I Am Warhol: I Am Single

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Over 21 Grammy's. One of the most impactful voices to ever grab a microphone.

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One of the most talented producers to ever produce music, fashion, art. One of the most prolific people to ever speak on behalf of his thoughts; to trigger emotions and trigger thoughts of you.

One of the most clever people to ever manipulate the internet. I watched him go from: [Kanye West]: Sway you gotta hear my rhymes man you gotta hear my rhymes I know I make beats but you gotta hear my rhymes [Sway] Being on the train, Amtrak train going to Philly, to now being mentioned alongside the President of the United States, more than once. We talk about President Obama, but you forgot some of the things that this man as said to really go against the grain and challenge thought fearlessly.

Talk:Andy Warhol/Archive 1

For example: [Kanye West]: George Bush doesn't care about black people [Kanye West]: And another thing is, people are so gay-conscious now. That's like the whole thing like with the Internet — every day, somebody's- "Ooh I can tell he gay now! They said "if you want that Red October, you gotta take these 10 other shoes.

I'mma put Mark Parker all on that Summer Jam screen. And by the way, Mark Parker, yes I will still accept an investment in Donda. I got some more ideas that don't involve shoes. But if you guys that're investing in the arts, y'all don't want to invest in the school in Brazil, y'all wanna go to Africa, I am standing up and I'm telling you, I am Warhol. I am the number one most impactful artist of our generation. I am Shakespeare in the flesh. Walt Disney. Now who's gonna be the Medici family and stand up and let me create more; or do you wanna marginalize me 'til I'm out of my moment [Sway]: But why don't you empower yourself and don't need them and do it yourself?

You ain't got the answers! Kanye You ain't got the answers, Sway!

  • Shadows in the Attic.
  • The day I offered Andy Warhol a job?
  • La Nostalgie heureuse (LITT.GENERALE) (French Edition).

And one of the really important questions that comes up about, especially modern art, is well, why is this art? Sal: When you ask me that a bunch of things kind of surface in my brain. It does evoke something in me so I'm inclined to say yes, but then there's a bunch of other things that say well, if I didn't see this in a museum and if I just saw this in the marketing department of Campbell's Soup, would you be viewing it differently? Steven: Because it's advertising then.

A New York state of mind

Sal: Yes. Steven: But in the context of the museum or in the context of Andy Warhol's studio, it's not quite advertising, right? Sal: Even if it's the exact same thing. Steven: Yeah. Sal: And the idea here is by putting it in the museum it's saying look at this in a different way. Steven: Well that's right, it really does relocate it, it does change the meaning, it does transform it, and that's really one of the central ideas of modern art is that you can take something that's not necessarily based in technical skill, because I don't think you would say that this is beautifully rendered.

Sal: Right. Steven: But it relocates it and makes us think about it in a different way.


Sal: And so, I guess he would get credit for taking something that was very, almost mundane, something you see in everyone's cupboard, and making it a focal point like you should pay attention to this thing. Steven: I think that's exactly right and I think that he's doing it about a subject that was about as low a subject as one could go. I mean cheap advertising art was something that was so far away from fine art from the great masters and then to focus on something as lowly as a can of soup, and cream of chicken no less, right?

It was really just that time where people happened to think this was art. Steven: I think that that's right. In , what Warhol is doing is he's saying what is it about our culture that is really authentic and important? And it was about mass production, it was about factories. He in a sense said let's not be looking at nature as if we were still an agrarian culture, we're now an industrial culture.

What is the stuff of our visual world now?

Talk:Andy Warhol/Archive 1 - Wikipedia

Sal: I think I'm 80 percent there. I remember in college there was a student run art exhibit and as a prank a student actually put a little podium there and put his lunch tray. He put a little placard next to it, you know, lunch tray on Saturday or something is what he called it. So he did it as a prank and everyone thought it was really funny but to some degree it's kind of a sign that maybe what he did was art.

Steven: Well I think that's why it was funny because it was so close, right? Sal: And to some degree when someone took a lunch tray and gave it the proper lighting and gave it a podium to look at it and wrote a whole description about it, I did view the lunch tray in a different way.

That's kind of the same idea, that something that's such a mundane thing but you use it everyday. I mean, what would you say to that? Was that a prank or was that art? Steven: I think it is a prank but it's also very close to some important art that had been made earlier in the century.

He had license to do that because of somebody named Marcel Duchamp. In fact, Warhol had in a sense the same kind of license to not focus on the making of something, not focus on the brushwork, not focus on the composition, not focus on the color, but focus on the refocusing of ideas.

Sal: And the reason why we talk about Warhol or Duchamp or any of these people is that, as you said, it's not that they did something technically profound. Obviously Campbell Soup's marketing department had already done something as equally as profound, it's more that they were the people who looked at the world in a slightly different way and highlighted that. Steven: Well I think that that's right.

Warhol is also very consciously working towards asking the same questions that the prankster at your school was asking.

Why am i single?

He's saying can this be art? And in fact he's really pushing it. Look at the painting closely for a moment. This is one of the last paintings that he's actually painted. He's really defined the calligraphy of this Campbell's, he's really sort of rendered the reflection of the tin at the top.