Who Was Andy Warhol? Ebook, Epub
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University of Illinois
UNIVERSITY OF ILLINOIS A/? /'A 19...... THIS IS TO CERTIEY THAT THE THESIS PREPARED t'NDEK MY SUPERVISION BY A ENTITLED................ IS APPROVED BY ME AS EULFII.UNC THIS PART f)F THE REUUREMENTS FOR THE DECREE OB. u ... 1 i . Instructor in Change A pprove^: ‘ ...‘ HEAD op DEPARTMENT OP. Andy Warhol as a Neutral Facade By Rachael E , Russ Thesis for the Degree of Bachelor of Arts in Liberal Arts and Sciences College of Liberal Arts and Sciences University of Illinois Urbana, I11inois 1990 Table of Contents Introduction 1 Self Image 4 Consumerism 1 4 Religio. and Death I 8 Conclusion 2 4 Introduction "There*s nothing really to understand about my work.**1 2 taken literally this statement of Andy Warhol*s might cause one simply to dismiss his silk-screened images as the mechanical designs of a commercial artist, but it more accurately conveys his perceptions of self and the shallow world around him. As a leader of the revolutionary Pop Art movement, Warhol* s synthesis of popular culture and high art serves as vehicle for his philosophically more subtle, yet pessimistic attitude. In his philosophy he states, "Everything is nothing,"* which reflects his inherent insecurity with himself as manifested in his superficial existence. Warhol approaches his art and life on the surface in order to insulate himself from a more threatening reality. By experiencing life on a superficial level, he protects himself from pain or disappointment. When everything is nothing, he has nothing to lose. In his Philosophy, he illustrates his basic mistrust when describes a nightmare he had in which the people's faces are disfigured so that they 1 * Gretehen Berg. -
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. -
Andy Warhol and the Dawn of Modern-Day Celebrity Culture 113
Andy Warhol and the Dawn of Modern-Day Celebrity Culture 113 Alicja Piechucka Fifteen Minutes of Fame, Fame in Fifteen Minutes: Andy Warhol and the Dawn of Modern-Day Celebrity Culture Life imitates art more than art imitates life. –Oscar Wilde Celebrity is a mask that eats into the face. –John Updike If someone conducted a poll to choose an American personality who best embodies the 1960s, Andy Warhol would be a strong candidate. Pop art, the movement Warhol is typically associated with, flourished in the 60s. It was also during that decade that Warhol’s career peaked. From 1964 till 1968 his studio, known as the Silver Factory, became not just a hothouse of artistic activity, but also the embodiment of the zeitgeist: the “sex, drugs and rock’n’roll” culture of the period with its penchant for experimentation and excess, the revolution in morals and sexuality (Korichi 182–183, 206–208). The seventh decade of the twentieth century was also the time when Warhol opened an important chapter in his painterly career. In the early sixties, he started executing celebrity portraits. In 1962, he completed series such as Marilyn and Red Elvis as well as portraits of Natalie Wood and Warren Beatty, followed, a year later, by Jackie and Ten Lizes. In total, Warhol produced hundreds of paintings depicting stars and famous personalities. This major chapter in his artistic career coincided, in 1969, with the founding of Interview magazine, a monthly devoted to cinema and to the celebration of celebrity, in which Warhol was the driving force. The aim of this essay is to analyze Warhol’s portraits of famous people in terms of how they anticipate the celebrity-obsessed culture in which we now live. -
Symbolism of the Longest Reigning Queen Elizabeth II From1952 To2017
الجمهورية الجزائرية الديمقراطية الشعبية Ministry of Higher Education and Scientific Research University of Tlemcen Faculty of Letters and Languages Department of English Symbolism of the Longest Reigning Queen Elizabeth II from1952 to2017 Dissertation submitted to the Department of English as a partial fulfilment of the requirements for the degree of Master in (LC) Literature and Civilization Presented by Supervised by Ms. Leila BASSAID Mrs. Souad HAMIDI BOARD OF EXAMINERS Dr. Assia BENTAYEB Chairperson Mrs. Souad HAMIDI Supervisor Dr. Yahia ZEGHOUDI examiner Academic Year: 2016-2017 Dedication First of all thanks to Allah the most Merciful. Every challenging work needs self efforts as well as guidance of older especially those who were very close to our heart, my humble efforts and dedications to my sweet and loving parents: Ali and Soumya whose affection, love and prayers have made me able to get such success and honor, and their words of encouragement, support and push for tenacity ring in my ears. My two lovely sisters Manar and Ibtihel have never left my side and are very special, without forgetting my dearest Grandparents for their prayers, my aunts and my uncle. I also dedicate this dissertation to my many friends and colleagues who have supported me throughout the process. I will always appreciate all they have done, especially my closest friends Wassila Boudouaya, for helping me, Fatima Zahra Benarbia, Aisha Derouich, Fatima Bentahar and many other friends who kept supporting and encouraging me in everything for the many hours of proofreading. I Acknowledgements Today is the day that writing this note of thanks is the finishing touch on my dissertation. -
