Andy Warhol

Overview

About the Modern Masters series:
With informative, enjoyable texts and over 100 illustrations—approximately 48 in full color—this innovative series offers a fresh look at the most creative and influential artists of the postwar era. The authors are highly respected art historians and critics chosen for their ability to think clearly and write well. Each handsomely designed volume presents a thorough survey of the artist's life and work, as well as statements by the artist, an ...

See more details below
Paperback
$17.93
BN.com price
(Save 28%)$25.00 List Price

Pick Up In Store

Reserve and pick up in 60 minutes at your local store

Other sellers (Paperback)
  • All (36) from $1.99   
  • New (9) from $5.87   
  • Used (27) from $1.99   
Sending request ...

Overview

About the Modern Masters series:
With informative, enjoyable texts and over 100 illustrations—approximately 48 in full color—this innovative series offers a fresh look at the most creative and influential artists of the postwar era. The authors are highly respected art historians and critics chosen for their ability to think clearly and write well. Each handsomely designed volume presents a thorough survey of the artist's life and work, as well as statements by the artist, an illustrated chapter on technique, a chronology, lists of exhibitions and public collections, an annotated bibliography, and an index. Every art lover, from the casual museum-goer to the serious student, teacher, critic, or curator, will be eager to collect these Modern Masters. And with such a low price, they can afford to collect them all.

Read More Show Less

Product Details

  • ISBN-13: 9781558592575
  • Publisher: Abbeville Publishing Group
  • Publication date: 12/28/1983
  • Series: Modern Masters Series Series
  • Pages: 128
  • Sales rank: 1,442,593
  • Product dimensions: 8.53 (w) x 11.03 (h) x 0.53 (d)

Read an Excerpt

Introduction

Andy Warhol's soup cans and Claes Oldenburg's hamburgers, Roy Lichtenstein's comic-book panels and James Rosenquist's mock billboards--these Pop art images leaped directly from the sprawling, vacuous expanses of America's consumer culture to the precincts of high aesthetic seriousness. And, of course, much of the art world was horrified. Serious painting and sculpture had offered, among much else, a refuge from hamburger joints and girlie magazines, and, more generally, from the pressures of advertising, the movies, and television. When Pop art appeared in the early 1960s, a second generation of Abstract Expressionists was just hitting its stride, preparing a full-scale assault on the aesthetic heights occupied by Willem de Kooning, Jackson Pollock, Barnett Newman, and others. Pop art was widely taken as an insult to the hopes and values of these artists and to the modernist tradition they were trying to sustain.

It was bad enough that Andy Warhol dared to present an image of Dick Tracy as a work of art. It was even worse that certain critics were prepared to take such painting seriously, among them Gene R. Swenson of Artnews and the art historian-critic Robert Rosenblum. Worse still, Pop art was recruiting practitioners at an alarming rate. By the middle of the 1960s, images of banal objects were commonplace in ambitious art. Aggressively self-expressive abstraction came to look old-fashioned. The most stylish nonfigurative work of the 1960s had a chilly, hard-edged look that critics eventually agreed to call Minimal. Opposed to Pop art in many ways, Minimalism shared with it a cool, impersonal look--an air of detachment. It seemed, around 1965, that the painterlywarmth, the expressive passion, of the previous decade was utterly defeated. Pop art had led the assault, and Warhol looked more and more like its leading strategist. Then, in 1965, he announced that he was a "retired artist" and that he would now devote himself to making movies. There was something Garboesque about this sudden decision to abandon an audience clamoring for his paintings of soup cans and his Brillo-box sculpture; and there was a kind of logic in the way Warhol's movies drifted toward parodies of Hollywood excess--improvisatory extravaganzas featuring such underground "superstars" as Brigid Polk, Edie Sedgwick, and Viva. Warhol himself became a star, a culture hero, as he elaborated his obsession with stardom. His abiding subject has been glamour and how to generate it. He doesn't so much create images as seek them out, ready-made and shimmering with allure. Then he intensifies that shimmer.

Andy Warhol may well be America's best-known artist. Only such figures as Norman Rockwell and Andrew Wyeth provide him any competition, while on the international scene, his aura rivals that of Salvador Dali. None of this is to say that Warhol is widely loved. Rather, he keeps the spotlight on himself by preserving the controversy that surrounded all of Pop art when it first appeared two decades ago. While Roy Lichtenstein is now recognized as a refined, ironic, serious manipulator of found images, Warhol has refused to redeem the mundane side of his art. Thus the respect accorded to him by international museums continues to outrage much of the public. In the 1970s, when Warhol turned for subject matter to the worlds of fashion and show business, he gave his bravura portrait style strong overtones of crassness--even vulgarity. He is ruthless in exposing the machinery of glamour, yet he refuses to stand in judgment. This is not his only refusal. Warhol adamantly declines to make his art a vehicle of self-revelation. We know what fascinates him, but never exactly why. This puts him in strong contrast to, say, Claes Oldenburg, who has made consumer objects into surrogate selves of a powerfully, sometimes embarrassingly expressive kind.

An artist's motives are always obscure, even if he is given to self-analysis. In The Philosophy of Andy Warhol (1975), Andy Warhol's Exposures (1979), and POPism (1980), Warhol talks a great deal about himself, but only in that flat, sometimes faintly mocking manner that has become his trademark--and a conversational style basic to the American social repertoire of the late twentieth century. Like his paintings, his autobiographical ramblings are filled with facts, empty of revelations. "If you want to know all about Andy Warhol," he said in 1968, "just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." This, we assume, is not true. In fact, we tend to believe that the more an individual, an art form, even a culture insists on its outward image, the more there is going on behind it. The seemingly absolute impenetrability of Warhol's surfaces is what gives him and his art their persistent interest. We are drawn by what stays hidden, all the more so because Warhol's Pop imagery seems to veil something basic--perhaps disturbing--about our culture, about us. Since there is no question of revealing this secret directly, we must gather what we can from the surface of the artifacts he is willing to provide us.

Read More Show Less

Table of Contents

Introduction

Pre-Pop

Pop

Post-Pop

Artist's Statements

Notes on Technique

Chronology

Exhibitions

Public Collections

Selected Bibliography

Index

Author Biography: Carter Ratcliff is an art critic, professor, and poet who has written books on Botero, Sargent, and Gilbert and George. He is contributing editor for Art in America and editorial associate for Art International.

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)