Andy , a retrospective : [brochure] the Museum of Modern Art, New York, February 6 to May 2, 1989 [contributors: John G. Hanhardt ... et al.]

Date 1989

Publisher The Museum of Modern Art

Exhibition URL www.moma.org/calendar/exhibitions/1815

The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

MoMA © 2017 The Museum of Modern Art 7 never read, I just look at pictures. " — *THE MODERNSTAR* The Museum of Modern Art, New York February 6 to May 2, 1989 ANDY WARHOL A RETROSPECTIVE "My paintings neverturn out the way I expectthem to but I'm never

surprised. —Andy Warhol

The exhibition Andy Warhol: A Retrospective has been supported by a generous grant from Knoll International. Additional funding has been provided by the Henry J. and Drue Heinz Foundation. The International Council of The Museum of Modern Art. and the National Endowment for the Arts. An indemnity for the exhibition has been received from the Federal Council on the Arts and the Humanities. Andy Warhol. Photo-Booth Self-Portrait, c. 1964. Two gelatin-silver prints. This publication was printed by The Star-Ledger, Newark. New Jersey. Collection Robert Mapplethorpe. Photo: Kate Keller. The Modern Star Page 2 IN BRIEF : ANDY WARHOL

.* 1928 A . SSS23 1964 Begins to produce multi media presentations, August 6, born Andrew rst-T Flowers, Most Wanted IhiSm. called the Erupting (later Warhola, in Pittsburgh. Men, Self-Portraits, Boxes (Brillo Boxes, changed to Exploding) 1934-35 Campbell's Soup Boxes, Plastic Inevitable, featur From about the age of six, Del Monte Boxes, Heinz ing Nico and the Velvet Warhol collects auto Boxes, Kellogg's Corn Underground. These graphed photographs of flake Boxes, Mott's Apple events include live music, movie stars. Juice Boxes). dance, and monologues by the band and other Factory 1945-48 Makes films Couch, Em performers against a back pire, Harlot, Henry Geld- Andy Warhol. Liza Minnelli. 1978.Silkscreen ink on synthetic Fall, enters Carnegie In drop of Warhol's films. polymer paint on canvas. Dia Art Foundation, New York. stitute of Technology, zahler, Taylor Mead's Ass, Courtesy The Menil Collection, Houston. Photo: Carl Picco. where he majors in picto Andy Warhol. Journal American. The Thirteen Most Beauti Exhibitions : Warhol, Gian rial design. 1960. Ink on paper. Dia Art ful Boys, and The Thirteen Enzo Sperone, Turin; Exhibitions: Andy War 1974 Foundation, New York. Courtesy Most Beautiful Women. Andy Warhol, Leo Castelli hol, ModernaMuseet,Stock Sometime during his col The Menil Collection, Houston. Films Andy Warhol'sFrank lege years he begins to Is commissioned to make a Gallery, New York (Cow holm, and Kunstnernes enstein and Andy Warhol's experiment with the 1957 work for the New York Wallpaper and Silver Hus, Oslo; and Andy War Dracula. Clouds); Andy Warhol hol, Rowan Gallery, Lon blotted-line technique. Exhibition: A Show of State Pavilion at the New Holy Cow! Silver Clouds!! don (Most Wanted Men 1975 Golden Pictures by Andy York World's Fair. Makes 1949 and Marilyn prints). Publishes The Philosophy Warhol, Bodley Gallery, Graduates from Carnegie 1969 of Andy Warhol (From A to Institute of Technology, New York. B and Back Again). moves to New York, and Makes the film Trash. 1960 1976 starts working as a com Exhibition: Andy Warhol, Paints his first canvases Skulls. mercial artist. depicting comic-strip Nationalgalerie and During his commercial characters: Batman, Deutsche Gesellschaft fur 1977 career Warhol works for Nancy, Saturday's Pop- Bildende Kunst, Berlin. Athletes, Hammer and Vogue,Seventeen, The New eye, Superman, and Dick 1970 Sickles, Torsos. Yorker, Harper's Bazaar, Tracy. Also paints first Exhibition: Andy Warhol, Films Andy Warhol's Bad. Tiffany & Co., Bergdorf Ads and Coca-Colas. Pasadena Art Museum Goodman, Bonwit 1 1978 1961 (also seen at Museum of Teller, I. Miller, and other Contemporary Art, Chi Oxidations, . concerns, creating adver Newspaper Front Pages. cago; Stedelijk Van Abbe 1979 tisements, window dis April, displays the paint Andy Warhol at home with his mother, 1966.Photo :< Ken Hey man. Museum, Eindhoven, The Retrospectives, Reversals. plays, stationery, book