Download PDF by Annette Michelson: Andy Warhol (October Files)

By Annette Michelson

ISBN-10: 0262134063

ISBN-13: 9780262134064

ISBN-10: 026263242X

ISBN-13: 9780262632423

ISBN-10: 1423729838

ISBN-13: 9781423729839

Andy Warhol (1928-1987), essentially the most celebrated artists of the final 3rd of the 20 th century, owes his distinctive 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 global determine, he labored as an artist, filmmaker, photographer, collector, writer, and clothier. 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 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 ads, model names, and newspaper tales and headlines. lots of his best-known photographs, either unmarried and in sequence, have been produced in the context of pop artwork. Warhol was once an important determine within the bridging of the space among low and high paintings, and his mode of creation within the recognized studio referred to as "The manufacturing facility" concerned the popularity of artwork making as one kind of company between others. the unconventional nature of that firm has ensured the enduring prestige of his paintings 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Benjamin H. D. Buchloh, Thomas Crow, Hal Foster, Rosalind Krauss, Annette Michelson, and Nan Rosenthal, plus a formerly unpublished interview with Warhol through Buchloh. The essays tackle Warhol's relation to and impression on mass tradition and the recurrence of catastrophe and dying in his artwork.

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Extra info for Andy Warhol (October Files)

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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. 15. 28. According to Eleanor Ward, one Dance Diagram (Tango) was already included in Warhol’s first New York one-person exhibition at her Stable Gallery in 1962 and installed on the floor.

29. Harold Rosenberg, “The American Action Painters,” Art News 51, no. 5 (September 1952). 30. Quoted in Annabelle Melzer, Dada and Surrealist Performance (Ann Arbor: UMI Research Press, 1980), p. 17. 31. Such a moment of the “breakdown” of the strategy of the monochrome (and perhaps an indication of the generally increasing doubts about the paradigm’s continued validity) is poignantly described by Michael Fried in a review of an exhibition of Barnett Newman’s work in 1962 which he published—as historical chance had it—side by side with his review of Andy Warhol’s first New York exhibition: From the start—which I take to be the late forties—his art was conceived in terms of its absolute essentials, flat colour and a rectilinearity derived from the shape of the canvas, and the earliest paintings on view have a simplicity which is pretty near irreducible.

Kaprow,“The Legacy of Jackson Pollock,” p. 56. 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.

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Andy Warhol (October Files) by Annette Michelson


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