sign in sign up
<<
Home , Holy Grail tapestries, John Henry Dearle, John Warhola, Julia Warhola, Race Riot (Warhol)

MODERN ART EVENTS OXFORD THE YARD TOURS Floor Wednesday 7 January, 1pm Wednesday to Saturday, 12-5pm, weekly Sally Shaw, Head of Programme at Modern Art Oxford For the duration of Love is Enough, the Yard will discusses the development of the exhibition and be transformed into a ‘Factory Floor’ in homage to introduces key works. and Andy ’s prolific production techniques. Each week a production method or craft Wednesday 21 January, 1pm skill will be demonstrated by a specialist. Ben Roberts, Curator of Education & Public Programmes at Modern Art Oxford discusses The Factory Floor is a rare opportunity to see creative education, collaboration and participation in relation to processes such as metal casting, dry stone walling, the work of Morris and Warhol. bookbinding, and . LOVE IS Wednesday 4 February, 1pm These drop-in sessions provide a chance to meet Paul Teigh, Production Manager at Modern Art Oxford makers and craftspeople working with these processes discusses manufacturing and design processes today. Please see website for further details. inherent in the work of Morris and Warhol.

TALKS Wednesday 18 February, 1pm Artist talk Ciara Moloney, Curator of Exhibitions & Projects Saturday 6 December, 6pm Free, booking essential at Modern Art Oxford discusses key works in the ENOUGH Jeremy Deller in conversation with Ralph Rugoff, exhibition and their influence on artistic practices Director, Hayward Gallery, London. today.

Perspectives: Myth Thursday 15 January, 7pm BASEMENT: PERFORMANCE A series of short talks on myths and myth making from Live in the Studio the roots of medieval tales to our collective capacity December 2014 – February 2015 for fiction and how myths are made in contemporary A short series of performance projects working with culture. Speakers include: Prof. Lisa Bortolotti and Dr artists using formal structures of theatre from scripts William Morris Finola Kerrigan, University of Birmingham. and rehearsal to the cabaret stage. Through open Anthony d’Offay and Jeremy Deller in conversation studios and live events this programme will reveal the Thursday 5 February, 7pm Free, booking essential process of making live work for an audience. Please Gallerist, collector and Warhol expert, Anthony d’Offay check the website for further details. is joined by Jeremy Deller to discuss working with & Warhol. Basement.TV Sunday 14 December 5:30-8pm Perspectives: Love Part documentary, part satire, part chat show, drawing Thursday 12 February, 7pm on the work of William Morris to focus on ideas about A collection of unconventional perspectives on love the future. The evening will feature artists’ projects, 6 December 2014 - 8 March 2015 in the lead up to St Valentine’s Day. Convened by comedy, performance and leading thinkers and Dr Anders Sandberg, Future of Humanity Institute, commentators on futurology. University of Oxford. This event will be streamed live at www. thisistomorrow.info. In collaboration with Perspectives: Fabric Design thisistomorrow.info and Wysing Arts Centre. Thursday 19 February, 7pm A series of short talks on the history and production of BASEMENT: FILM English fabric design from historical landmarks such as Curated by Jeremy Deller the arrival of Huguenot silk weavers in the East End of Andy Warhol’s Factory People Inside the Silver Factory London to the production of iconic designs on London (Dir. Catherine O’Sullivan-Shorr, 2008) Underground. Thursday 8 January, 7pm Speakers include: Kirsty McDougall, Senior Tutor in Andy Warhol’s Factory People tells the story of the Woven , Royal College of Art; Jenny Lister, Silver Factory that Warhol founded in 1964 in an Curator, Victoria and Albert Museum; Michael Parry, abandoned hat factory on East 47th Street in New York Morris and Co. City. Love is Enough: Symposium Topsy: William Morris Exhibition Guide Saturday 21 February, 12–5pm £10 / £5, booking (Boxwood Productions, 2000) essential Thursday 5 March, 7pm An afternoon of talks, presentations and workshops on Art Historian Douglas Skeggs presents a biography of the themes explored in Love is Enough including the William Morris – also known as ‘Topsy’ – one of the relationship between artisan and industrial production, most influential figures of 19th century Britain fabric design, and politics and art in the work of Morris and Warhol.

17. 15. William Morris, Monopoly or How Labour Is Robbed, 38. Andy Warhol, Joan Collins Pamphlet, 19 x 13 cm, 1890 Silkscreen ink on synthetic polymer paint on canvas 101.6 x101.6 cm, 1985 16. William Morris, Monopoly or How Labour Is Robbed, Pamphlet, 19 x 26 cm (open), 1890 39. Andy Warhol, Dame Elizabeth Taylor offset lithograph, 55.8 x 55.8 cm, 1967 17. William Morris, Chants For Socialists, Pamphlet, 19 x 26 cm (open), 1885 40. Andy Warhol, Pages from Andy Warhol’s photograph 18. William Morris, Chants For Socialists, album, Pamphlet, 19 x 13 cm, 1885 Leather on board, paper, assorted photographs, 29.2 x 38.7 cm, c.1938-1942 19. William Morris, The Socialist League – The Manifesto, Hammersmith, 41. Postcard (“Greetings from Paris,”from Charles Henri Pamphlet, 18.8 x 12.5 cm, 1885 Ford to Andy Warhol, dated July 1963), Color photo postcard with felt-tip ink inscriptions, 23.7 x 18.7 cm,1963 20. William Morris, How I Became a Socialist, Bound pamphlet, 42. Anton R. Miriello, St John Chrysostom Byzantine 18.8 x 12.5 cm,1896 Catholic Church 21. William Morris, Morris’s Socialist League Photograph 20 x 13 cm, 2014 membershipcard, 43. William Morris, Reproduction from literary Card, 11.4 x 15.2 cm (opened), 1890 manuscripts, Vol.XLII 22. William Morris, Sheet of meeting minutes, Bound book with drawings in pencil 19.5 x 12 cm, after 1861 Paper, 31.8cm x 20.1 cm, c. 1880s 44. William Morris, Daisy Hanging, 23. William Morris, The Hammersmith Socialist League, Woollen ground embroidered with wools in couched stitches, 167 x Photograph, 299 cm, 1860 21.5 x 27.3 cm, 1886 (original) 45. William Morris, A brass rubbing from Great Coxwell 24. Andy Warhol, Woman with Hat Church, Gold leaf and ink on paper 58.5 x 50.8 cm, 1957 Rubbing, 93 x 109 cm, c.1870s 25. Morris, Marshall, Faulkner & Co, The Story of 46. Andy Warhol, Resting Boy Tristram and Isoude, Panel 13 ‘ and Sir Ink on paper, 41.8 3 34.5 cm, 1955–57 ’ designed by William Morris, 79 x 80 x 4.5cm, 1862 47. William Morris, Quatrefoil carpet Bodycolour and pencil, 12.7 x 53.4 cm, 1880s 26. Andy Warhol, Young Man with Heart 48. William Morris, Clock Case Decoration Ink, gold paint and dye on paper 49.5 x 35.5 cm, 1954 Design on paper 43.9 x 68 cm, 1881 27. Map of Eastern U.S.S.R.Missile Bases 49. William Morris, Ambassador’s Entrance Ceiling Acrylic paint and silkscreen on canvas 183 x 203.2 x 3.2 cm, 1985-86 Decoration for St James’s Palace 28. William Morris, The Commonweal Pencil and watercolour on paper 66.9 x 67.1 cm, c. 1880 Bound book, 39 x 26.5 x 2.8 cm, 1885 50. William Morris, Queen’s Staircase Soffits Mural 29. William Morris, : Or, An Epoch 47.1 x 49.2 cm, c. 1880 of Rest, Being some Chapters from a Utopian 51. William Morris, Art & The Beauty of the Earth: A Romance, by William Morris lecture delivered by William Morris at Burslem Town Bound book, 21 x 15 x 2.5 cm, 1892 Hall on October 13, 1881 30. Shirley Temple Bound book, 21 x 15 x 5 cm, Published 1899 Hand-coloured sepia print 25.4 x 20.3 cm, 1941 52. William Morris, and Fears for Art. Five 31. Andy Warhol, Marilyn tapestry Lectures Delivered in Birmingham, London & Wool, 198.1 x 177 cm, 1968 Nottingham, by William Morris Bound book, 29.5 x 21 x 2.5 cm, Published 1902 32. Andy Warhol, Jackie Acrylic and silkscreen on linen ,50.8 x 40.6 cm, 1964 53.William Morris, Art & Its Producers,and the Arts & Crafts of Today:Two Addresses Delivered Before the 33. Andy Warhol, Jackie Silkscreen ink on linen 50.8 x 40.6 cm, 1964 National Association for the Advancement of Art by William Morris 34. Andy Warhol, Flash (Robert Kennedy) Bound book, 21 x 15 x 5 cm, Published 1901 Screen-print on off-white board 53.3 x 53.3 cm, 1968 54. William Morris, True and False Society 35. Andy Warhol’s copy of Portrait: the Emergence of pamphlet, 12.5 x 8.8 cm 1893 John F. Kennedy (cover and inside pages) Hardcover book, 28.6 x 22.2 x 1.9 cm, 1961 55. Andy Warhol, American Screen-print, 76.5 x 101.6 cm, 1964 36. Red Jackie (1964) in Andy Warhol Portraits (Ed. Tony Shafrazi, Phaidon) 37. Sir Edward Burne-Jones, , William Morris, The Attainment; The Vision of the to Sir , Sir and Sir Wool, silk, mohair and camel hair weft on cotton warp 6 95 x 244 cm, 1895-1896