ings Advertisement, Be Courtesy Archive Pictures, Inc. Netherlands; Musee d'Art jackets, and record covers. fore and After, Little King, Moderne de la Ville de Publishes Andy Warhol's 1953 Saturday's Popeye, and Thirteen Most Wanted Holy Cow!, Contempo Paris; Tate Gallery, Lon Exposures, a book of pho Superman as background rary Arts Center, Cincin tographs. Begins to make paintings Men, which is hung on the don; and Whitney Mu for mannequins in the win nati; Andy Warhol, In incorporating lines that facade of the building. seum of American Art, Exhibition : Andy Warhol : dow of Bonwit Teller. stitute of Contemporary look similar to those in his Fair officials feel it is po New York). Portraits of the 70s, Whit Art, Boston; and Ferus blotted-line drawings. 1962 litically charged and ask 1971 ney Museum of American Warhol's permission to Gallery, Los Angeles. Campbell's Soup Cans, Art, New York. 1954 paint over it. Exhibitions: Andy War Disasters, Do It Yourselfs, 1967 hol, Cenobio-Visualita, 1980 First exhibition: Warhol, Exhibitions: Warhol, Ga- Elvises, and Marilyns. Electric Chairs. Milan; Andy Warhol: Joseph Beuyses, Diamond Loft Gallery, New York First silkscreens on can lerie Ileana Sonnabend, Continues to film **** His Early Works, 1947- Dust Shoes. (crumpled, marbleized vas: Baseball, Warren, a Paris, (Disasters); War and begins filming Bike 1959, Gotham Book Mart paper pieces on the floor). small Dollar Bill, and Troy hol, Stable Gallery, New Publishes : The Boy; I, a Man; Lonesome Gallery, New York; and Donahue. Uses rubber York (Boxes); and Andy Warhol '60s with Pat Cowboys; The Loves of Andy Warhol, Musee d'Art stamps for 5 & H Green Warhol, Leo Castelli Gal Hackett. Ondine; and Nude Res Modernede la Villede Paris. Stamps and Red Airmail lery, New York, (Flowers). taurant. 1981 Stamps. 1965 Exhibitions: Kiihe und , DollarSigns, Guns, Exhibitions: Campbell's Colored Campbell's Soup Schwebende Kissen von Knives, Myths. Soup Cans, Ferus Gallery, Cans, Electric Chairs. Andy Warhol, Galerie Ru 1982 Los Angeles; and Andy Films Beauty #2, Hedy, dolf Zwirner, Cologne; Warhol, Stable Gallery, Goethes, Stadiums. Horse, Kitchen, The Life Andy Warhol Most Want New York (Coca-Colas, of Juanita Castro, Lupe, ed, Galerie Rudolf Zwir 1984 Dance Diagrams, Disas More Milk Yvette, My ner, Cologne; Andy War Munchs, Rorschachs. Andy Warhol. Untitled, c. 1955. ters, Do It Yourselfs, Han Hustler, Poor Little Rich hol—The Thirteen Most Ink on paper. The Estate of dle with Care — Glass — Collaborates on paintings Andy Warhol. Photo: Kate Keller. Girl, Screen Test #7, WantedMen, Galerie Ileana Thank You, Marilyns, a with Jean-Michel Basquiat Screen Test #2, Suicide, Sonnabend, Paris. work based on a match- and Francesco Clemente. 1956 Paul Swan, and Vinyl. book cover, Red Elvis). Group exhibition: Expo- 1985 Makes "personality" In Paris Warhol announces '67, Montreal, United 1963 Publishes America. shoes: gold-leaf collages his intention to "retire" States Pavilion (Self-Por Andy Warhol. Mao. 1972. of shoes decorated to cap Electric Chairs, Race from painting and to focus traits). Synthetic polymer paint and 1986 ture the personalities of fa Riots. on filmmaking. silkscreen ink on canvas. Dia 1968 Art Foundation, New York. Camouflages, , Self- mous people. Buys 16mm movie camera 1966 Films and Courtesy The Menil Collection, Portraits. Exhibitions : Drawings for and shoots his first film, Self-Portraits, Cow Wall Flesh. Houston. Photo: Jon Abbott. 1987 a Boy-Book by Andy War Sleep. Also films Andy paper, Silver Clouds. hol, Bodley Gallery, New Warhol Films Jack Smith June 3, Valerie Solanis, 1972 Last Suppers. Filming "Normal Love," Films Bufferin, The Chel founder and sole member York; and Andy Warhol: Maos. Begins work on The His The Golden Slipper Show Blow Job, Eat, Haircut, sea Girls, Eating Too of S.C.U.M. (Society for tory of American TV. or Shoes Shoe in America, Kiss, and Tarzan and Jane Fast, ****, and The Velvet Cutting Up Men), shoots Films Heat, Women in February 22, dies. Bodley Gallery, New York. Regained. . .Sort Of. Underground and Nico . Warhol at . Revolt.

