Download Andy Warhol (October Files) by Annette Michelson PDF

By Annette Michelson

Andy Warhol (1928-1987), essentially the most celebrated artists of the final 3rd of the 20 th century, owes his exact position within the historical past of visible tradition to not the mastery of a unmarried medium yet to the workout of a number of media and roles. A mythical artwork international determine, he labored as an artist, filmmaker, photographer, collector, writer, and clothier. starting within the Nineteen Fifties as a advertisement artist, he went directly to produce paintings for exhibition in galleries and museums. the variety of his efforts quickly multiplied to the making of flicks, images, video, and books. Warhol first got here to public detect within the Sixties via works that drew on ads, model names, and newspaper tales and headlines. lots of his best-known photographs, either unmarried and in sequence, have been produced in the context of pop artwork. Warhol was once an enormous determine within the bridging of the distance among low and high paintings, and his mode of creation within the recognized studio referred to as "The manufacturing unit" concerned the popularity of paintings making as one kind of firm between others. the unconventional nature of that company has ensured the long-lasting prestige of his artwork and person.Andy Warhol includes illustrated essays by way of Benjamin H. D. Buchloh, Thomas Crow, Hal Foster, Rosalind Krauss, Annette Michelson, and Nan Rosenthal, plus a formerly unpublished interview with Warhol by way of Buchloh. The essays handle Warhol's relation to and impression on mass tradition and the recurrence of catastrophe and loss of life in his paintings.

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British pop in particular had thrived on those juxtapositions of commodity imagery with (semipornographic) movie star imagery and had fused the language of vulgar gossip magazines with that of the idiocy of advertising copy. The most notable examples are obviously Eduardo Paolozzi’s I Was a Rich Man’s Plaything (1947) and Richard Hamilton’s Just What Is It that Makes Today’s Homes So Different, So Appealing? 43 Once again, in Rauschenberg’s work of the mid- to late 1950s we can find the germination of that particular iconography and the methods specific for its display, methods that would soon contribute to Warhol’s notorious iconographic identity.

Rauschenberg, for one, had done a series of small square collages with gold and silver leaf in 1953, which he had exhibited at the Stable Gallery that year. He continued through 1956 to use the crumpled foil on roughly textured fabric, a combination that eliminated drawing and gesture and instead generated surface and textural incident exclusively from within the material’s inherent qualities and procedural capacities. Frank Stella, before engaging in his series of large aluminum paintings in 1960 (the square paintings Averroes and Avicenna, for example), had already produced a group of smaller square paintings in 1959, such as Jill, that were covered with geometrically ordered, highly reflective metallic tape (as opposed to Rauschenberg’s randomly broken and erratically reflecting foil surfaces).

67, quoted in Simon Frith and Howard Horne, Art into Pop (New York and London: Methuen, 1987), p. 12. 6. This role change was of course not as abrupt as that. It appears that Warhol continued to work as a commercial designer at least as late as 1962. 7. Andy Warhol,“Happy Butterfly Day,” published by Vanity Fair, circa 1955. The Archives of Andy Warhol, New York. 8. See Trevor Fairbrother,“Warhol Meets Sargent at Whitney,” Arts Magazine 61 (February 1987): 64–71. My image is a statement of the symbols of the harsh, impersonal products and brash materialistic objects on which America is built today.

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