16. 15. William Morris, Monopoly or How Labour Is Robbed, 38. Andy Warhol, Joan Collins Pamphlet, 19 x 13 cm, 1890 Silkscreen ink on synthetic polymer paint on canvas 101.6 x101.6 cm, 1985 MAIN GALLERY Contents 16. William Morris, Monopoly or How Labour Is Robbed, Pamphlet, 19 x 26 cm (open), 1890 39. Andy Warhol, Dame Elizabeth Taylor 1. Introduction offset lithograph, 55.8 x 55.8 cm, 1967 2. Warhol in Oxford - Christopher Gray 17. William Morris, Chants For Socialists, Pamphlet, 19 x 26 cm (open), 1885 3. Andy Warhol’s Time Capsules (1974-1987) - Matt Wrbican 40. Andy Warhol, Pages from Andy Warhol’s photograph 37 18. William Morris, Chants For Socialists, album, 4. Off the Wall - Michael Parry Pamphlet, 19 x 13 cm, 1885 Leather on board, paper, assorted photographs, 29.2 x 38.7 cm, 5. An Enduring Brand - Alison Gee c.1938-1942 19. William Morris, The Socialist League – 6. William Morris & - Dr Kathy Haslam The Manifesto, Hammersmith, 41. Postcard (“Greetings from Paris,”from Charles Henri 7. The Relationship Between the Neural Plumbing and the Agape - Dr. Anders Sandberg 38 Pamphlet, 18.8 x 12.5 cm, 1885 Ford to Andy Warhol, dated July 1963), 8. Andy Warhol’s Fantasy Love - Jean Wainwright Color photo postcard with felt-tip ink inscriptions, 23.7 x 18.7 cm,1963 20. William Morris, How I Became a Socialist, 39 Bound pamphlet, 42. Anton R. Miriello, St John Chrysostom Byzantine 9 & 10. Interview - Jeremy Deller interviewed by Rhys Coren 18.8 x 12.5 cm,1896 Catholic Church Photograph 20 x 13 cm, 2014

21. William Morris, Morris’s Socialist League 40 - 43 11 & 12. Piper Gallery - Map & list of works membershipcard, 43. William Morris, Reproduction from literary 13 & 14. Middle Gallery i & ii - Map & list of works Card, 11.4 x 15.2 cm (opened), 1890 manuscripts, Vol.XLII 15 & 16. Main Gallery - Map & list of works 22. William Morris, Sheet of meeting minutes, Bound book with drawings in pencil 19.5 x 12 cm, after 1861 Paper, 31.8cm x 20.1 cm, c. 1880s 44. William Morris, Daisy Hanging, 17. Events 23. William Morris, The Hammersmith Socialist League, Woollen ground embroidered with wools in couched stitches, 167 x 299 cm, 1860 Photograph, 44 21.5 x 27.3 cm, 1886 (original) 45. William Morris, A brass rubbing from Great Coxwell 24. Andy Warhol, Woman with Hat Church, Gold leaf and ink on paper 58.5 x 50.8 cm, 1957 Rubbing, 93 x 109 cm, c.1870s 26 45 25. Morris, Marshall, Faulkner & Co, The Story of 46. Andy Warhol, Resting Boy Tristram and Isoude, Panel 13 ‘King Arthur and Sir Ink on paper, 41.8 3 34.5 cm, 1955–57 Lancelot’ designed by William Morris, 36 35 31 30 79 x 80 x 4.5cm, 1862 47. William Morris, Quatrefoil carpet Bodycolour and pencil, 12.7 x 53.4 cm, 1880s 25 34 33 32 46 26. Andy Warhol, Young Man with Heart 48. William Morris, Clock Case Decoration Ink, gold paint and dye on paper 49.5 x 35.5 cm, 1954 Design on paper 43.9 x 68 cm, 1881 27 27. Map of Eastern U.S.S.R.Missile Bases 49. William Morris, Ambassador’s Entrance Ceiling Acrylic paint and silkscreen on canvas 183 x 203.2 x 3.2 cm, 1985-86 24 Decoration for St James’s Palace 28. William Morris, The Commonweal Pencil and watercolour on paper 66.9 x 67.1 cm, c. 1880 Bound book, 39 x 26.5 x 2.8 cm, 1885 50. William Morris, Queen’s Staircase Soffits Mural 47 29. William Morris, News from Nowhere: Or, An Epoch 47.1 x 49.2 cm, c. 1880 of Rest, Being some Chapters from a Utopian

51. William Morris, Art & The Beauty of the Earth: A 51 - 53 Romance, by William Morris lecture delivered by William Morris at Burslem Town Bound book, 21 x 15 x 2.5 cm, 1892 Hall on October 13, 1881 3 - 8 28 29 48 30. Shirley Temple Bound book, 21 x 15 x 5 cm, Published 1899 23 - 9 Hand-coloured sepia print 25.4 x 20.3 cm, 1941 52. William Morris, Hope and Fears for Art. Five SUPPORTED BY 31. Andy Warhol, Marilyn tapestry Lectures Delivered in Birmingham, London & 49 Wool, 198.1 x 177 cm, 1968 Nottingham, by William Morris Arts Council England Bound book, 29.5 x 21 x 2.5 cm, Published 1902 Supported using public funding by the National Lottery through 32. Andy Warhol, Jackie Acrylic and silkscreen on linen ,50.8 x 40.6 cm, 1964 53.William Morris, Art & Its Producers,and the Arts & Arts Council England’s Exceptional award programme Crafts of Today:Two Addresses Delivered Before the Oxford City Council 33. Andy Warhol, Jackie 2 1 * Silkscreen ink on linen 50.8 x 40.6 cm, 1964 National Association for the Advancement of Art by 55 54 William Morris Sanderson 34. Andy Warhol, Flash (Robert Kennedy) Bound book, 21 x 15 x 5 cm, Published 1901 Morris & Co. Screen-print on off-white board 53.3 x 53.3 cm, 1968 Absolut Vodka 54. William Morris, True and False Society The Curtain Shop Oxford 35. Andy Warhol’s copy of Portrait: the Emergence of pamphlet, 12.5 x 8.8 cm 1893 1. Andy Warhol, Electric Chair 11. William Morris, A Summary of The Principles of Screenprints 91.9 x 123 cm, 1971 Socialism written for the Democratic Federation, Colin Stretton Decorator John F. Kennedy (cover and inside pages) Pamphlet, 18.5 x 12.5 cm, 1896 DMC Creative Hardcover book, 28.6 x 22.2 x 1.9 cm, 1961 55. Andy Warhol, American Race Riot 2. Andy Warhol, Electric Chair II.82 Screen-print, 76.5 x 101.6 cm, 1964 Portfolio of ten screenprints Edition of 250, 90.2 x 121 cm, 1971 12. William Morris, A Factory as it Might Be, CORPORATE PARTNERS AND SUPPORTERS 36. Red Jackie (1964) in Andy Warhol Portraits (Ed. Tony Bound book, 22.2 x 29 cm (open), 1907 Shafrazi, Phaidon) 3-8. Andy Warhol, Mao Acrylic and silkscreen ink on linen 13. William Morris, The Tables Turned or Nupkins Bonham's 37. Sir Edward Burne-Jones, John Henry Dearle, William Each 61 x 50.8 x 2.5 cm, 1973 Awakened: A Socialist Interlude by William Morris, Rise Morris, The Attainment; The Vision of the Holy Grail to 9. William Morris, Useful Work Versus Useless Toil, Pamphlet, 18.5 x 12.5 cm,1887 HMG Law Sir Galahad, Sir Bors and Sir Percival Pamphlet, 19 x 13 cm,1893 Wenn Townsend Wool, silk, mohair and camel hair weft on cotton warp 6 14. William Morris, True and False Society, The Modern Institute 95 x 244 cm, 1895-1896 10. William Morris, Useful Work Versus Useless Toil, Pamphlet, 19 x 13 cm, 1888 Pamphlet, 19 x 26 (open) cm, 1893 Gavin Brown Gallery

