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Dash Snow gained recognition after being featured in an article titled “Warhol’s Children” that appeared in New York magazine in 2007, written by Ariel Levy. In it, a friend of the artist told Levy his wall was lined with alphabetized binders full of Snow's work, "because you never know what's going to happen with Dash."
Dash Snow was currently being featured in the “Abstract America: New Painting and Sculpture” at the Saatchi Gallery in London. His body was found last night at Lafayette House, a hotel in Lower Manhattan.
His grandmother, the art collector and philanthropist Christophe de Menil, said that Dash Snow had died of a drug overdose. She also indicated he had entered drug rehab earlier in the year, and had been clean until recently.
To those unfamiliar with Dash Snow a read of Levy's 2007 article is worth it. One excerpt:
Snow refused to call himself an artist for a long time. He used to boast that he’d been Polaroiding his night wanderings since he stole a camera at age 13, just so he’d know where he’d been when he sobered up. More recently Snow has been into collage, but either way some see in his work a kind of radical authenticity that parts of the art world are desperate for. “Whether it’s total bullshit and he’s running around trying to get in trouble with the police, it kind of doesn’t matter,” says art agent and consultant Molly Logan. “As a case study, here’s a creature who’s just reacting. I think that for the last five years or so, there is a larger desire for the personal: something that has the hand of a person in it. It’s not I’m going to do this so people will think I’m crazy. I am crazy! I think he’s genuinely and completely self-destructive.”