The English Factory Novel
1 THE ENGLISH FACTORY NOVEL BY LENA JOSEPHINE MYERS A. B. University of Illinois, 1913 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN ENGLISH IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 19 18 Digitized by the Internet Archive in 2013 http://archive.org/details/englishfactorynoOOmyer_0 . ^\^% UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL 19liT I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION RY £u*^. ^kytsitL ENTITLED 7L-/Jll, BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR OF CAyA THE DEGREE /frltuA^ M(// In Charge of Thesis Head of Department Recommendation concurred in* — Committee on Final Examination* *Required for doctor'* degree but not for master's 408302 I The Table of Contents Introduction p«l-2 Chapter I A Resume of the English Factory Hovel p. 3 - 70 Chapter II The Relation of the Factory Novel to Its Age (a) A Brief Summary of the Social and Political Movements of the Period p. 71- 75 (b) The Historical Development of the Factory Novel p. 75- 78 (c) The Influence of the Factory Novel on Social Conditions p. 78- 92 (d) The Relation of the Factory Novel to Contem- porary Literature p. 92- 97 Chapter III The Characteristics and Problems of the Factory Novel p. 98 -112 Chapter IV The Factory Novel as a Work of Art Its Rank and Value p. 113-123 Conclusion p. 124-129 Bibliography A. English Novels Dealing with Factories p. 130 B. A Suggested List of American Novels Dealing with Fac- tories and Kindred Subjects p. -
Andy Warhol's
13 MOST BEAUTIFUL... SONGS FOR ANDY WARHOL’S SCREEN TESTS FEAUTURING DEAN & BRITTA JANUARY 17, 2015 OZ ARTS NASHVILLE SUPPORTS THE CREATION, DEVELOPMENT AND PRESENTATION OF SIGNIFICANT CONTEMPORARY PERFORMING AND VISUAL ART WORKS BY LEADING ARTISTS WHOSE CONTRIBUTION INFLUENCES THE ADVANCEMENT OF THEIR FIELD. ADVISORY BOARD Amy Atkinson Karen Elson Jill Robinson Anne Brown Karen Hayes Patterson Sims Libby Callaway Gavin Ivester Mike Smith Chase Cole Keith Meacham Ronnie Steine Jen Cole Ellen Meyer Joseph Sulkowski Stephanie Conner Dave Pittman Stacy Widelitz Gavin Duke Paul Polycarpou Betsy Wills Kristy Edmunds Anne Pope Mel Ziegler aA MESSAGE FROM OZ ARTS President John F. Kennedy had just been assassinated, the Civil Rights Act was mere months from inception, and the US was becoming more heavily involved in the conflict in Vietnam. It was 1964, and at The Factory in New York, Andy Warhol was experimenting with film. Over the course of two years, Andy Warhol selected regulars to his factory, both famous and anonymous that he felt had “star potential” to sit and be filmed in one take, using 100 foot rolls of film. It has been documented that Warhol shot nearly 500 screen tests, but not all were kept. Many of his screen tests have been curated into groups that start with “13 Most Beautiful…” To accompany these film portraits, Dean & Britta, formerly of the NY band, Luna, were commissioned by the Pittsburgh Cultural Trust and The Andy Warhol Museum in Pittsburgh, Pennsylvania, to create original songs, and remixes of songs from musicians of the era. This endeavor led Dean & Britta to a third studio album consisting of a total of 21 songs titled, “13 Most Beautiful.. -
Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27Th, 2019
Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27th, 2019 www.stanfordauctioneers.com | [email protected] 1: RUDOLF KOPPITZ - Zwei Bruder USD 1,200 - 1,500 Rudolf Koppitz (Czech/Austrian, 1884-1936). "Zwei Bruder [Two Brothers]". Original vintage photometalgraph. c1930. Printed 1936. Stamped with the photographer's name, verso. Edition unknown, probably very small. High-quality archival paper. Ample margins. Very fine printing quality. Very good to fine condition. Image size: 8 1/8 x 7 7/8 in. (206 x 200 mm). Authorized and supervised by Koppitz shortly before his death in 1936. [25832-2-800] 2: CLEMENTINE HUNTER - Zinnias in a Blue Pot USD 3,500 - 4,000 Clementine Hunter (American, 1886/1887-1988). "Zinnias in a Blue Pot". Gouache on paper. c1973. Signed lower right. Very good to fine condition; would be fine save a few very small paint spots, upper rght. Overall size: 15 3/8 x 11 3/4 in. (391 x 298 mm). Clementine Reuben Hunter, a self-taught African-American folk artist, was born at Hidden Hill, a cotton plantation close to Cloutierville, Louisiana. When she was 14 she moved to the Melrose Plantation in Cane River County. She is often referred to as "the black Grandma Moses." Her works in gouache are rare. The last auction record of her work in that medium that we could find was "Untitled," sold for $3,000 at Sotheby's New York, 12/19/2003, lot 1029. [29827-3-2400] 3: PAUL KLEE - Zerstoerung und Hoffnung USD 800 - 1,000 Paul Klee (Swiss/German, 1879 - 1940). -