16. 15. 1. A selection of magazines featuring Andy Warhol’s 27. Letter by William Morris to G. F. Campfield, LOVE IS ENOUGH commercial drawings Ink on paper, 20 x 12.5 cm, 1891 2. Unknown photographer, 28. Campfield letters N and B for The Story of the William Morris & Andy Warhol Morris & Co., Oxford Street, London Glittering Plain Photograph Dimensions variable, c.1898 (original) Curated by Jeremy Deller 29. William Morris, The Story of the Glittering Plain 3. William Morris, Holy Grail original prints in Morris & Modern Art Oxford Ink and paper, 21 x 15 x 2.5 cm, 1891 6 December 2014 - 8 March 2015 Co. Oak frames Print 20 x 63 cm; 20 x 8.3 cm, c. 1898 30. William Morris, A Dream of John Ball and a King’s 4. Morris & Co. , Morris Lesson, Catalogue 29.7 x 21 cm, c. 1912 Bound book, 21 x 15 x 1.5 cm, 1892

5. Morris & Co. , Morris wallpapers 31. William Morris, The History of Godfrey of Bologne, Catalogue 29.7 x 42 cm (open), c. 1912 Bound book 29.5 x 22 x 4.5 cm,1893

6. Morris & Co. , Morris chintzes, silks, 32. William Morris, Kelmscott Chaucer Catalogue 29.7 x 21 cm, c. 1912 Bound book 43.5 x 30 x 6 cm, 1896

7. Morris & Co. , Specimens of upholstered furniture Catalogue 29.7 x 21 cm, c. 1911

8. Morris & Co. , Specimens of upholstered furniture Catalogue 29.7 x 42 cm (open), c. 1911

9. William Morris, Morris & Co.Stand Book from Hanover Square Showroom INTRODUCTION Bound book 106 x 57 x 9 cm, c.1917 10. Andy Warhol, Andy Warhol with Heinz Boxes Gelatin silver print 35.6 x 28 cm, 1964 Jeremy Deller has been invited by Modern Art Oxford to high impact design. This is contrasted with the Morris’s examine two of his artistic heroes in an unconventional interest in medieval legends and iconography, shared 11. Andy Warhol, Heinz Tomato Ketchup Box exhibition that draws surprising connections between with artists like Dante Gabriel Rossetti and Edward Silkscreen ink and house paint on plywood 21.6 x 39.4 x 26.7 cm, 1964 these two iconic cultural figures. LOVE IS ENOUGH Burne-Jones. is the title of one of Morris’s most significant literary Both artists’ interest in the politics of their times is explored 12. William John Kennedy, Untitled (Warhol Holding contributions from the later end of his highly prolific in further detail through screenprints by Warhol drawn Marilyn Acetate I) career. It could equally have been an expression coined from newspaper cuttings alongside Morris’s strident Gelatin silver fibre print 50 x 40 cm (framed), 2010 by Warhol, famous for his concise and knowing use of socialist writings and speeches including showing items language through mass media. such as Morris’s own membership card for the socialist 13-18. A selection of images of Andy Warhol’s Factory league as well pamphlets and correspondents. and Merton Abbey The exhibition will occupy the full suite of galleries at Modern Art Oxford and will examine common interests Love Is Enough investigates the working practices of 19. William Morris, Designs and borders various, that both artists shared across different periods of both artists in great detail, unearthing notes, works in Ink on paper, 17.7 x 21.2 cm, 1896 history and different cultural and political contexts. The progress, early designs and other ephemera to reveal core areas of focus for the exhibition revolve around the the inner workings of Morris & Co. and The Factory, 20. William Morris, Lettering designs various, mass popularisation of contemporary art, design process respectively. Neither artist worked alone. In fact, both of Ink on paper, 17.7 x 21.2 cm, and manufacturing techniques, shared mythologies and Warhol and Morris relied heavily on larger systems of 1896 obsessions and politics and publications. production, working with teams of staff and developing mass-production technologies in order to execute their 21. Original drawing for Kelmscott Chaucer cover, Ink on paper, 65.7 x 50.2 cm (framed), c.1895 The selection of iconic works in Modern Art Oxford’s ambitious designs. Upper Gallery will examine the treatment of nation, 22. William Morris, Chaucer printed pages with Burne- empire and mythology in both artists’ work. In this This interest in repetition is explored in more detail in Jones illustrations, room Deller has chosen to present Andy Warhol’s famed the John Piper Gallery wherein the decorative patterns Printed paper, 42.4 x 58.7 cm, 1896 portraits of Marilyn Monroe, Joan Collins and Liz Taylor of Morris’s textiles, fabric swatches and wallpapers are alongside William Morris’s epic , contrasted with Warhol’s Flowers paintings and works 23. William Morris, Psyche going into Hell, which depict scenes from the legend of King Arthur. The on paper depicting soup cans, dollar bills and other Woodblock, 1866 heroism and beauty celebrated in the Camelot stories imagery from mass media and advertising. resonate with the tragedy of the Kennedy family told 24. William Morris, The Procession to the Hill: Psyche through a series of portraits in Warhol’s Flash Portfolio, While seemingly disparate in their aesthetics, Deller and the King, made in the aftermath of JFK’s assassination. argues that Warhol and Morris were both essentially Woodblock, 1866 printmakers keen to popularise art. As Morris once Warhol’s obsession with celebrity is made further said “I do not want art for a few, any more than I want 25. William Morris, The task of the gold-wooled sheep: apparent through the letters and autographs from education for a few, or freedom for a few.” Both artists the reeds, famous actors that the artist collected as a child. A collaborated consistently with the most talented artists Woodblock, 1866 range of vintage Interview magazines, the long-running of their day. Never satisfied with just one discipline, they publication established by Warhol in 1969, reveals his wrote, published and, in their embrace of commercial 26. William Morris, Sidonie the Sorceress, taste for candid conversations between the stars and and fine art, had influence far beyond the art world. Bound book, 29.5 x 22 x 4.5 cm, 1893

1. 14. MIDDLE GALLERY i & ii

9 10 12

11 Andy Warhol in Oxford, 1980, Image courtesy of the Oxford Mail/The Oxford Times (Newsquest Oxfordshire), Photo: Christopher Gray 3 13 - 18 WARHOL IN OXFORD

