Fink On Warhol

These pictures of Andy Warhol and his tribe were taken within a time frame of four or five days. The rest of the images in the book were taken between 1964-1968. America was in the Throes of a certain revolution, that revolution comprised of Civil Rights, anti-war, and anti-establishment. These elements were all extremely active. Warhol's significance was that he took what were iconic commercial objects and made them into clever art. He signified the Commodification of the art world, which was soon to come. Warhol personally floated on the periphery of haute couture society like a hummingbird married to a leech. That said, the pictures of Andy and his tribe represented here are just a small moment within his larger life.

An introduction to the 40 year career of the American photographer.

In the late 50s after an unsuccessful stint in college, Larry Fink dropped out and began an odyssey of hitchhiking through America. Striking out that great Beat mecca, New York City, Fink settled down on Minetta Lane with a chap who fancied himself a poet. Larry was quick to hit McDougal Street where he met Turk, Mary, Bobbie, Motha, Ambrose, Randy and Mike Stanley, and not to mention Hugh Romney (aka Wavy Gravy) and LeRoi Jones and so many more - they soon left New York to cross America for Mexico - in search of the freedoms of the road.

Looking beyond the closet at the lives and works of renowned queer public figures

From the author of The Oxford Book of American Literary Anecdotes comes a fascinating collection of ribald, sad, and touching stories about the artists of the modern era. Includes nearly 800 anecdotes covering almost 200 artists--from Rousseau to Picasso to Warhol--and offers a unique glimpse into the private lives of many of the world's best-known artists.

Arriving in New York to pursue a creative career in the raucous 1970s art scene, Reno joins a group of dreamers and raconteurs before falling in love with the estranged son of an Italian motorcycle scion and succumbing to a radical social movement in 1977 Italy.

Omni was a jewel among popular science magazines of its era (1978–1998). Science Digest, Science News, Scientific America, and Discover may have all been selling well to armchair scientists, but Omni masterfully blended cutting edge science news and science fiction, flashy graphic design, a touch of sex, and the images of a generation of artists completely free and unburdened by the disciplines of the masters. Created by the legendary Bob Guccione, better known for founding Penthouse than perhaps any of the other facets of his inspired career in business, art, and literature, Guccione handpicked the artists and illustrators that contributed to the Omni legacy—they in turn created works ignited by passion and intellect, two of Guccione's principal ideals. The Mind's Eye: The Art of Omni is the very first publication to celebrate in stunning detail the exceptional science fiction imagery of this era in an oversized format. The Mind's Eye contains 185 images from contributing Omni artists including John Berkey, Chris Moore, H.R. Giger, Rafal Olbinski, Rallé, Tsuneo Sanda, Hajime Sorayama, Robert McCall, and Colin Hay among many more, along with quotes from artists, contributors, writers, and critics. Omni lived in a time well before the digital revolution. The images you see on these pages have taken years to track down and brought the editors in touch with many esteemed artists, amazing photographers and dusty storage lockers. Their quest is far from over; you'll notice an almost decade-long gap in the material, the contents of which were either lost or destroyed. Efforts to search throughout the universe for any images will continue and will be shared with the world at the all-things-Omni website, omnireboot.com. Stay tuned... Collected in book form for the first time ever, the striking art from this extraordinary magazine will delight fans who remember seeing the work years ago and newcomers interested in the unique aesthetic of this genre's biggest artists. "Omni was a magazine about the future. From 1978 to 1998 Omni blew minds by regularly featuring extensive Q&As with some of the top scientists of the 20th century—E.O. Wilson, Francis Crick, Jonas Salk—tales of the paranormal, and some of the most important science fiction to ever see magazine publication: William Gibson's genre-defining stories 'Burning Chrome' and 'Johnny Mnemonic,' Orson Scott Card's 'Unaccompanied Sonata,' novellas by Harlan Ellison and George R. R. Martin, 'Thanksgiving,' a postapocalyptic tale by Joyce Carol Oates—even William S. Burroughs graced its pages." —Vice magazine, Motherboard "Omni is not a science magazine. It is a magazine about the future...Omni was sui generis. Although there were plenty of science magazines over the years...Omni was the first magazine to slant all its pieces toward the future. It was fun to read and gorgeous to look at." —Ben Bova, six-time Hugo award winner

One of the most eclectic, celebrated and influential figures of the second half of the twentieth century, Andy Warhol is an emblem of American culture of the sixties and seventies. The Andy Warhol Show sheds light not only on the revolutionary role that Warhol played in art but also his influence on graphic design, communication and fashion. Introduced by the editors Gianni Mercurio and Daniela Morera, the exhibition catalogue includes new essays by Bruno Bischofberger, Victor Bokris, Ronald Feldman, Glenn 'O Brien and a critical essay by Demetrio Paparoni. The main nucleus of works reproduced in this striking catalogue is impressive: in addition to the 200 paintings which span his entire career, the book showcases a rich collection of photographs, graphic works and drawings, including Warhol's early illustrations for fashion magazines. The fundamental themes of the Warhol aesthetic can be seen here in some of their most representative examples: the beauty-success-power myth (portraits of Marilyn, Liz Taylor, Elvis Presley, Jaqueline Kennedy, Mao); consumerism (Campbell's Soup, Brillo Box, Dollar Sign); advertising, serial repetition of an image, the tragic symbols of catastrophe and death (Suicide, Electric Chair); portraits of artists, dealers, friends such as Leo Castelli, Keith Haring, Dennis Hopper; the passage through abstract art (Camouflage, Shadows); collaborations with Jean-Michel Basquiat and Francesco Clemente; and The Last Supper, Warhol's final series of works.