Read Book Popism: the Warhol Sixties
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Boo-Hooray Catalog #10: Flyers
Catalog 10 Flyers + Boo-hooray May 2021 22 eldridge boo-hooray.com New york ny Boo-Hooray Catalog #10: Flyers Boo-Hooray is proud to present our tenth antiquarian catalog, exploring the ephemeral nature of the flyer. We love marginal scraps of paper that become important artifacts of historical import decades later. In this catalog of flyers, we celebrate phenomenal throwaway pieces of paper in music, art, poetry, film, and activism. Readers will find rare flyers for underground films by Kenneth Anger, Jack Smith, and Andy Warhol; incredible early hip-hop flyers designed by Buddy Esquire and others; and punk artifacts of Crass, the Sex Pistols, the Clash, and the underground Austin scene. Also included are scarce protest flyers and examples of mutual aid in the 20th Century, such as a flyer from Angela Davis speaking in Harlem only months after being found not guilty for the kidnapping and murder of a judge, and a remarkably illustrated flyer from a free nursery in the Lower East Side. For over a decade, Boo-Hooray has been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Evan, Beth and Daylon. -
Moma Andy Warhol Motion Pictures
MoMA PRESENTS ANDY WARHOL’S INFLUENTIAL EARLY FILM-BASED WORKS ON A LARGE SCALE IN BOTH A GALLERY AND A CINEMATIC SETTING Andy Warhol: Motion Pictures December 19, 2010–March 21, 2011 The International Council of The Museum of Modern Art Gallery, sixth floor Press Preview: Tuesday, December 14, 10:00 a.m. to 12:00 p.m. Remarks at 11:00 a.m. Click here or call (212) 708-9431 to RSVP NEW YORK, December 8, 2010—Andy Warhol: Motion Pictures, on view at MoMA from December 19, 2010, to March 21, 2011, focuses on the artist's cinematic portraits and non- narrative, silent, and black-and-white films from the mid-1960s. Warhol’s Screen Tests reveal his lifelong fascination with the cult of celebrity, comprising a visual almanac of the 1960s downtown avant-garde scene. Included in the exhibition are such Warhol ―Superstars‖ as Edie Sedgwick, Nico, and Baby Jane Holzer; poet Allen Ginsberg; musician Lou Reed; actor Dennis Hopper; author Susan Sontag; and collector Ethel Scull, among others. Other early films included in the exhibition are Sleep (1963), Eat (1963), Blow Job (1963), and Kiss (1963–64). Andy Warhol: Motion Pictures is organized by Klaus Biesenbach, Chief Curator at Large, The Museum of Modern Art, and Director, MoMA PS1. This exhibition is organized in collaboration with The Andy Warhol Museum in Pittsburgh. Twelve Screen Tests in this exhibition are projected on the gallery walls at large scale and within frames, some measuring seven feet high and nearly nine feet wide. An excerpt of Sleep is shown as a large-scale projection at the entrance to the exhibition, with Eat and Blow Job shown on either side of that projection; Kiss is shown at the rear of the gallery in a 50-seat movie theater created for the exhibition; and Sleep and Empire (1964), in their full durations, will be shown in this theater at specially announced times. -
Warhol, Andy (As Filmmaker) (1928-1987) Andy Warhol
Warhol, Andy (as filmmaker) (1928-1987) Andy Warhol. by David Ehrenstein Image appears under the Creative Commons Encyclopedia Copyright © 2015, glbtq, Inc. Attribution-Share Alike 3.0 Unported license. Entry Copyright © 2002, glbtq, Inc. Courtesy Jack Mitchell. Reprinted from http://www.glbtq.com As a painter Andy Warhol (the name he assumed after moving to New York as a young man) has been compared to everyone from Salvador Dalí to Norman Rockwell. But when it comes to his role as a filmmaker he is generally remembered either for a single film--Sleep (1963)--or for works that he did not actually direct. Born into a blue-collar family in Forest City, Pennsylvania on August 6, 1928, Andrew Warhola, Jr. attended art school at the Carnegie Institute of Technology in Pittsburgh. He moved to New York in 1949, where he changed his name to Andy Warhol and became an international icon of Pop Art. Between 1963 and 1967 Warhol turned out a dizzying number