The Museum of Modern Art Library The Modern Star ANDY WARHOL: A RETROSPECTIVE Opensat The Museumof ModernArt!

'# never wanted to be a painter. I wanted to be a tap- Andy Warhol: A Retrospective, the first dancer. full-scale exhibition of the work of the —Andy Warhol Pop artist, features many examples of his art that have never been shown be fore. The show spans Warhol's entire career from the early designs of the fif ***** ties to his last paintings of the eighties. The exhibition is arranged according to themes that occur in his work : celebrity portraits (Marilyn Monroe, Elvis Pres ley, and Jackie Kennedy, for example), Disasters (Car Crash, Electric Chair), Campbell's Soup Cans, Flowers, Maos, and more. Also on view are many of the Self-Portraits made throughout his life, numerous drawings, and the most redent works made just before his death in 1987. One of the best-known figures of our times, Andy Warhol was a celebrity, and his paintings were enjoyed by a vast public. His art focused on the visible facts of contemporary American life, reflecting what was often disregarded or Andy Warhol. Photo: © Ken Hey man. Courtesy Archive Pictures, Inc. ignored, and illuminating what was not yet commonly perceived. Regardless of any feelings prompted by a particular subject, Warhol processed his visual ob A prolific artist, Warhol worked servations through his unique aesthetic, inventively in many mediums. In the maintaining a cool unwavering emo summer of 1965, he announced his "re tional detachment. His familiar images tirement" from painting in order to con are derived from newspapers, maga centrate on films. He began painting zines, and television, but on the canvas, intensively again in 1972, beginning they are isolated and treated as objects. with the Mao images. In the following

"I've made a career out of being the right thing in the wrong space and the wrong thing in the right space. That's one thing I really do know about." - w.

Born in 1928, Warhol came to New years, Warhol continued to execute fifty York after graduating from Carnegie In to one hundred commissioned portraits stitute of Technology and quickly each year until his death, produced sev achieved notable success as a commer eral new series, and began collaborative cial artist. When he began to paint, projects with younger artists. about 1960, he adapted the look and Organized by Kynaston McShine, techniques of his advertising work to the Senior Curator of Painting and Sculp canvas. Along with a number of other ture at The Museum of Modern Art, this artists — Roy Lichtenstein, Claes Ol exhibition brings together Warhol's en denburg, Robert Rauschenberg, and tire body of work for the first time and James Rosenquist — Warhol became should be on every museum-goer's list. known as a Pop artist, challenging the values and philosophies of the previous generation of Abstract Expressionists. In contrast to the Abstract Expressionist artists emphasis on individual expres sion and the large-scale gesture, these artists responded to the specific urban environment: they took account of the most mundane facts of daily life in America — how ordinary things looked, and how most information was transmitted. As Warhol observed: "The Pop artists did images that anybody walking down Broadway could recog nize in a split second — comics, picnic tables, men's trousers, celebrities, shower curtains, refrigerators, Coke bottles — all the great modern things Andy Warhol. The Six Marilyns (Marilyn Six-Pack). 1962. Silkscreen ink on synthetic polymer paint oa* that the Abstract Expressionists tried so Andy Warhol. Heinz Box (Tomato Ketchup). canvas. Collection Emily and Jerry Spiegel. 1964. Silkscreen ink on wood. The Estate of hard not to notice at all." Andy Warhol. Page 4 * The Modern Star Serial Imagery Seen in Warhol Retrospective

