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