and variety of films involving many different collaborators, but after a 1968 attempt on his life, he retired from active duty behind the camera, becoming a producer/ "presenter" of films, almost all of which were written and directed by Paul Morrissey. Morrissey's Flesh (1968), Trash (1970), and Heat (1972) are estimable works. And Bad (1977), the sole opus of Warhol's lover Jed Johnson, is not bad either. But none of these films can compare to the Warhol films that preceded them, particularly My Hustler (1965), an unprecedented slice of urban gay life; Beauty #2 (1965), the best of the films featuring Edie Sedgwick; The Chelsea Girls (1966), the only experimental film to gain widespread theatrical release; and **** (Four Stars) (1967), the 25-hour long culmination of Warhol's career as a filmmaker. -
The Raunchy Splendor of Mike Kuchar's Dirty Pictures
MIKE KUCHAR ART The Raunchy Splendor of Mike Kuchar’s Dirty Pictures by JENNIFER KRASINSKI SEPTEMBER 19, 2017 “Blue Eyes” (1980–2000s) MIKE KUCHAR/ANTON KERN GALLERY/GHEBALY GALLERY AS AN ILLUSTRATOR, MY AIM IS TO AMUSE THE EYE AND SPARK IMAGINATION, wrote the great American artist and filmmaker Mike Kuchar in Primal Male, a book of his collected drawings. TO CREATE TITILLATING SCENES THAT REFRESH THE SOUL… AND PUT A BIT MORE “FUN” TO VIEWING PICTURES — and that he has done for over five decades. “Drawings by Mike!” is an exhibition of erotic illustrations at Anton Kern Gallery, one of the fall season’s great feasts for the eye and a welcome homecoming for one of New York’s most treasured prodigal sons. Sympathy for the devil: Mike Kuchar’s “Rescued!” (2017) MIKE KUCHAR/ANTON KERN GALLERY As boys growing up in the Bronx, Mike and his twin brother — the late, equally great film and video artist George (1942–2011) — loved to spend their weekends at the movies, watching everything from newsreels to B films to blockbusters, their young minds roused by all the thrills that Hollywood had to offer: romance, drama, action, science fiction, terror, suspense. As George remembered in their 1997 Reflecons From a Cinemac Cesspool, a memoir-cum–manual for aspiring filmmakers: “On the screen there would always be a wonderful tapestry of big people and they seemed so wild and crazy….e women wantonly lifted up their skirts to adjust garter-belts and men in pin-striped suits appeared from behind shadowed décor to suck and chew on Technicolor lips.” For the Kuchars, as for gay male contemporaries like Andy Warhol and Jack Smith, the movie theater was a temple for erotics both expressed and repressed, projected and appropriated, homo and hetero, all whirled together on the silver screen. -
The Rise of Pop
Expos 20: The Rise of Pop Fall 2014 Barker 133, MW 10:00 & 11:00 Kevin Birmingham (birmingh@fas) Expos Office: 1 Bow Street #223 Office Hours: Mondays 12:15-2 The idea that there is a hierarchy of art forms – that some styles, genres and media are superior to others – extends at least as far back as Aristotle. Aesthetic categories have always been difficult to maintain, but they have been particularly fluid during the past fifty years in the United States. What does it mean to undercut the prestige of high art with popular culture? What happens to art and society when the boundaries separating high and low art are gone – when Proust and Porky Pig rub shoulders and the museum resembles the supermarket? This course examines fiction, painting and film during a roughly ten-year period (1964-1975) in which reigning cultural hierarchies disintegrated and older terms like “high culture” and “mass culture” began to lose their meaning. In the first unit, we will approach the death of the high art novel in Thomas Pynchon’s The Crying of Lot 49, which disrupts notions of literature through a superficial suburban American landscape and through the form of the novel itself. The second unit turns to Andy Warhol and Pop Art, which critics consider either an American avant-garde movement undermining high art or an unabashed celebration of vacuous consumer culture. In the third unit, we will turn our attention to The Rocky Horror Picture Show and the rise of cult films in the 1970s. Throughout the semester, we will engage art criticism, philosophy and sociology to help us make sense of important concepts that bear upon the status of art in modern society: tradition, craftsmanship, community, allusion, protest, authority and aura. -