Many artists have made use of serial im Warhol's works in series run the ry in individual works is impressive. agery, but few with the variety, original gamut from the narrowly defined series The first works in which a single image ity, and range of effect achieved by of thirty-two Campbell' s Soup Cans, is repeated are the Airmail and S & H Andy Warhol. The term serial imagery 1962 (the number of which was deter Green Stamps and Dollar Bill paintings can refer either to a group of artworks mined simply by the varieties of Camp of 1962. They are among Warhol's first conceived as a series or to the repeated bell's soup available), to the Flowers paintings made by means of the or sequential use of similar or identical and Maos, all of which seem limitless silkscreen process. Not unlike the Flags units within a single artwork. Although and, when installed by Warhol, create and Targets of Jasper Johns, these works Warhol often worked within the context an environment that transcends the replicate real things which themselves of the series, his achievement in serial specificity of the group. act as stand-ins for other things. form is mostly to be seen in a range of The range of effects and meanings Later in 1962, Warhol began to use individual works. implied by Warhol's use of serial image silkscreens treated with a photosensitive layer so that he could transfer photo graphic images onto the canvas. Pulled from various sources, the photograph

TAJ*' j. :W55** \ " became Warhol's primary unit of form. 1 ¥ v I It is perhaps in the area of por traiture that Warhol brings to his art his most inventive and varied use of serial Andy Warhol. The American Man — Watson Powell. 1964. Silkscreen ink on synthetic i,K». ! form. In the portrait of Natalie Wood, a g polymer paint on canvas; thirty-two panels. i 3B single image of the young starlet's face Collection American Republic Insurance is screened in black ink onto a bare Company, Des Moines.

! HI* J "I like boring things. I like i S i feet is an image of a movie star, ubiqui things to be the same tous yet elusive; it also says something Over and Over."— AndyWarhol about the artificial late-twentieth-cen i i tury notions of stardom and celebrity. It 1 1 8 i The impact of movie stardom infil white canvas forty-eight times in six trates Warhol's portraits of the less fa Andy Warhol. Campbell's Soup Cans. 1962.Synthetic polymerplint on canvas; thirty-two works. parallel rows. Texture and movement mous, as for example in his portrait of Collection Irving Blum, New York. are suggested both by the varying densi the Pop art collector Ethel Scull. Instead ties of ink and by the overlap or space of repeating the same image many times 7 don't think I have an image , favorable or unfavorable ." left between each image. The overall ef- on one canvas, here Warhol joins thirty- six canvases with different images of — Andy Warhol the same person. As in his portraits of celebrities, the photographs used were not taken by the artist, but in a standard, ing but, at the time, rarely employed by mechanical photo booth. Thus the sitter artists. In the process, silk or a synthetic plays a large role in the making of ON THESURFACE fabric is stretched tightly across a frame Warhol's portrait. The result is a tour de and covered with thick glue or varnish, force of compositional skill, for ten of 'If you want to know all about Andy gether, so that the ink was transferred to which is allowed to harden. The artist the thirty-six panels are actually repeats Warhol, just look at the surface: of my the heavier paper. cuts a design into the surface, and ink is of others, some are reversed, and some paintings and films and me, and there I Warhol employed a variation of the then pushed through the fabric where it show the image cropped in a new way. am. There's nothing behind it." blotted-line method for his later work. is not blocked. The dime-store colors used for each By August 1962 Warhol had pro gressed from hand-cut screens to con This often-repeated statement by the 7 tried doing them by tinuous-tone screens produced commer "But when you see a artist has been interpreted as evidence hand, but I find it easier cially from black-and-white photo gruesome picture over of Warhol's emptiness and super to use a screen. This way, graphs. When a screen coated with and over again, it doesn't ficiality. In fact, it informs us that the I don't have to work on light-sensitive material is exposed to really have any effect." work itself provides all the clues to its light, the coated areas harden, selec my objects at all. One of meaning and suggests that we look care tively blocking the screen to let ink — Andy Warhol fully and consider his methods of mak my assistants or anyone through in a pattern of tiny dots. For him ing art. else, for that matter, can the process provided a means to appro panel further enhance the overall so The irregular blotted line that sus reproduce the design priate an existing image directly, with as phistication of the picture. tained so much of his design work of the as well as I could." little interference as possible. Silk- In contrast to the seemingly end fifties was discovered when, as a stu screening eliminated evidence of the less variety of the Scull portrait is the dent, he used blotting paper on an ink — Andy Warhol artist's hand, allowed for infinite repro 1964 portrait of Watson Powell, then drawing. Warhol preferred the delicate ductions, and was especially appealing president of an insurance company in hesitancy and chance breaks of the To establish the outlines of the image (a to Warhol for its mechanized look. Des Moines, Iowa. His image is re transferred imprint to the original, and Campbell's Soup Can for instance) he Photography and silkscreen print peated thirty-two times with slight vari the accidental discovery became a tech transferred a single pencil tracing to the ing continued to be central to Warhol's ation in color only. Titled The American nique. The drawing was generally made canvas by rubbing the other side of the art, and his techniques at times were Man — Watson Powell, the picture first in pencil on a nonabsorbent paper, paper. Soon after, it occurred to him that dazzling in their complexity. Ironically, seems to gently ridicule the rigidity of hinged to a more absorbent sheet. After a hand-cut silkscreen would be more ef while the results appear effortless, American corporate culture. each section of the drawing was retraced fective. The silkscreen is an elaborate Warhol worked hard to disguise his Another level of meaning is sug in India ink, the sheets were pressed to stencil widely used in commercial print artistry. gested in Warhol's treatment of the pho- The Modern Star Page 5 ENQUIRING REPORTER Today's question : What is Pop art?

