Download Andy Warhol and the Can that Sold the World by Gary Indiana PDF

By Gary Indiana

In the summertime of 1962, Andy Warhol unveiled 32 Soup Cans in his first solo exhibition on the Ferus Gallery in Los Angeles—and despatched the artwork international reeling. The responses ran from incredulity to outrage; the poet Taylor Mead defined the exhibition as “a significant slap within the face to America.” The exhibition placed Warhol at the map—and remodeled American tradition perpetually. nearly single-handedly, Warhol collapsed the centuries-old contrast among “high” and “low” tradition, and created a brand new and substantially sleek aesthetic.

In Andy Warhol and the Can that offered the area, the dazzlingly flexible critic Gary Indiana tells the tale of the genesis and impression of this iconic murals. With power, wit, and large perspicacity, Indiana recovers the pleasure and controversy of the Pop paintings Revolution and the bright, tormented, and profoundly narcissistic determine at its leading edge.

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Additional info for Andy Warhol and the Can that Sold the World

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Like Welles, Warhol became as much the product he sold as the art he made. His ambition enlarged exponentially when he realized what unlimited success was available to him. Warhol didn’t have Welles’s hammy baritone eloquence; though far more familiar with “high culture” than he generally let on, Warhol cultivated a repertoire of exactly the opposite methods of self-presentation, starting in his college years. Like Welles, Warhol understood the power of silence, of the clipped riposte—even though his aggressive passivity couldn’t have been further from Welles’s cultivated image as bon vivant and raconteur.

Warhol didn’t have Welles’s hammy baritone eloquence; though far more familiar with “high culture” than he generally let on, Warhol cultivated a repertoire of exactly the opposite methods of self-presentation, starting in his college years. Like Welles, Warhol understood the power of silence, of the clipped riposte—even though his aggressive passivity couldn’t have been further from Welles’s cultivated image as bon vivant and raconteur. The two artists also shared a mandarin dexterity in manipulating other people in the service of boundless ambition as well as the ability to set members of their entourages at odds with each other through well-placed gossip.

This wasn’t particularly scandalous in art school, and Warhol seems not to have been sexually active at the time, but simply, on occasion, overtly odd in his self-presentation. He once appeared at a party with his hair dyed green. Schoolmate Betty Ash thought “he was trying to look like a woman in a painting by Matisse,” but biographer Victor Bockris astutely thinks it likely that Warhol was imitating the eponymous victim-protagonist of Joseph Losey’s 1948 film The Boy with Green Hair. His work at Carnegie was sometimes strangely, defiantly unconventional; Andy produced several dog paintings inspired by instructor Balcolm Green’s Russian wolfhound.

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