Posts tagged warhol

Joe Dallesandro in Andy Warhol’s Trash, 1970.

Joe Dallesandro in Andy Warhol’s Trash, 1970.

Andy Warhol’s Former NYC Townhouse for Sale - The artist bought the home in 1959 for $60,000, the new asking price is a cool $ 5.795 million. See also A Shrine To 15-Minute Fame from the NYTIMES.

Andy Warhol’s Former NYC Townhouse for Sale - The artist bought the home in 1959 for $60,000, the new asking price is a cool $ 5.795 million. See also A Shrine To 15-Minute Fame from the NYTIMES.

When Picasso died I read in a magazine that he had made four thousand masterpieces in his lifetime and I thought, ‘Gee, I could do that in a day.’ So I started. And then I found out, ‘Gee, it takes more than a day to do four thousand pictures’. You see, the way I do them, with my technique, I really thought I could do four thousand in a day. And they’d all be masterpieces because they’d all be the same painting. And I started and I got up to about five hundred and then I stopped. But it took more than a day, I think it took a month.
Andy Warhol
Who knew Andy Warhol was such a big Cheap Trick fan!

Who knew Andy Warhol was such a big Cheap Trick fan!

A colour Billy Name photograph of Andy Warhol’s Factory 1964.

A colour Billy Name photograph of Andy Warhol’s Factory 1964.

Andy Warhol and Lou Reed With Danny Fields at a David Johansen show at the Bottom Line, 1978 NYC, photo by Ebet Roberts.

Andy Warhol and Lou Reed With Danny Fields at a David Johansen show at the Bottom Line, 1978 NYC, photo by Ebet Roberts.

Pre-Pop Warhol New Drawings Discovered

Over 300 drawings from the 1950s have been unearthed in the Warhol Foundation’s storage. To be published for the first time by Blau in a book next week, they show ‘a skilled and sensitive draughtsman producing images that are more Egon Schiele than pop art.’

Richard Avedon (1923–2004) Andy Warhol and members of the Factory, New York City (Left Side) , 10-30-69 gelatin silver print triptych, flush-mounted on linen signed, numbered ‘25/50’,’48,21,68’ in ink, copyright credit reproduction limitation, title and date stamps.

Richard Avedon (1923–2004) Andy Warhol and members of the Factory, New York City (Left Side) , 10-30-69 gelatin silver print triptych, flush-mounted on linen signed, numbered ‘25/50’,’48,21,68’ in ink, copyright credit reproduction limitation, title and date stamps.

Richard Avedon (1923–2004) Andy Warhol and members of the Factory, New York City (Right Side) , 10-30-69 gelatin silver print triptych, flush-mounted on linen signed, numbered ‘25/50’,’48,21,68’ in ink, copyright credit reproduction limitation, title and date stamps.

Richard Avedon (1923–2004) Andy Warhol and members of the Factory, New York City (Right Side) , 10-30-69 gelatin silver print triptych, flush-mounted on linen signed, numbered ‘25/50’,’48,21,68’ in ink, copyright credit reproduction limitation, title and date stamps.

Factory Settings: Two New Warhol Film Books

Art Forum reviews two new substantive volumes: Douglas Crimp’s “Our Kind of Movie”: The Films of Andy Warhol and J. J. Murphy’s The Black Hole of the Camera: The Films of Andy Warhol:

“While “Our Kind of Movie” stands on its own for its contributions to queer theory, queer history, and Warhol’s social and political significance for both, it can be appreciated equally for the exemplary way in which it articulates the richness, complexities, and demands of Warhol’s cinema. As such, I find it telling that Crimp chooses to conclude his book not with a summation of the sociological and theoretical interests that initially brought him to the subject, but with an epilogue devoted to the materiality of Warhol’s films, one that amounts to an impassioned (though low-key) plea to experience these movies as they are best seen: in a darkened theater, on 16-mm film, projected at the proper speed, in their full duration, and among an audience, however small. Crimp and Murphy share this respect for Warhol’s cinema, and their books equally challenge the entire field to discover the pleasures and rewards of respecting the specificity and integrity of Warhol’s production.”

