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Andy Warhol : l'alchimista degli anni Sessanta = the alchemist of the Sixties
Painters and alchemists alike strive to transform reality into its highest expression. Thus Andy Warhol can truly be seen as a modern alchemist - capable, by means of his art, of transforming matter into shape as it meets colour and surface, only to merge with light and supreme beauty. This volume retraces the creative universe of the father of Pop Art through 140 works of art: masterpieces ranging from his most famous icons - Jackie and John F. Kennedy, Marilyn Monroe - to a critical observation of contemporary society via the serial reproduction of consumer products and the analysis of other aspects of daily life such as music or the sexual revolution. -- Publisher's description.
BOOK
Themes of Death in Andy Warhol: Revelation at the Brooklyn Museum
For many of us, Andy Warhol (1928-1987) is known as the king of Pop Art. Campbell's soup cans (Large Campbell's Soup Can, 1964), portraits of American celebrities, and mesmerizing Flowers (1964-1965) are the images that come to mind when we hear his name. However, the current exhibition at the Brooklyn Museum, Andy Warhol: Revelation, focuses on a lesser-known aspect of the artist's work: his complicated, lifelong relationship with religion and, by extension, death. Warhol grew up in a poor suburb of Pittsburgh, where his family belonged to an immigrant community from Slovakia. The banality of death is a theme that Warhol returns to through seriality: one electric chair is extraordinary, but nine at once are merely wallpa...per. Orange Disaster #5 is a giant painting, measuring 106\" by 81½\". The grid of fifteen--three across and five down--black and orange photos of an electric chair is accomplished through a technique of mass reproduction: silkscreen. The images are the same, but there is slight variation in the shades of darkness.
Journal Article
Making Money/Printing Painting: Warhol’s Dollar Bill Paintings
According to its promoters, Warhol had been promised a one-person exhibition at the Stable Gallery-it would be the first show of his pop paintings at a New York gallery-if he would agree to paint the lucky two-dollar bill belonging to the gallery's owner, Eleanor Ward.5 In this fable, art is again reduced to a mere transaction, but Warhol's subject matter is now another's fetish, not his own. [...]Printed Dollar #1 is inscribed \"To Dee / A. Warhol 62,\" dedicated to Emile De Antonio, a friend and early advocate of his work; and Printed Dollar #7 to Mrs. Tremaine-Emily Tremaine- one of Warhol's first collectors. [...]far, seven such paintings have been catalogued, although Printed Dollar #4 is still unaccounted for, and two examples of Printed Dollar #6 are known to exist, both dedicated to art dealers-one to John Weber and one to Leo Castelli.12 If each Printed Dollar looks like a single dollar bill, the inscriptions on the reverse increase its face value as a unit of exchange.
Journal Article
