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Andy Warhol in China |
Andy Warhol (1928-1987), the forerunner and most effective artist of pop art. He was born in Pittsburgh of Pennsylvania in USA, but he and his family descendant of Czech immigrant. Warhol loved painting from born, and studied in Carnegie Science and Technology College.
Andy Warhol has “distorted or packed” Marilyn Monroe, UV band, Coca-cola, dollar and Channel NO.5. Andy Warhol’s well-known saying: “I would rather watch somebody buy their underwear than read a book they wrote.”
In 1960s, he began to reflect American real life with his daily topical artworks. He loved sticking on dollars tins, garbage and famous person’s photos tighter on the canvas, canceling totally handiwork during art creating.
Paintings
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By the beginning of the 1960s, Warhol was a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. These illustrations consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
In the early 1960s, Warhol tried to exhibit some of his drawings using these techniques in a gallery, only to be turned down. He began to rethink the relationship between his commercial work and the rest of his art. Instead of treating these things as opposites, he merged them, and began to take commercial and popular culture more explicitly as his topic.
Pop Art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Robert Rauschenberg). Eventually, Warhol pared his image vocabulary down to the icon itself—to brand names, celebrities, dollar signs—and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. In his signature way of taking things literally, for his first major exhibition he painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life.
He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. Warhol went from being a painter to being a designer of paintings. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.
Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques—silkscreens, reproduced serially, and often painted with bright colors—whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters (as part of a 1962-1963 series called "Death and Disaster"). The "Death and Disaster" paintings (such as "Red Car Crash", "Purple Jumping Man", "Orange Disaster") transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving media.
The unifying element in Warhol's work is his deadpan Keatonesque style—artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "on the surface."
Warhol's work as a Pop Artist has always had conceptual aspects. His series of do it yourself paintings and Rorschach blots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works—and their means of production—mirrored the atmosphere at Andy's New York "Factory." Biographer Bob Colacello provides some details on Andy's "piss paintings"
Films
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I shot Andy Warhol |
Warhol worked across a wide range of media — painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than sixty films. One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job, is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, 1964's Empire, consists of eight hours of footage of the Empire State Building in New York City at dusk. The 45-minute film 'Eat consists of a man eating a mushroom for 45 minutes.
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.
His most popular and critically successful film was 1966's Chelsea Girls. The film was highly innovative in that it consisted of two 16 mm films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s. The influence of the film's split-screen, multi-narrative style could be felt in such modern work as Mike Figgis' Timecode and, however indirectly, the early seasons of 24.
Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art - see, for example, Mathew Tinkom's Working Like a Homosexual (Duke University Press, 2002) or Juan Suarez's Bike Boys, Drag Queens, and Superstars (Indiana University Press, 1996). Blue Movie, a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time, was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.
After his June 3, 1968 shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro, who was more of a Morrissey star than a true Warhol superstar.
In order to facilitate the success of these Warhol-branded, Morrissey-directed movies in the marketplace, all of Warhol's earlier avant-garde films were removed from distribution and exhibition by 1972.
Another film, Andy Warhol's Bad, made significant impact as a "Warhol" film yet was directed by Jed Johnson. Bad starred the infamous Carroll Baker, Susan Blond and a young Perry King.
The first volume of a catalogue raisonne for the Factory film archive, edited by Callie Angell, was published in the spring of 2006.
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