Which of the Following Styles of Art Did Andy Warhol Work With?

"How can yous say ane style is better than another? You ought to be able to be an Abstract Expressionist next calendar week, or a Pop artist, or a realist, without feeling you've given upwards something. I recall that would be so not bad, to be able to change styles. And I think that'southward what's going to happen, that'southward going to be the whole new scene."

i of fourteen

"Buying is more American than thinking, and I'one thousand as American as they come up."

2 of 14

"Business art is the step that comes after Fine art. I started as a commercial creative person, and I want to terminate as a business artist."

3 of xiv

"I just happen to like ordinary things. When I paint them, I don't try to make them extraordinary. I just endeavor to paint them ordinary-ordinary."

4 of xiv

"In the hereafter everybody will exist world famous for 15 minutes."

5 of 14

"The reason I'm painting this way is that I want to be a machine, and I feel that any I do and do car-like is what I want to do."

6 of 14

"And the few times in my life when I've gone on television, I've been then jealous of the host on the show that I haven't been able to talk. As soon every bit the TV cameras turn on, all I can call back is, 'I want my own show ... I want my own evidence.'"

seven of 14

"A whole day of life is like a whole twenty-four hours of television. TV never goes off the air once it starts for the day, and I don't either. At the end of the mean solar day the whole mean solar day volition be a picture show. A movie made for TV."

8 of xiv

"I'm the type who'd be happy not going anywhere equally long as I was certain I knew exactly what was happening at the places I wasn't going to. I'g the type who'd like to sit domicile and picket every party that I'one thousand invited to on a monitor in my bedroom."

9 of 14

"Information technology'due south the movies that take actually been running things in America ever since they were invented. They show you what to do, how to do information technology, when to do it, how to feel about it, and how to look how you experience virtually it."

x of 14

"I don't believe people dice. They just get uptown. To Bloomingdales. They just take longer to get dorsum."

11 of fourteen

"A Coke is a Coke and no amount of money can become you a meliorate Coke than the ane the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows information technology, and you know it."

12 of 14

"Being good in business is the virtually fascinating kind of art ... Making money is art and working is art and good business organisation is the best art."

13 of xiv

"You're a killer of art, you're a killer of beauty, and you're even a killer of laughter. I tin can't behave your work!"

14 of 14

Summary of Andy Warhol

Andy Warhol was the almost successful and highly paid commercial illustrator in New York even before he began to make art destined for galleries. Notwithstanding, his screenprinted images of Marilyn Monroe, soup cans, and sensational paper stories, rapidly became synonymous with Popular art. He emerged from the poverty and obscurity of an Eastern European immigrant family unit in Pittsburgh, to become a charismatic magnet for maverick New York, and to ultimately observe a place in the circles of Loftier Society. For many his rising echoes one of Pop art'southward ambitions, to bring popular styles and subjects into the exclusive salons of high art. His crowning achievement was the height of his own persona to the level of a popular icon, representing a new kind of fame and celebrity for a fine artist.

Accomplishments

• Warhol's early on commercial illustration has recently been acclaimed as the arena in which he outset learned to manipulate popular tastes. His drawings were often comic, decorative, and whimsical, and their tone is entirely different from the common cold and impersonal mood of his Popular art.
• Much debate still surrounds the iconic screenprinted images with which Warhol established his reputation as a Pop creative person in the early 1960s. Some view his Death and Disaster series, and his Marilyn pictures, every bit frank expressions of his sorrow at public events. Others view them as some of the showtime expressions of 'compassion fatigue' - the mode the public loses the power to sympathize with events from which they feel removed. Nonetheless others remember of his pictures as screens - placed between us and horrifying events - which endeavor to register and process shock.
• Although artists had drawn on pop culture throughout the 20^th century, Pop art marked an important new phase in the breakdown between high and low art forms. Warhol'south paintings from the early 1960s were important in pioneering these developments, but information technology is arguable that the diverse activities of his later on years were just as influential in expanding the implications of Pop art into other spheres, and further eroding the borders between the worlds of high art and popular civilization.
• Although Warhol would go along to create paintings intermittently throughout his career, in 1965 he "retired" from the medium to concentrate on making experimental films. Despite years of fail, these films have recently attracted widespread interest, and Warhol is now seen every bit one of the most important filmmakers of the menstruation, a forefather of independent motion-picture show.
• Critics have traditionally seen Warhol's career equally going into reject in 1968, subsequently he was shot past Valerie Solanas. Valuing his early on paintings above all, they have ignored the activities that absorbed his attention in afterward years - parties, collecting, publishing, and painting deputed portraits. Still some have begun to think that all these ventures make up Warhol'south most important legacy because they prefigure the diverse interests, activities, and interventions that occupy artists today.

