Andy Warhol Specifically Parody the Art of Jackson Pollock

"How tin can you lot say one style is better than some other? You ought to exist able to exist an Abstract Expressionist next week, or a Pop artist, or a realist, without feeling you've given upward something. I think that would be so great, to be able to change styles. And I remember that'due south what'south going to happen, that's going to be the whole new scene."

1 of 14

"Buying is more American than thinking, and I'g as American as they come up."

2 of 14

"Business fine art is the step that comes after Art. I started as a commercial artist, and I desire to end equally a concern artist."

three of fourteen

"I just happen to like ordinary things. When I pigment them, I don't try to brand them boggling. I just try to paint them ordinary-ordinary."

4 of 14

"In the time to come everybody will be world famous for fifteen minutes."

5 of xiv

"The reason I'm painting this fashion is that I want to be a machine, and I feel that whatever I do and do machine-similar is what I desire to do."

half-dozen of fourteen

"And the few times in my life when I've gone on boob tube, I've been so jealous of the host on the show that I haven't been able to talk. Equally soon as the TV cameras turn on, all I can recall is, 'I want my own testify ... I want my own prove.'"

7 of fourteen

"A whole day of life is like a whole day of telly. Tv set never goes off the air once it starts for the solar day, and I don't either. At the terminate of the day the whole day will be a movie. A movie fabricated for TV."

8 of fourteen

"I'm the type who'd be happy not going anywhere as long as I was sure I knew exactly what was happening at the places I wasn't going to. I'm the blazon who'd like to sit abode and lookout every political party that I'm invited to on a monitor in my bedroom."

ix of fourteen

"It'south the movies that have actually been running things in America ever since they were invented. They show you lot what to do, how to do it, when to do it, how to experience virtually it, and how to look how y'all feel most it."

10 of 14

"I don't believe people die. They just go uptown. To Bloomingdales. They only take longer to get dorsum."

11 of 14

"A Coke is a Coke and no amount of coin can go you a better Coke than the ane the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know information technology."

12 of 14

"Being good in concern is the most fascinating kind of fine art ... Making money is art and working is art and good business is the all-time art."

13 of 14

"You're a killer of art, you're a killer of beauty, and you're even a killer of laughter. I tin can't behave your work!"

14 of 14

Summary of Andy Warhol

Andy Warhol was the about successful and highly paid commercial illustrator in New York fifty-fifty before he began to make fine art destined for galleries. Nevertheless, his screenprinted images of Marilyn Monroe, soup cans, and sensational paper stories, quickly became synonymous with Pop fine art. He emerged from the poverty and obscurity of an Eastern European immigrant family in Pittsburgh, to become a charismatic magnet for bohemian New York, and to ultimately find a identify in the circles of High Guild. For many his ascent echoes one of Pop art'due south ambitions, to bring pop styles and subjects into the exclusive salons of high art. His crowning accomplishment was the elevation of his ain persona to the level of a popular icon, representing a new kind of fame and celebrity for a fine creative person.

Accomplishments

Warhol's early on commercial illustration has recently been acclaimed as the arena in which he first learned to manipulate popular tastes. His drawings were oftentimes comic, decorative, and whimsical, and their tone is entirely different from the cold and impersonal mood of his Pop art.
Much debate all the same surrounds the iconic screenprinted images with which Warhol established his reputation every bit a Pop creative person in the early on 1960s. Some view his Decease and Disaster series, and his Marilyn pictures, every bit frank expressions of his sorrow at public events. Others view them as some of the first expressions of 'compassion fatigue' - the fashion the public loses the power to sympathize with events from which they experience removed. Still others recollect of his pictures every bit screens - placed between us and horrifying events - which attempt to register and procedure stupor.
Although artists had fatigued on pop civilisation throughout the 20^th century, Pop art marked an of import new phase in the breakdown between high and low art forms. Warhol's paintings from the early on 1960s were important in pioneering these developments, just it is arguable that the diverse activities of his after years were only as influential in expanding the implications of Popular art into other spheres, and further eroding the borders between the worlds of loftier art and popular civilization.
Although Warhol would go on to create paintings intermittently throughout his career, in 1965 he "retired" from the medium to concentrate on making experimental films. Despite years of neglect, these films have recently attracted widespread interest, and Warhol is now seen as one of the almost important filmmakers of the menstruum, a forefather of independent flick.
Critics have traditionally seen Warhol'due south career every bit going into reject in 1968, afterwards he was shot by Valerie Solanas. Valuing his early paintings above all, they have ignored the activities that absorbed his attention in afterward years - parties, collecting, publishing, and painting deputed portraits. Yet some have begun to think that all these ventures make up Warhol's nigh important legacy because they prefigure the diverse interests, activities, and interventions that occupy artists today.

