View allAll Photos Tagged AndyWarhol
Dutch postcard by Art Unlimted, Amsterdam, no. B 1614. Photo: Nat Finkelstein, 1966.
Andy Warhol (1928-1987) was the 'Father of Pop Art' with his silk-screened pictures of Campbell's Soup cans and distorted images of Marilyn Monroe. He started directing films and most of his early work simply consisted of pointing the camera at something (a man asleep, the Empire State Building) and leaving it running, sometimes for hours. His films gradually grew more sophisticated, with scripts and soundtracks. They were generally performed by members of the Warhol "factory". In 1968, after a near-fatal shooting by an unstable fan, Warhol retired from direct involvement in filmmaking, and under former assistant Paul Morrissey, the Warhol films became increasingly commercial. Warhol spent the 1970s and 1980s as a major pop culture figure, constantly attending parties and providing patronage to younger artists.
Andy Warhol was born Andrew Warhola in 1928 in Pittsburgh, USA. His parents were Ondrej (Andrew) Varhola and Julia Zavackyová Varholová, ethnic Lemko immigrants from the village of Miková in the Austria-Hungary Empire (now Slovakia). Ondrej, whose surname was originally written as Varhola, changed the spelling to Warhola when he emigrated to the US. He worked as a construction worker and later as a coal miner. His father, who travelled much on business trips, died when Warhol was 13. During his teenage years, Andy suffered from several nervous breakdowns. He showed artistic talent early on and went to study applied art in Pittsburgh at the Carnegie Institute of Technology, now Carnegie Mellon University. There, he stood out by drawing two self-portraits showing him picking his nose (Upper Torso Boy Picking Nose and Full Figure Boy Picking Nose). In 1949, Andy graduated and dropped the letter 'a' from his last name. Warhol moved to New York, where he met Tina Fredericks, the art editor of Glamour Magazine. Warhol's early jobs were doing drawings for Glamour, such as the Success is a Job in New York and women's shoes. He also drew advertising for various magazines, including Vogue, and Harper's Bazaar, book jackets, and holiday greeting cards. In 1952, his first solo exhibition was held at the Hugo Gallery in New York, of drawings to illustrate stories by Truman Capote. He started illustrating books, beginning with Amy Vanderbilt's Complete Book of Etiquette. In 1956, he was included in his first group exhibition, Recent Drawings USA, held at the Museum of Modern Art, New York. By 1959, he was a successful advertising designer with an average annual income of $65000 and almost annual medals and other professional awards. In 1960, Warhol began to make his first paintings. They were based on comic strips in the likes of Dick Tracy, Popeye, and Superman. In the following years, Warhol started painting famous American products like Campbell's soup cans and Coca-Cola bottles in large formats. He managed to interest the influential gallery owner and art collector Leo Castelli in his work. He started using the silk-screen technique, not merely to create art using everyday commercial mass-produced items as his motif but to create even his own art as mass-produced items. Warhol preferred to become an emotionless machine. He set himself up as chief of a team of art workers who were engaged in making screen prints, films, books and magazines. This team operated in a studio near Union Square in New York. The studio was called the Factory because it actually housed a production line of paintings. The original Factory was located in an old cap factory at 231 East 47th street (fourth floor). This studio grew into a meeting place for artists, gays, transvestites, junkies and photographic models. Anyone with any artistic pretensions was welcome there.
