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In real life, Silin Liu leads a fairly pedestrian life as an artist in Beijing. In her photos, she is Celine Liu, a glamorous socialite who chats with world leaders, mingles with celebrities, and hobnobs with intellectuals. With a few costumes, an iPhone, and ridiculously good Photoshop skills, Liu makes herself a 20th-century icon.

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The playful, nostalgic photos in her ongoing series I'm Everywhere celebrate the idea that, in the era of digital manipulation, you can be whomever you like. Liu grew up admiring the celebrities she saw on TV and dreaming of stardom, but she was too much a wallflower to ever perform for a crowd. Instead, she tinkered with Photoshop, inserting herself into old family photos. Liu turned her attention to historical images in when she happened upon a photograph of Soong Mei-ling, the wife of President Chiang Kai-shek, posing alongside a Chinese general.

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Liu replaced the general with herself. It was too much fun to stop. After selecting a photo and meticulously planning the image she wants, Liu rummages through her parents' closet for a costume or buys something online.

A friend often snaps the photo with Liu's iPhone, or she uses a self-timer if no one's available. Then she painstakingly combines her photo and the historic image in Photoshop.

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The entire process can take up to four weeks. The photos in I'm Everywhere have the relaxed feel of snapshots.

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The fact that most of the people in them are westerners makes Liu's casual familiarity as a young Chinese woman even more striking. She rewrites history simply by being there.

And her work has fooled more than a few people on Facebook and other social media. Of course, Liu's images aren't any less authentic than the carefully curated images you see on Instagram these days.

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The suggestive quality of these paintings mimics the tests after which they are named, in which patients are given a set of standard inkblots and are evaluated based on their responses to them. Origin of Cotton , The Swiss dealer Bruno Bischofberger commissioned a set of collaborations from three leading artists of the s, each from a different generation. To begin, each artist was given a set of canvases, which were then circulated to the others so they could add their contributions.

Oxidation Painting in 12 parts , Working with his studio assistant Ronnie Cutrone on the Oxidations , Warhol experimented with the catalytic reaction of urine and metallic paints to create brilliant golds and acidic greens that radiate across richly textured surfaces. Self-Portrait Strangulation , Ten years after an acquaintance, Valerie Solanas, attempted to assassinate Warhol, he created a series of self-portraits. The self-portraits of —his first in more than twelve years—reveal Warhol, who had just turned fifty, in a period of self-examination, reflecting on his mortality.

Here Warhol stages his own strangulation in an image that suggests his previous near-death experience and confirms his obsession with the subject of death.

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During this time Warhol produced more works, in a considerable number of series and on a vastly larger scale, than at any other point in his forty-year career. It was a decade of great artistic development for him, during which a dramatic transformation of his style took place alongside the introduction of new techniques. Warhol continued to expand upon his artistic and business ventures with commissioned portraits, print series, television productions, and fashion projects, but he also reengaged with painting.

In the late s, he developed a new interest in abstraction, first with his Oxidations and Shadows series and later with his Yarn , Rorschach , and Camouflage paintings. His return to the hand-painted image in the s was inspired by collaborations with Jean-Michel Basquiat, Francesco Clemente, and Keith Haring.

The exhibition was curated by Joseph D. A catalogue published by Prestel accompanies this exhibition.

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