Biography of Andy Warhol

Warhol famously said that "business art is the footstep that comes after Art. I started equally a commercial artist, and I desire to finish equally a business artist." He became 1 of the world most successful artists, and made screen prints, sculptures, films, managed a band, and even designed wallpaper - projects that were oft highly lucrative (and e'er built his brand).

Important Art past Andy Warhol

Progression of Art

1968

Campbell's Soup I

By the 1960s, the New York fine art world was in a rut, the very original and popular canvases of the Abstract Expressionists of the 1940s and '50s had get cliche. Warhol was one of the artists that felt the need to bring back imagery into his work. The gallery owner and interior designer Muriel Latow gave Warhol the thought of painting soup cans, when she suggested to him that he should paint objects that people utilise every 24-hour interval (it is rumored that Warhol ate the soup for lunch every unmarried twenty-four hour period). He painted Campbell'southward soup cans, Brillo boxes, and Coca-Cola bottles from 1962 onward.

Warhol started his career and became an extremely successful consumer ad designer. Here, he used the techniques of his trade to create an image that is both easily recognizable, but also visually stimulating. Consumer goods and advertizing imagery were flooding the lives of Americans with the prosperity of that historic period and Warhol set out to subtly recreate that affluence, via images found in advertizement. He recreated on canvas the experience of being in a supermarket. And then, Warhol is credited with envisioning a new blazon of art that glorified (and also criticized) the consumption habits of his contemporaries and consumers today.

Screenprint - Multiple museums, galleries, and collections

1962

Coca-Cola (3)

"I just paint things I e'er idea were beautiful, things you utilize every day and never remember about." Warhol'due south statement epitomizes his ethos; his works put ordinary items front and heart. This idea applies to the hand-painted portrait of a Coca-Cola bottle. Another challenge to the domination of Abstract Expressionism, Warhol's Coca-Cola is equal in size to many of the pop canvases of the fourth dimension (6ft 10 5ft) simply is devoid of their abstractions. Nonetheless, there are some other similarities here. As in Barnett Newman'south popular Stations of the Cross series of works, Coca-Cola is comprised of a large, black mass on a white background. The bottle jumps out at the viewer; enervating the kind of attention Motherwell'south profound canvases received - yet now the sense of irony reigns.

Casein on cotton - Private Collection

1962

Gold Marilyn Monroe

After her sudden death from an overdose of sleeping pills in Baronial 1962, superstar Marilyn Monroe's life, career, and tragedy became a worldwide obsession. Warhol, being infatuated with fame and pop culture, obtained a blackness-and-white publicity photo of her (from her 1953 film Niagara) and used the photo to create several series of images. A common idea to all the Marilyn works was that her epitome was reproduced over and again as one would find it reprinted in newspapers and magazines at the fourth dimension. After viewing dozens, or hundreds of such images, a viewer stops seeing a person depicted, but is left with an icon of popular, consumer civilization. The image (and the person) become another cereal box on the supermarket shelf, one of hundreds of boxes - which are all exactly the same.

In Gilded Marilyn Monroe, Warhol further plays on the idea iconography, placing Marilyn's face on a very large golden-colored groundwork. The background is reminiscent of Byzantine religious icons that are the primal focus in Orthodox faiths to this mean solar day. Only instead of a god, we are looking at an image (that becomes a bit garish upon closer inspection) of a woman that rose to fame and died in horrible tragedy. Warhol subtly comments on our society, and its glorification of celebrities to the level of the divine. Here again the Popular artist uses common objects and images to make very pointed insights into the values and environment of his contemporaries.

Silkscreen - The Museum of Modern Art, New York

1963

Sleep

In the early 1960s, during a period of immense creativity, Warhol continued to challenge the status quo through a different medium, film. Over his career Warhol fabricated over 650 films spanning a wide range of subjects. His films were lauded by the art world, and their influence is seen in operation art and expiremental filmmaking to this day. In 2013 the actress Tilda Swinton participated in an installation where she slept in a drinking glass box at MoMA and the writer, actress, and director Lena Dunham recently expressed her desire to remake Warhol's Sleep shot for shot, only with herself as the subject.