After a few years, Andy Warhol moved his entourage to an office building across the street; 33 Union street West (sixth floor). This second Factory was called the Office by Warhol himself because it housed not only a studio but also the editorial office of Interview magazine, founded by Warhol. Warhol became known worldwide during the Factory years with his screen prints. He made screen prints of any subject that lent itself to it. Warhol's oeuvre largely draws on American popular culture. He painted and drew banknotes, cartoon images, food, women's shoes, celebrities and everyday objects. For him, these motifs represented American cultural values. Paul Morrisey managed to persuade Warhol to become the manager of a rock band. It would be a commercial success if Warhol combined his talent for generating media attention with a sensational rock group. Warhol was not immediately enthusiastic but after Morrisey's insistence, he relented. Morrisey had seen the Velvet Underground perform at cafe bizarre. After Warhol went to see, he was immediately excited. He saw a group standing with good looks who, while tourists sat drinking, sang about Heroine and SM. Warhol made the Velvet Underground part of his multimedia show Exploding Plastic Inevatible. He also produced The Velvet Underground's first album with Nico. He essentially lent his name to their work and observed them in the recording studio, while Lou Reed and later Tom Wilson mostly called the shots. The cover of the band's first album was Warhol's design: a banana with a peel that was actually a peelable sticker. On 3 June 1968, Valerie Solanas, a radical feminist author who hung around the Factory from time to time, turned up at the studio and shot Warhol and art critic Mario Amaya. Solanas had been rejected earlier that day at the Factory after she had requested the return of a script she had given Warhol for inspection. The script had apparently gone missing. Warhol was badly injured in the shooting and was even declared clinically dead in the hospital. He suffered the physical effects of the attack for the rest of his life and had to wear a corset to support his lower abdomen. The shooting had a major after-effect on Warhol's life and his art. The Factory became more tightly shielded and for many, this event marked the end of the Factory's wild years. That same day, Solanas turned herself in to the police and was arrested. Her explanation for this crime was that Warhol had become too much of an influence on her life. his incident is the subject of the film, I Shot Andy Warhol (Mary Harron, 1996).
Between 1963 and 1968, Andy Warhol was a prolific filmmaker. He made more than one hundred and sixty films, 60 of which are accessible. The films share similarities with his paintings, which also feature many repetitions and subtle variations of images. In the 1970s, Warhol banned the distribution of his films, but in the 1980s, after much insistence, he gave permission to restore the films. In many of his films, the usual projection speed was reduced from 24 frames to 16 frames per second. This is slightly different from usual slow-motion, where the film is actually shot at a higher speed and played back at normal speed. Warhol's technique gives the individual images more emphasis. One of his most famous films, and also his first, Sleep (1963), shows for eight hours a sleeping man, John Giorno, with whom he had a relationship. Warhol filmed for about three hours each time until the sun rose at five in the morning. Filming took a month. The film Kiss (1963) shows close-ups of kissing couples for 55 minutes. Blow Job (1963) is a continuous close-up of the face of a man (DeVeren Bookwalter) being orally satisfied off-screen. According to Warhol's later assistant, Gerard Malanga, the invisible role featured poet and filmmaker Willard Maas, although Warhol gave a different reading on this in his memoir 'Popism'. Warhol met Malanga in 1964, and they made Tarzan and Jane Regained... Sort of (1964). That year, Warhol also made a 99-minute portrait of the Metropolitan Museum of Art's famous curator Henry Geldzahler. During the filming, Warhol simply walked away. The film clearly shows how Geldzahler was bored and uncomfortable by the camera. By the end of the film, he collapsed completely. Also from 1964 is the film Eat, featuring Warhol's colleague and friend Robert Indiana, who is eating a mushroom very sedately and in a close-up. Another film, Empire (1964), consists of an eight-hour shot of the Empire State Building in New York at dusk. Warhol's role-playing film Vinyl is an adaptation of the dystopian Anthony Burgess novel 'A Clockwork Orange'. Further films depict impromptu encounters with Factory hustlers such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico and Jackie Curtis. In the film Camp, legendary artist Jack Smith appears within the subculture. Many famous visitors to the Factory were put in front of the camera between 1963 and 1966, and filmed for 2 minutes and 45 seconds, the length of the standard roll of film. Usually, these were static portraits. By running the films more slowly, the expressions of the faces are greatly magnified. These shots resulted in about 500 films, called Screentests by Warhol. Among those portrayed are film star Dennis Hopper and pop star Lou Reed. The films were edited in various compositions and shown at Warhol exhibitions and in movie houses. Warhol's unorthodox approach is exemplified by Kitchen (1965). The actors do not know their roles by heart, but the screenplay is hidden in various places on the set. The scriptwriter whispers lines of dialogue from outside the frame. Snapshots are taken during filming. The set designer appears