3 4 - 8 Christopher Gray, Arts Editor, Oxford Times 2 2 19 Andy Warhol visited Oxford only once during his life, Club after George III and George Washington. It was for a party in February 1980 to promote Andy Warhol’s set up in 1979 as a one-off. No further members were Exposures, his book of black-and-white photographs of elected. It was unlike all the other clubs in that we had 1 20 celebrities at play. both boys and girls. There was a lot of cross-over with

the Piers Gaveston Society.” 23 - 30 - 23 This was held at 29 Charlbury Road, a large North Oxford 32 21 property belonging to St Antony’s College and home to Valentine, who is pictured chatting to Warhol in pictures 31 its Warden, Sir Raymond Carr, and his family. taken at the event, was able to use family connections 1 to bring the artist to Oxford. His sister Catherine was 22 Bigger than ever in Britain at the time, according to his working at the time as a reporter for Warhol’s Interview biographer Victor Bockris, Warhol was on a three-day magazine. Both Valentine and Catherine are pictured visit to London, staying at the Ritz Hotel. “[His trip] is in Andy Warhol’s Exposures, she in a state of daring riddled with interviews, bugged with TV cameras and undress. tape-recorders and beset with people just longing to give parties for him,” wrote the journalist Emma Soames. There were older people present at the Charlbury Road One of these people was Raymond Carr’s son Matthew, party, too, friends of Raymond Carr in the main, keen to a talented portrait painter and well-known figure on cast an appraising eye over the American visitor. They the Oxford student social scene, though six or seven included novelist Iris Murdoch, who lived just along 1. William Morris, Self-portrait years older than those he was mixing with. He heard the road, and Lord Goodman, the Master of University Pencil drawing 28.6 x 22.2 cm, 1856 on the grapevine that Warhol was eager to meet some College, who was with his regular companion of the of the University’s better-connected undergraduates and day, Ann Fleming, the widow of James Bond’s creator 2. A selection of Andy Warhol and William Morris persuaded his father to allow use of the family home for Ian Fleming. novels and Magazines the purpose. The college butler poured the cocktails. 3. Andy Warhol, Shadow (from Myths) Ed.No.131/200 They were given, as I reported, “a typically laconic Screenprint with diamond dust on Lenox Museum Board, I was present at the party both as a friend of Matthew performance” from Warhol. “For someone who admits 96.5 x 96.5 cm, 1981 and as a reporter for the Oxford Mail and Times. Rob to being a compulsive once-a-day party-goer and who Judges, one of the Mail’s photographers, was there as owns a magazine called Interview, Mr Warhol was well. extremely reluctant either to be seen to enjoy the party The hosts for the occasion were said to be The George or to be on the receiving end of Press questions.” Club, “an exclusive undergraduate society,” I reported, “which exists to promote Anglo-American relations”. One of my friends, Andrew Lever, who is seen talking to Warhol in one of the Oxford Mail’s photographs, told Was there really such a group? Certainly, until that night I me later that he was surprised to be asked: “Would you had never heard of it, and the suspicion was that it might like to see my wounds?” The reference was presumed have been of very recent invention, like the exclusive to be to the scars arising from the near-fatal shooting (and supposedly decadent) Piers Gaveston Society, of Warhol by the radical feminist Valerie Solanas at the many of whose members were there to meet Warhol. Factory on June 3, 1968.

That the club had been formally established is asserted, In brief a conversation with me as he signed my copy of however, by one of its founders, the Hon Valentine Andy Warhol’s Exposures, with some decorative heart- Guinness, the musician and playwright son of brewery shaped flourishes on the cover and title page with his heir Lord Moyne. He says: “The George Club did indeed black felt-tipped pen, he admitted that he was impressed exist. It was the brainchild of myself and an American with his first glimpse of Oxford’s social life. “Oh, it’s post-grad called Jeffrey Leeds. We called it the George grand.” 13. 2. 1. William Morris, Windrush design 23. William Morris, Pages from the original Jeffrey & Design on Paper 131.5 x 99.6 cm, designed 1883 Co.production log book showing Morris & Co.block- printed samples. In date order: 2. William Morris, Lecture scroll with repeat designs, Trellis Larkspur, New Scroll and Acanthus Linen panel 182 x 162.8 cm, c.1880 Mallow, Pink & Poppy, St James, Bird & Anemone Net Ceiling, Compton, Net Ceiling, Granville, 3. Andy Warhol, Flowers Print 1 each: 37 x 24 cm, 1864-1895 Unique screenprint on white paper 96.8 x 96.8 cm,1970 24. William Morris, Pink and Poppy Machine Wallpaper 4. Andy Warhol, Flowers Print 2 design Unique screenprint on white paper 96.8 x 96.8 cm, 1970 Design on paper, 101.5 x 68.8 cm (framed), 1880

5. Andy Warhol, Collage (for 48-inch Flowers), 25. Andy Warhol, Camouflage magazine paper collage on heavyweight paper, with masking tape Acrylic paint and silkscreen on four canvases and ball- point pen inscriptions, 41.9 x 27.9 cm,1964 Each 183 x 183 x 3 cm, 1986 ANDY WARHOL’S TIME CAPSULES (1974-1987) 6. Andy Warhol, Flowers (unfinished), 26. William Morris, Bird fabric design acrylic on linen, 29.5 x 29.2 cm,1965 Design on Paper, 132 x 96.7cm, 1876-78 Matt Wrbican, Chief Archivist, 7. Andy Warhol, Flowers (unfinished), 27. William Morris, Bird pair of curtains acrylic on linen, 39.1 x 34.9 cm,1965 The significant aspect of the Time Capsules is not their astonishing personal collection of fine art, fine and Woven Wool, Each 178 x 120cm, Designed 1878 monotonous exterior appearance, but their greatly varied antique furniture and objets d’art, of which 10,000 such 8. Andy Warhol, Source material for ‘’, 28. Morris & Co., Acanthus wallpaper match-piece, and voluminous contents. They are accumulation-as- objects were sold in his celebrated estate auction the Offset lithography and ballpoint pen on coated paper, Handprinted sheet 58 x 1135cm, c. 1975 concept (an aesthetic approach not uncommon among year after his death. 27.9 x 17.1 cm,1965 the artists of Warhol’s generation) and they occupied his interest for 13 years, and would have continued longer, These varied practices all reveal Warhol to be an 9. William Morris, Kennet design for , but were halted by his unexpected death in 1987. Warhol obsessive documenter and collector of the world around Watercolour on paper, 101 x 66.7cm assembled the TCs with the greatest frequency in the him, in every manner that was available to him. Unlike 1980s. Initially conceived as a method for cleaning up many artists of his generation who exclusively explored 10. William Morris, Kennet, Silk Damask, 64 x 67cm, Designed 1883 the mess in his studio, in preparation for moving it a few Modernist abstraction, Warhol’s fine art practice was blocks away in 1974, the Time Capsules evolved into one firmly rooted in reality, the tangible things of the world 11. Andy Warhol, Foot with Flowers, of the artist’s many daily rituals. he inhabited, be they celebrity personalities (as in his Ink on Paper 43 x 35.1 cm, 1958 portraits of Marilyn or Jackie), splendid masterpieces of Consisting of 610 containers, each TC box holds an art history (Mona Lisa, the Last Supper), or the everyday 12.William Morris, Design for Tulip average of more than 200 items. Many of these objects ephemera of his life (as in his paintings of newspaper Pencil and Watercolour, 62 x 47cm,1875 have multiple parts, so that each TC contains over 500 front pages, food packaging, pamphlets, or corporate objects, resulting in approximately 305,000 objects logos). 13. William Morris, Tulip Printing blocks, in total. The objects include letters, photographs, Woodblocks, Dimensions variable, Late 19th Century publications, audio and video recordings, clothing, food, The TCs bear similarities to work not only by Warhol’s medicine, antiques, ephemera, kitsch, and even small contemporaries (including Arman’s Poubelles, Dieter 14. William Morris, Tulip fabric, works of art by Warhol and other artists (both unknown Roth’s Flat Waste, and others) but also his antecedents Fabric, 140 x 97cm, designed 1875 and well-known). Given that their creation date ends (such as Marcel Duchamp’s White Box [A l’Infinitif], an right before the personal computer explosion, they editioned collection of precise reproductions of the 15. Andy Warhol, Head with flowers Ink and dye on paper 38.2 x 33.6 cm, 1958 are loaded with paper ephemera, including obsolete artist’s handwritten notes from 40 years earlier) and communications such as telephone messages mailed countless successors, including Song Dong’s Waste 16. William Morris, Acanthus design for wallpaper, to Warhol by his answering service, and good old Not, which forms a portrait of the artist’s frugal mother Watercolour over pencil on paper 81.2 x 68.8 cm, 1879-81 telegrams. through the bits and pieces that she obsessively saved. 17. Andy Warhol, Hand Holding Glass with Daffodil, At its face, this diverse and even bewildering quantity Warhol owned many works by Arman, including several Ink, gold leaf and graphite on paper 46 3 55.9 cm, 1957 of materials is Warhol’s best creative expression of his Poubelles and Accumulations. The Poubelles are literally response, when asked by an interviewer in 1963 to define trash that has been encased in clear acrylic; they were 18. Andy Warhol, Printing Screen (“Open This End”), the new art movement, “Pop Art is liking things.” Warhol created from the detritus of individuals, and so they can Silk, wood, silkscreen ink, paper tape 18.1 x 28.3 x 4.4 cm, 1962 described his paintings as a single work with be seen as strange portraits. Warhol was approached 102 parts, referring to the 102 silkscreened canvases to contribute his waste to such a work, and is said to 19. Andy Warhol, Small acetate (hand-drawn “Open This that constitute this work from 1979. By that model, the have gone out of his way to avoid giving Arman his End”) TCs can be thought of a single work with 610 parts, and actual garbage, but instead gave him what he wanted Ink on acetate 8.3 x 22.9 cm,1962 305,000 objects. the public to believe was his trash, such as numerous common name-brand products. Perhaps his actual self- 20. Andy Warhol Small acetate (hand-drawn“This Side The Time Capsules are an equivalent of Warhol’s portraits are within his Time Capsules. Up”) Ink on acetate 9.5 x 22.9 cm, 1962 extraordinarily prolific output of documentary Arman’s refuse is not meant to be handled. In contrast, photography (numbering in the thousands), filmmaking Warhol’s method plainly indicates that he wanted 21. Andy Warhol, Small acetate (hand drawn one - and (about 600), video recording (over 2500 tapes), and his the mountains of material in his Time Capsules to be two-dollar bills) habit of audio recording (over 3400 unique recordings). perused as thoroughly as possible. He considered ways Acetate silk, wood, silkscreen ink, paper tape 22.9 x 27.3 cm, 1962 The TCs are also analogous with Warhol’s Diaries, of selling them, during their exhibition in a commercial particularly the as-yet unpublished sections, which are art gallery, each filled and sealed box displayed in a 22. Andy Warhol, Boy with Flowers known only to a very small circle of people. The TCs massive shelving unit. Each box would be for sale, but Ink on paper 42.5 x 35.1 cm,1955–57 can be closely compared with Warhol’s enormous and could not be opened for inspection prior to purchase.