Biography of Andy Warhol

Warhol famously said that "business art is the stride that comes after Art. I started as a commercial creative person, and I want to finish equally a concern artist." He became one of the world about successful artists, and made screen prints, sculptures, films, managed a band, and even designed wallpaper - projects that were often highly lucrative (and always built his make).

Important Art past Andy Warhol

Progression of Art

1968

Campbell'due south Soup I

By the 1960s, the New York art earth was in a oestrus, the very original and popular canvases of the Abstruse Expressionists of the 1940s and '50s had become cliché. Warhol was 1 of the artists that felt the need to bring back imagery into his work. The gallery owner and interior designer Muriel Latow gave Warhol the idea of painting soup cans, when she suggested to him that he should paint objects that people use every day (it is rumored that Warhol ate the soup for luncheon every single day). He painted Campbell's soup cans, Brillo boxes, and Coca-Cola bottles from 1962 onward.

Warhol started his career and became an extremely successful consumer ad designer. Here, he used the techniques of his trade to create an paradigm that is both easily recognizable, but also visually stimulating. Consumer goods and ad imagery were flooding the lives of Americans with the prosperity of that age and Warhol ready out to subtly recreate that abundance, via images found in advertising. He recreated on sail the feel of being in a supermarket. Then, Warhol is credited with envisioning a new blazon of fine art that glorified (and as well criticized) the consumption habits of his contemporaries and consumers today.

Screenprint - Multiple museums, galleries, and collections

1962

Coca-Cola (3)

"I merely paint things I always thought were beautiful, things yous use every day and never retrieve nigh." Warhol's argument epitomizes his ethos; his works put ordinary items front and heart. This idea applies to the hand-painted portrait of a Coca-Cola bottle. Another claiming to the domination of Abstract Expressionism, Warhol's Coca-Cola is equal in size to many of the pop canvases of the time (6ft x 5ft) simply is devoid of their abstractions. Nonetheless, there are some other similarities here. Equally in Barnett Newman's popular Stations of the Cross series of works, Coca-Cola is comprised of a large, black mass on a white background. The canteen jumps out at the viewer; enervating the kind of attending Motherwell'southward profound canvases received - yet now the sense of irony reigns.

Casein on cotton fiber - Private Collection

1962

Golden Marilyn Monroe

After her sudden death from an overdose of sleeping pills in August 1962, superstar Marilyn Monroe's life, career, and tragedy became a worldwide obsession. Warhol, being infatuated with fame and pop culture, obtained a black-and-white publicity photo of her (from her 1953 picture show Niagara) and used the photo to create several serial of images. A mutual idea to all the Marilyn works was that her image was reproduced over and once more equally one would find it reprinted in newspapers and magazines at the time. Afterwards viewing dozens, or hundreds of such images, a viewer stops seeing a person depicted, but is left with an icon of popular, consumer culture. The image (and the person) become some other cereal box on the supermarket shelf, one of hundreds of boxes - which are all exactly the same.

In Gold Marilyn Monroe, Warhol farther plays on the idea iconography, placing Marilyn's face on a very big golden-colored background. The background is reminiscent of Byzantine religious icons that are the central focus in Orthodox faiths to this day. Merely instead of a god, we are looking at an epitome (that becomes a fleck garish upon closer inspection) of a woman that rose to fame and died in horrible tragedy. Warhol subtly comments on our society, and its glorification of celebrities to the level of the divine. Here again the Popular artist uses common objects and images to brand very pointed insights into the values and surroundings of his contemporaries.

Silkscreen - The Museum of Modernistic Art, New York

1963

Slumber

In the early 1960s, during a menstruum of immense creativity, Warhol connected to challenge the status quo through a different medium, film. Over his career Warhol made over 650 films spanning a wide range of subjects. His films were lauded by the art earth, and their influence is seen in performance fine art and expiremental filmmaking to this day. In 2013 the extra Tilda Swinton participated in an installation where she slept in a glass box at MoMA and the author, actress, and director Lena Dunham recently expressed her desire to remake Warhol's Sleep shot for shot, but with herself as the subject.

Slumber is ane of the artist's earliest films and his first foray into durational film, a style that became ane of his signatures. This six-hour movie is a detailed exploration of John Giorno sleeping. Warhol'due south lover at the time, the viewer sees Giorno through Warhol'south eyes, a strip of Giorno's naked body is in every scene. Although this seems to be a series of continuous images, information technology is really vi one hundred human foot rolls of film layered and spliced together, played on repeat. Repetition was at the heart of Warhol'south oeuvre, as well every bit his fascination with the mundane. All people need to sleep; Warhol in one case again transformed banality into artistic expression.