on the screen. Dialogue is drowned out by the sound of a mixer. There are long periods when nothing happens. There are two pairs of characters with the same names. Warhol was not interested in auctorial control but shifted the burden from the director to the actors and the shooting crew. He showed little interest in story intrigue, which he considered old-fashioned, or technical aspects of filmmaking. Warhol wanted to explore the borders between feigned action and the more authentic behaviour of non-actors, which is why he kept the camera running constantly: he didn't want to miss anything. In the summer of 1965, Andy Warhol met Paul Morrissey, who became his advisor and collaborator. Warhol's most successful film was Chelsea Girls (1966). The film was innovative as it consisted of two simultaneously projected 16-mm rolls of film with divergent narratives. From the projection booth, the sound level for one film was raised to clarify that story while it was lowered for the other, after which the reels were reversed. Chelsea Girls became the first underground film to be shown at a commercial theatre. Warhol also used this method of doubling the image in his screen prints of the early 1960s. The influence of film with multiple simultaneous layers and stories is noticeable in modern productions like Mike Figgis's Timecode and, indirectly, the first seasons of 24. Other important films include My Hustler (1965) and Lonesome Cowboys (1968), a homoerotic pseudo-Western. Blue Movie, a film in which Warhol's 'superstar' Viva has sex with a man for 33 minutes, was Warhol's last film of his own. After the film caused a scandal because of its liberal approach to sexuality, Viva managed to block its public screening for a long time. The film was not shown again in New York until 2005, for the first time in 30 years.
Compared to Andy Warhol's provocative work in the 1960s, the 1970s were artistically less productive, although Warhol became much more businesslike. He retired as a film director and left filmmaking to Paul Morrissey. The latter steered the approach to Warhol films more and more in the direction of ordinary B-movies with a clear narrative, for example, Flesh, Trash and Heat. These films, as well as the later films Blood for Dracula and Flesh for Frankenstein, were much more normal than anything Warhol had ever made himself as a director. The star of these films was Joe Dallesandro, who was actually a Morrissey star rather than a true Andy Warhol superstar. Another film that caused a lot of furore as a Warhol film was Bad. starring Carroll Baker and Perry King. This film was actually directed by Jed Johnson. To increase the success of the later films, all of Warhol's earlier avant-garde films were withdrawn from circulation around 1972. Warhol founded Interview magazine in 1969. He resumed painting in 1972, although it was primarily celebrity portraits. According to his assistant during his later years, Bob Colacello, Warhol mainly sought out wealthy people from whom he could secure portrait commissions, such as Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot and Michael Jackson, as well as lesser-known bank executives and collectors. In 1975 published his book 'The Philosophy of Andy Warhol', in which he explained his down-to-earth ideas about art and life. Incidentally, he appeared in films and TV shows. When guesting on The Love Boat (1977), he was nervous about the experience and turned to his castmate Marion Ross, who calmed him down and offered some advice on how to act. In 1976, Warhol began a daily routine. Every morning at 9 am, he would call Pat Hackett, whom he had hired to keep track of his expenses. What was initially supposed to be just a morning bookkeeping session soon turned into an extremely intimate exchange of private experiences between the two of them. Warhol, who was "addicted to the phone anyway", told Hackett about the rather delicate details of the New York scene and celebrities, a subject that had interested him since childhood. Like his time capsules, the conversations were for capturing a picture of the times. After his death, Hackett released some of these notes in the book 'The Andy Warhol Diaries'. In 2022, this book was made into a Netflix documentary. Andy Warhol worked for several years with Jean-Michel Basquiat a young artist in whom he recognised much of himself. The collaboration was equal, Warhol was past his prime and Basquiat had already established his name. This equality allowed them to collaborate on some 140 works, some of which were exhibited in a duo exhibition at the New York gallery Tony Shafrazi in 1985. The ensuing New York Times review made Basquiat Warhol's mascot after which their collaboration and also their friendship cooled. Warhol died in 1987 at the age of 58 in New York. He was recovering from a routine operation on his gallbladder when he died of cardiac arrest in his sleep. Hospital staff had administered sleeping pills to him after the operation and had not sufficiently monitored his well-being. Consequently, lawyers for Warhol's next of kin sued the hospital for negligence. Warhol constantly delayed medical treatment because he was afraid of hospitals and disliked doctors. Warhol was buried at St John the Baptist Byzantine Catholic Cemetery in Bethel Park, south of Pittsburgh. Yoko Ono was among those who gave a farewell address at his funeral. International auction house Sotheby's took nine days to auction off Warhol's immense collection of art and 'knickknacks'. The gross proceeds of this auction were about US$20 million. In 1990, Lou Reed and John Cale made a CD album called 'Songs for Drella' as a tribute to Warhol with 15 songs about Warhol's life.
