unclear), and there are two dots meant to visually indicate proper alignment.

Users can also opt to plug the battery into the wall during use (we assume with an additional, hopefully long, cord) for uninterrupted power.

Next, we’ll look at what this rig is actually meant to do for the wearer.

Smartphone with a New Form Factor: The Razr Plus

Motorola is dusting off the Razr name once again, with their forthcoming Razr Plus. The phone folds down to a compact size and features a 3.6″ screen on the outside; unfurled, the inside screen is 6.9″.

The company is touting the design as more convenient and user-friendly. Users won’t need to open the phone to take photos/video, listen to music, play games, send messages, et cetera.

The folding shape means it also doesn’t need a stand for viewing…

…and the designers reckon it’s easier to hold for capturing video.

I guess the question is whether the hinged-screen technology is actually ready for primetime, or will be plagued by its historical problems. If they’ve worked out the kinks, I’d definitely prefer the smaller overall form factor to my current brick, though I’m pretty sure I’d crack the outer screen in no time. It will be interesting to see what kinds of cases third-party designers come up with for this design.

The phone will retail for $1,000 and the company will start taking pre-orders on June 16th. No release date was named at press time.

Here are Motorola’s designers and developers describing what they’re going for:

BetteMono bath fittings by Tesseraux & Partner for Bette

BetteMono washbasins by Tesseraux & Partner for Bette

Dezeen Showroom: German bathroom brand Bette has launched BetteMono, a range of coloured enamelled fittings to complete the look of monochrome baths.

The BetteMono waste outlets and BetteMono Flow overflow outlets are finished in hard-wearing, glazed titanium steel instead of the traditional chrome or white plastic.

BetteMono washbasins by Tesseraux & Partner for Bette
The Bettemono fittings allow for the creation of monochrome bathrooms

Bette calls this “a small but important detail” that enables the creation of uninterrupted monochrome surfaces in bathrooms.

“Monochrome bathrooms are popular because they create a timeless, minimalist and harmonious atmosphere,” said Bette. “They can also make small bathrooms appear larger.”

BetteMono washbasins by Tesseraux & Partner for Bette
The enamelled finish also makes the outlets easy to clean

The BetteMono range is available in the colours Pergamon, Manhattan, Bahama Beige, Ebony, Black, Snow and Blue Satin.

As well as offering an aesthetic advantage, the enamelled parts are easy to clean, are scratch and impact resistant, and have a glassy, nonporous finish that naturally repels dirt and bacteria.

Product: BetteMono
Designer: Tesseraux & Partner
Brand: Bette
Contact: info@bette.co.uk

Dezeen Showroom

Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.

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Different Designs, Vintage and New, for Hat Presses

You’ll recognize this type of flat-brimmed “campaign” hat from modern-day drill sergeants and State Troopers, or Boy Scout leaders of yore:

But you’ve probably never seen the storage object used to keep that brim perfectly flat:

Colloquially called a hat press, it was designed to be hung on the wall and is an early-20th-century example of “offline considerations” from manufacturers. Hanging the hat on a regular hook might allow the brim to deform, whereas this Masonite object would help preserve it.

Some were not as fancy. This rectilinear version was more economical: Less labor and materials to make, and thus cheaper.

Some modern-day versions have declined in design quality. This $30 Stratton Hats Brim Press skimps on contact surface area (my guess is that the bottom pieces are cut nested to save on material) and requires the user fiddle with four wingnuts:

On the other hand, this $80 version by Mercury Tactical Gear is thicker (made from MDF), heavier and hinged:

As always, buyers can turn to Etsy for bespoke, laser-etched versions. Woodkraft of Dalton makes these $180 versions out of plywood:

Woodkraft of Dalton

Woodkraft of Dalton

Woodkraft of Dalton

Woodkraft of Dalton

Woodkraft of Dalton

90 Proof Woodworking makes theirs, for $225, out of hardwood.

90 Proof Woodworking

90 Proof Woodworking

90 Proof Woodworking

90 Proof Woodworking

90 Proof Woodworking

90 Proof Woodworking

It seems like the new ones are either cheap junk or pricey overkill, with nothing in between, which I feel is becoming common in the product design space. It seems even our buying choices are now polarized.