through things larger than what I can make from life, the impact of things them. Also I use real ob thrown at us, at such a jects because I need to use speed and with such a objects, not because ob force that painting and jects need to be used." the attitudes toward paint ing and communication through doing a painting now seem very old- fashioned." Robert Indiana : 'Pop is everything art hasn't been for the last two decades. It is basically a U-turn back to a represen tational visual commu nication, moving at a Andy Warhol : breakaway speed in sev 'I don't think Pop Art is on eral sharp late models the way out; people are Pop is a re-enlistment in still going to it and buying the world. ... It is the it but I can't tell you what American Dream, optimis Pop Art is, it's too in tic, generous and naive." volved. It's just taking the Tom Wesselmann : outside and putting it on 'I dislike labels in general the inside or taking the in and Pop in particular, es side and putting it on the pecially because it over outside, bring the ordinary emphasizes the material objects into the home. Pop used. There does seem to Art is for everyone. I don't be a tendency to use simi think art should be only for lar materials and images, the select few, I think it but the different ways they should be for the mass of are used denies any kind of American people and they group intention. usually accept art anyway. "Some of the worst I think Pop Art is a legiti things I've read about Pop mate form of art like any Andy Warhol. Jackie (The WeekThat Was). 1963. Silkscreen ink on synthetic polymer paint on canvas; James Rosenquist : Art have come from its ad- other, Impressionism, etc. sixteen panels. Collection Mrs. Raymond Goetz. Photo : John Blumb. 'I'm amazed and excited mirers. They begin to It's not just a put-on. I'm and fascinated about the sound like some nostalgia not the High Priest of Pop way things are thrust at us, cult — they really worship Art, I'm just one of the tographic image in a portrait of the A similar range of effects is pro the way this invisible Marilyn Monroe or Coca- workers in it. I'm neither dancer Merce Cunningham, where duced by the use of serial imagery in screen that's a couple of Cola. The importance bothered by what is writ Warhol makes reference to the work of Warhol's Death and Disasters series. feet in front of our mind people attach to things the ten about me or what peo- the nineteenth-century photographer Take, for example, the various ways and our senses is attacked artist uses is irrelevant ple may think of me Eadweard Muybridge. Famous for his Warhol treats one group of subjects, the by radio and television and Advertising images excite reading it." studies of human and animal loco car crash. In White Burning Car III, the visual communications, me mainly because of motion, Muybridge's photographs are repetition of the gory image of destruc often broken into several horizontal tion produces a numbing response on 'The interviewer should just tell me the words he wants bands, each showing bodies in motion at the part of the viewer. sequential intervals of time. Warhol's Warhol's Portraits and Disasters me to say and I'll repeat them after him. I think that similar division of the field and our view intersect at many points, but perhaps would be so great because I'm so empty I just can't of Cunningham in strict profile is remi nowhere else as effectively as in the se think of anything to say. " —AndyWarhol niscent of Muybridge's analyses of ries based on the assassination of John F. movement. Kennedy in 1963, featuring the presi dent's widow, Jacqueline. In Jackie (The WeekThat Was) Warhol's multiple images offer the viewer an obsessive re- enactment, since the actual events had already been repeated ad infinitum on television; their inescapable repetition had itself become a part of everyone's consciousness of that time. The artist's reaction to the assassi nation, reported in his book POPism, sheds light both on the work and on his use of serial imagery in general: "I'd been thrilled having Kennedy as presi dent; he was handsome, young, smart — but it didn't bother me that much that he was dead. What bothered me was the way the television and radio were pro gramming everybody to feel so sad." In other words, Warhol used serial image Andy Warhol. White Burning Car III . 1963. Silkscreen ink on canvas. Dia Art Foundation, ry not only for its emotional effect but New York. Courtesy The Menil Collection, also to refer to the means employed by Installation of by Andy Warhol at Leo Castelli Gallery, New York , 1966. Houston. Photo: Noel Allum. the media to portray the event. Photo: Rudolph Burckhardt. . '. Page 6 * The Modern Star SOCIETYPAGE Factory,Fame, and Fortune i * From childhood, Andy Warhol yearned In addition to producing a tremen film. Among the members of Warhol's to be someone else. More than anything dous output of painting and sculpture, he wanted to transcend the limitations of entourage who appeared on film were such as the Brillo Boxes, Warhol used , Ultra Violet, Viva, his immigrant family in rural Pennsyl the indigenous chaos of the Factory as a vania, and partake of life in the glamor Brigid Polk, Joe D'Allesandro, Taylor setting for many of his films. He re Mead, Ingrid Superstar, , ous America of movies, radio, maga corded everyday events — sleeping, eat zines, and newspapers. Quite simply , and members of the Vel ing, gossiping, and love-making — and vet Underground. put, Warhol wanted most of all what he made them into films. For him it be lacked by birth: beauty, wealth, status, came an alternative to painting, a con or fame. As the writer Truman Capote tinual happening of sorts, and Warhol "In the future everybody said, "Andy Warhol wanted to be any assumed the role of impresario and will be world famous for one but Andy Warhol." director. Constantly fascinated with beauty Almost anyone who wandered in fifteen minutes." and stardom, tantalized by the sensa- and out of the Factory was captured on —Andy Warhol

