Showing posts with label pop art. Show all posts
Showing posts with label pop art. Show all posts

Andy Warhol: A Documentary Film (2006) Review

Andy Warhol: A Documentary Film (2006)
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This is the best portrait of an artist I've ever seen. I was completely entralled by the film. Because Warhol was both tremendously inventive and horribly cruel, I alternately felt a sense of awe and disgust. Warhol's genius and callousness are both fleshed out. Despite the turbulent content of the film, I was simply exhilerated throughout.
Having watched this excellent film, I feel a greatly enriched appreciation for Warhol's art---a sense of what it said, how it worked, and how it became a cliche. (I was particularly ill-informed about Warhol's films, which were discussed in great detail.)
The Factory--where Warhol worked (but seldom played) and where transvestites, drifters, and creative spirits intermingled--is featured in healthy portions. This locale comes across as one of those rare places in history where the geist of a era is spatially concentrated. Here, in this one extraordinary place of production, Warhol and others fomented art and a vision of a post-Fordist world. This film is essential viewing (like the Weather Underground or Berkeley in the Sixties) for those who want to ingest and comprehend the paradigm shift of the "1960s."
Warhol's cruel indifference to the self-destruction of those around him is critically revealed. While some in the Factory drank and drugged themselves to death, Warhol passively watches, always remaining cool, detached, and voyeuristic.
The attempted homicide on Warhol, his commercialism, and his later years are all mentioned. I would fault the film for not showing Warhol speak on film more often, for not really considering his cooptation by capitalism, and for skipping over his influence in art and in popular society.
I must admit though, that the film is brilliantly executed, and well worth your time and nickel.

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"He was the most American of artists and the most artistic of Americans," one man later said – "so American in fact that he is almost invisible to us."ANDY WARHOL – a riveting and often deeply moving film portrait of the most famous and famously controversial artist of the second half of the twentieth century – is the first to explore the complete spectrum of Warhol's astonishing artistic output, stretching across five decades from the late 1940's to his untimely death in 1987.Combining powerful on-camera interviews and rare still and motion picture footage, it is also the first to put Warhol himself – his humble family background and formative experiences in Pittsburgh, and his crucial apprenticeship as a commercial artist in New York – back into the presentation of his life.

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Pop: The Genius of Andy Warhol Review

Pop: The Genius of Andy Warhol
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With Pop Art entering its dotage, here come the book that delivers its fascinating youth and adolescence. Authors Scherman and Dalton, who clearly have earned themselves a Pulitzer if there is any justice in this world, form a genius tag team. Dalton, the insider, the eye witness, delivers the juicy gossip. Scherman, the talented journalist, delivers one of the great portraits of the American art world. The book focuses on the 1960s, the decade when the Pop artists of New York City completed the work of the Abstract Expressionists in the previous decade and knocked Europe off its pedestal to claim the center of the art universe.
Of course, at its center is the Dada of it all, Mr. Andy Warhola. We get a brief background of Andy's sickly childhood in Pittsburgh, where he escaped from a world of crowded immigrant flats and skin ailments by immersing himself in his mother's Hollywood fanzines. We follow him in his late teens to Carnegie Tech where he is both thought a fraud and a genius. There Andy discovers his penchant for shock with paintings that explore nose-picking and cross-dressing.
After graduation, Andy moves to New York and his fierce climb to the top begins. Warhol's ambition is shameless. He courts critics, dealers, Jasper Johns and anyone else that can move his career forward in the slightest. But he has the talent to match. His early work has him painting blow-ups of comic strips at least a year before the emergence of Roy Lichtenstein. Warhol, in the eyes of the authors, succeeds not because he hitches his wagon to the Pop tidal wave as much as he is the historical and personal embodiment of its ethos. The real achievement of this book, however, is that by the end the high priest of camp emerges as a hero as worthy as anything the Greeks had in their art.

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