Empire and Eat succeeded Slumber in the canon of Warhol's elapsing films. Empire chronicles 8 hours of the Empire State Edifice at sunset and Eat is a 45 minute film near a homo eating a mushroom. Warhol's themes were as expansive every bit his filmography, delving into more explicit areas such as homosexuality and gay civilisation, such every bit Blowjob, a continuous shot of DeVeren Bookwalter's face while he receives oral sexual activity from filmmaker Willard Maas, and Lonesome Cowboys, a raunchy western. His films are widely recognized as Pop masterpieces, enshrined in film institutes and modern art archives across the world.

Black and White 16mm film - The Museum of Modern Art, New York

1963

Orange Car Crash Fourteen Times

Orange Car Crash is from the Death and Disaster series that consumed much of Warhol'due south attention in this flow. Often using gruesome and graphic images taken from daily newspapers, he would apply the photo-silkscreening method to echo them across the canvass. The repetition of the image, and its fragmentation and degradation, are of import in creating the impact of the pictures, only also in sterilizing the epitome. To see the graphic photograph once leaves the viewer distraught and shaken - just to meet that photo reproduced over and over once more (as seen every day in the press) undermines the prototype'due south power equally the scene of horror becomes another mass-marketplace epitome.

There is an alternative way to view this and other works from Warhol's Expiry and Disaster series proposed by the Los Angeles Times art critic Christopher Knight. The car crash shown is very similar to the photo of the Long Isle car crash in which Jackson Pollock died in 1956. Warhol is reminding the viewers that Abstruse Expressionism (championed by Pollock) is now dead. So perchance Warhol is non so much involved in popular fine art, but rather providing very specific and elite art earth commentary. Similarly, Warhol's Electric Chair series has a "Silence" sign at the dorsum of the depicted electrocution room, which Warhol connects to John Cage's modernist work with audio (and Cage's 1961 volume of essays). And even farther, Warhol's Race Anarchism series is a response to the many popular abstract works that are each labeled Black Series from modern artists such every bit Jackson Pollock, Robert Rauschenberg, Advertizement Reinhardt, and Frank Stella.

Silkscreen print on canvas - The Museum of Modern Fine art, New York

1964

Brillo Boxes

Still using the silkscreen technique, this time on plywood, Warhol presented the viewer with exact replicas of commonly used products plant in homes and supermarkets. This time, his art pieces are stackable, they are sculptures that can be arranged in various ways in the gallery - yet each box is exactly the same, one is no amend than another. Rather than the series of slightly unlike paintings that have been fabricated by many famous artists (retrieve Monet's haystacks or cathedrals) Warhol makes the point that these products are withal and (in his opinion) they are beautiful! Making these items in his "factory" Warhol over again makes fun of (or brilliantly provokes) the art earth and the artist-creator.

With Brillo Boxes, Warhol likewise has a personal connection. Warhol was originally from Pittsburg - steel city, the commodity that made the urban center prosperous and after quite depressed. Brillo is steel wool, a product stereotypically used by housewives to keep cookware shining in their lovely American homes. Did Warhol like the product itself, think the shop displays for the product ridiculous, or equally a gay homo, did he savor the contrast of steel and wool, in one friendly parcel?

Acrylic silkscreen on wood - Norton Simon Museum, Pasadena, California

1973

Mao

Warhol combines paint and silkscreen in this epitome of Mao Zedong, a series that he created in direct reaction to President Richard Nixon's 1972 visit to China. Warhol took the black and white paradigm of Mao from his Trivial Ruby-red Volume (Mao'southward famous communist publication), and created hundreds of unlike sized canvases of the totalitarian ruler. Some of these paintings are as large every bit 15 feet x 10 anxiety, a scale evoking the dominating nature of Mao'southward rule over China and the crawly cult of personality Mao wielded. This monumental size also echoes the towering propagandistic representations that were being displayed throughout Mainland china during the Cultural Revolution. But by creating hundreds of such images, and lining them up on the wall, Warhol made the prototype of Mao into a supermarket product - like Coca-Cola bottles - lined up on the shelves (and available in small, medium, and big). Warhol'southward Mao is at present a consumer product, a basic building block of commercialism - or the very idea that communism is confronting.

