Warhol S Working Class

This book explores Andy Warhol’s creative engagement with social class. During the 1960s, as neoliberalism perpetuated the idea that fixed classes were a mirage and status an individual achievement, Warhol’s work appropriated images, techniques, and technologies that have long been described as generically “American” or “middle class.” Drawing on archival and theoretical research into Warhol’s contemporary cultural milieu, Grudin demonstrates that these features of Warhol’s work were in fact closely associated with the American working class. The emergent technologies Warhol conspicuously employed to make his work—home projectors, tape recorders, film and still cameras—were advertised directly to the working class as new opportunities for cultural participation. What’s more, some of Warhol’s most iconic subjects—Campbell’s soup, Brillo pads, Coca-Cola—were similarly targeted, since working-class Americans, under threat from a variety of directions, were thought to desire the security and confidence offered by national brands. Having propelled himself from an impoverished childhood in Pittsburgh to the heights of Madison Avenue, Warhol knew both sides of this equation: the intense appeal that popular culture held for working-class audiences and the ways in which the advertising industry hoped to harness this appeal in the face of growing middle-class skepticism regarding manipulative marketing. Warhol was fascinated by these promises of egalitarian individualism and mobility, which could be profound and deceptive, generative and paralyzing, charged with strange forms of desire. By tracing its intersections with various forms of popular culture, including film, music, and television, Grudin shows us how Warhol’s work disseminated these promises, while also providing a record of their intricate tensions and transformations.

The definitive biography of a fascinating and paradoxical figure, one of the most influential artists of his—or any—age To this day, mention the name “Andy Warhol” to almost anyone and you’ll hear about his famous images of soup cans and Marilyn Monroe. But though Pop Art became synonymous with Warhol’s name and dominated the public’s image of him, his life and work are infinitely more complex and multi-faceted than that. In Warhol, esteemed art critic Blake Gopnik takes on Andy Warhol in all his depth and dimensions. “The meanings of his art depend on the way he lived and who he was,” as Gopnik writes. “That’s why the details of his biography matter more than for almost any cultural figure,” from his working-class Pittsburgh upbringing as the child of immigrants to his early career in commercial art to his total immersion in the “performance” of being an artist, accompanied by global fame and stardom—and his attempted assassination. The extent and range of Warhol’s success, and his deliberate attempts to thwart his biographers, means that it hasn’t been easy to put together an accurate or complete image of him. But in this biography, unprecedented in its scope and detail as well as in its access to Warhol’s archives, Gopnik brings to life a figure who continues to fascinate because of his contradictions—he was known as sweet and caring to his loved ones but also a coldhearted manipulator; a deep-thinking avant-gardist but also a true lover of schlock and kitsch; a faithful churchgoer but also an eager sinner, skeptic, and cynic. Wide-ranging and immersive, Warhol gives us the most robust and intricate picture to date of a man and an artist who consistently defied easy categorization and whose life and work continue to profoundly affect our culture and society today.

Baudelaire's famous description of "the best criticism" as "entertaining and poetic, not coldly analytic," lives in the essays of Peter Schjeldahl. Schjeldahl self-consciously continues the modern tradition of art criticism crafted by poet-critics, providing a sharp perspective on individual artists, their work, art-world events, and new creative directions. He challenges established views, and his infectious passion for art continually engages the reader. In essays on Rothko, Munch, Warhol, Dubuffet, Nauman, Sherman, Salle, de Kooning, Guston, Ruscha, and Koons, Schjeldahl skillfully juggles theory and analysis in exploring cultural context and technique. His writings, free of the contortions of some critical prose and characterized by a sustained focus on works of art, map the contemporary art scene in New York (with occasional forays to Los Angeles and elsewhere), cataloguing the colorful personalities, cultural attractions, and ethical hazards of the art world. It's a fast, fun trip, with arguments that fold back upon themselves in surprising revelations and reversals of the author's opinion. There is never a dull moment for those with an eye on contemporary art.

Celebrated during his lifetime as much for his personality as for his paintings, Andy Warhol (1928–87) is the most famous and influential of the Pop artists, who developed the notion of 15 minutes of fame, and the idea that an artist could be as illustrious as the work he creates. This graphic novel biography offers insight into the turning point of Warhol’s career and the creation of the Thirteen Most Wanted Men mural for the 1964 World’s Fair, when Warhol clashed with urban planner Robert Moses, architect Philip Johnson, and Governor Nelson Rockefeller. In Becoming Andy Warhol, New York Times bestselling writer Nick Bertozzi and artist Pierce Hargan showcase the moment when, by stubborn force of personality and sheer burgeoning talent, Warhol went up against the creative establishment and emerged to become one of the most significant artists of the 20th century.