Sleep is one of the creative person's primeval films and his first foray into durational picture, a style that became 1 of his signatures. This six-hour picture is a detailed exploration of John Giorno sleeping. Warhol's lover at the fourth dimension, the viewer sees Giorno through Warhol's optics, a strip of Giorno's naked body is in every scene. Although this seems to be a serial of continuous images, information technology is actually six one hundred foot rolls of film layered and spliced together, played on repeat. Repetition was at the center of Warhol's oeuvre, besides every bit his fascination with the mundane. All people need to slumber; Warhol over again transformed banality into artistic expression.

Empire and Eat succeeded Sleep in the canon of Warhol's duration films. Empire chronicles eight hours of the Empire State Edifice at dusk and Consume is a 45 minute film most a homo eating a mushroom. Warhol's themes were every bit expansive as his filmography, delving into more than explicit areas such as homosexuality and gay culture, such as Blowjob, a continuous shot of DeVeren Bookwalter's face while he receives oral sexual practice from filmmaker Willard Maas, and Lonesome Cowboys, a raunchy western. His films are widely recognized as Pop masterpieces, enshrined in film institutes and mod fine art athenaeum across the world.

Black and White 16mm pic - The Museum of Modern Art, New York

1963

Orangish Motorcar Crash Fourteen Times

Orange Car Crash is from the Death and Disaster serial that consumed much of Warhol's attention in this period. Frequently using gruesome and graphic images taken from daily newspapers, he would use the photo-silkscreening method to repeat them across the canvas. The repetition of the epitome, and its fragmentation and deposition, are important in creating the impact of the pictures, only also in sterilizing the image. To see the graphic photograph one time leaves the viewer distraught and shaken - just to see that photo reproduced over and over again (as seen every twenty-four hours in the press) undermines the prototype's power as the scene of horror becomes another mass-marketplace image.

At that place is an alternative way to view this and other works from Warhol'due south Death and Disaster series proposed past the Los Angeles Times art critic Christopher Knight. The auto crash shown is very similar to the photo of the Long Island car crash in which Jackson Pollock died in 1956. Warhol is reminding the viewers that Abstract Expressionism (championed by Pollock) is now dead. And then peradventure Warhol is not so much involved in popular art, merely rather providing very specific and elite art world commentary. Similarly, Warhol's Electrical Chair series has a "Silence" sign at the back of the depicted electrocution room, which Warhol connects to John Cage's modernist work with sound (and Cage's 1961 book of essays). And fifty-fifty further, Warhol's Race Riot series is a response to the many pop abstruse works that are each labeled Blackness Series from modernistic artists such as Jackson Pollock, Robert Rauschenberg, Advertising Reinhardt, and Frank Stella.

Silkscreen print on canvas - The Museum of Modern Art, New York

1964

Brillo Boxes

Nonetheless using the silkscreen technique, this time on plywood, Warhol presented the viewer with exact replicas of commonly used products found in homes and supermarkets. This time, his art pieces are stackable, they are sculptures that can be bundled in diverse ways in the gallery - yet each box is exactly the aforementioned, one is no better than another. Rather than the serial of slightly unlike paintings that accept been made past many famous artists (retrieve Monet'due south haystacks or cathedrals) Warhol makes the bespeak that these products are yet and (in his opinion) they are beautiful! Making these items in his "mill" Warhol again makes fun of (or brilliantly provokes) the art world and the artist-creator.

With Brillo Boxes, Warhol also has a personal connection. Warhol was originally from Pittsburg - steel city, the article that fabricated the metropolis prosperous and afterward quite depressed. Brillo is steel wool, a production stereotypically used past housewives to keep cookware shining in their lovely American homes. Did Warhol similar the product itself, retrieve the shop displays for the production ridiculous, or as a gay human, did he enjoy the contrast of steel and wool, in 1 friendly parcel?

Acrylic silkscreen on forest - Norton Simon Museum, Pasadena, California

1973

Mao

Warhol combines paint and silkscreen in this image of Mao Zedong, a serial that he created in direct reaction to President Richard Nixon's 1972 visit to Red china. Warhol took the blackness and white image of Mao from his Picayune Red Book (Mao's famous communist publication), and created hundreds of different sized canvases of the totalitarian ruler. Some of these paintings are every bit large as fifteen feet x 10 feet, a scale evoking the dominating nature of Mao's rule over China and the awesome cult of personality Mao wielded. This monumental size as well echoes the towering propagandistic representations that were being displayed throughout Cathay during the Cultural Revolution. But by creating hundreds of such images, and lining them up on the wall, Warhol made the image of Mao into a supermarket product - like Coca-Cola bottles - lined up on the shelves (and available in small, medium, and big). Warhol'due south Mao is now a consumer product, a basic building cake of commercialism - or the very idea that communism is against.