ECON 3240 American Factory Workers in Chinese Factory Spring 2020
ECON 3240 American Factory workers in Chinese Factory Spring 2020 American Factory is great documentary for us, mainly because it discusses how some can fall out of the middle class, becoming vulnerable if not poor, but then thanks to government policy (what government) claw the their way back into the middle class, keeping the Dream alive for themselves and their children we hope (IG mobility). It is also the almost universal story but a story of how workers and manageres learng by doing (aka learning by doing). For reasons that become obviout in the film the same factories and workers learn to do better overtime, like AI but not artificial, more of a group dynamic with input from workers and managers. Somehow workers can become much more productive over time, using lesst time to produce the same number of cars (or glass panels..). The makers of this documentatry sense this dynamic: the camera dwells on the machinery and workers converting sand (silicon) many shapes of very transparent glass (our Coa our Chinese owner entreprenuer writes a song about transparency, which could have two meanings, and Fu, see the Terry Gross interview below. We see the last GM S-10 truck role through the assembly line and we are off, new owners, some new workers from China and 2000 American workers, some from the GM plant that clased. To spread the pain/ privelidge we can the divide the 1 hour 50 minute file into three sectiosn. Everyone read the cast of characters below should watch the first 20 minutes (some of the key cast members are listed below, the huge factory building itself is a star…I thought it was in Dayton, Ohio but actually in another town, this happens when land intensive factories spring up near cities). -
I – Introduction
QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29 -
Andy Warhol Who Later Became the Most
Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15. -
Album Review of the Velvet Underground & Nico
Album Review of The Velvet Underground & Nico – Artifacts Journal - University of Mi... Page 1 of 4 University of Missouri A Journal of Undergraduate Writing Album Review of The Velvet Underground & Nico Sam Jennings Sam Jennings started attending the University of Missouri in 2012 and is currently pursuing a bachelor of music performance in guitar. He writes in his spare time and fronts a local Columbia rock band, “The Rollups”. He is thankful to Dr. Michael J. Budds for encouraging him and his submission to this journal. He wrote this paper as one part of a multi-paper project in Historical Studies in Jazz and Popular Music, taught by Dr. Michael J. Budds. They were expected to choose a musician (before 1970) and review a full-length LP by that artist; he felt particularly inclined to make the case for a set of truly bizarre, radical artists who have been historically misunderstood and misaligned. When The Velvet Underground & Nico was released in March of 1967, it was to a public that hardly cared and a critical establishment that could not make heads or tails of it. Its sales were dismal, due in part to legal troubles, and MGM’s bungled attempts at promoting the record. The Velvet Underground’s seedy, druggy music defiantly reflected an urban attitude even closer to the beatniks than Bob Dylan and even more devoted to rock n’ roll primitivism than The Rolling Stones or The Who. Nevertheless, the recording had no place in a landscape soon to be dominated by San Francisco psychedelics and high- concept British pop. -
Worksheet the Kingts Speech
worksheet the king’s speech Taking a Class to See The King’s Speech “Le Discours d’un Roi” TEACHER’S PAGE INTRODUCTION As a fact-based, historical film set in London in the 1930s, The King’s Speech is an educational film in the best sense of the term. It will bring the period alive for your pupils, giving them a sense of the fashion, cars, lifestyle – and even the weather – in London at the time. In addition, it will provide a good explanation of the Abdication Crisis, and the background to how the current Queen wound up ascending to the throne, following her grandfather, uncle and father (Kings George V, Edward VIII and George VI, respectively). MATEriAls NEEDED Trailers: www.momentumpictures.co.uk/ A copy of the Student Worksheets per pupil. Pupils should (pass the cursor over the video then click on the 4- have them before going to see the film, to get the most out arrow symbol on the right to get the trailer full screen) and of the film and be prepared to do the activities afterwards. www.lediscoursdunroi.com (click on the "videos" thumb- Access to a computer room or a projector connected to nail, then choose VOSTFR). a computer to work with the sites listed on the right. Or Audio of the real King George VI giving the speech: an OHP, if you want to make a transparency of the pictures www.awesomestories.com/assets/george-vi-sep-3-1939 provided here, which can be downloaded at a higher reso- Audio of Princess Elizabeth giving a speech during the war lution from: www.lediscoursdunroi.com/presse/).