Centenniale coffee table by Joanna Laajisto for Nikari

Centenniale coffee table by Joanna Laajisto for Nikari

Dezeen Showroom: architect and designer Joanna Laajisto worked with 100-year-old wood – embracing cracks and imperfections – to create the Centenniale coffee table for Finnish brand Nikari.

Made of a single piece of wood, the design’s tabletop is elongated and sharp-edged but rests on blocky, rounded legs that show off the unique variations and textures in the timber.

“Over 100-year-old wood is allowed to show its true character, colour variations, cracks and marks,” said Laajisto of the Centenniale table, which debuted at Milan design week 2023.

Centenniale coffee table by Joanna Laajisto for Nikari
The Centenniale coffee table is made of 100-year-old wood

“Some people might call these imperfections, but I think they are the essence of the piece and should be embraced.”

Centenniale has a low profile that adds to its character, which Laajisto says helps to bring harmony and calmness into a space — as do its contrasting forms.

Centenniale coffee table by Joanna Laajisto for Nikari
Cracks and imperfections in the wood are celebrated

The Centenniale coffee table is made of solid ash or oak woods, and comes in a range of sizes.

Product: Centenniale
Designer: Joanna Laajisto
Brand: Nikari
Contact: sales@nikari.fi

Dezeen Showroom

Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.

The post Centenniale coffee table by Joanna Laajisto for Nikari appeared first on Dezeen.

Electrifying the Roads: The ID.BUZZ Microbus, a Classic Reimagined for the Future

A remarkable event in the history of cars has occurred on the first-ever International Volkswagen Bus Day with the return of the microbus after a 20-year break. The T4 model was the last of these iconic vehicles sold in America, and now the electric ID.BUZZ has taken over. This is a significant milestone for the automotive industry.

Designer: Volkwagen

This vehicle is unique, unconventional, and breaks expectations. Its design stands out from other vehicles. The microbus is not just about looks but has an efficient layout. Despite its small size, the interior is surprisingly spacious, thanks to the rear engine placement.

Piloting a microbus can be equated to asserting a commanding presence on the road. One of the key characteristics is the wheel placement, which is extended to each corner of the vehicle. This design aspect improves driving dynamics, rendering the ID.BUZZ to be more agile and enhances visibility. The extensive glass enclosure around the cabin allows a panoramic, crystal-clear view of the surrounding environment.

This legendary vehicle’s rebirth tailors it for North American consumers. Given this market’s propensity for larger vehicles, the wheelbase has been expanded by 10 inches, an extra row of seats has been added, power output has been boosted, and a larger battery has been integrated. The extended wheelbase fosters improved driving dynamics and a roomier interior.

This newly designed vehicle has a powerful performance drive unit that provides 282 horsepower to the rear wheels. There is also an all-wheel-drive version with approximately 330 horsepower available. The vehicle’s lithium-ion batteries are integrated into the floor, which results in a low center of gravity and improves the overall driving experience.

In terms of dimensions, the two-row European version of the microbus is roughly the same length as a Tiguan but shares an Atlas’s width. With an extra 10 inches added to the wheelbase for the North American market, the microbus deftly balances the proportions of a compact and a midsize SUV. This distinct blend results in a maneuverable and manageable vehicle, yet it offers significantly more interior space than comparable SUVs.

The North American version of the vehicle has an updated look with new color options for both the exterior and interior. The iconic VW logo is illuminated, and color choices include the original European hues such as orange, yellow, dark blue, and bright green, as well as three new options: silver, cabana blue, and grey. This wide range of colors allows each owner to create a unique vehicle that reflects their individual personality.

The North American microbus’s interior outshines its competition. Three unique, custom interiors are available, each designed to captivate and cater to individual preferences. Whether it’s the urban ambiance with dark brown seats and blue door inserts, the coastal theme’s light tones, or the ’70s retro-inspired cognac brown seats with yellow piping, and there’s an interior to suit every preference.