3. 12. 1. William Morris, Windrush design 23. William Morris, Pages from the original Jeffrey & Design on Paper 131.5 x 99.6 cm, designed 1883 Co.production log book showing Morris & Co.block- PIPER GALLERY printed samples. In date order: 2. William Morris, Lecture scroll with repeat designs, Trellis Larkspur, New Scroll and Acanthus Linen panel 182 x 162.8 cm, c.1880 Mallow, Pink & Poppy, St James, Bird & Anemone Net Ceiling, Compton, Net Ceiling, Granville, 3. Andy Warhol, Flowers Print 1 each: 37 x 24 cm, 1864-1895 Unique screenprint on white paper 96.8 x 96.8 cm,1970 24. William Morris, Pink and Poppy Machine Wallpaper 15 16 4. Andy Warhol, Flowers Print 2 design 14 Unique screenprint on white paper 96.8 x 96.8 cm, 1970 Design on paper, 101.5 x 68.8 cm (framed), 1880

5. Andy Warhol, Collage (for 48-inch Flowers), 25. Andy Warhol, Camouflage magazine paper collage on heavyweight paper, with masking tape 13 Acrylic paint and silkscreen on four canvases and ball- point pen inscriptions, 41.9 x 27.9 cm,1964 17 Each 183 x 183 x 3 cm, 1986 18 - 21

6. Andy Warhol, Flowers (unfinished), 26. William Morris, Bird fabric design 12 acrylic on linen, 29.5 x 29.2 cm,1965 Design on Paper, 132 x 96.7cm, 1876-78

7. Andy Warhol, Flowers (unfinished), 27. William Morris, Bird pair of curtains acrylic on linen, 39.1 x 34.9 cm,1965 11 Acanthus wallpaper match-piece, c. 1975, Images courtesy of Morris & Co, Photo: Andy Stagg Woven Wool, Each 178 x 120cm, Designed 1878

8. Andy Warhol, Source material for ‘Cow Wallpaper’, 28. Morris & Co., Acanthus wallpaper match-piece, Offset lithography and ballpoint pen on coated paper, OFF THE WALL Handprinted sheet 58 x 1135cm, c. 1975 10 27.9 x 17.1 cm,1965 Michael Parry, Former Managing Director, Sanderson 9. William Morris, Kennet design for textile, 9 William Morris attempted to print wallpaper within a year ingredients. Children were overwhelmed and killed by Watercolour on paper, 101 x 66.7cm 22 of establishing Morris, Marshall, Faulkner & Company in fumes in bedrooms papered with materials containing 1861. For Trellis, his first design, his plan to use zinc plates arsenic green and other toxic elements. Their dangers 10. William Morris, Kennet, 23 replicating wash tints similar to those achieved by print were periodically reported in 1860s London newspapers Silk Damask, 64 x 67cm, Designed 1883 28 engraving proved to be neither practical nor commercial. which alleged that “the atmosphere of dwellings all 11. Andy Warhol, Foot with Flowers, 24 Therefore he sought the services of Barrett’s of Bethnal over Britain was more or less poisoned with arsenic”. Ink on Paper 43 x 35.1 cm, 1958 Green to hand-cut traditional pear-wood printing blocks. Nonetheless they continued to be used until the 1880s. These were used from 1864 by Jeffrey & Company who Recent evidence verifies that early Morris & Co. 12.William Morris, Design for Tulip provided a separate block printing department solely wallpapers contained poisonous ingredients since Pencil and Watercolour, 62 x 47cm,1875 for William Morris’ wallpapers under the personal William Morris rejected synthetic, new “chemical” 5 - 8 4 supervision of its Managing Director, Metford Warner. dyes in favour of more customary mineral pigments. 13. William Morris, Tulip Printing blocks, The unguarded dangers masquerading within Trellis, Woodblocks, Dimensions variable, Late 19th Century 3 It was always Morris’ intention to design wallpapers Daisy and Fruit wallpapers did not deter sales to affluent within the constraints of manufacturing rather than patrons; moreover, Trellis decorated the corridors and 14. William Morris, Tulip fabric, creating one-off “wall paintings”. Of all his products of bedrooms of Morris’ own homes of Red House and Fabric, 140 x 97cm, designed 1875 domestic ornamentation the “wallpaper hangings” Kelmscott Manor. 2 became the most widely popular. 15. Andy Warhol, Head with flowers Following Morris’ death in 1896 the business, under Ink and dye on paper 38.2 x 33.6 cm, 1958 25 In the late 1860s Morris concentrated his decorative successive new managements, suffered from the loss 16. William Morris, Acanthus design for wallpaper, 1 prowess on wallpaper and textile designs. His first three of its founder and guardian. Slowly and progressively Watercolour over pencil on paper 81.2 x 68.8 cm, 1879-81 repeating wallpaper patterns were, most famously, Morris & Co. gained some of its lost reputation and Trellis, Daisy and Fruit, their popularity, enduring appeal credibility, most notably through the adaptation of 17. Andy Warhol, Hand Holding Glass with Daffodil, and success continuing to this day. Trellis was inspired earlier block printed wallpapers into printed textiles, Ink, gold leaf and graphite on paper 46 3 55.9 cm, 1957 by the gardens at Red House (Morris’ first marital together with a decision that would have incurred 27 26 home). Daisy and Fruit, probably inspired by naïve Morris’ wrath, namely the manufacture of five wallpaper 18. Andy Warhol, Printing Screen (“Open This End”), medieval wood-cut illustrations, are less sophisticated designs printed by surface roller machine. The five Silk, wood, silkscreen ink, paper tape 18.1 x 28.3 x 4.4 cm, 1962 than designs such as Acanthus (1875) which uses the designs were Carnation, Merton, Oak Tree, Tomtit and complex layering technique for which Morris became Thistle. The success of these patterns was, however, to 19. Andy Warhol, Small acetate (hand-drawn “Open This famous. be a short lived salvation for the business. End”) During the 1920s Jeffrey & Company was acquired by the Ink on acetate 8.3 x 22.9 cm,1962 Morris & Co. issued more than 100 block printed Wallpaper Manufacturers Limited to which Sanderson wallpaper patterns of which William Morris designed had joined on its incorporation in 1899. Subsequently in 20. Andy Warhol Small acetate (hand-drawn“This Side over half. This output was considered to be relatively 1927 the entire Jeffrey & Co. production, including Morris Up”) insignificant compared to rival businesses yet these & Company’s block printed wallpapers, was relocated Ink on acetate 9.5 x 22.9 cm, 1962 wallpapers continue to influence interior decoration to Sanderson’s manufacturing unit in Chiswick. Today 21. Andy Warhol, Small acetate (hand drawn one - and throughout the world and were instrumental to the Morris & Co. continues to block print, roller print and two-dollar bills) success of the company. Technology, however, eluded screen print its wallpapers and fabrics at Loughborough Acetate silk, wood, silkscreen ink, paper tape 22.9 x 27.3 cm, 1962 the business, wallpaper being the only product never to and Lancaster. be manufactured by Morris & Co. William Morris’ enduring legacy continues to inspire, 22. Andy Warhol, Boy with Flowers reassured by a commitment not to reinvent his iconic Ink on paper 42.5 x 35.1 cm,1955–57 Whilst the resplendence of wallpapers brightened brand. up many Victorian homes, their colours hid demonic

