Thursday, 31 December 2015

# 305

It's New Year's Eve tonight and I've decided to stay in, have some self-made lasagne, work on my paper and enjoy my own company rather than spending money that I want to save for my trip to Paris in a few weeks. Anyways, I wish you all a wonderful evening and a very happy new year! May your wishes come true!

And if your NYE plans fell through, don't worry you're in good company. This is what Andy wrote in his diary on...

Tuesday, December 31, 1985
Well, it was a pretty starless New Year's Eve. I feel left out. I think Calvin had a party and didn't invite me, and Bianca's in town and I didn't hear from her, she never even called to say she was coming by for her Christmas gift. And I mean, she doesn't have many other friends. But New Year's was easy and unemotional. Nobody was mushy.


Sunday, 27 December 2015

# 304

... back from my Christmas holiday in Spain where I was proudly wearing my Warhol/Marilyn dress which my friend Victoria gave me. Thanks again, honey! Love the dress!!! xxx


Friday, 18 December 2015

# 303

"Christmas is when you have to go to the bank and get crisp money to put in envelopes from the stationery store for tips. After you tip the doorman, he goes on sick leave or quits ..."  --- Andy Warhol, The Philosophy of Andy Warhol


Monday, 14 December 2015

# 302

... so I had a friend visiting me this weekend and we both went to see Tate Liverpool's current exhibition An Imagined Museum. Set on the fourth floor of the gallery, the exhibition features works from a wide array of artists: Barbara Kruger, Joseph Kosuth, Louise Bourgeois and Andy Warhol, just to name a few.

The title of the show is a clear reference to Andé Malraux's essay Le Musée Imaginaire (inadequately translated as the 'museum without walls') which was published in his book Voices of Silence. Through the employment of photography and print reproductions of art works, Malraux, a French author, notorious adventurer and politician, sought to demonstrate that it is possible to conceive of an imagined museum in which the original artworks were not required. With his book he intended to show that the new technologies allow us to take artworks out of their social and historical context and to let the reader's imagination do the curatorial job. Everyone would be able to imagine their own museum because photography and print opened up the world of art for us. While Malraux's text was under much scrutiny from academics and intellectuals for its 'unscientific' style, among them renowned scholars like Ernst Gombrich, his initial idea that art can be freed of its 'material boundaries' is more relevant today than ever. 

If anything, the digital age and the internet (maybe even more than print publications) are prove that it is possible to conceive of artworks without necessarily relying on their material existence. Malraux was undoubtedly onto something! Though it may only be of little comfort to archeologists and art lovers who recently had to watch ISIS destroy cultural heritage in many Eastern countries, the fact that 'digital copies' of some of the buildings and artifacts exist will at least prevent them from being forgotten. The idea that artworks cannot only be stored in actual buildings but also digitally and in our imagination, allows us to conceive of art beyond the object. 

Arguably, the role of the curator would then be diminished because it is up to the individual to decide which works they want to include in their imaginary display. Websites like The Artstack are a first step into this direction. And, yes, art experts and museum directors will always shout: 'But this has nothing to do with the aura of the original!'. Yet, one wonders why they haven't learned anything from Warhol? By bringing objects into the museums and galleries that are not exactly 'originals'  but rather copies, Warhol (and equally Duchamp and other Pop and Dada artists), made us realize that this debate is just not the right one to have anymore. The question should rather be: What do we do with the endless possibilities of our imagination and technical reproduction? Can we dispose of art museums and galleries and curators and directors altogether?

This was not what Malraux intended but it is a serious thought to entertain these days. Yes, it is fun going to the Tate and to walk through the pretty museum halls (if you can afford it, that is, because outside the UK museum visits are rarely free). Nevertheless, it is not always the case that you will be looking at 'originals'. Even the museum displays reproductions!  With regard to this debate, it is intriguing that the exhibition at Tate Liverpool not only features 'originals' by Warhol but also by his contemporary Elaine Sturtevant who made a point in copying the 'masters of copying' (e.g. creating copies of Warhol's and Lichtenstein's works). It is furthermore interesting that Sturtevant insisted that she painted Warhol's Flowers  from imagination, i.e. without relying on the actual works or one of their reproductions to create it. So it turns out that the famous Flowers painting that is displayed right next to the show's entrance is actually a copy of the copy of the copy... and so on... endlessly... This is definitely something to make your head spin. The exhibition's curator, Darren Pih, in a way cleverly plays a double trick on the prestige and alleged monopoly of the museum as a 'hall of originals' by displaying  Sturtevant's Flowers and Warhol's Soup Cans and Brillo Box in the same room with each other. 