Fall 2015 Uchicago Arts Guide
UCHICAGO ARTS FALL 2015 EVENT & EXHIBITION HIGHLIGHTS IN THIS ISSUE The Renaissance Society Centennial UChicago in the Chicago Architecture Biennial CinéVardaExpo.Agnès Varda in Chicago arts.uchicago.edu BerlinFullPage.pdf 1 8/21/15 12:27 PM 2015 Randy L. and Melvin R. BERLIN FAMILY LECTURES CONTENTS 5 Exhibitions & Visual Arts 42 Youth & Family 12 Five Things You (Probably) Didn’t 44 Arts Map Know About the Renaissance Society 46 Info 17 Film 20 CinéVardaExpo.Agnès Varda in Chicago 23 Design & Architecture Icon Key 25 Literature Chicago Architecture Biennial event 28 Multidisciplinary CinéVardaExpo event C M 31 Music UChicago 125th Anniversary event Y 39 Theater, Dance & Performance UChicago student event CM MY AMITAV GHOSH The University of Chicago is a destination where ON THE COVER CY artists, scholars, students, and audiences converge Daniel Buren, Intersecting Axes: A Work In Situ, installation view, CMY T G D and create. Explore our theaters, performance The Renaissance Society, Apr 10–May 4, 1983 K spaces, museums and galleries, academic | arts.uchicago.edu F, H, P A programs, cultural initiatives, and more. Photo credits: (page 5) Attributed to Wassily Kandinsky, Composition, 1914, oil on canvas, Smart Museum of Art, the University of Chicago, Gift of Dolores and Donn Shapiro in honor of Jory Shapiro, 2012.51.; Jessica Stockholder, detail of Rose’s Inclination, 2015, site-specific installation commissioned by the Smart Museum of Art;page ( 6) William G W Butler Yeats (1865–1939), Poems, London: published by T. Fisher Unwin; Boston: Copeland and Day, 1895, promised Gift of Deborah Wachs Barnes, Sharon Wachs Hirsch, Judith Pieprz, and Joel Wachs, AB’92; Justin Kern, Harper Memorial Reading Room, 2015, photo courtesy the artist; page( 7) Gate of Xerxes, Guardian Man-Bulls of the eastern doorway, from Erich F. -
Andy Warhol¬タルs Deaths and the Assembly-Line Autobiography
OCAD University Open Research Repository Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies 2011 Andy Warhol’s Deaths and the Assembly-Line Autobiography Charles Reeve OCAD University [email protected] © University of Hawai'i Press | Available at DOI: 10.1353/bio.2011.0066 Suggested citation: Reeve, Charles. “Andy Warhol’s Deaths and the Assembly-Line Autobiography.” Biography 34.4 (2011): 657–675. Web. ANDY WARHOL’S DEATHS AND THE ASSEMBLY-LINE AUTOBIOGRAPHY CHARLES REEVE Test-driving the artworld cliché that dying young is the perfect career move, Andy Warhol starts his 1980 autobiography POPism: The Warhol Sixties by refl ecting, “If I’d gone ahead and died ten years ago, I’d probably be a cult fi gure today” (3). It’s vintage Warhol: off-hand, image-obsessed, and clever. It’s also, given Warhol’s preoccupation with fame, a lament. Sustaining one’s celebrity takes effort and nerves, and Warhol often felt incapable of either. “Oh, Archie, if you would only talk, I wouldn’t have to work another day in my life,” Bob Colacello, a key Warhol business functionary, recalls the art- ist whispering to one of his dachshunds: “Talk, Archie, talk” (144). Absent a talking dog, maybe cult status could relieve the pressure of fame, since it shoots celebrities into a timeless realm where their notoriety never fades. But cults only reach diehard fans, whereas Warhol’s posthumously pub- lished diaries emphasize that he coveted the stratospheric stardom of Eliza- beth Taylor and Michael Jackson—the fame that guaranteed mobs wherever they went. (Reviewing POPism in the New Yorker, Calvin Tomkins wrote that Warhol “pursued fame with the single-mindedness of a spawning salmon” [114].) Even more awkwardly, cult status entails dying—which means either you’re not around to enjoy your notoriety or, Warhol once nihilistically pro- posed, you’re not not around to enjoy it. -
Warhol, Recycling, Writing