Inside the microbus, comfort and utility reign supreme. Seven seats are standard, with the option to swap out for captain’s chairs, reducing the seat count to six. Standard leatherette seats come with heated and ventilated functionality that features 12-way power adjustment, memory function, and massage, and all are included as standard amenities. As a passenger vehicle, ensuring the comfort of occupants is paramount.

The seating layout is versatile and designed to accommodate various needs and purposes. The middle row, a 60/40 split-fold seat, can also slide forward by approximately 20 centimeters. The third row follows a similar design but adds the convenience of being removable, ensuring that additional cargo space can be made available when needed.

At a height of 6’2″, there was plenty of space for both my legs and head in the second and third rows. I found it much easier to get in and out of the third row compared to any minivan or SUV I’ve tried before. This makes the ID.BUZZ one of the most versatile vehicles for moving people in any consumer class.

In the ID.BUZZ, I found it very simple to remove the third-row seats. A quick tug on a string released the latch, allowing the seats to easily slide back. Additionally, the seats had a carrying handle for convenient transport and storage. Reinstalling the seats was just as easy, with a straightforward reverse process. The ID.BUZZ’s design and execution is notably thoughtful, especially when compared to traditional minivans that have captain’s seats.

The ID.BUZZ also introduces a new 12.9-inch infotainment display, equipped with illuminated sliders for temperature and volume control and a dedicated climate document. The vehicle boasts features that amplify convenience and comfort, most of which are standard in the entry model. Highlights include power sliding doors, a power horizontal sliding second-row window, a power tailgate with a kick-to-open function, three-zone climate control, and minimal optional equipment.

Additional optional features include a panoramic electrochromic roof that considerably opens up the cabin, and a pre-heated windshield, among others.

Safety, convenience, and driver assistance are all consolidated under the IQ Drive umbrella. A standout feature of this suite is the travel assist functionality, which blends adaptive cruise control and lane assist. As long as drivers maintain slight contact with the steering wheel, the vehicle handles the rest, making the journey both comfortable and enjoyable. Other IQ Drive features include Remote Parking, Head Up Display, and an area view.

The return of the microbus is more than just a nostalgic comeback; it represents a complete rethinking of what a vehicle can be. It blends the best of both worlds, with a mix of classic design and modern functionality, creating a perfect balance of style and practicality. This vehicle is more than just a means of transportation; it offers a unique experience, makes a statement, and owning one means possessing a piece of history while traveling into the future. The wait has been long, but the consensus is that it has been worth it. Having had the chance to test drive the European version of the ID.BUZZ, I am eager to share its unique appeal and the joy of operating such a distinctive vehicle—the ID.BUZZ will be available on the market next year, with pricing details yet to be released.

The post Electrifying the Roads: The ID.BUZZ Microbus, a Classic Reimagined for the Future first appeared on Yanko Design.

Thirty Are Better Than One: Andy Warhol at The Brant Foundation

Curated by Peter M Brant and featuring works from his own collection, a powerfully personal perspective on Warhol’s work over four decades

The Brant Foundation‘s spectacular East Village location in NYC is well suited for a surprisingly fresh and personal take on Andy Warhol’s work over four decades. Thirty Are Better Than One (named after the artist’s 30 silk-screened Mona Lisas) features more than 100 artworks, nearly all of which are from the collection of the foundation’s founder, Peter M Brant. The retrospective runs through 31 July, and provides a unique journey through Warhol’s career, from early sketches and Polaroids to his famous silkscreens and sculptures.

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You’re In, 1967; Dance Diagram (7), 1962; Little King, 1961; Dick Tracy, c. 1961 by Andy Warhol / photo by Evan Orensten

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You’re In, 1967; Dance Diagram (7), 1962; Little King, 1961; Dick Tracy, c. 1961 by Andy Warhol / photo by Evan Orensten

Warhol retrospectives are plentiful—and often repetitive and tiresome. This show is successful because of the deep, decades-long personal relationship the two men shared as friends, as artist and collector, as collaborators and as pivotal personalities in NYC’s Pop Art world. The collection’s depth and authenticity emphasizes their many connections—Brant’s curatorial skills are as sharp as his collector’s eye.