Still, the irony is not lost on the viewer that one is entering a show which is alluding to the notion of the 'imagined museum', inevitably questioning the role of the museum and art gallery in an age of endless reproduction, and yet it still relies on the hallowed halls of a recognized art gallery  such as the Tate. It still contains the same objects and artifacts that one would usually find at any other art exhibition. While, next to the exit, an empty gold frame was placed with the invitation to participate in the 'imagined museum' by imagining what other artworks one could include in such an exhibition as this, at the end of the day, the visitor's experience remains the same: I have visited yet another museum with walls and with very real, not imagined, artworks in it. 


This is not to say that it was not fun and engaging! On the contrary, my friend and I had a real blast, especially with some of the installations! Moreover, according to the Tate Liverpool programme, the exhibition will end 'in a celebratory weekend, during which artworks will be replaced by people'. Now that sounds like something to look forward to! I'll make sure I'll be around that weekend.

The exhibition An Imagined Museum ends February 14th, 2016. 


Monday, 7 December 2015

# 301

Holly Woodlawn passed away today. As one of Warhol's glamorous superstars and a member of his entourage, she'll never be forgotten! Here she is in Warhol's film Trash.




Wednesday, 2 December 2015

# 300

"I have a real take-all-give-nothing attitude this year." --- Andy Warhol

Monday, 23 November 2015

# 299

"I always like to work on leftovers, doing the leftover things. Things that were discarded, that everybody knew were no good, I always thought had a great potential to be funny." --- Andy Warhol, The Philosophy of Andy Warhol


Saturday, 21 November 2015

# 298

"Don't pay any attention to what they write about you. Just measure it in inches." --- Andy Warhol 


Monday, 16 November 2015

# 297

Fifteen Minutes of Pop Art is 3 years old today! 


Thank you to more than 14.000 visitors :)


Saturday, 14 November 2015

# 296

... part of my teaching at the philosophy department includes political philosophy and discussing the concept of liberty with students... just this Thursday we were talking about the Charlie Hebdo attacks and the question whether it is worth to give up your freedom for a rather false sense of security, namely the notion that more police and more army could potentially prevent terrorism in your country, and whether freedom of expression has limits etc. After yesterday's tragedy, I think it has once again become clear that there is no such thing as total security and if we want freedom of speech, religious freedom, the freedom to express ourselves and freedom of assembly etc., we should not fall into the trap of allowing state agencies and political parties to talk us into giving up our freedom for a security they can never provide 100%... after terrorist attacks everyone wants to feel that measures are being taken and that 'we are being taken care of' etc. But there was already plenty of military around Paris after the Charlie Hebdo killings and even before then. When I was in Paris in 2009, I took this eerie picture of my friend... we were making fun of the 'boys' walking around 'protecting' us but despite everything fanatics will find their way.... now we really need to make sure that the right wing idiots don't use yesterday's terrorism to stir up even more hatred against the refugees who need our help!


Sunday, 8 November 2015

# 295

From an interview with Jean Baudrillard, answering the question whether he ever thought of writing an aesthetic: 

"[...] That's why in the beginning what interested me was the object, the object itself, the banal object -- precisely that which is not aesthetic. So if I wrote something then it would be a transaesthetic. This is what I did in a minor way in a recent text on Warhol. It is not that I have a total, unconditional admiration for Warhol, but it is he who seems to me to bring simulation into the reckoning, from an aesthetic point of view, but in the original sense of the irruption of simulation. After that the simulationists etc., only repeated what had already been done. It's Warhol in reality who is the focus of all this. Of course, as you know, Warhol repeated himself. But there are moments when he goes through the wall of glass of the aesthetic. ...." --- Jean Baudrillard, Baudrillard Live: Selected Interviews