Warhol goes even further. The graffiti-similar splashes of color, the reddish rouge and blue eye shadow, literally 'de-faces' Mao's image - an act of rebellion confronting the Communist propaganda machine by using its own heralded epitome confronting itself. Warhol uses modernist art devices such as expressionistic brushstrokes around Mao'south face as a farther pun: the brushstrokes are a sign of personal expression and creative freedom - the very ideas that Mao'due south Cultural Revolution was against.

Synthetic polymer pigment and silkscreen ink on sail - The Art Institute of Chicago

1978

Oxidation Painting

Created late in Warhol's career, Oxidation Painting is part of a serial of works that was produced by the creative person alone, or with a group of his friends, and made by urinating on a canvas of copper pigment that was placed horizontally on the floor and and then assuasive the issue to oxidize. The issue was a metallic sheen with a surprising depth of color and texture; a surface reminiscent of works by Abstract Expressionists such as Jackson Pollock. Warhol put much idea and pattern into these works, and is quoted as saying, "[these paintings] had technique, too. If I asked someone to do an Oxidation painting, and they just wouldn't think nearly it, information technology would simply be a mess. And then I did information technology myself -- and information technology'southward but too much work -- and you lot try to effigy out a proficient design."

Urine on metallic paint in acrylic pigment on canvass - Museum of Fine Arts, Boston

1984

Rorschach

Although Warhol'due south earliest work declared a dramatic break with Abstract Expressionism, he remained interested in brainchild throughout his career, and, in 1984, focused his ideas into his big series of Rorschach paintings. They were inspired by the then-called Rorschach test, devised past the Swiss psychologist Hermann Rorschach. The exam requires patients to say what they run into in a set of ten standardized ink blots; in this fashion Rorschach believed we might gain access to unconscious thoughts. Warhol believed that much abstract painting functioned in a similar way: instead of artists being able to communicate thoughts through abstruse form, every bit many believed, he idea that viewers simply projected their ain ideas on to the pictures. His Rorschach pictures were therefore a kind of parody of abstract painting: they were mirrors which reflected the viewer's own thoughts, and at times they seemed to resemble ballocks or wallpaper designs.

Synthetic polymer paint on sheet - The Museum of Modern Art, New York

1984

General Electric with Waiter

Information technology was at the suggestion of art dealer Bruno Bischofsberger that Warhol began collaborating on paintings. He worked first with the Italian Francesco Clemente, and with the much younger, Haitian-American painter Jean-Michel Basquiat; later on he produced work with Keith Haring. Warhol'south reputation was flagging in the early 1980s, and he had painted fiddling since the 1960s, only his collaboration with Basquiat, which spanned two years between 1984-5, energized him and placed him among a immature and more fashionable generation. General Electric with Waiter is typical of the pictures the pair produced together: Warhol contributed enlarged headlines, make names and fragments of advertisements; Basquiat added his expressive graffiti. The success of the serial rested on the cartoon qualities inherent in both Popular fine art and graffiti.

Acrylic and oil on canvas - Collection unknown

1986

Cocky-Portrait

Warhol'south cocky portraits that he created throughout his career reveal an underlying theme. It tin can be argued that Warhol's about successful artwork was the paradigm of himself, invented and reinvented over his body of work. Only consider the fact that Warhol started his art career as a nerdy, shy, balding designer and ended it as a star whose popularity could lucifer his greatest depictions (Monroe, Elvis, Mao).

In this particular work, the focus is on Warhol'due south caput and wig (one of dozens he wore over the years). Past using repetitive images, each slightly different to the adjacent, then overlapping the images, Warhol produces the illusion of move. Created towards the end of his life, Self-Portrait displays the creative person in his signature wig, and also makes dramatic use of shadow and light.

Synthetic polymer paint and silkscreen ink on canvas - The National Gallery of Fine art, Washington DC

1986

The Last Supper

Behind Warhol'southward silverish wig and black glasses (of Campbells Soup, Marylin, and drug/sex film fame) was a devout Catholic who went to mass and volunteered at homeless shelters regularly. Warhol'southward mother was a very religious woman who instilled in him a connexion to the church.

Warhol'south religiosity is most exemplified by the late works that he created based on Leonardo Da Vinci's The Last Supper (1495–1498). Warhol based his works on a black and white photograph of a popular 19^th century engraving and ended up producing over a hundred drawings, paintings, and silkscreens of the Renaissance masterpiece. From superimposing make names over the faces of the apostles, to cutting up the unity of the scene, Warhol honored the original painting while adding it into his business enterprise.

Synthetic polymer paint and silkscreen ink on canvass - The Brant Foundation, Greenwich, Connecticut

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