Search Results

“... arrives ‘regular as clockwork’, even in Las Vegas). He adores jazz, bebop and rock-and-roll; Andy Warhol and Edward Ruscha; pop music, he writes, is ‘the dominant art form of this American century’ and without it the work of Jackson Pollock, Stan Brakhage and Warhol wouldn’t have been possible. He is always ...”

“... may represent the most interesting event to occur in contemporary art since the death of Andy Warhol. Indeed it takes Warhol’s deification of celebrity past its absurdly logical conclusion: why pay more for a representation of Marilyn Monroe, even an Abstract Expressionist one like De Kooning’s, or a ...”

“... like stitched leather, like a cruel Oldenberg; Like those necrophile prints that so exercised Andy Warhol. Disasters of the Peace. A season that had seen the deaths of the Beat Generation visionaries, Allen Ginsberg and William Burroughs, the folding-in, through reminiscence, of troubled minds, now delivered an icon that provoked a week of subdued ...”

“... lower your mark-up but earn more because of the increased volume. Arthur Danto once observed that Andy Warhol had only one idea – roughly, that mass-produced media images could be seen as a form of art – but that what was unique about him was that he fully grasped that idea in every ...”

“... is itself antinomic. After contrasting Matisse with artists as different as John Heartfield and Andy Warhol, Clark concludes: ‘The choice, however, is a false one. For it seems to be the very nature of the 20th century that it invites, in a sense prescribes, entirely opposite and contradictory art tactics in face of its enormities.’ For Clark ...”

“... at his Mar-a-Lago mansion. He entitled it The Visionary.He once turned down the chance of owning Andy Warhol’s pictures of Trump Tower. Warhol met the already famous Trump on 22 February 1981 at a birthday party for Roy Cohn. They met again on 24 April at Warhol’s Factory, where ...”

“... Girl, the movie about Edie Sedgwick, the ultimate 1960s poor little rich girl. The film opens with Andy Warhol (Guy Pearce) in a confessional box – always a good start – telling his priest how sad he is that someone else, not him, got to be punched at a party by Norman Mailer. ‘Why can’t I be punched by Norman Mailer?’ says the artist. Lennon is ...”

“... The world became obsessed with her. Everyone wanted to take a good look at her, from the Pope to Andy Warhol. Her sister Lee offered her support and then gossiped about her to Truman Capote and Cecil Beaton. (‘You don’t know what it is like being with Jackie,’ she told Beaton. ‘She can’t sleep at night and she can’t stop thinking about ...”

“... Candy Darling​ , the transgender actress and Warhol superstar, was born in Queens in 1944 and grew up in Massapequa Park, Long Island. She was raised as Jimmy Slattery – named after her father, a gambler and alcoholic who worked as a cashier for the New York Racing Association. As Cynthia Carr writes in her biography, Darling broke with her Jimmy identity early: ‘She was always she ...”

“... I would only add that using words like ‘inversion’, ‘warped’ – or, in a piece on Andy Warhol, ‘abnormal’ – doesn’t help matters along. This type of bracketing, in which ‘minorities’ appear as footnotes (however long) to white male heterosexual experience, is surprising in view of Hughes’s frequently slated political ...”

“... he could make peace with Philip Morris underwriting exhibitions of Picasso and Manet, but not Andy Warhol painting Campbell’s soup.) ‘In contrast to the sensibility of high culture, which she found to be “basically moralistic”,’ Kramer wrote, ‘Miss Sontag upheld camp sensibility as “wholly aesthetic”’: This important essay can now ...”

“... did. (Never mind other teen crushes like Charlie Parker and William Burroughs, Frank O’Hara and Andy Warhol.) He felt like a poet with a capital P, writhing in the coils of Church and Satan, Evil and Beauty, Sin and Damnation. Which, God knows, all held plenty of allure for a sulky, half-Catholic male adolescent. But Baudelaire the poet seemed to ...”

“... an open letter denouncing the Metropolitan Museum’s show American Painting Today, 1950, and Andy Warhol’s Get Smart cover for TV Guide in March 1966. Unable to place their work in established uptown galleries, the young, mainly abstract artists of Lower Manhattan banded together to set up co-operative exhibition spaces, sometimes doubling as ...”

“... by returning to artful simplicity. This debunking of simplicity makes good sense in the case of Andy Warhol, but does it throw any light on the art of William Morris? Bourdieu is generally very good on the aspirations of the petty bourgeoisie and the reasons they are rarely realised. The petty bourgeoisie are ‘trapped, whatever they do, in a choice ...”