It's interesting though that, despite his suspicion towards art and aesthetics, Baudrillard's own photography is undoubtedly deeply engrained with a 'Pop Art aesthetic', an aesthetic that focuses on the everyday banal object. Here are two of my favourite photos from his series 'Vanishing Techniques':





Saturday, 7 November 2015

# 294

"Hypperreality entails the end of depth, perspective, relief: these are always to be found in the domain of subjective experience bound up with the human perceiver. The molecular code however insinuates here a new objectivity, and an associated optic. There are four forms of vertigo which can be identified here, says Baudrillard. first, the vertigo of the detail (hyperreal art), which loses itself in the particular. This is intensified in the mirror of the elaborately, hyper detailed form where the real appears to feed on itself. But, third, the vertigo of the series is more important here, as established for example in the work of Andy Warhol: a death is realized in the infinity of reproduction derived from the model. And, finally, it is solicited in the omnipresent binary coding of minimal differences. In this form, which can be seen in a contemporary genre of hyper-painting in which what counts is the frame the border is the only remainder of difference between the work of art and the wall it hangs on. Thus the definition of the real in this phase is that which cannot be reproduced, or for which there is 'no equivalent reproduction', and which must belong therefore to a nostalgic form of simulation or to an order which is not simulation (the symbolic). The hyperreal is the simulation form which dominates, and as such defines itself in relation to that which is always already reproduced." --- Mike Gane, Baudrillard's Bestiary: Baudrillard and Culture


Sunday, 1 November 2015

# 293

"Some people think that it's easier for beauties, but actually it can work out a lot of different ways" --- Andy Warhol 

Saturday, 31 October 2015

# 292

Happy Halloween!!!

From Warhol's diary, Monday, October 31, 1977. Scary shit! 
"There was a Halloween Party at Studio 54, Stevie kept giving me more drinks and then somebody shoved a Quaslude in my mouth and I was going to shove it to the side but it got stuck and then I drank vodka and it went down and that was a big mistake. My diamond choker was pinching my neck - I hate jewelry. How do ladies wear it? It's so uncomfortable. I went home by cab and got in around 6:30 somehow. My boyfriend Peter came up and found me with my boyfriend Danny so I introduced them as my boyfriends and that got them interested in each other so they went off together."

Friday, 30 October 2015

# 291

I just bought train tickets to Paris in order to see Andy Warhol's Shadow Paintings at the Museum of Modern Art in Paris,  in January 2016, together with my lovely friend Gabrielle! Very excited! :)


Tuesday, 27 October 2015

# 290

Two years ago today, I was in Munich carrying my Velvet Underground bag through an Andy Warhol exhibition at the Museum Brandhorst  and when I came home I switched on the radio and the first thing I heard was that Lou Reed had passed away... it was a shock as if a family member had died. Incidentally, it was in Munich that I heard him play live for the last time. I am very happy that I went to this concert (despite the fact that I had a horrid cold that day).

Monday, 26 October 2015

# 289

I want to go to Paris to see this exhibition:

Sunday, 25 October 2015

# 288

"In Andy Warhol’s Car Crashes  series, J. G. Ballard’s novel  Crash, and Don DeLillo’s novel White Noise, death and disaster are presented as simulation, as hyperreal, but within each work, there is an unraveling of the postmodern denial of the real, an individual moment when death must be confronted as  real. A quick simplification of these three approaches is that Warhol tries to mask death’s reality, Ballard celebrates the associations with popular culture but does not posit a moral response to it, and DeLillo exposes the tendency of popular culture to be anesthetized to it." --- Michael Hardin, 'Postmodernism's Desire for Simulated Death: Andy Warhol's Car Crashes, J. G. Ballard's Crash, and Don Delillo's White Noise'

Tuesday, 20 October 2015

# 287

"Even though Warhol might have drawn the soup can that forms the basis of these pictures, his design is not original, in the sense that it is a copy of a well-known commercial brand. These manoeuvres are significant because they confound the idea of an original reference and prompt us to question the distinction between high art and consumer culture. The use of commonplace, everyday products in Warhol’s art shifts our focus away from what is being represented (which is familiar to us to the point that it doesn’t register as unique or novel) towards how it is represented (the use of repetition via mechanical means)." --- Kim Toffoletti, Contemporary Thinkers Reframed: Baudrillard Reframed