Sources: Herman Hou (IMDb), Michael Brooke (IMDb), Wikipedia (Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
Non amo molto presentare la mia faccia. Forse mi piaceva da giovane perchè potevo essere più interessante.
Però sono stato stimolato dai miei due colleghi del gruppo ATMOSFERE
www.flickr.com/groups/atmosfere/
a farlo, anche per partecipare all'ultimo concorso -
E allora beccatevi la mia faccia!
I love tomato soup. Really love it ! From the can, restaurant, home made. In high schools my favorite was mango lollipop. Most of the time I would only have 25 cents with me to spare and I would buy that (or combos) on the way back from school. It would satisfy hunger & help falling sugar levels that go down when I don’t eat. That helps hungry shakes. In college it was orange juice. Money that I made in College were meant to be saved to pay for school or grad school. At the table friends ordered food and I usually got orange juice. Growing up in poor household it really took me some time to spend money on food at the restaurants especially when it could be spent on education.
Postcard with silk screen painting by Andy Warhol. Sent to a Postcrosser in the Netherlands for a direct swap.
Sérigraphie, 111 x 73 cm, 1975.
Michael Philip Jagger dit Mick Jagger, né le 26 juillet 1943 à Dartford (Kent, Angleterre), est un auteur-compositeur-interprète, musicien et acteur britannique, cofondateur en 1962, avec Brian Jones (guitare), Keith Richards (guitare), Dick Taylor (basse, remplacé par Bill Wyman), Mick Avory (batterie) et Ian Stewart (piano) du célèbre groupe de rock britannique The Rolling Stones, dont la formation se stabilise l'année suivante avec l'arrivée de Charlie Watts à la batterie qui a remplacé Mick Avory. Sous la signature « The Glimmer Twins » (Les Jumeaux Etincelants), il est avec Keith Richards l'auteur-compositeur de la plupart des titres du groupe. Outre le chant, il lui arrive de jouer au sein du groupe de l'harmonica et de la guitare.
Mick Jagger est l'un des chanteurs les plus célèbres en raison de la popularité et de la longévité des Rolling Stones. Véritable star depuis le milieu des années 1960, il est, par son jeu de scène démonstratif, son attitude et son charisme, considéré comme l'archétype du chanteur de rock, souvent cité comme référence par de nombreux artistes. En 2010, il est classé 16e dans le classement des 100 plus grands chanteurs de tous les temps par le mensuel Rolling Stone. Il a travaillé pour le cinéma en tant qu'acteur dans plusieurs films, dont Performance, Ned Kelly, L'Homme d'Elysian Fields ou encore Bent.
Le 12 décembre 2003, Mick Jagger a été solennellement adoubé chevalier par le prince Charles, au nom de la reine, en présence de son père et de deux de ses filles, devenant ainsi Sir Michael Jagger. Ce dernier et ses partenaires continuent dans les années 2020 à tourner avec succès dans le monde entier et ne manifestent aucune intention de mettre un terme à l'existence de leur groupe, malgré la mort de leur batteur Charlie Watts en 2021 (cf. wikipédia).
As was usual, my wife and I would stop by Art Institute of Chicago during our holiday break. In 2019, they had an Andy Warhol exhibit, great exhibit all around. But for whatever reason, these boxes of Brillo soap pads caught my eye. To my memory, the text was bright blue and red. Enjoy!
10/52: 1960s
Well, they do say history repeats itself.
