Sunday, 29 June 2014

Saturday, 28 June 2014

# 201

Today, I went to a flea market in a small Bavarian village and, who would have thought, stumbled upon one of Frederic Jameson's books (which had Warhol's Diamond Dust Shoes on its cover).

"Indeed, one is tempted to raise here - far too prematurely - one of the central issues about postmodernism itself and its possible political dimensions: Andy Warhol's work in fact turns centrally around commodification, and the great billboard images of the Coca-Cola bottle or the Campbell's soup can, which explicitly foreground the commodity fetishism of a transition to late capital, ought to be the powerful and critical political statements. If they are not that, then surely one would want to know why, and one would begin to wonder a little more seriously about the possibilities of political art in the postmodern period of capital." --- Frederic Jameson, Postmodernism: Or the Cultural Logic of Late Capital

Saturday, 21 June 2014

# 200

Friday, 20 June 2014

# 199

.... iiiiiiiiiiinteresting...

"More enduring links between affective states and preference can also be demonstrated by comparing people who have different personality traits. For example, Furham and Walker (2001) found that thrill-seeking and conscientiousness both correlate with a taste for representational art, while neuroticism and disinhibition correlate with high ratings for abstract paintings and pop art. Pop art was disliked by people who rate high on agreeableness." --- Jesse Prinz, 'The Aesthetic Mind: Philosophy and Psychology'


Tuesday, 17 June 2014

# 198

Sadly, on June 14th Ultra Violet passed away... She was one of Warhol's Superstars and an artist herself... 

This is an extract from Warhol's Diary, Monday, September 19, 1977: 

"Ultra Violet was there and now, thinking back, she must have had a facelift. She looked like the first day I met her, really great. Really really great. She was wearing a dress with gold coins pinned to it and she was selling them. She already sold the good American ones. I think she got the idea of owning gold coins from me in the days when she thought whatever I did must be really smart."


# 197

"A week or so after Philadelphia I got a real lesson in show business and Pop style. Just when you think you're getting famous, somebody comes along and makes you look like a warm-up act for amateur night." --- Andy Warhol, Popism

Sunday, 15 June 2014

# 196

"Catherine Liu has provided a neo-Adornian critique of the conflation of 'fun' with that art which 'revels in its flirtation with culture industry and its sometimes cuddly, sometimes shiny supplements.' It would be crude, as he argues, to assume that such art - familiar at least since Warhol - provides democratized, unmediated pleasure merely because it makes certain forms of pleasure its (ironic) theme. Indeed, such art ('postmodern' if you will) serves to reveal even more than the Adorno-beloved artifacts of high modernism (and sometimes to the point where its representative works themselves approach a schematic didacticism), that Adorno's aesthetic theory is in fact essentially a theory of art's a priori ironicalness. Art's defining feature is that it maintains universal and particular in a state of perpetual non-reconciliation, in which every attempt at a reconciliation, moreover, results in a corresponding widening of the split." --- Erica Weitzmann, 'No Fun: Aporias of Pleasure in Adorno's Aesthetic Theory'

Wednesday, 4 June 2014

# 195

"Everybody winds up kissing the wrong person good-night." --- Andy Warhol, The Philosophy of Andy Warhol