Monday, 19 October 2015

# 286

"From the beginning, Warhol was particularly knowing about what might be termed the use-value of his work. Not only the books, but on occasion his other drawings as well were dedicated and offered as tokens to advance his career or gain access to someone he wanted to meet, because they were celebrated, attractive, or both. Certain projects of the later 1950s, such as the 'Boy Book' drawings operated entirely with the latter purpose in view. Thus, for Warhol, the use-value of his early work threaded success with cultural mobility, and creativity with sociability and sexual desire." --- Neil Printz, Other Voices, Other Rooms: Between Andy Warhol and Truman Capote

Sunday, 18 October 2015

# 285

"In 1960 in New York, I met a man named David Herbert who had worked for Betty Parsons, then Sydney Janis; later he worked briefly for Poindexter Gallery. Herbert knew Andy Warhol, whom we had never heard of in California. Herbert said: “You've got to meet this artist, Andy Warhol,” and this finally happened in the fall of 1961. Herbert’s friends hung out in this trendy Manhattan store called Serendipity. Herbert arranged the meeting there and finally Warhol showed up. 
Irving Blum and I went to Warhol’s studio on Lexington Avenue in the Upper East Side. It was this big place with pine stairs leading to the second-floor. The building had been some sort of lodge or meeting hall. When we met with Warhol he struck me as strange. We followed him up these stairs and passed this amazing assortment of Americana and memorabilia that he had collected, and then we entered this large, high-ceiling room that was mostly bare except for a vast sea of magazines, almost ankle deep. 
I was just blown away by the art on view — I really had never seen anything like it. There was his big painting where Superman is going “Puff!” as he blows out a fire (1960). There was the Dick Tracy painting with his side kick Sam Ketchum (1960). There was work from the same era as the Menil Collection’s Icebox (1960), paintings that are based on printed advertising. I hadn't seen anything specifically called “Pop Art” before visiting Warhol’s studio. That type of work wouldn't even acquire a name in America until 1962. The name “Pop” really comes out of England from the writings of Lawrence Alloway [the British pop art theorist and critic who became a curator at the Guggenheim Museum, New York]." --- Walter Hopps, interview by Jim Edwards in Pop Art: US/UK Connections 1956-1966


Saturday, 17 October 2015

# 284


Already looking forward to this exhibition at Tate Liverpool, next month! 




# 283

"Ever since Andy Warhol's theodicy of commodity, since Jeff Koons' Made in Heaven or - most recently - since Vanessa Beecroft's 'Performance' of 100 beautiful female bodies, there can be no more talk of dissent between art and artificiality, semblance and being, between a 'promesse de bonheur' and the power of beauty which dominates our every day life economically, socially, in the media and in bioengineering. [...] Flawless beauty has become a professionally managed asset, ratified by art [...]." [my translation] --- Raimar Zons, Die Macht der Schönheit 


Friday, 16 October 2015

# 282

Nice little introduction to Warhol's work... apart from the fact that Warhol's parents weren't Czech but came from Slovakia.




Monday, 12 October 2015

# 281

"Ever since the impressionists in the 1860s rejected the official Salon as the only financial market place and created an alternative art market with a dealer system, artists have both rejected (Duchamp) and embraced (Warhol) the process in about equal measure." --- Pam Meecham and Julie Sheldon, Modern Art: A Critical Introduction


Friday, 9 October 2015

# 280

"Jeff Koons, probably the most successful artist of our time, is the master of slick surfaces. Andy Warhol, too, avowed for beautiful, smooth surfaces. However, his art is still imbued with the negativity of death and disaster and its surface is not entirely smooth. The Death and Disaster Series, for example, thrives on negativity.  Jeff Koons, on the other hand, offers no disasters, no injuries, no breaks, no cracks and no seams either. Everything flows in soft and smooth transition. Everything seems rounded, polished, straightened. Jeff Koons' art is dedicated to the smooth surface and its immediate effect. It offers nothing to interpret, decode or reflect upon. It is an art of the Like." [my translation] --- Byung-Chul Han, Die Errettung des Schönen