It hurts my eyes to look at this. I think I may have gone a little overboard.
Warhol created this 'Hammer and Sickle' series in 1976 after a trip to Italy where the most common graffitti in public spaces was this symbol found on Soviet flags. After returning to the United States, Warhol asked his studio assistant Ronnie Cutrone to find source pictures of this symbol. Cutrone purchased a double-headed hammer and a sickle at a local hardware store and arranged and photographed the tools in many positions. Warhol used the Cutrone photographs for his silkscreened series.
This Warhol original was seen and photographed on display at San Francisco's Museum of Modern Art (SFMOMA) in an exhibit entitled 'Andy Warhol -From A to B and Back Again'.
Sérigraphie, 91 x 91 cm, 1967, Moma, New York.
En 1967, Warhol fonde Factory Additions, une maison d'édition, qui lui permet de publier une série de portfolios de sérigraphies sur ses sujets fétiches. Marilyn Monroe est le premier. Il utilise la même photo publicitaire de l'actrice que celle utilisée précédemment pour des dizaines de tableaux. Chaque image est tirée de cinq écrans : un pour la photographie et quatre pour différentes zones de couleur, parfois imprimées hors registre. À propos des répétitions, Warhol disait : "Plus on regarde exactement la même chose, plus le sens s'en évanouit, et plus on se sent mieux et vide" (cf. Moma).
Portrait shown at the Beethoven exhibition organised at the Philarmonie museum in Paris from 14th October 2016 to 29th January 2017.
Here Andy Warhol adapted the famous portrait painted in 1820 by Joseph Karl Stieler.
I was watching Jonathan Meades, yesterday, housing on art world jargon, which I admit to enjoying more than I should have. And a crease pattern.
About a month ago a coupon arrived in the mail box for The Hair Club for Men, 75 % off!!!! Having suffered from the affliction of male pattern baldness for most of my adult life I decided to give it a try. On a Saturday afternoon I met with my hair replacement consultant, Sandy. I told her that I had three requirements for my new HRS (Hair Replacement System). 1) It had to look natural. 2) It had to be durable enough to swim in, and 3) it had to make me look like Andy Warhol. Well, I would have to say that it is a smashing success.
Whitney Museum of American Art, New York.
whitney.org/Exhibitions/AndyWarhol
On loan from the Tate: www.tate.org.uk/art/artworks/warhol-marilyn-diptych-t03093
Sérigraphie, 102 x 76 cm, 1978.
Quand l’art rencontre le sport, il se passe parfois des choses inattendues. La rencontre entre Andy Warhol et Muhammad Ali fait partie de ces moments où deux géants de leur discipline se croisent pour donner naissance à une image devenue iconique. D’un côté, Warhol, pape du Pop Art, obsessionnel des célébrités et des médias. De l’autre, Ali, boxeur flamboyant, poète provocateur, militant charismatique. Ensemble, ils vont transformer un simple portrait en manifeste culturel.
Andy Warhol, c’est l’enfant terrible de l’art américain des années 60-70. Avec ses sérigraphies de Marilyn Monroe, ses boîtes de soupe Campbell et ses autoportraits en série, il a redéfini le rapport entre l’art, la consommation, et la célébrité. Warhol ne peignait pas des visages, il les reproduisait, les industrialisait, les vendait comme des marques.
Muhammad Ali, lui, c’est une légende du sport. Triple champion du monde des poids lourds, il électrise les foules, aussi agile avec ses poings qu’avec ses mots. Mais Ali est plus qu’un boxeur. Il refuse la guerre du Vietnam, se convertit à l’islam, devient une figure de résistance noire. Il est controversé, adulé, détesté, vénéré. En un mot : inarrêtable.
En 1977, Warhol entreprend une série de portraits intitulée Athletes. À l’époque, le sport n’est pas encore un sujet majeur dans l’art contemporain. Warhol, flairant l’air du temps, décide de peindre des figures emblématiques : Pelé, O.J. Simpson, Chris Evert… et bien sûr, Muhammad Ali. Le projet est commandité par le collectionneur Richard Weisman, dans l’idée de réunir les stars du sport comme on réunirait des dieux sur l’Olympe.
