By Gary Indiana
In the summertime of 1962, Andy Warhol unveiled 32 Soup Cans in his first solo exhibition on the Ferus Gallery in Los Angelesand despatched the paintings international reeling. The responses ran from incredulity to outrage; the poet Taylor Mead defined the exhibition as a remarkable slap within the face to America.” The exhibition placed Warhol at the mapand remodeled American tradition ceaselessly. virtually single-handedly, Warhol collapsed the centuries-old contrast among high” and low” tradition, and created a brand new and notably glossy aesthetic.
In Andy Warhol and the Can that offered the area, the dazzlingly flexible critic Gary Indiana tells the tale of the genesis and impression of this iconic murals. With power, wit, and large perspicacity, Indiana recovers the excitement and controversy of the Pop artwork Revolution and the intense, tormented, and profoundly narcissistic determine at its leading edge.
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Additional resources for Andy Warhol and the Can that Sold the World
Indeed, Warhol’s headiest success as an illustrator was in his endlessly inventive, often boldly exaggerated designs of ladies’ shoes. But much of his other graphic work gleaned wide exposure—for example, a drawing of a sailor injecting his arm with heroin in an ad for a radio crime program on “The Nation’s Nightmare” that occupied a full page of the New York Times in September 1951, then became the cover of an album of the radio program. This won Warhol his first Art Directors Club gold medal in 1953.
The combative romanticism of Jackson Pollock, the garrulous self-involvement of Barnett Newman, the misogynist brio of Willem de Kooning, and the bipolar quest for the Absolute of Mark Rothko, among other pathologies enacted on canvas (every artist, in every medium, inscribes his or her pathology in the work of art), received inexhaustible, authoritative cheerleading from powerful critics like Greenberg and Harold Rosenberg, former Trotskyites who had ditched the idea that art should have any social or political content.
American art needed a bold, innovative audacity to contrast with the drab, polemical realism advanced by the Soviet Union and its satellite nations. ” The 23 9780465002337-text:Layout 1 11/30/09 9:45 AM Page 24 ANDY WARHOL AND THE CAN THAT SOLD THE WORLD quintessence of this unbridled freedom was located in the work of its most chaotic avatar: Jackson Pollock. At the end of the 1940s, Life magazine featured an elaborate spread on new American artists that included photos of Jackson Pollock frenetically splashing paint on canvases on his studio floor.
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