Sunday, 4 October 2015

# 279

"At the end of time, when I die, I don't want to leave any leftovers. And I don't want to be a leftover." --- Andy Warhol 

Tuesday, 11 August 2015

# 278

"I have a Fantasy about Money: I'm walking down the street and I hear somebody say - in a whisper - 'There goes the richest person in the world.'" --- Andy Warhol, The Philosophy of Andy Warhol


Thursday, 6 August 2015

# 277

Today is Andy Warhol's birthday! ... and what better way to remember him than to read through his diary and see how he spent previous birthdays (when he wasn't dead)... Here is a wonderful excerpt:

Thursday, August 6, 1981
It was my birthday and I'd told everyone at the office that if they even mentioned it they'd be fired. Brigid had wanted the day off but I was Mr. Grumpy. I let everyone off five minutes early. And the funniest thing was that in the morning Brigid went to the delicatessen and over the radio the DJ said, 'And happy birthday to Andy Warhol who's sixty-four years old today,' so she was laughing that they'd even added eleven years on.
John Reinhold send me 500 carats of diamond dust for a present. It's like half a can of tomato soup-size. And he sent me twenty-seven roses. Diamond dust can kill you. It's a good way to murder somebody. 
Got a call from Hollywood. Jon didn't remember my birthday which was great.


Tuesday, 21 July 2015

# 276

"I don't understand anything except GREEN BILLS. Not negotiable bonds, not personal checks, not Traveller's Checks. And if you give anybody a hundred-dollar bill in the SUPERMARKET, they call the manager. Money is SUSPICIOUS, because people think you're not supposed to have it, even if you do have it." --- Andy Warhol, The Philosophy of Andy Warhol


Monday, 20 July 2015

# 275

Rant time! 

Despite the fact that I’m turning 28 in a few weeks, most people think that I look younger than I am…. which is fine by me, I don’t really care too much about age…. but here’s what’s bugging me big time. Being asked for ID while buying alcohol may be funny, cute, flattering, whatever… happens to ladies and gents alike... but getting the ‘airhead’-treatment because you look younger than you are and because you happen to be female is not just rude, it’s WRONG. Some examples: I’m in a hardware store shopping for lightbulbs when an elderly guy approaches me telling me which lightbulbs I need, given the sample in my hand, because, CLEARLY, I cannot possibly know anything about the difference between watt and voltage. Or, a taxi driver in Dublin assuming that my anxiety to miss my flight to LA stems from the fact that I’m a ‘young chicken’. Or, an older guy at the office assuming that I don’t know how to assemble the coffee machine correctly. Or, a male undergrad student who thinks he needs to explain fundamental Freudian concepts to someone who has read Freud’s books as a teenager just because he thinks I’m his age and could not possibly be as well-read as him, then reacting almost shocked about finding out that I’m postgrad and 7 years older than he thought. Or, an older male lecturer coming up to me at a conference saying ‘you better cover your ass, girl’ (not commenting on my clothes but on research I’m doing) etc etc etc etc. I seriously have to ask myself what (not just older) men think they are doing. I cannot recall a woman treating me in such a patronizing way. I know sometimes people just want to be helpful but when I’m constantly addressed as ‘girl’, ‘love’, ‘honey’, ‘chicken’ I KNOW that I’m not being taken seriously as a person/woman! Apparently, it doesn’t really matter that I have had my fare share of pleasant and unpleasant life experiences, that I’m doing a PhD and that I have worked really FUCKING hard to get to where I am right now, that I’ve travelled a lot (on my own) and that I speak at least two languages fluently. So why does all of this even annoy me? I could just not give a fuck and shrug it off. But that’s exactly the problem. I refuse to accept the moronic behaviour of men who keep talking and interacting with (younger) women as if they are inferior, less qualified and in general just in desperate need of help and protection by a ‘strong', older dude. I say BULLSHIT! I will ask for help if I need it and I don’t want to be patronized because of my gender/age group. Also, I just don’t appreciate people telling me what to do! Plus, I have to ask, how many (young) men actually get into situations like I’ve described above???? See my point?



