Andy Warhol (October Files) by Annette Michelson

By Annette Michelson

Andy Warhol (1928-1987), the most celebrated artists of the final 3rd of the 20 th century, owes his special position within the heritage of visible tradition to not the mastery of a unmarried medium yet to the workout of a number of media and roles. A mythical artwork global determine, he labored as an artist, filmmaker, photographer, collector, writer, and fashion designer. starting within the Nineteen Fifties as a advertisement artist, he went directly to produce paintings for exhibition in galleries and museums. the diversity of his efforts quickly accelerated to the making of flicks, images, video, and books. Warhol first got here to public discover within the Nineteen Sixties via works that drew on ads, model names, and newspaper tales and headlines. a lot of his best-known photographs, either unmarried and in sequence, have been produced in the context of pop paintings. Warhol used to be a big determine within the bridging of the distance among low and high artwork, and his mode of creation within the well-known studio often called "The manufacturing unit" concerned the popularity of paintings making as one type of company between others. the unconventional nature of that firm has ensured the long-lasting prestige of his paintings and person.Andy Warhol includes illustrated essays through Benjamin H. D. Buchloh, Thomas Crow, Hal Foster, Rosalind Krauss, Annette Michelson, and Nan Rosenthal, plus a formerly unpublished interview with Warhol by way of Buchloh. The essays tackle Warhol's relation to and impact on mass tradition and the recurrence of catastrophe and dying in his paintings.

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191–205. 13. Andy Warhol, “Underground Films: Art or Naughty Movies,” interview by Douglas Arango, Movie TV Secrets ( June 1966). 14. Andy Warhol,“Nothing to Lose,” interview by Gretchen Berg, Cahiers du Cinéma, English ed. (May 1967): 39–43. ” See Andy Warhol,“A Conversation with Andy Warhol,” interview by Gerard Malanga, Print Collector’s Newsletter 1, no. 6 ( January/February 1971): 125–127. ” See Bruce Glaser,“Oldenburg, Lichtenstein,Warhol: A Discussion,” Artforum 4, no. 6 (February 1966): 20–24.

One of them is so clearly your own. And the second is just kind of ridiculous because it’s not anything. ’ And the first one was one that was any good. The other thing—God only knows what it is. And, I think that helped Andy make up his mind as to—you know: that was almost the birth of Pop. ” See Smith, Andy Warhol’s Art and Films, p. 97. Warhol followed the advice only partially: he exhibited the “cold” version at his first New York exhibition at the Stable Gallery in 1962, but he did not destroy the other version.

In a very literal manner,Warhol’s singularized images become hermetic: secluded from all other images or stifled by their own repetition, they can no longer generate “meaning” and “narration”in the manner of Rauschenberg’s larger syntactic image assemblages. Warhol negates these expectations with the same asceticism that had articulated this negation in Duchamp’s readymades. This restriction to the single iconic image/repetition finds its procedural complement in Warhol’s strategy of purging all remnants of painterliness from Rauschenberg’s expressively compromised photographic images and to confront the viewer with a factual silkscreen reproduction of the photographic image (as in the Elvis series, the Disaster Series, and the Thirteen Most Wanted Men, for example).

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