In the seventies Warhol began to accept numerous commissions for por traits from those generally referred to as beautiful people." Almost instantly Warhol was a fixture in the jet-set social scene, and he relished his fame: "A Edie Sedgwick. Photo: /Factory Foto. good reason to be famous, though, is so you can read all the big magazines and know everybody in all the stories. Page think we're a vacuum after page it's just all people you've here at the Factory ; met. I love that kind of reading expe rience and that's the best reason to it's great. I like being a be famous." vacuum; it leaves me Warhol's place in the public eye alone to work. \Ne was twofold : that of an artist/celebrity are bothered though , we and that of an entrepreneur. From his have cops coming up Pop images, which both shock and en dure, to his unforgettable epigrams, here all the time. They Warhol was one of the most influential think we're doing awful and certainly the most famous artist of Viva, Andy Warhol, and Brigid Polk at Max's Kansas City. things and we aren't." his time. — Andy Warhol

tional accounts of the rich and famous on the screen or in the tabloids, Warhol was preoccupied with celebrities. In the fifties he made drawings of shoes named after famous people, which he called personality" shoes. In the sixties this obsession was expressed in the serial portraits of Troy Donahue, Elvis Pres ley, Marilyn Monroe, Elizabeth Taylor, and others. Marilyn and Liz were the ul timate embodiment of glamor and fame : intrigued by the tragedy that plagued their lives, Warhol elevated them to iconic images.

"Publicity is like eating peanuts. Once you start you can't Stop."—AndyWarhol

By the mid-sixties Warhol began to acquire his own level of celebrity and notoriety as a Pop artist and cultural figure. Warhol's studio, known as the Factory, was a legendary hangout for artists, poets, and socialites. There was a continuous flow of people that pro vided him with constant stimulation and dialogue. The crowd Warhol attracted to the Factory was always large and eclec tic, and included assistants who worked -"'ified on his art. \\ ss;:. TayiorMead un,de ^ — The Modern Star * Page 7 ART BOOK DIGEST