Jean Vaughan, 1956; Gold Shoe (Babe Paley), c.1955; Elvis Presley (Gold Boot), 1956; Liz #5 (Early Colored Liz), 1963; Mae West, 1956; Untitled (Gold Shoe), c. 1957; Mister Moore, c. 1950; The B.G. Shoe, 1956; David Evins, 1956 by Andy Warhol / photo by Evan Orensten

The exhibition shares some of Warhol’s early pieces from NYC during the ’50s when he was employed as a commercial illustrator. One highlight is a folding screen made in 1954 for a window at Tiffany’s titled “Pin the Tail on The Donkey” (Tiffany & Co is also the show’s lead sponsor). Artworks such as “Elvis Presley (Gold Boot)” and “Mae West” further represent this early period, foreshadowing Warhol’s later domination of the Pop Art movement. A significant piece within the exhibit is the drawing “Campbell’s Soup Cans,” purchased by Brant in 1962, his first acquisition of Warhol’s work.

Eight works, each: Skull, 1976; Rorschach, 1984 by Andy Warhol / photo by Evan Orensten

Warhol’s well-known photographic silkscreens highlight his burgeoning obsession with celebrity culture. As his career entered the ’70s he began to experiment with abstraction, and pieces like those in his “Skulls” series (1976) are a treat to see in person. In his later years, Warhol’s work became increasingly introspective and political, reflecting on faith, morality and loss. While this shift is represented throughout, it is epitomized by the large-scale  “The Last Supper” (1976).

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The Last Supper, 1986 by Andy Warhol / photo by Evan Orensten

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The Last Supper, 1986 by Andy Warhol / photo by Evan Orensten

If you missed The Brant Foundation’s stunning debut East Village exhibition dedicated to  Jean-Michel Basquiat, Thirty Are Better Than One is a great opportunity to enjoy the building as well. Once an electrical substation, the century-old structure was formerly the home of artist Walter De Maria and was beautifully transformed by Gluckman Tang Architects.

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Dollar Sign, 1981; Diamond Dust Shoes, 1980, by Andy Warhol / photo by Evan Orensten

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Dollar Sign, 1981; Diamond Dust Shoes, 1980, by Andy Warhol / photo by Evan Orensten

No show is complete without an exit through the gift shop, and kudos to the merchandising team at The Brant Foundation, who’ve created some great items that you can only acquire by visiting or calling—no online sales.

<img data-attachment-id="314841" data-permalink="https://coolhunting.com/culture/thirty-are-better-than-one-andy-warhol-at-the-brant-foundation/attachment/img_8264/" data-orig-file="https://i0.wp.com/coolhunting.com/wp-content/uploads/2023/06/IMG_8264-scaled.jpg?fit=2560%2C1829&ssl=1" data-orig-size="2560,1829" data-comments-opened="0" data-image-meta="{"aperture":"1.78","credit":"","camera":"iPhone 14 Pro Max","caption":"","created_timestamp":"1683203113","copyright":"","focal_length":"6.86","iso":"160","shutter_speed":"0.0083333333333333","title":"","orientation":"1"}" data-image-title="IMG_8264" data-image-description="" data-image-caption="

Merchandise created for the exhibition is only available on site. ©️/ ®️/
TM 2023 Andy Warhol Foundation / Licensed by ARS / photo by Evan Orensten

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Merchandise created for the exhibition is only available on site. ©️/ ®️/ TM 2023 Andy Warhol Foundation / Licensed by ARS / photo by Evan Orensten

The Brant Foundation Art Study Center is located at 421 East 6th Street, New York, NY 10009.

Hero image: White Disaster (White Car Crash 19 Times), 1963; 12 Electric Chairs, 1964-65; Merce, 1963; Most Wanted Men No. 5, Arthur Alvin M., 1964; eight works, each: Skull, 1976; Rorschach, 1984; Oxidation, 1977-78 by Andy Warhol / photo by Evan Orensten