12. 11. 4. his career wasn’t where it could’ve been. But, of course, J: They were both collaborators. They worked with that’s all been re-evaluated now. But, back then, someone people. They got the best out of people. They also fell out from New York may not have thought it was such a big with people, but on a whole, they were around people. deal, but for a teenager from London, it was a really big You have to if you’re doing eight jobs. You have to have deal. It didn’t matter where his career was - it was him. really good people around to sustain a career like that. That’s what mattered. He was still around, doing things. I was definitely interested in the mythology of ‘him’. R: Warhol’s renowned for being a draftsman in the early days, and Morris loved craft… R: And that had quite an effect on you? J: Yes, he was a great draftsman, and mastered the crafts J: I think it did. I was studying art history at the time, he employed. windows, dying, colour Acanthus wallpaper match-piece, c. 1975, Images courtesy of Morris & Co, Photo: Andy Stagg and it makes art history look a bit dull having done that. making, printing… he did everything himself first, then I went back to college and finished my degree, but, after got other people to do it. From what I know, he was that, my heart wasn’t really in studying old masters’ obsessive about quality control. The one thing he felt drawings for the rest of my life. I’d seen what it was like he couldn’t do, or the one thing he felt he wasn’t good to be a producer. That was very important. enough at, was painting. But, everything else, from song writing to architecture, from poetry to translation - even R: It’s interesting that you take away from that the idea typesetting - he was doing it. of a ‘producer’. J: Well it is ‘producer’. I wouldn’t even say ‘artist’. It’s R: What would Morris like about Warhol’s work, and someone doing stuff, and whether it is art or not, it what would Warhol like about Morris’? AN ENDURING BRAND – MORRIS & Co. TODAY doesn’t really matter. It’s about doing things, and having J: I imagine that Warhol would like the over-the-topness what looked like an amazing life. And it was pretty of Morris… the colours… the craftsmanship. And maybe amazing. He wasn’t necessarily very happy a lot of the even the campness of it all, like the Holy Grail tapestry… Alison Gee, Head Designer of the Morris & Co. studio time, but he was achieving most of the things he probably there’s a lot of camp in that. The Knight in it has this never thought he would as a kid from Pittsburg. I saw chain-mail with these long sleeves… the possibilities that were there. That’s what was good ‘Our role at Morris & Co. is to reproduce Morris designs positioned the lettering and then filled in the design with about that experience - that art could be whatever it is R: Like some sort of prog rock sleeve? as faithfully and authentically as possible. Drawing on a leaf and berry branch pattern taken from the designs in you wanted. Warhol created his own world, literally. J: Exactly! Warhol would have got a kick out of that. our extensive archive, we are gradually reintroducing The Green Dining room of the V&A. R the original designs to our range. At the same time we R: Did being asked to curate this show make you imagine : And Morris? a diagram in your head like your Acid House / Brass look at other areas of original Morris & Co. work: tiles, When I choose, or create new designs for the Morris J: I imagine that he’d have been interested in Warhol’s Band one, linking these two artists together? stained glass, , tapestries and rugs and collections, I am not thinking about current trends, I am large silkscreens, and how they were made. And how also his calligraphy, illuminations and writing to add thinking about what I think is really beautiful and works J: Yes, though I didn’t actually draw one. I’m surprised you can make a magazine. they didn’t ask me to do one. I get asked to remake that new designs to the range. well as a design and in an interior, but as a designer, R: What is it you want people to take away from the diagram quite a lot. But, yeah, I did. Morris is an artist of I am naturally influenced by the things around me, so show? To celebrate them? With so much beautiful inspiration from Morris’ skills it hopefully they are timeless designs that fit into modern the industrial revolution, and Warhol is… well… almost internet. He’s on the cusp of the internet. J is possible to create many new designs for our range. and traditional interiors.” : Yes, and to make both their careers be seen in a slightly different way. To make Morris seem contemporary and For example the “Forest” design from Archive II which R: He did do those portraits of Debbie Harry on an old relevant, and revolutionary as an artist and as a thinker. Amiga computer… combines the hare, the fox and the peacock from his Through his company, Morris & Co., William Morris And for people to think of Warhol as less of a money tapestry, “The Forest Tapestry” – an iconic tapestry that produced some of the most fashionable and exciting J: The Amiga, yes! Exactly. That’s around 1985 or 1986. artist, and more as a true artist, and someone who had is so beautiful and well known it made an obvious choice wallpapers of his era. His legacy continues today with He almost predicts the internet with his behaviour and a very interesting career that took in many different to be the starting point to a new design. I took the images Morris & Co. producing authentic versions of his original what he does. Anyway, yes, for the first second or so of elements. Unfortunately he’s become an auction house of the three animals and worked out a repeat and scale designs alongside new interpretations to create up to thinking about them, you may not think they have much favourite, which I am sure he would have loved, but that would work for a printed textile and then added the date fabrics and wallpapers. in common. Hopefully, from seeing the show, you will that’s not the only story. Put him back into art history… typical acanthus leaf scrolls and medieval style bunches see that they have tons and tons in common. a traditional maker. Also, that they are key figures of of flowers to the background. I then painted the design The extensive archive is housed in a purpose-built, their century. Warhol clearly is, I think we can agree R: They were both writers. out onto canvas, painting with quite dry gouache to climate-controlled safe room and contains printing on that, but Morris... still… people think he might have reveal the texture of the canvas beneath, giving it the look logs, wallpaper stand books, loose paper and printing J: Yes. been hypocritical, being wealthy but going on about socialists, but actually his influence is so huge that it of tapestry. I was very faithful to the original tapestry, blocks. As well as being the source of inspiration for new R: Both entrepreneurs. isn’t appreciated or understood. He’s a multimedia artist only changing the rather serpent like look of the peacock collections, it also enables the company to re-create the in the vein or Warhol. head. There is a trend for big, pictorial designs and with originals to special commissions. J: Exactly. They both had their own business empires. digital printing it is now possible to recreate these large, They were both publishers, writers, propagandists… you could use that word quite happily, for their own art, multi-coloured textured designs. Modern production techniques are used to ensure that Rhys Coren is an artist working in London. and also for art in general. Their ambition for art is huge, Morris’s creations live on, and are accessible to a wider for what art can be. They talk about it a lot. They’re not For the same collection, I created the design “Love is audience. All new designs are carefully considered to snobs, either. They were happy for their work to be seen Enough”, taken from the cover design of Morris’ book. ensure that they stay true to Morris’ ideals and aesthetics. by anyone. If anything, they wanted that. They both talk The phrase is so lovely and the typography is so All prints and wallpapers are still manufactured in the about art being part of daily life. beautiful, it was an obvious choice for a new design; I UK and are environmentally sustainable. R: Did they both have an entourage?