Excerpts from "Warhol as realm of a fnodern mythol covers so encyclopedic a stract Expressionist uni "This alone, if only in terms ern artist's work comes so Art History," by Robert ogy that he himself both scope of twentieth-century versal that renounced the of inventory, would have close to providing a virtual Rosenblum, in Andy War created and mirrored. And history and imagery that, space-time coordinates of been enough to make him history of the world in the hol : A Retrospective, pub now that he is gone, the in this alone, it demands the contemporary world in the king of Pop art. But last quarter-century?" lished by The Museum of victim of a preposterously unusual attention. To be favor of some mythic, pri what is less obvious is how *** *** Modern Art. unnecessary mishap, the sure, in the early sixties, mordial realm. Within this Warhol's initial inventory 'Both ingenuous and fictions of his persona and his work could be shel domain, Warhol quickly of ugly, counter-aesthetic shrewd, blasphemous and the facts of his art still tered under the Pop um emerged as a leader, Americana expanded to devout, Warhol not only 'Despite his maxim, Andy loom large in some re brella shared by Roy choosing the grittiest, unexpected dimensions. managed to encompass in Warhol's own fame has far mote, but ever-present, Lichtenstein, James Ro- tackiest, and most com Looking back at his entire his art the most awesome outlasted the fifteen min pantheon of twentieth- senquist, Tom Wessel- monplace facts of visual output, the sheer range of panorama of the material utes he allotted to every century deities." mann, and others, joining pollution in America that his subjects becomes not world we all live in, but one else. During the last ***** * these contemporaries in would make the aesthetes only international (indeed even gave us unexpected quarter-century of his life, "For one thing, the subject what can now be seen and mythmakers of the fif universal in its concern glimpses of our new forms from 1962 to" 1987, he had matter of his work, now more clearly as an effort to ties cringe in their ivory with death) but mind- of heaven and hell." already been elevated to that we are beginning to re-Americanize American towers." boggling in its journalistic the timeless and spaceless see it in full retrospect, art after a period of Ab ****** sweep. What other mod Warholas Filmmaker By John G. Hanhardt, Special to The Modern Star At the time of their release, between tive camera to the exploration of a larger 1963 and 1968, the approximately sixty film space through zooms and pans and Filmsproduced by Andy Warhol were an later to editing strategies that included integral part of his art practice and strobe effects. Through this "discov played a leading role in shaping his ery" of film techniques, Warhol con presence in American culture. To screen structed narratives that compressed the the films of Andy Warhol today, over action and story within a single scene or twenty years after their production, is to relive another time and place in Ameri 'The Empire State Building can culture and social history. The place was the Factory, a converted factory loft is a Star! " —Andy Warhol on East , Which, from 1960to 1968, was Warhol's production center achieved the same compression through and a gathering place for the New York ellipses. Both of these devices mirrored art scene. the proto-narrative achievements of The underground world in which filmmakers at the turn of the century. Warhol moved, and for which the Fac Warhol's later films took on a more tory became a stage, was a compelling conventional dramatic line, reflecting subject for Warhol's camera. The silver- the established genres of Hollywood. walled Factory became a place in which The different phases of Warhol's subculture heroes and transient stran filmmaking career encompass a vari gers acted out their fantasies and min ety of filmmaking techniques. Post- gled under the gaze of their main production (editing, rewriting, reshoot- audience, that "tycoon of passivity," ing) was eliminated in a process that Warhol himself. They became part of recalls the one-reelers produced at the The . 1966.With Eric Emerson Ingrid Superstar, International Velvet. Warhol's studio and underground star turn of the century by filmmakers who Photo: Billy Name/Factory Foto. system, modeled on the "Hollywood were discovering a new medium. As dream factory" that had created myths Warhol put it: "With Film you just turn and heroes for twentieth-century on the camera and photograph some America. thing. I leave the camera running until it runs out of film because that way I can 'The lighting is bad, the catch people being themselves." In camera ivorfr is bad, the Warhol's studio, in the words of author Stephen Koch, "the audience out there projection is bad, but the became part of the scene; everybody people are beautiful." in the Factory knew he was being — Andy Warhol watched, and a glowing, theatrical self- awareness was built into the place's Warhol's films paralleled his art. very life, endowing its most casual The camera's mechanical means of re actions with a sense of moment. You production echoed the "production- couldn't make a wrong move; every im line" system Warhol used to turn out his pulse signified" Warhol's 16mm cam paintings, silkscreens, and sculptures. era was a silent eye that recorded a For all of these mediums the aesthetic culture of styles and gestures, of self- was predicated on duplication. created superstars and outrageous Warhol controlled the entire pro scenes — the "cool" lifestyle of the duction process of filmmaking, distri sixties, in which, in Warhol's telling bution, and exhibition. Within five phrase, everybody was "famous for fif years, he had recapitulated the history teen minutes." It was a new cinema of the cinema, as the Factory's films whose raw energy became a powerful went from silent to sound, from the use presence in the independent film of a stationary, Fixed-frame, contempla . 1965.With Paul America. Photo: Billy Name/Factory Foto. community. Page 8 + The Modern Star SPECIALSCREENINGS: THE CHELSEA GIRLS Wednesday, February 22, 6:30 p.m. Introduced by Jon Gartenberg, Assistant Curator Department of Film, The Museum of Modern Art. WjiONAL we/ f HI 7 SLI \ic Wednesday, April 5, 6:30 p.m. Introduced by John G. Hanhardt, Curator, Film and Video Department, Whitney Museum of American Art. Tickets are $8, Museum Members $7, and students $5, available at the Lobby Informa EbeMI tion Desk. > MIMWEAPOLiS Boston FILM SERIES ANNOUNCED ihIm WAtom r~.> New York A selection of Andy Warhol's films will be shown at The Museum of Modern Art on CHICAGO Tuesdays at 3:00 p.m. and 6:00 p.m. SAN /dSNveb/ ST LOUIS* 30.00 February 7 Sleep, Kiss, Empire February 14 Eat, Blow Job to* ANGtLE* pL February 21 * ATLANTA February 28 Vinyl>Beauty #2 Dallas prij ^ 4 The Life of J uanit a Castro, My Hustler 70 ri' P 11 NfW OfUfANS MUM! Tickets, free with Museum admission, are available at the Lobby Information Desk. tBGrvp SYMPOSIUM TO BE HELD AT MUSEUM ar t A symposium titled "Reflecting on Warhol" will be held on Thursday, March 16 at 6:30 p.m. at the Museum. The moderator will be Walter Hopps, Director, The Menil Collection, Houston. Participants are Trevor Fairbrother, Associate Curator of Con Andy Warhol. Untitled. 1984. Synthetic polymer paint on paper. Courtesy Robert Miller Gallery Photo: Zindman/Fremont. temporary Art, Museum of Fine Arts, Boston; Richard Sennett, Professor of Sociol ogy and University Professor of the Humanities, New York University Kenneth Silver, Associate Professor of Fine Arts, New York University; and Amy Taubin, Film Critic, 7he Village Voice. Tickets are $8, Museum Members $7, and students $5 'When you think about it, department stores are kind of available at the Lobby Information Desk. like museums." -Andy Warhol