Warhol goes fifty-fifty further. The graffiti-like splashes of color, the ruby rouge and blueish heart shadow, literally 'de-faces' Mao'south image - an human action of rebellion against the Communist propaganda machine past using its own heralded image confronting itself. Warhol uses modernist art devices such as expressionistic brushstrokes around Mao'due south face as a further pun: the brushstrokes are a sign of personal expression and artistic freedom - the very ideas that Mao'due south Cultural Revolution was against.

Synthetic polymer paint and silkscreen ink on canvas - The Art Constitute of Chicago

1978

Oxidation Painting

Created tardily in Warhol's career, Oxidation Painting is part of a series of works that was produced by the artist alone, or with a grouping of his friends, and made by urinating on a canvas of copper paint that was placed horizontally on the flooring and then allowing the outcome to oxidize. The result was a metallic sheen with a surprising depth of color and texture; a surface reminiscent of works by Abstract Expressionists such equally Jackson Pollock. Warhol put much thought and design into these works, and is quoted as saying, "[these paintings] had technique, also. If I asked someone to exercise an Oxidation painting, and they just wouldn't think near it, it would but be a mess. And then I did it myself -- and it's just also much work -- and you try to figure out a good design."

Urine on metal pigment in acrylic paint on canvas - Museum of Fine Arts, Boston

1984

Rorschach

Although Warhol's primeval work declared a dramatic interruption with Abstract Expressionism, he remained interested in abstraction throughout his career, and, in 1984, focused his ideas into his large serial of Rorschach paintings. They were inspired past the so-called Rorschach test, devised by the Swiss psychologist Hermann Rorschach. The examination requires patients to say what they come across in a ready of 10 standardized ink blots; in this manner Rorschach believed we might gain access to unconscious thoughts. Warhol believed that much abstruse painting functioned in a similar way: instead of artists being able to communicate thoughts through abstract form, every bit many believed, he thought that viewers merely projected their ain ideas on to the pictures. His Rorschach pictures were therefore a kind of parody of abstract painting: they were mirrors which reflected the viewer's ain thoughts, and at times they seemed to resemble genitalia or wallpaper designs.

Synthetic polymer pigment on sheet - The Museum of Modernistic Art, New York

1984

General Electric with Waiter

It was at the suggestion of art dealer Bruno Bischofsberger that Warhol began collaborating on paintings. He worked first with the Italian Francesco Clemente, and with the much younger, Haitian-American painter Jean-Michel Basquiat; later he produced piece of work with Keith Haring. Warhol'southward reputation was flagging in the early 1980s, and he had painted little since the 1960s, merely his collaboration with Basquiat, which spanned two years between 1984-5, energized him and placed him amidst a young and more fashionable generation. Full general Electric with Waiter is typical of the pictures the pair produced together: Warhol contributed enlarged headlines, brand names and fragments of advertisements; Basquiat added his expressive graffiti. The success of the series rested on the drawing qualities inherent in both Pop art and graffiti.

Acrylic and oil on canvas - Collection unknown

1986

Self-Portrait

Warhol's self portraits that he created throughout his career reveal an underlying theme. It can be argued that Warhol'south virtually successful artwork was the prototype of himself, invented and reinvented over his torso of piece of work. Simply consider the fact that Warhol started his fine art career as a nerdy, shy, balding designer and ended it as a star whose popularity could match his greatest depictions (Monroe, Elvis, Mao).

In this item work, the focus is on Warhol'due south head and wig (one of dozens he wore over the years). By using repetitive images, each slightly different to the next, and then overlapping the images, Warhol produces the illusion of movement. Created towards the end of his life, Self-Portrait displays the artist in his signature wig, and also makes dramatic use of shadow and light.

Synthetic polymer pigment and silkscreen ink on canvas - The National Gallery of Fine art, Washington DC

1986

The Last Supper

Behind Warhol's argent wig and black glasses (of Campbells Soup, Marylin, and drug/sexual activity flick fame) was a devout Catholic who went to mass and volunteered at homeless shelters regularly. Warhol'due south mother was a very religious woman who instilled in him a connection to the church.

Warhol'due south religiosity is most exemplified by the tardily works that he created based on Leonardo Da Vinci's The Last Supper (1495–1498). Warhol based his works on a black and white photo of a popular 19^th century engraving and ended upwards producing over a hundred drawings, paintings, and silkscreens of the Renaissance masterpiece. From superimposing brand names over the faces of the apostles, to cut up the unity of the scene, Warhol honored the original painting while adding it into his business enterprise.

Constructed polymer paint and silkscreen ink on canvas - The Brant Foundation, Greenwich, Connecticut

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