Monday, 29 April 2013

# 78

extremely interesting talk about Warhol...


Saturday, 27 April 2013

# 77

"Dadaist canvases had bus tickets, clock springs and other such items stuck on them as a way of ridiculing art's pretensions to separate itself from life. Warhol's introduction of the Brillo soap boxes into the museum worked to denounce great art's claim to seclusion." --- Jacques Rancière, Aesthetics and its Discontents

Wednesday, 24 April 2013

# 76

If Walter Benjamin was right, and all aura is lost in technically reproduced art, then what is it that makes works like these so puzzlingly beautiful?


Saturday, 20 April 2013

# 75

I was in Boston almost exactly one year ago ...
hope the horrible events have found an end now ...

Boston Museum of Fine Arts 2012
Alex Katz exhibition

Thursday, 18 April 2013

# 74

"Reasonably doomed to manifest what commodities lean towards - the vanishing point of meaning, its absolute unreasonableness - the Campbell's Soup Can is a dialogue with no interlocutors, a test that not admit of replies. Flat, cool, meaningless but nevertheless agreeable, familiar, reproducible. Democratic. The Campbell's Soup Can proposes itself already consumed by both memory and gaze - a pure sign behind which the original emerges only as an analogy. The Technique that Warhol employed to reiterate its reproduction - serigraphy - charges the can of a hunky-dory flavor of corroded smoothness that operates a metaphorization of ready-made visual appropriation. Semiotics proclaims surprise to be an unexpected feature meant to enhance communication. Nothing to do with a cool and idle attraction meant to flatten the ineffective information: depth, light, thickness - emotion. The last of art's special effect, the Campbell's Soup Can is a metalinguistic vortex indifferent to its content - the proliferation of images in the watertight containers of un-biodegradable aestheticisation." --- Francesco Proto, Mass Identity Architecture

Sunday, 14 April 2013

# 73


Hamburg, 2010. A young art history student visits the 'Pop Life' exhibition at the Kunsthalle. Her life would never be the same again.

Some tunes are worse than glue. They not only occupy a lot of space in your inner jukebox for a long, long time, no, they also suddenly replay in your head without warning! Even after years, when you think you'd forgotten this song, it'll turn up unintentionally and stop your brain from working.

This is more or less what has happened to me since I entered the second floor of the 'Pop Life' exhibition in 2010. The faint echo of the song 'Turning Japanese' was instantly audible, from the very first exhibition room. The actual music video was displayed a little further back in the gallery, together with other artworks by the Japanese Pop Artist Takashi Murakami. But, honestly, I don't even remember his other works that were exhibited that day. The video was shown on a screen with the size of ca. 2 x 1,5 metres and it not only overpowered everything else in the room, its sound spill was so massive that you could hear the song throughout the entire second floor. It literally haunted you!

I'd known the song before in its original version by The Vapors, but Kirsten Dunst's high pitched voice is impossible to shake off. I can't even say that I remember the original version anymore unless I hear it. All other recollections of the song are outplayed by Murakami's production. It's not that I don't like it! It's just that this song really always starts occupying my brain when I actually need it for more important stuff.

Here is the original version, in case you forgot what it sounds like ;) 

Thursday, 11 April 2013

# 72

"Nowadays if you're a crook you're still considered up-there. You can write books, go on TV, give interviews - you're a big celebrity and nobody even looks down on you because you're a crook. You're still really up-there. This is because more than anything people just want stars." --- Andy Warhol

Monday, 8 April 2013

# 71

I still have my own room at my mum's place in Germany... and, of course, I did some decorating!

My guess is that I'm the only person in a radius of 100km who has such an obsessive passion for Andy Warhol and Pop Art... If not, please let me know of you! :D

Since I'm studying in Liverpool, I'm rarely home. And  with my Master dissertation ahead of me I have no idea when I'll have time for my next visit. A good reason for souvenir photo! Here is the view from our balcony.

Saturday, 6 April 2013

# 70

"One of the sights of the '60s was entering the Castelli Gallery in 1966 and seeing Ivan Karp shepherding with a pole Andy Warhol's silver pillows as they floated and drifted in that historic uptown space at 4 East 77th Street. Every part of the space was active, from the ceiling - against which the pillows bumped - to the floor where they occasionally sank, to be agitated again. This discrete, changing, and silent artwork mocked the kinetic urgencies buzzing and clanking in the galleries of the day, laid claim to pedigree (allover space) and united happiness with didactic clarity. Visitors smiled as if relieved of a deep responsibility." --- Brian O'Doherty, Inside the White Cube

Friday, 5 April 2013

# 69

I was in Munich for three days and went to the Museum Brandhorst to see some Andy Warhol, Damien Hirst and the current Gillian Wearing exhibition

One of her portraits depicts herself dressed up as Andy Warhol. The photo is a reference to Warhol's famous self-portraits in drag, as well as his 'scar' photos which show Andy's severe injuries that he received from the attempted assassination by Valerie Solanas, on June 3rd 1968. 

I wasn't familiar with Wearing's work before but her extraordinary way to slip into other peoples' skin amazed me. Another impressive portrait was a photo of  the artist posing as the famous New York photographer Robert Mapplethorpe.

Tuesday, 2 April 2013

# 68

self-made Pop Art

# 67

Almost forgot to mention that the Roy Lichtenstein Retrospective at the Tate Modern in London is pretty impressive. 

Among the most famous paintings Whaaam! and Girl Drowning many unexpected other highlights are on display: personal sketches and drawings, lesser known sculptures and the original comic books in which Lichtenstein found his inspiration.

My personal favourite was Landscape in Fog (1996, Oil and magna on canvas, 180.3 x 207.6). As with other Lichtenstein paintings it is amazing what an extraordinary effect the Ben Day dots can have on large scale canvases. They add a three-dimensionality to the works which you would not expect. The Landscape in Fog was special to me since the clear pattern of the Ben Day dots is interrupted by the energetic brushstrokes representing the fog. The large size of the work and the cool, fresh colours  almost made me feel as if the painting was exhaling a fresh breeze. 

Although I really enjoyed the exhibition I think that 12,20GBP (for students) is too high a ticket rate! 14GBP without concession is really not cheap and so far I don't remember paying that much for any of the Tate exhibitions. It makes you wonder what made the Lichtenstein Retrospective so expensive.