Andy Warhol (October Files) - download pdf or read online

By Annette Michelson

ISBN-10: 0262134063

ISBN-13: 9780262134064

ISBN-10: 026263242X

ISBN-13: 9780262632423

ISBN-10: 1423729838

ISBN-13: 9781423729839

Andy Warhol (1928-1987), the most celebrated artists of the final 3rd of the 20th century, owes his designated 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 global determine, he labored as an artist, filmmaker, photographer, collector, writer, and clothier. starting within the Fifties as a advertisement artist, he went directly to produce paintings for exhibition in galleries and museums. the diversity of his efforts quickly accelerated to the making of flicks, images, video, and books. Warhol first got here to public realize within the Nineteen 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 paintings. Warhol was once an important determine within the bridging of the space among low and high paintings, and his mode of creation within the well-known studio referred to as "The manufacturing facility" concerned the popularity of paintings making as one kind of company between others. the unconventional nature of that firm has ensured the long-lasting prestige of his artwork and person.Andy Warhol comprises 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Benjamin H. D. Buchloh, Thomas Crow, Hal Foster, Rosalind Krauss, Annette Michelson, and Nan Rosenthal, plus a formerly unpublished interview with Warhol by way of Buchloh.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 tackle Warhol's relation to and influence on mass tradition and the recurrence of catastrophe and loss of life in his paintings.

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Warhol thus groups together those photographic conventions that implement the collective scopic compulsions: looking at the Other (in endless envy at fame and fortune as much as in sadistic secrecy at catastrophe) and the perpetually vanishing Self (in futile tokens and substitutes). He also articulated this dialectic of the photographic image as social representation with astonishing programmatic clarity: My death series was divided into two parts,the first one famous deaths and the second one people nobody ever heard of.

Gregory McDonald,“Built in Obsolescence: Art by Andy Warhol,” Boston Sunday Globe, October 23, 1966, p. 17. 3. See Andy Warhol’s Index Book (New York: Random House, 1967). The logo appears in the midst of photographs of the factory displaying Mott’s, Heinz’s, and Campbell’s products as an exceptional and lonely variation on the eternal repetition of the same logotypes and brands in Warhol’s art of the time. Chanel No. , Andy Warhol Prints (A Catalogue raisonné) (New York: Ronald Feldman Fine Arts, Edition Schellmann, and Abbeville Press, 1985), pp.

And the second is just kind of ridiculous because it’s not anything. ’ And the first one was one that was any good. The other thing—God only knows what it is. And, I think that helped Andy make up his mind as to—you know: that was almost the birth of Pop. ” See Smith, Andy Warhol’s Art and Films, p. 97. Warhol followed the advice only partially: he exhibited the “cold” version at his first New York exhibition at the Stable Gallery in 1962, but he did not destroy the other version. It is reproduced in Rainer Crone’s early catalogue raisonné as No.

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Andy Warhol (October Files) by Annette Michelson

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