From A to B and Back Again: Warhol, Recycling, Writing Christopher Schmidt I, too, dislike it—the impulse to claim Warhol as silent underwriter in virtually any aesthetic endeavor. Warhol invented reality television. Warhol would have loved YouTube. Jeff Koons is the heterosexual Warhol. It’s Warhol’s world; we just live in it. Is there a critical voice that does not have a claim on some aspect of the Warhol corpus, its bulk forever washing up on the shore of the contemporary? However much I suffer from Warhol fatigue, a quick perusal of The Philos- ophy of Andy Warhol: From A to B and Back Again is sufficient to pull me back into the camp of Warhol boosters. I first discovered this 241-page little red book—the paperback is designed to look like a Campbell’s soup can—as a college student in the late 90s, when its sunny subversiveness and impatience with all things “intel- lectual” buoyed my spirits through the longueurs of New England winters. Warhol’s charm, the invention and breadth of his thought, thrilled me then and delights me still. The gap between my affection for the book and critical dismis- sal of it begs explanation and redress. Though overlooked as literature, The Philosophy is often mined by critics as a source for Warhol’s thought and personal history without due consideration given to the book’s form or its status as a transcribed, partially ghostwritten per- formance. Instead, Warhol’s aperçus are taken as uncomplicated truth: from Warhol’s brain to my dissertation. -
Part Two: Synaesthetic Cinema: the End of Drama
PART TWO: SYNAESTHETIC CINEMA: THE END OF DRAMA "The final poem will be the poem of fact in the language of fact. But it will be the poem of fact not realized before." WALLACE STEVENS Expanded cinema has been expanding for a long time. Since it left the underground and became a popular avant-garde form in the late 1950's the new cinema primarily has been an exercise in technique, the gradual development of a truly cinematic language with which to expand further man's communicative powers and thus his aware- ness. If expanded cinema has had anything to say, the message has been the medium.1 Slavko Vorkapich: "Most of the films made so far are examples not of creative use of motion-picture devices and techniques, but of their use as recording instruments only. There are extremely few motion pictures that may be cited as instances of creative use of the medium, and from these only fragments and short passages may be compared to the best achievements in the other arts."2 It has taken more than seventy years for global man to come to terms with the cinematic medium, to liberate it from theatre and literature. We had to wait until our consciousness caught up with our technology. But although the new cinema is the first and only true cinematic language, it still is used as a recording instrument. The recorded subject, however, is not the objective external human con- dition but the filmmaker's consciousness, his perception and its pro- 1 For a comprehensive in-depth history of this development, see: Sheldon Renan, An Introduction to the American Underground Film (New York: Dutton Paperbacks, 1967). -
The Films of Andy Warhol Stillness, Repetition, and the Surface of Things
The Films of Andy Warhol Stillness, Repetition, and the Surface of Things David Gariff National Gallery of Art If you wish for reputation and fame in the world . take every opportunity of advertising yourself. — Oscar Wilde In the future everyone will be world-famous for 15 minutes. — attributed to Andy Warhol 1 The Films of Andy Warhol: Stillness, Repetition, and the Surface of Things Andy Warhol’s interest and involvement in film ex- tends back to his childhood days in Pittsburgh, Pennsylvania. Warhol was sickly and frail as a youngster. Illness often kept him bedridden for long periods of time, during which he read movie magazines and followed the lives of Hollywood celebri- ties. He was an avid moviegoer and amassed a large collection of publicity stills of stars given out by local theaters. He also created a movie scrapbook that included a studio portrait of Shirley Temple with the handwritten