Are You Confused Enough For Paraphernalia? Are you enjoying your macrobiotic diet less and your hip pants more? Does the Guggenheim Museum still make you car sick? Did you sell your stocks on February 9, 1966? Are you discovering a new, crueler you when you wear leather, nailheads and aluminum? Do you enjoy the newest dance craze called touching? For some odd reason, have you begun tearing off your cigarette filters? Are you still ordering Alka-Seltzer straight up? Can you bear the strange din of Betsy Johnson’s noise dress? Are you getting obsessively caught up in your Dynel hairpieces? Do you think A Dandy in Aspic should be a Summer dish?  Give yourself 1000 points for each “yes”. Multiply by your age, If you score over 50,000, go to the bank and take out $100.00 dollars and buy a Do-It-Yourself dress, a fluorescent mini skirt and a huge buckle. Andy Warhol for Aspen Magazine In an All New Fab Issue in 11 sections [the Pop-Art issue]. Vol. 1, No. 3. New York: Roaring Fork Press, 1966.

Are You Confused Enough For Paraphernalia? Are you enjoying your macrobiotic diet less and your hip pants more? Does the Guggenheim Museum still make you car sick? Did you sell your stocks on February 9, 1966? Are you discovering a new, crueler you when you wear leather, nailheads and aluminum? Do you enjoy the newest dance craze called touching? For some odd reason, have you begun tearing off your cigarette filters? Are you still ordering Alka-Seltzer straight up? Can you bear the strange din of Betsy Johnson’s noise dress? Are you getting obsessively caught up in your Dynel hairpieces? Do you think A Dandy in Aspic should be a Summer dish?  Give yourself 1000 points for each “yes”. Multiply by your age, If you score over 50,000, go to the bank and take out $100.00 dollars and buy a Do-It-Yourself dress, a fluorescent mini skirt and a huge buckle.

Andy Warhol for Aspen Magazine In an All New Fab Issue in 11 sections [the Pop-Art issue]. Vol. 1, No. 3. New York: Roaring Fork Press, 1966.

Andy Warhol at Work. Archival film footage showing Andy Warhol making a silkscreen painting, from the film Andy Warhol and Roy Lichtenstein: USA Artists, 1966; collection, Indiana University. Part of Making Sense of Modern Art Mobile, SFMOMA’s handheld multimedia tour and this article by Vanessa Place

Andy Warhol at Work. Archival film footage showing Andy Warhol making a silkscreen painting, from the film Andy Warhol and Roy Lichtenstein: USA Artists, 1966; collection, Indiana University. Part of Making Sense of Modern Art Mobile, SFMOMA’s handheld multimedia tour and this article by Vanessa Place

Saltz: The Met’s ‘Regarding Warhol’ Has Nothing to Say - “’Regarding Warhol’ has the unusual distinction of being a very bad show with very good work. The exhibition takes fantastic advantage of the Met’s space and reach. Almost every Warhol is first-rate and in excellent condition. Yet you wish instead of sections about celebrity and appropriation, the show had taken on more abstract but far deeper Warholian content like hoarding, neediness, and disembodiment. After all, this is the artist who said, ‘Sex is so abstract.’ There’s barely anything here about some of his favorite tools, like the tape recorder and the Polaroid instant camera. Why not have the courage of your own convictions and include Martha Stewart, who utterly followed Andy’s footsteps around the businesses of décor, branding, and endorsement? The show avoids great but problematic work like Warhol’s “’cock drawings’ (or the Brigid Polk print of Jasper Johns’s penis owned by Warhol). Nor does it focus more on the 50 to 100 portrait commissions he did annually for around $50,000 apiece. Instead, everything looks crisp, way too crowded, and predictable: This is more like an auction sales room or a high roller’s private museum than an exhibition.”

Saltz: The Met’s ‘Regarding Warhol’ Has Nothing to Say - “’Regarding Warhol’ has the unusual distinction of being a very bad show with very good work. The exhibition takes fantastic advantage of the Met’s space and reach. Almost every Warhol is first-rate and in excellent condition. Yet you wish instead of sections about celebrity and appropriation, the show had taken on more abstract but far deeper Warholian content like hoarding, neediness, and disembodiment. After all, this is the artist who said, ‘Sex is so abstract.’ There’s barely anything here about some of his favorite tools, like the tape recorder and the Polaroid instant camera. Why not have the courage of your own convictions and include Martha Stewart, who utterly followed Andy’s footsteps around the businesses of décor, branding, and endorsement? The show avoids great but problematic work like Warhol’s “’cock drawings’ (or the Brigid Polk print of Jasper Johns’s penis owned by Warhol). Nor does it focus more on the 50 to 100 portrait commissions he did annually for around $50,000 apiece. Instead, everything looks crisp, way too crowded, and predictable: This is more like an auction sales room or a high roller’s private museum than an exhibition.”