Thursday, 9 July 2015

# 274

"It is all the more necessary to talk about art now that there is nothing to say about it.” — Jean Baudrillard, The Conspiracy of Art


Tuesday, 7 July 2015

# 273



Q: "What do your rows of Campbell soup cans signify?"


A: "They're things I had when I was a child."


Thursday, 18 June 2015

# 271

My first time at the West Coast and Warhol's quote keeps popping up in my head:

"Once you 'got' Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again." --- Andy Warhol, Popism


Los Angeles, Highfield Ave

Tuesday, 9 June 2015

# 270

Found this in Warhol's diaries. Made me laugh. 

Monday, August 10, 1981

I had to photograph the Halszon and Galanos things for The Los Angeles Times. Jon picked me up and we went to Halston's. Halston had his limo waiting but Liza was late. He was on the phone with Liz Taylor and she called him an asshole so he called her an asshole and he said that her asshole was bigger than his and that I should take pictures to prove it. It was funny hearing them talk like this, that's how they talk to each other. [...]


Sunday, 7 June 2015

# 269

“The girls in California were probably prettier in a standard sense than the New York girls--blonder and in better health, I guess; but I still preferred the way the girls in New York looked--stranger and more neurotic (a girl always looked more beautiful and fragile when she was about to have a nervous breakdown).” --- Andy Warhol, Popism


Tuesday, 26 May 2015

Saturday, 23 May 2015

# 267

Friday, 1 May 2015

# 266

"Warhol and Pop Art generally shifted our focus from the 'sacredness' of art to one which understands art as both a manufacturer and a mirror of social values." --- Laura Smith, 'After Aesthetics – Art and Open Dialogue'


Wednesday, 29 April 2015

# 265

ugh... so many things to do... and I'm in my complaining mode... 

  • preparing German classes for Cactus
  • marking students' presentations from the Political Philosophy module
  • trying (but kinda failing) to do my own PhD research
  • doing translations for a company that sells 'cow-lifting' machines (???)
  • doing some stuff for FACT, too
  • starting to prepare for the Philosophy Department's Graduate Conference, in May
  • trying to have something like a private life
  • and, last but not least, trying not to lose my sanity (aaaaaaaaaaahhhhhhhhh)

Thursday, 23 April 2015

# 264

"The flight from interpretation seems particularly a feature of modern painting. Abstract painting is the attempt to have, in the ordinary sense, no content; since there is no content, there can be no interpretation. Pop Art works by the opposite means to the same result; using a content so blatant, so 'what it is,' it, too, ends by being uninterpretable." --- Susan Sonntag, Against Interpretation


Monday, 30 March 2015

# 263

"When I look back, I can see that the biggest fights at the Factory were always over decorating. In other areas everybody stuck to their own field of interest, everybody was easygoing, but when it came to how the place should look, everybody had ideas that they turned out to be willing to really fight for." --- Andy Warhol, Popism


Monday, 23 March 2015

Sunday, 8 March 2015

Wednesday, 4 March 2015

# 260

... first day of my two year long collaboration with FACT (Foundation for the Art and Creative Technology) today. Joining the team as a researcher and blogger for the FACTLab initiative. Exciting times!


Wednesday, 25 February 2015

Sunday, 22 February 2015

# 258

... remembering Andy Warhol on his day of death... may he rest in peace... 

Chapter 8, from The Philosophy of Andy Warhol

















Friday, 20 February 2015

# 257

Can't wait to get to California, this year!!!!

"I love Los Angeles, and I love Hollywood. They're beautiful. Everybody's plastic, but I love plastic. I want to be plastic." --- Andy Warhol


Sunday, 15 February 2015

# 256

Something for all other philosophy PhDs and philosophers out there to keep in mind... 

“You were not there for the beginning. You will not be there for the end. Your knowledge of what is going on can only be superficial and relative.” ― William S. Burroughs, Naked Lunch


Saturday, 14 February 2015

# 255

... this is my contribution to Valentines Day...

Wednesday, 11 February 2015

# 254

So I have a lot on my plate right now...

1. submit application for NWCDTP funding (deadline on Friday 13th!)
  