5. 10. INTERVIEW Jeremy Deller & Rhys Coren his career wasn’t where it could’ve been. But, of course, J: They were both collaborators. They worked with Rhys: Shall we start with… R: Like the sort of thing you’d have had by the house that’s all been re-evaluated now. But, back then, someone people. They got the best out of people. They also fell out phone when you were growing up? A doodle pad? Jeremy from New York may not have thought it was such a big with people, but on a whole, they were around people. : The fact that they’re dead? J: Exactly. deal, but for a teenager from London, it was a really big You have to if you’re doing eight jobs. You have to have R: Yes! deal. It didn’t matter where his career was - it was him. really good people around to sustain a career like that. R: So how did you first encounter both Morris and J: That’s not a bad start. You’re right, I’m taking liberties That’s what mattered. He was still around, doing things. Warhol? I was definitely interested in the mythology of ‘him’. R: Warhol’s renowned for being a draftsman in the early with them. But, having said that, I imagine Warhol days, and Morris loved craft… would have approved, as he always had a keen sense J: Well… Morris was really just through growing up and R: And that had quite an effect on you? being surrounded by it. He was just there. You grow J: Yes, he was a great draftsman, and mastered the crafts of art history, and he loved collecting things, and loved accustomed to him. J: I think it did. I was studying art history at the time, he employed. Stained glass windows, dying, colour decorative art. I think he would probably have liked to have been reimagined like this, and put with another and it makes art history look a bit dull having done that. making, printing… he did everything himself first, then R: Um, I don’t know about that actually… I went back to college and finished my degree, but, after got other people to do it. From what I know, he was artist like Morris. I don’t think there’d have been a that, my heart wasn’t really in studying old masters’ obsessive about quality control. The one thing he felt problem there. J: Well, maybe not in everyone’s household, but in Chaucer printed pages with illustrations by Burne-Jones, 1896, drawings for the rest of my life. I’d seen what it was like he couldn’t do, or the one thing he felt he wasn’t good William Morris? Well… I think he would have been more mine… we had cushions, curtains… I almost took it for Image courtesy of and Museum ©, Photo: Andy Stagg to be a producer. That was very important. enough at, was painting. But, everything else, from song concerned with the state of the world than being put in a granted. But the more you learn about him, and about writing to architecture, from poetry to translation - even the breadth of his career, how vast his career was, the R: It’s interesting that you take away from that the idea show with Andy Warhol. Actually, if he came back to life typesetting - he was doing it. more interesting he becomes. You realise that, maybe, of a ‘producer’. and saw the show, he’d probably be more interested in what was going on around the gallery. He’d be intrigued you don’t know anything about him at all. R: What would Morris like about Warhol’s work, and J: Well it is ‘producer’. I wouldn’t even say ‘artist’. It’s with what he saw. R: I grew up thinking he was just a writer. someone doing stuff, and whether it is art or not, it what would Warhol like about Morris’? R: So he’d have been more impressed with…? J: Well, he was. He was known, originally, as a writer and doesn’t really matter. It’s about doing things, and having J: I imagine that Warhol would like the over-the-topness what looked like an amazing life. And it was pretty J: Electricity. The spot lights. The lift coming in. poet. But he had about eight different careers. Actually, of Morris… the colours… the craftsmanship. And maybe Warhol had half a dozen careers. They were actually very amazing. He wasn’t necessarily very happy a lot of the even the campness of it all, like the Holy Grail tapestry… time, but he was achieving most of the things he probably R: Then, once he’d seen all of that and did actually come similar in that they weren’t content with one career. They WILLIAM MORRIS & KELMSCOTT MANOR there’s a lot of camp in that. The Knight in it has this over and ask you who Andy Warhol was, what would were both always looking for other genres or media to never thought he would as a kid from Pittsburg. I saw chain-mail with these long sleeves… the possibilities that were there. That’s what was good you say to him? master and explore. Dr Kathy Haslam, Visitor Experience Manager, Kelmscott Manor about that experience - that art could be whatever it is R: Like some sort of prog rock sleeve? J: There’s a quote from William Morris that goes: “In the R: And Warhol? you wanted. Warhol created his own world, literally. J: Exactly! Warhol would have got a kick out of that. future, the best thing will be a mixture of the artist and J Kelmscott Manor with its many gables, clustered famous designs, amongst them ‘Willow Boughs’ and the designer.” Basically, that’s what Warhol was. In a : Warhol’s someone I knew about as a youngster, too. I R: Did being asked to curate this show make you imagine R: And Morris? chimneystacks and leaded windows, was William ‘Strawberry Thief’, came about in direct response to the way, Morris was predicting the career of someone like don’t know how I first came across him, but I definitely a diagram in your head like your Acid House / Brass J: I imagine that he’d have been interested in Warhol’s Andy Warhol, who started off as a commercial artist; a knew about him as a teenager. I suppose a young person Morris’s architectural ideal – the spontaneous product Manor estate. The centrality of this setting is reflected Band one, linking these two artists together? large silkscreens, and how they were made. And how graphic designer, and ended up being a fine artist who can totally relate to him, because he’s so contemporary. of traditional craftsmanship and knowhow, mellowed in his lecture Some Hints on Pattern Designing (1881), He had a rock band, he did films and he did TV. All those J: Yes, though I didn’t actually draw one. I’m surprised you can make a magazine. was very highly regarded. He might understand that by time and nature until it appeared, in his words, to in which he advocated patterns with ‘unmistakable things you know of as a youngster means you can totally they didn’t ask me to do one. I get asked to remake that idea, but might also have been slightly upset with the have ‘grown up out of the soil’. From 1871 it became suggestions of gardens and fields.’ But Morris’s interests R: What is it you want people to take away from the identify with him. diagram quite a lot. But, yeah, I did. Morris is an artist of technical elements of it… his cherished country retreat, the antidote to city life. and preoccupations were all bound up together in a show? To celebrate them? the industrial revolution, and Warhol is… well… almost I was very into him at school. The idea of him and the When not working on new designs, experimenting fertile interconnectedness, and hand-in-hand with his internet. He’s on the cusp of the internet. J: Yes, and to make both their careers be seen in a slightly R: Because Morris was a real craftsman? humour of him. It’s funny; the work’s funny, he’s funny. with vegetable dyes or writing poetry he fished, deep love for the Manor and its setting went a growing different way. To make Morris seem contemporary and He’s mucking about. Poking fun at the adult world, and R: He did do those portraits of Debbie Harry on an old J: He was. He was a master craftsman. He might not cooked, and observed the seasons amidst a domestic concern to protect this and other precious examples relevant, and revolutionary as an artist and as a thinker. that appeals to young people. Playing a fool, almost. Not Amiga computer… understand that you can master a medium then play set-up which was simple in the extreme; as his wife of built heritage at risk of loss or irreversible change And for people to think of Warhol as less of a money with it, and it not look so perfect. He would like things to talking much, but actually being the cleverest person in Jane commented, the Manor was ‘barely furnished’, through development or over-enthusiastic restoration. J: The Amiga, yes! Exactly. That’s around 1985 or 1986. artist, and more as a true artist, and someone who had look absolutely perfect. the room, and the most important person in the room. and life was like a ‘sort of perpetual picnic’. It embodied And so, in 1877, he founded The Society for the Protection a very interesting career that took in many different For me, that was something that was very appealing He almost predicts the internet with his behaviour and R: Talking of that, I’d never seen how painterly Warhol’s the atmospheric appeal of times gone by that had so of Ancient Buildings. Similarly, he viewed rural life with what he does. Anyway, yes, for the first second or so of elements. Unfortunately he’s become an auction house about him. favourite, which I am sure he would have loved, but Mao paintings are. fascinated him as a boy; he felt, for example, that appreciation overshadowed by concern; the Manor thinking about them, you may not think they have much R: I was hoping that you’d talk a little bit about… its faded 17th-century tapestries ‘make the walls a was at the heart of a remote farming community and that’s not the only story. Put him back into art history… J: Yes! Consciously, Warhol may have wanted some in common. Hopefully, from seeing the show, you will J: Meeting him? very pleasant background for the living people who Morris cared deeply for the welfare of the agricultural see that they have tons and tons in common. a traditional maker. Also, that they are key figures of sort of abstract expressionist revenge or something. their century. Warhol clearly is, I think we can agree Combining what was, apparently, at that particular R: Exactly! How did you meet Warhol? haunt the room…they give an air of romance…which workforce and rural poor. In both London and Kelmscott R: They were both writers. on that, but Morris... still… people think he might have nothing else would quite do.’ he witnessed the painful inequalities brought about by a moment, the most reproduced image in the world - J: I met him in London in 1986, then went to New York J: Yes. been hypocritical, being wealthy but going on about every Chinese citizen had to have a portrait of Chairman booming and merciless capitalist society, and in 1883 he socialists, but actually his influence is so huge that it to hang around The Factory, where I met him again a Mao in their homes - with a big mess of mixed paint. couple of times. The impact made on Morris by the Manor, its ‘crossed the river of fire’, committing himself to the cause R: Both entrepreneurs. isn’t appreciated or understood. He’s a multimedia artist landscape and the village community within which of revolutionary socialism. It was, perhaps inevitably, to in the vein or Warhol. J: Exactly. They both had their own business empires. R: It is also interesting to see how delicate the William R: Did he remember you? it stood, cannot be overstated; as his daughter May the landscape and architecture of his beloved Kelmscott Morris designs are and how they can repeat and tile. was later to recall, it was the ‘undertone’ to all his that he turned in formulating his vision of post- They were both publishers, writers, propagandists… J: He did. I was with a friend and he remembered us. you could use that word quite happily, for their own art, future activities, informing his developing ideas revolutionary England when he wrote his great Utopian Rhys Coren is an artist working in London. J: They’re very expressive, even though they are huge We just hung around, and he was there, doing his thing; and also for art in general. Their ambition for art is huge, drawings. They’re quite instinctive. Actually, we also working. about politics, society and building conservation, and romance News from Nowhere (1890). At the end of the for what art can be. They talk about it a lot. They’re not have this sheet of doodles Morris did of flowers and inspiring both designs and writings. book the Manor, ‘this many-gabled old house built by snobs, either. They were happy for their work to be seen R: It was that easy back then? The Factory was that things. It’s just a piece of paper that he was taking notes the simple country-folk of long-past times’ is described by anyone. If anything, they wanted that. They both talk approachable? You could just go? on at a political meeting, and he obviously gets bored Morris found creative inspiration in abundance at the lovingly and in detail. It was truly Morris’s heaven on about art being part of daily life. early on, and just does drawings all over it. It’s really J: It kind of was, yes. It was passed its prime. Some Manor, which had ‘the melancholy born of beauty… earth. R: Did they both have an entourage? quite beautiful. people’s opinions were that he was a spent force, or that very stimulating to the imagination.’ Some of his most

