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At MoMA

Hal Foster: Sigmar Polke, 19 June 2014

... impressive show is that swing. If Rauschenberg and Johns prepared the way for Roy Lichtenstein and Andy Warhol, Polke and Richter quickly adapted American Pop, which they first encountered in magazines, to German ends. In 1963, along with Konrad Lueg (who soon metamorphosed into the gallerist Konrad Fischer), Polke and Richter claimed the title ‘German ...

At the Munch Museum

Emily LaBarge: On Alice Neel, 5 October 2023

... appeared for the first time in the Whitney’s annual exhibition. The same year, Neel completed Andy Warhol, the painting for which she’s perhaps best known. It was the second time Warhol had posed for an artist since the extensive surgery that followed his shooting by Valerie Solanas (the first was Richard ...

Which red is the real red?

Hal Foster, 2 December 2021

Jasper Johns: Mind/Mirror 
Whitney Museum of American Art/Philadelphia Museum of Art, until 13 February 2022Show More
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... art, in the double sense of the common and the denigrated. A few years later Roy Lichtenstein and Andy Warhol pushed banality further with their borrowings from cartoons and comics, and, along with Rauschenberg, Johns was soon slotted in as a transitional figure between Abstract Expressionism and Pop, an art-historical positioning that always irked ...

At the Movies

Michael Wood: ‘The Conformist’, 20 March 2008

The Conformist 
directed by Bernardo Bertolucci.
August 1970
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... Clémenti, his long dark locks now replaced by a sweep of thin blond hair that makes him look like Andy Warhol. Marcello, frantic with surprise and outrage at the chauffeur’s continuing existence, accuses him of having assassinated the professor in France in 1938. He also calls the man a Fascist, and makes the same charge, with more ...

Tomorrow is here again

Anne Wagner: The First Pop Age, 11 October 2012

The First Pop Age 
by Hal Foster.
Princeton, 338 pp., £20.95, October 2011, 978 0 691 15138 0
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... evidence of that civilisation.’ ‘What is Pop art?’ G.R. Swenson asked in 1963. He pressed Andy Warhol on why he painted soup cans (‘Because I used to drink it. I used to have the same lunch every day’), asked Robert Indiana if Pop was ‘easy art’ (‘Yes’), and sought Jim Dine’s views on whether Pop offers social commentary (‘I’m ...

The Right Kind of Pain

Mark Greif: The Velvet Underground, 22 March 2007

The Velvet Underground 
by Richard Witts.
Equinox, 171 pp., £10.99, September 2006, 9781904768272
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... begun a short-lived residency at Manhattan’s Café Bizarre, when an already enormously famous Andy Warhol (and his canny manager, Paul Morrissey) arrived to offer them a deal. Warhol was in need of music. He, or Morrissey, seems to have known of the group through the overlap between the underground film world and ...

At the V&A

Marina Warner: ‘Hollywood Costume’, 20 December 2012

... their living presence with the spectral shimmer of their apparitions on screen. These figments, as Andy Warhol called his famous persona, are mingling, too, with many who are long dead. Ronald Reagan and Meryl Streep, Bette Davis and Robert De Niro jostle closely together in several large spaces, chambers for different sins in the afterlife – for ...

At the Grand Palais

Andrew O’Hagan: The Lagerfeld Fandango, 18 July 2019

... might be in the future. Selfhood was altering, sometimes under his baton, and like his old friend Andy Warhol he found it hard to imagine a world without his own intelligence still gaming at the centre of it. By the end he seemed to imagine that ideas alone might sustain the body. He lived on Diet Coke. When I first sat with him, in an hôtel particulier ...

At the Whitechapel

Peter Campbell: Alice Neel, 19 August 2010

... supply, but in later pictures – Margaret Evans Pregnant, for example, or the 1970 portrait of Andy Warhol, stripped to the waist, showing the scars of his 1968 gunshot wounds, or in any of the other pictures where people have taken off their clothes – you know that if you weren’t shown the body you wouldn’t know what the portrait meant. Andrew ...

At the Design Museum

Andrew O’Hagan: Peter Saville, 19 June 2003

... does, and Peter Saville went about those covers like somebody on a mission: as period-sensitive as Andy Warhol designing adverts for shoes, as deadpan iconoclastic as Christo wrapping the Reichstag, Saville brings a bit of class to the class-conscious; all his album work seems to give out to the future, with perfect lines, choice lettering, images that ...

What We Have

David Bromwich: Tarantinisation, 4 February 1999

The Origins of Postmodernity 
by Perry Anderson.
Verso, 143 pp., £11, September 1998, 1 85984 222 4
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The Cultural Turn: Selected Writings on the Postmodern, 1983-98 
by Fredric Jameson.
Verso, 206 pp., £11, September 1998, 1 85984 182 1
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... gave plausibility to the promotional prose. AT–T was the work of Philip Johnson, the friend of Andy Warhol, and so the publicity came with a background story ready to hand. The Post-Modern would be the art-historical movement that went beyond art by stopping short of art. Where Modernism was enchanted by affinities with the art of the past, and ...

At the Met Breuer

Hal Foster: Thoughts made visible, 31 March 2016

... while so far the new Whitney is rather limited in its geographical range (Frank Stella and Andy Warhol, two familiar New Yorkers, headline its list of retrospectives), and the New Museum is fairly restricted in its generational scope (‘Younger than Jesus’ is the title of a recurrent survey). But then my view of things might be Pollyannaish ...

Mexxed Missages

Elaine Showalter: A road trip through Middle America, 4 November 2004

... could be decided, ‘we want a decent running-back for the Steelers.’ The city is home to the Andy Warhol Museum on Sandusky Street, where Andrew Warhola was born in 1928. As the director John Waters has said, every kid needs someone really bad to look up to, and the Warhol legacy carries on that counter-cultural ...

Pop Eye

Hal Foster: Handmade Readymades, 22 August 2002

Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art 
by Michael Lobel.
Yale, 196 pp., £35, March 2002, 0 300 08762 4
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... with divisive effects on the art world. In 1960, independently at first, Roy Lichtenstein and Andy Warhol had begun to paint cartoons and advertisements drawn from tabloid newspapers of familiar characters and generic products – Popeye and Mickey, tennis shoes and golf balls. When Lichtenstein moved on to comic strips – romance and war comics ...

Gay’s the word

Hugo Williams, 6 November 1980

States of Desire: Travels in Gay America 
by Edmund White.
Deutsch, 336 pp., £5.95, August 1980, 9780233973012
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... relief). It came in on David Bowie and glam-rock, unisex, disco and women’s lib, short hair and Andy Warhol. Kids arriving in New York from the outback needed a quick code to bridge the gap from hick to sophisticate. Greyhound got them to the bus station and Gay took them on from there. Butch and fantasy sex and the new straight image seem to be ...

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