inscription: “To Andrew Worhola [sic] from Shirley Temple.” By the age of nine, Warhol had received his first camera. Warhol’s interests in cameras, movie projectors, films, the mystery of fame, and the allure of celebrity thus began in his formative years. Many labels attach themselves to Warhol’s work as a filmmaker: documentary, underground, conceptual, experi- mental, improvisational, sexploitation, to name only a few. His film and video output consists of approximately 650 films and 4,000 videos. He made most of his films in the five-year period from 1963 through 1968. These include Sleep (1963), a five- hour-and-twenty-one minute look at a man sleeping; Empire (1964), an eight-hour film of the Empire State Building; Outer and Inner Space (1965), starring Warhol’s muse Edie Sedgwick; and The Chelsea Girls (1966) (codirected by Paul Morrissey), a double-screen film that brought Warhol his greatest com- mercial distribution and success. -
Make Pop Art Like Warhol
MAKE POP ART LIKE WARHOL Design your own piece of pop art inspired by this famous artist WHO IS ANDY WARHOL? Andy Warhol is one of the most famous artists, ever. From his soup to his hair, he is an art legend. Andy Warhol was part of the pop art movement. He was born Andrew Warhola in 1928 in Pennsylvania. His parents were from a part of Europe that is now part of Slovakia. They moved to New York in the 1920s. His first job was illustrating adverts in fashion magazines. Now is he known as one of the most influential artists who ever lived! Warhol was gay and expressed his identity through his life and art. During his lifetime being gay was illegal in the United States. WHAT IS HE FAMOUS FOR? He is famous for exploring popular culture in his work. Popular culture is anything from Coca Cola to pop stars to the clothes people like to wear. He made a print of Campbell’s Soup – a popular brand of soup in the United States. He said he ate Campbell’s tomato soup every day for lunch for 20 years! In the 1960s Andy Warhol became known as one of the leading artists of the pop art movement. WHAT IS POP ART? Pop artists felt that art should reflect modern life and so they made art inspired by the world around them – from movies, advertising and pop music to comic books and even product packaging. Find out more in this short film ……. https://www.tate.org.uk/kids/explore/who-is/who-andy-warhol Warhol was famous for exploring everyday and familiar objects in his work, using brands such as Coca- Cola, Brillo and Campbell’s Soup. -
Warhol's Aesthetics Jonathan Flatley Wayne State University, [email protected]
Criticism Volume 56 Article 1 Issue 3 Andy Warhol 2014 Warhol's Aesthetics Jonathan Flatley Wayne State University, [email protected] Anthony E. Grudin University of Vermont, [email protected] Follow this and additional works at: http://digitalcommons.wayne.edu/criticism Recommended Citation Flatley, Jonathan and Grudin, Anthony E. (2014) "Warhol's Aesthetics," Criticism: Vol. 56: Iss. 3, Article 1. Available at: http://digitalcommons.wayne.edu/criticism/vol56/iss3/1 INTRODUCTION: WARHOL’S AESTHETICS Jonathan Flatley and Anthony E. Grudin often we can glimpse the worlds proposed and prom- ised by queerness in the realm of the aesthetic. —José Muñoz, Cruising utopia (2009)1 The essays in this volume show an Andy Warhol who was deeply engaged in the aesthetic, if we understand that word in its ancient Greek sense to refer to “the whole region of human perception and sensation,” as Terry Eagleton put it.2 Warhol, these essays propose, was fascinated by the ways in which the human sensorium was interfacing with new technologies of reproduction and mediation—indeed, with the vast set of processes that characterize mid-twentieth-century modernity in the United States (commodification, urbanization, the expansion of mass cul- ture and its audiences, and the mass production of everything from food to cars and music) and the new object and image world created by these processes: “comics, picnic tables, men’s trousers, celebrities, shower cur- tains, refrigerators, Coke bottles—all the great modern things that the Abstract Expressionists