2. prepare conference presentation for the annual Dutch Association of    Aesthetics conference 
  
3. prepare the German classes I'm currently teaching for Cactus Worldwide Ltd.
  
4. prepare the Political Philosophy seminars I'm teaching this semester 
  
5. rewrite my still current (grrrr) paper on 'Bildung and aestheticization' 
  
6. prepare application for British Society of Aesthetics Studentship Award

aaaaaand 

7. find time for sleeping, eating and obsessing about Warhol

... just thought I'd share the plight of a regular PhD student ;)

Tuesday, 3 February 2015

# 253

"[The sublime] feeling might emerge, for instance, when surveying the material vacancy of the art of Andy Warhol (1928-87). The Marilyn Monroe series prompts the viewer to mediate on the relentless drive of capitalist reproduction but in a way that forces us to become aware of its inertia, its still point. The Marylin portrait is iconic, in the religious sense, because no amount of reproduction can nullify its enigmatic presence. We might say that Warhol's art is sublime despite itself. And such a feeling can take the viewer by surprise." --- Philip Shaw, The Sublime


Sunday, 1 February 2015

# 252

Check out the blog article 'Media (As) Art' that I wrote for the Melbourne based Channels Festival. It discusses Andy Warhol, Media Art and the Transmitting Andy Warhol exhibition at Tate Liverpool which is only open for another 7 days, so hurry!

http://channelsfestival.net.au/blog-post/media-art/


Tuesday, 27 January 2015

# 251

"Does not great affectation in fact characterize all our automata, all our artificial machines, all our techniques? Andy Warhol has found the formula of maximum snobbery here: 'I want to be a machine'. By passing himself, as a unique machine, to the realm of machines and machine made objects, by employing just a touch more simulation and artificiality, Warhol outmanoeuvres the very machinations of this system. Whereas an ordinary machine produces objects, Warhol produces the object's secret aim - which is to be reproduced. He reproduces the object complete with its ultra-purpose, claoked in the secret non-sense that emanates from the very process of object-generation. Where others seek to add a little soul, Warhol adds a little more machinery. Where other's seek a little more meaning, he seeks a little more artifice. Less and less himself, more and more affected, he reaches the machine's magical core by reproducing the world in all its exactness. Less and less the subject of desire - closer and closer to the nothingness of the object." --- Jean Baudrillard, The Transperancy of Evil 


Tuesday, 20 January 2015

Monday, 12 January 2015

# 249

The Andy Warhol Museum has 610 of Andy Warhol's 'time capsules' in their archive... Andy stored all sorts of things in these boxes during his life time and he literally kept everything 'crazy collector type' that he was... Since I'm moving houses at the moment, shoving all my personal belongings into cardboard boxes myself, I do wonder if Warhol was simply being practical and storing all his things in boxes in case he quickly wanted/needed to move... I think that's very sensible and I wish I had come up with that Idea myself...  

http://www.warhol.org/collection/archives/


Saturday, 10 January 2015

# 248

Whenever I feel sad I take Andy's Philosophy or Popism from the shelf and browse through the pages... I always start giggling eventually :)

"Speaking of acid, Gerard took his first trip shortly after we moved to the Factory in January of '64. I walked in one day and there he was with a broom in his hand, crying and sweeping up the loft. Now this - the sweeping - was the kind of thing Gerard never did. He was a good worker as far as stretching and crating went, but one of his big shortcomings was that he could be very slobby (you'd open up his desk drawer and mixes in with notebooks and papers would be his dirty laundry), so when I saw him actually sweeping up, I was stunned. I said to Billy, 'What's wrong with him?' And Billy lifted his head up and turned to me slowly and said, 'He's ... tripping.' Apparently Billy was, too." --- Andy Warhol, Popism


Sunday, 4 January 2015

# 247

"Usually, all I need is tracing paper and a good light. I can't understand why I was never an abstract expressionist, because with my shaking hand I would have been a natural." --- Andy Warhol, The Philosophy of Andy Warhol

Friday, 2 January 2015

# 246

"The best thing about a picture is that it never changes, even when the people in it do." --- Andy Warhol 


Thursday, 1 January 2015