Mais Ali n’est pas un modèle facile. Lors de leur rencontre à Chicago, Warhol se heurte à la méfiance du champion. Ali est tendu, silencieux. Ce n’est qu’après avoir discuté avec l’assistante de Warhol, qui lui parle des engagements du peintre en faveur de la différence et des marginaux, qu’il accepte. Warhol prend des polaroïds du boxeur : visage fermé, poings levés. Une posture qui rappelle autant la garde d’un pugiliste que la posture d’un résistant.
Le résultat est saisissant. Warhol ne cherche pas la ressemblance, il cherche la force du symbole. Le visage d’Ali, cadré en gros plan, flotte sur un fond coloré. Les traits sont soulignés de noir, les couleurs saturées : on dirait une affiche, un poster de propagande ou une couverture de magazine. Mais au lieu d’un dictateur ou d’une star de cinéma, c’est un boxeur noir américain, en pleine ascension, qui devient icône.
Ce portrait bouleverse. Car Warhol, en élevant Ali au rang d’icône pop, reconnaît dans le sport une force esthétique, politique et sociale. Il fait d’Ali un héros de la culture visuelle, au même titre qu’Elvis ou Mao. Et ce faisant, il brouille les frontières entre art élitiste et culture populaire, entre galerie et salle de sport.
La série Athletes de Warhol est un tournant. Elle anticipe ce que deviendront les sportifs dans les années 80 et 90 : des figures médiatiques, des marques à part entière, des symboles culturels. Elle montre aussi que l’art peut parler du sport sans condescendance, avec respect, et même admiration.
Aujourd’hui encore, ce portrait de Muhammad Ali résonne. Il nous parle d’engagement, de puissance, de lutte — mais aussi de beauté, d’attitude, d’image. Il nous rappelle que les champions ne sont pas que des corps performants : ce sont aussi des esprits, des consciences, des figures à interpréter.
Et en tant que coach sport santé, c’est ce message que je retiens : le sport n’est pas qu’une affaire de performance. C’est une culture, un langage, un miroir de la société. Ali, par sa présence, sa parole, ses combats sur et hors du ring, incarne tout cela. Warhol, par son regard, l’a figé pour l’éternité (cf. Arthur Getenet-Risacher.)
The Andy Warhol and Russian Art exhibition,
Sevkabel Port, St. Petersburg,
June 25 – September 19, 2021
WHITNEY MUSEUM of American Art in the West Village at 99 Gansevoort Street in Manhattan, New York City, NY on Wednesday afternoon, 20 March 2019 by Elvert Barnes Photography
ANDY WARHOL / From A to B and Back Again
12 November 2018 - 31 March 2019
whitney.org/Exhibitions/AndyWarhol
5th Floor Galleries
Visit WHITNEY MUSEUM website at whitney.org
Elvert Barnes WHITNEY MUSEUM OF AMERICAN ART / NYC docu-project at elvertbarnes.com/WhitneyNYC.html
Elvert Barnes Wednesday, 20 March 2019 NYC Day Trip docu-project at elvertbarnes.com/20March2019.html
Friday, 22 March 2019 PHOTO OF THE WEEK at exbphotos2019.blogspot.com/2019/03/friday-22-march-2019-p...
Part of the collection of the New Orleans Museum of Art.
Do not use or reproduce this image on Websites/Blog or any other media without my explicit permission.
© All Rights Reserved - Barbara Smith 2018.
Acrylique sur toile, 127 x 106 cm, 1984.
Nastassja Nakszynski, dite Nastassja Kinski, est une actrice et mannequin allemande née en 1961. Elle est la fille de l’acteur Klaus Kinski. Au cinéma, ses rôles les plus notables sont ceux qu'elle a tenus dans Tess de Roman Polanski (1979) pour lequel elle est nommée pour le César de la meilleure actrice, La Féline de Paul Schrader (1982), Paris Texas de Wim Wenders (1984), Palme d'or au Festival de Cannes 1984 et Pour une nuit de Mike Figgis (1997) (cf. wikipédia).