Andy Warhol (October Files) by Annette Michelson
By Annette Michelson
Andy Warhol (1928-1987), some of the most celebrated artists of the final 3rd of the 20 th century, owes his targeted position within the historical past 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 international determine, he labored as an artist, filmmaker, photographer, collector, writer, and dressmaker. starting within the Fifties as a advertisement artist, he went directly to produce paintings for exhibition in galleries and museums. the variety of his efforts quickly improved to the making of movies, images, video, and books. Warhol first got here to public observe within the Nineteen Sixties via works that drew on advertisements, model names, and newspaper tales and headlines. a lot of his best-known pictures, either unmarried and in sequence, have been produced in the context of pop artwork. Warhol used to be a massive determine within the bridging of the space among low and high artwork, and his mode of construction within the well-known studio often called "The manufacturing unit" concerned the popularity of artwork making as one type of firm between others. the unconventional nature of that company has ensured the enduring prestige of his artwork and person.Andy Warhol includes illustrated essays via Benjamin H. D. Buchloh, Thomas Crow, Hal Foster, Rosalind Krauss, Annette Michelson, and Nan Rosenthal, plus a formerly unpublished interview with Warhol via Buchloh. The essays tackle Warhol's relation to and impression on mass tradition and the recurrence of catastrophe and loss of life in his paintings.
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Extra info for Andy Warhol (October Files)
27. See Michael Crichton, Jasper Johns (New York: Abrams, 1977), p. 30. Andrew Forge describes this type of new collaborative aesthetic in the context of Rauschenberg’s work in terms that equally deemphasize visuality as the object’s exclusive or even primary level of interaction. For example:“The idea of collaboration with others has preoccupied him endlessly, both through the medium of his own work and in an open situation in which no single person dominates. ” Andrew Forge,Rauschenberg (New York: Abrams, 1972), p.
And it was to the power and success of Johns and Rauschenberg that Warhol aspired in the early 1960s, not to the increasing marginalization that would obviously await all those other artistic practices that had actually abandoned picture production (such as the happening and Fluxus artists, for example). The critical distancing eﬀect that Warhol wanted to insert between himself and his two major predecessors had to occur ﬁrst of all within the means and the ﬁeld of painting (rather than by abandoning painting abruptly in favor of “pure” readymades).
Pop art in America had no such intention; it was made for the same exclusive and limited public as abstract art” (italics mine). Barbara Rose, “Pop Art at the Guggenheim,” Art International 2, no. 1 (1963): 20. Walter P. Paepcke,“Art in Industry,” in Container Corporation of America, Modern Art in Advertising (Chicago: P. p. 16. Andy Warhol, The Philosophy of Andy Warhol ( from A to B and Back Again) (New York: Harcourt Brace Jovanovich, 1975), p. 92. 17. See “Boxing Match,” Time (May 15, 1964): 86.