Scholarly considerations of Andy Warhol abound, including very fine catalogues raisonné, notable biographies, and essays in various exhibition catalogues and anthologies. But nowhere is there an in-depth scholarly examination of Warhol’s oeuvre as a whole—until now. Jonathan Flatley’s Like Andy Warhol is a revelatory look at the artist’s likeness-producing practices, not only reflected in his famous Campbell’s soup cans and Marilyn Monroe silkscreens but across Warhol’s whole range of interests including movies, drag queens, boredom, and his sprawling collections. Flatley shows us that Warhol’s art is an illustration of the artist’s own talent for “liking.” He argues that there is in Warhol’s productions a utopian impulse, an attempt to imagine new, queer forms of emotional attachment and affiliation, and to transform the world into a place where these forms find a new home. Like Andy Warhol is not just the best full-length critical study of Warhol in print, it is also an instant classic of queer theory.

A unique 360‐degree view of an incomparable 20th-century American artist One of the most emulated and significant figures in modern art, Andy Warhol (1928-1987) rose to fame in the 1960s with his iconic Pop pieces. Warhol expanded the boundaries by which art is defined and created groundbreaking work in a diverse array of media that includes paintings, sculptures, prints, photographs, films, and installations. This ambitious book is the first to examine Warhol's work in its entirety. It builds on a wealth of new research and materials that have come to light in recent decades and offers a rare and much-needed comprehensive look at the full scope of Warhol's production--from his commercial illustrations of the 1950s through his monumental paintings of the 1980s. Donna De Salvo explores how Warhol's work engages with notions of public and private, the redefinition of media, and the role of abstraction, while a series of incisive and eye-opening essays by eminent scholars and contemporary artists touch on a broad range of topics, such as Warhol's response to the AIDS epidemic, his international influence, and how his work relates to constructs of self-image seen in social media today.

David James insists that popular resistance to domination by the culture industry must intervene at the point of production rather than consumption. In its most resolute instances, from the poetry of William Blake to the British Miners' Campaign Tape Project, alternative culture has fused with radical politics. Authoritatively mapping the terrain of cultural resistance under capitalism, James examines the material contradictions and the utopian potentials articulated in John Berger's fiction, Dada, rock music, the films of Andy Warhol and Jonas Mekas, and the poetry of punk.

Andy Warhol's Factory People is a three-part oral history that tells the story of Warhol's famous 1960s Silver Factory as told by the friends, superstars, and foes who worked with, partied with, filmed with, and slept with Andy from 1964 to 1968 in the Factory. Book I Welcome to the Silver Factory, Book II Speeding into the Future, Book III Your 15 Minutes are Up In Book III, the Silver Factory era comes to an end in 1967-68. Andy Warhol. Ever wonder what all the fuss was (and still is) about? So much has been written about this art colossus-his obsession with celebrity, his sloppy silk screens of Marilyn and Liz and Brando, his endless Campbell soup cans and Coca Cola bottles, his mind-numbing movies-that there are those who feel his fifteen minutes of fame should have been up long ago. Instead, he has become a lasting icon of popular taste. As the New Yorker's art critic Peter Schjeldahl wrote in his review of the Metropolitan Museum's huge 2012 show of Warhol and his impact on 60 other artists, "Like it or not, we are all Warholian." The familiar soup cans, along with the cokes, cows, fatal car crashes, flowers and Brillo boxes, were all prominently featured in our three-hour documentary, Andy Warhol's Factory People, which spans the years l964 to l968, arguably the artist's busiest and most creative period. As were the familiar superstars he made famous, superstars like Viva and Edie Sedgwick and Ultra-Violet and Nico and the Velvet Underground. But what set apart our film, and now distinguishes our book from the many other books about Warhol, is that we also tracked down the forgotten Factory people, the remarkable and often bizarre assortment of people who were behind Warhol's unprecedented rise to spectacular success. These people often paid a price for linking their destinies to the gifted but frustrated graphic artist who decided in the early sixties to "start Pop art" because he "hated" Abstract Expressionism.