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large mmt r VINE FRUIT BOOK NEWS STRINGED Published on the occasion of the exhibition Andy INSTRUMENTS The Museum has announced the publi Warhol : A Retrospective, organized by Kynaston CLOCKFACE cation of a lavish, authoritative book, McShine, Senior Curator, Department of Painting OPPOSITENORTH Andy Warhol: A Retrospective, to ac and Sculpture, The Museum of Modern Art, New WADING81RO York, February 6 - May 2, 1989. FRAGMENT company its historic Warhol exhibition. NG'S NOSE Inside its lively covers are an introduc Copyright © 1989 by The Museum of Modern »MPASS POINT tion by Kynaston McShine, illustrated Art, New York. All Andy Warhol artwork © The V0LI/ED essays by Robert Rosenblum, Beninmin Estate of Andy Warhol. This notice is appearing at 0RMED the request of The Estate of Andy Warhol. All . AROON H. D. Buchloh, and Marco Livingstone, rights reserved. .. IFE'S TITLE a collection of Warhol's writings, a por The Museum of Modern Art A8BR.) trait of the artist consisting of contribu 11 West 53 Street MESTICAffD tions by his colleagues, a chronology of New York, New York PING TOOL I HP'S CRY his life, and a selected bibliography. Contributors: John G. Hanhardt, Emily Bardack / R The plate section provides the most Kies, Marjorie Frankel Nathanson, Daniel Schul- » RACE comprehensive visual review of man, Jennifer Wells. Design: Jeana Aquadro. L Warhol's lifework available in print, Special thanks to: Lily Auchincloss, Shirley C. 0 'WINE with many images in full color. This is Burden, Robert L. B. Tobin, Cowles Charitable URT ' Trust, CTI Industries. TR the definitive Warhol book. 480 pages, % ARIN6 TOY 460 plates (277 in color), 176 reference