10. 9. 6. St John Chrysostom Byzantine Catholic Church, 2014, Image courtesy of New Guild Studio Inc.U.S.A, Photo: Anton R. Miriello

ANDY WARHOL’S FANTASY LOVE Jean Wainwright, Professor of Contemporaty Art and Photography, School of Film and Media, UCA

Andy used to say, “Do you know who that was there? I on their gold leaf backgrounds, had a profound effect on can’t get over it!” and yet he was far more famous than Warhol. they were. He made a movie with Liz Taylor in Rome and he told my wife and me that he had never met Then there was the toy film projector that Warhol anyone so attractive… he really looked up to them. begged for and received, buying 16mm films of Mickey THE RELATIONSHIP BETWEEN THE in conversation with Jean Wainwright, and Minnie Mouse and Charlie Chaplin for 27cents and 2003 playing the role of projectionist as he decided what to NEURAL PLUMBING AND THE AGAPE screen on the wall. Coupled with his avid movie-going In 1966, while interviewing Warhol, Gretchen Berg asked at the Leona Theater, where he could pick up 8” x 10” Dr. Anders Sandberg, James Martin Research Fellow, him, “If we want to know about Andy Warhol [do] we just prints of the stars to add to his growing collection, or have to look at your paintings and your films…? Whilst writing to them for their autographed photographs, this Future of Humanity Institute he responded with a laconic ‘Yeah’, it is nevertheless fuelled an obsession with stardom which continued in his childhood that we find many of the clues to the his entire life. His most treasured photograph was one multifaceted artist that he became. signed by Shirley Temple “To Andrew Warhola” in 1941, Written in the model of a medieval morality play, the supreme goal of all art, religion and individual life? which was later delicately hand-tinted, possibly by his William Morris’s Love is Enough suggests that love is Or a desirable result of a good arranged marriage? Or With the factories and coalmines of the polluted brother John. Temple, the same age as the thirteen- more valuable and important than power or wealth. even a threatening madness that sweeps away reason industrial city of 1930s and ‘40s as a backdrop, year-old Warhol, with her blonde pin curls, flawless This phrase has the pithy sound of a Warhol aphorism and propriety, and should be urgently treated with the sensitive and physically weak Warhol and his two skin, expressive eyes and habitual tap dancing with her though in that light sounds rather less earnest. He did bloodletting? But knowing that love is universal tells us older brothers, Paul and John, grew up in a household leading men, inhabited a glamorous fantasy Hollywood worry, however, about the longevity of love: little. Tickling is universal too. dominated by Eastern European Carpathian Ruthenian that Warhol aspired to, though he suffered from acne and “I wonder if it’s possible to have a love affair that lasts influences. Construction-worker Andrej Warhola, perceived his ‘blond cuteness’ to be evaporating. His forever.” Reducing things to “mere” biology or social construction Warhol’s largely absent father, and , his brothers John and Paul recounted to me how they used Here, Dr Anders Sandberg considers which ingredients does not tell us much. We can of course continue the round affectionate, protective and talkative mother, taught him to ‘develop’ their own pictures of Hollywood stars using might constitute love. by looking at the phenomenology of love, examine the the importance of ‘bringing home the bacon’. An abiding sunlight on bought negatives in holders containing various love styles people have, the evolution of human and ever-present influence in Warhol’s life, Julia had her photographic paper, and also how Paul taught Warhol to Is romantic love just an illusion? love, the sociology or economics of love… blind men own artistic leanings, painting Psanky eggs, fashioning rub left-over wax from candles onto a image in a comic We certainly seem to activate the same parts of our brains and an elephant. Except that sufficiently cooperative flowers from Del Monte cans or paper, drawing her and then reverse it and press with a spoon to transfer the as prairie voles do when we are in love. Neuropeptides blind researchers can probably figure out the relevant own distinctive cats and angels and instigating drawing image to paper, both influences evident in later work. like oxytocin and vasopressin seem to influence the picture after a while. Love might be awesome but it competitions for Warhol and his siblings around the cuddliness of all mammals. Dopamine learning/pleasure doesn’t have to remain an impenetrable mystery. In fact, kitchen table. But it was Warhol’s illness at the age of David Bailey suggested to me in 2001 the Warhol he knew signals update our behavior when we experience sexual we do know much about it. eight when his first bout of rheumatic fever developed was ‘like a sponge’ and it was this trait that enabled him union. into St Vitus’ Dance (Sydenham’s chorea), that changed to draw together the ordinary and the extraordinary, the To many that growing knowledge is far more threatening the family dynamic and affected his personality, as soup can, the dollar bill, The Last Supper, Liz Taylor and But saying love is just neurotransmission is like saying than the idea that it is just chemicals. The idea that he faced uncontrollable trembling, an obsessive- Jackie Kennedy; the glamorous and the abject: religion, music is just sound: they certainly need patterns of something of huge human importance and meaning compulsive disorder and problems with skin eruptions Hollywood and death being ‘grand’ themes that stayed chemicals or air vibrations to come into being, but they could be understood suggests to them that the Soul and blotchiness (though his brothers suggested that with him his entire life. His niece Madalen Warhola also are not the raw materials. They are not the plumbing might be lost. Cue quotes from Keat’s “Lamia”. Yet, happened later). Warhol spent his time confined to bed related in conversation how ‘Uncle Andy’ liked to “play directing the raw material. Yet that mere plumbing in ignorance is not the same as sacred mystery. A proper pasting ‘stars’ into an album, an activity he had begun jokes”: “When we would go up to see him in New York in our brains and ears allows beauty and excitement to Mystery will not vanish just because you know all its a few months earlier, making collages, colouring and the morning, he would tell us he was talking to someone happen. We cannot love well without our lateral insula parts. In fact, it will be amplified tenfold: you see the dreaming of a glamorous fantasy world. famous on the other end of the phone. To this day we or caudate nucleus. Change them (or the qualities of mundane parts, you put them together, and something never knew if the famous person really was Bette Davis sound) and strange things happen. transcendent emerges. Your knowledge makes the There is a strong visual link between the escapism of or just someone from the factory”. Warhol suggested wonder far more interactive and mysterious. Indeed, the imagined stardom and the beauty of the St. John that people think that the way things happen in the Looking at love from the top instead tells us that as Shelley noted, “true knowledge leads to love”: the Chrysostom Byzantine Catholic Church where Warhol movies is unreal but “It is life that is unreal” because, as romantic love is a human universal: there is no culture minute, lowly details hide things that might be more and his family used to worship every Sunday: The rich he protested in his book The Philosophy of Andy Warhol in the world where it does not happen to at least some than enough to fill us. colours of repeating grid-patterns of saints which caught (from A to B and Back Again) in 1975, “Fantasy love is people. What differs is what the culture makes of it: is it the light, their flattened perspectives seeming to float better than reality love”.

7. 8.