By Annette Michelson
Andy Warhol (1928-1987), the most celebrated artists of the final 3rd of the 20th century, owes his certain position within the background 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 dressmaker. 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 multiplied to the making of movies, images, video, and books. Warhol first got here to public realize within the Sixties via works that drew on advertisements, 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 huge determine within the bridging of the space among low and high artwork, and his mode of creation within the recognized studio referred to as "The manufacturing unit" concerned the popularity of paintings making as one type of firm between others. the novel nature of that firm has ensured the long-lasting prestige of his paintings and person.Andy Warhol comprises illustrated essays by means of Benjamin H. D. Buchloh, Thomas Crow, Hal Foster, Rosalind Krauss, Annette Michelson, and Nan Rosenthal, plus a formerly unpublished interview with Warhol by way of Buchloh.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 deal with Warhol's relation to and impact on mass tradition and the recurrence of catastrophe and dying in his artwork.
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Extra info for Andy Warhol (October Files)
32. ” See Andreas Brown, Andy Warhol: His Early Works 1947–1959 (New York: Gotham Book Mart, 1971), p. 14. 5. Rosalind H. Williams, Dream Worlds: Mass Consumption in Late Nineteenth Century France (Berkeley: University of California Press, 1982), p. 67, quoted in Simon Frith and Howard Horne, Art into Pop (New York and London: Methuen, 1987), p. 12. 6. This role change was of course not as abrupt as that. It appears that Warhol continued to work as a commercial designer at least as late as 1962.
And once again it is through Warhol’s uncompromising negation, through his absolute contamination of the elusive hermeticism of the monochrome with the vulgarity of the most trivial of commonplaces (in this case,the diagrammatic detail of the sulfur strip of a matchbook cover), that his work performs the task of that destruction most convincingly, making it the realization of an inevitable external condition, not an individual assault on a venerated pictorial tradition. As had been the case with his assault on the ritualistic legacy of abstract expressionism,Warhol knew early on that this process would eventually dismantle more than just the strategy of the monochrome itself.
1971). Subsequently, Dance Diagram ( Fox Trot) was installed in a horizontal position in Sidney Janis’s important exhibition “The New Realism” in December 1962 and again in Warhol’s ﬁrst “retrospective” exhibition in 1965 at the Institute for Contemporary Art in Philadelphia. ” 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.