ANDY WARHOL (1928-1987) "Andy Warhol mulai sebagai seorang ilustrator komersial, dan yang sangat berhasil, melakukan pekerjaan seperti iklan sepatu untuk I. Miller di modis blotty line yang mendapat dari Ben Shahn." Dia memulai pameran di galeri seni pada 1962, ketika Ferus Gallery di Los Angeles menampilkan 32 Kaleng Sop Campbell, 1961-62. Dari sini , dilakukan sebagian besar kerja terbaik Warhol tentang jejaknya selama sekitar enam tahun, selesai pada 1968,
ANDY WARHOL(1928-1987) "Andy Warhol began as a commercial illustrator, and a very successful one, doing jobs like shoe ads for I. Miller in a stylish blotty line that derived from Ben Shahn. He first exhibited in an art gallery in 1962, when the Ferus Gallery in Los Angeles showed his 32 Campbell's Soup Cans, 1961-62. From then on, most of Warhol's best work was done over a span of about six years, finishing in 1968,
ANDY WARHOL(1928-1987) "Andy Warhol began as a commercial illustrator, and a very successful one, doing jobs like shoe ads for I. Miller in a stylish blotty line that derived from Ben Shahn. He first exhibited in an art gallery in 1962, when the Ferus Gallery in Los Angeles showed his 32 Campbell's Soup Cans, 1961-62. From then on, most of Warhol's best work was done over a span of about six years, finishing in 1968,
Ketika dia luka kena tembakan. Dan sama sekali mengalir dari satu wawasan penting: bahwa di kebudayaan dipenuhi dengan informasi, di mana kebanyakan pengalaman orang pada umumnya hal ini tangan kedua atau ketiga lewat TELEVISI dan cetakan, lewat imaji yang menjadi banal dan putus hubungan lagi terus mengulang dan lagi-lagi, ada tugas untuk affectless seni. Anda tidak lagi perlu menjadi panas dan penuh merasa. Anda bisa supercool, seperti sehelai cermin yang agak berlapisan es. Warhol tidak mengenali ini; dia tidak mempunyai. Dia merabanya dan melambangkannya.
when he was shot. And it all flowed from one central insight: that in a culture glutted with information, where most people experience most things at second or third hand through TV and print, through images that become banal and disassociated by repeated again and again and again, there is role for affectless art. You no longer need to be hot and full of feeling. You can be supercool, like a slightly frosted mirror. Not that Warhol worked this out; he didn't have to. He felt it and embodied it.
when he was shot. And it all flowed from one central insight: that in a culture glutted with information, where most people experience most things at second or third hand through TV and print, through images that become banal and disassociated by repeated again and again and again, there is role for affectless art. You no longer need to be hot and full of feeling. You can be supercool, like a slightly frosted mirror. Not that Warhol worked this out; he didn't have to. He felt it and embodied it.
Dia adalah figur bagi negara bagian kolektif Amerika sebagai pikiran dari tokoh terkemuka yang mana -imaji orang terkenal , nama yang tersohor - betul-betul sudah mengganti baik sacredness maupun kepadatan. Seniman yang lebih awal, seperti Monet, sudah melukis motif yang sama di rentetan untuk mendasari diskriminasi persepsi yang sangat kecil, perubahan cahaya dan warna bentuk waktu ke waktu di atas timbunan rumput kering, dan bagaimana yang ini bisa dicatat oleh kehalusan mata dan tangan. Tiga puluh dua kaleng sop Warhol tentang tidak ada macam. tentang kesamaan mereka (meskipun dengan etiket berbeda): yang sama mengecap, yang sama ukuran, yang sama melukis permukaan, yang sama kemasyuran sebagai produk. Mereka meniru kondisi periklanan masal, dari perasaannya sudah bertambah besar.
He was a conduit for a sort of collective American state of mind in which celebrity - the famous image of a person, the famous brand name - had completely replaced both sacredness and solidity. Earlier artists, like Monet, had painted the same motif in series in order to display minute discriminations of perception, the shift of light and color form hour to hour on a haystack, and how these could be recorded by the subtlety of eye and hand. Warhol's thirty-two soup cans are about nothing of the kind. They are about sameness (though with different labels): same brand, same size, same paint surface, same fame as product. They mimic the condition of mass advertising, out of which his sensibility had grown.
He was a conduit for a sort of collective American state of mind in which celebrity - the famous image of a person, the famous brand name - had completely replaced both sacredness and solidity. Earlier artists, like Monet, had painted the same motif in series in order to display minute discriminations of perception, the shift of light and color form hour to hour on a haystack, and how these could be recorded by the subtlety of eye and hand. Warhol's thirty-two soup cans are about nothing of the kind. They are about sameness (though with different labels): same brand, same size, same paint surface, same fame as product. They mimic the condition of mass advertising, out of which his sensibility had grown.
Johns kaleng bir ala Ballantine. Yang affectlessness, mempesona tetapi mereka adalah lebih banyak lagi deadpan daripada benda yang sebagian sudah mungkin mengilhami mereka, Jasper penerimaan tidak peduli di atas benda, menjadi kunci sampai kerja Warhol; di sana di pengulangan muka bintang (Liz, Jackie, Marilyn, Marlon, dan seterusnya), dan sebagai rekor kondisi menjadi seorang penonton yang tak terlibat katanya dengan fasih tentang kondisi citra terlalu membebani di media menjenuhkan kebudayaan. Warhol memperpanjangnya dengan memakai layar sutera, dan tidak mengganggu untuk pembersihan ketidaksempurnaan cetakan: yang itu slips layar, tak rata inkings mesin gilas, dan umum graininess. Apa yang disarankan oleh mereka tidak adalah sedikit menjadikan lebih manusiawi tetapi pervasiveness kesalahan rutin dan entropy... - dari " American Visions", oleh Robert Hughes
Johns's pair of bronze Ballantine ale cans. This affectlessness, this fascinated and yet They are much more deadpan than the object which may have partly inspired them, Jasper indifferent take on the object, became the key to Warhol's work; it is there in the repetition of stars' faces (Liz, Jackie, Marilyn, Marlon, and the rest), and as a record of the condition of being an uninvolved spectator it speaks eloquently about the condition of image overload in a media saturated culture. Warhol extended it by using silk screen, and not bothering to clean up the imperfections of the print: those slips of the screen, uneven inkings of the roller, and general graininess. What they suggested was not the humanizing touch of the hand but the pervasiveness of routine error and of entropy..." - From "American Visions", by Robert Hughes
Johns's pair of bronze Ballantine ale cans. This affectlessness, this fascinated and yet They are much more deadpan than the object which may have partly inspired them, Jasper indifferent take on the object, became the key to Warhol's work; it is there in the repetition of stars' faces (Liz, Jackie, Marilyn, Marlon, and the rest), and as a record of the condition of being an uninvolved spectator it speaks eloquently about the condition of image overload in a media saturated culture. Warhol extended it by using silk screen, and not bothering to clean up the imperfections of the print: those slips of the screen, uneven inkings of the roller, and general graininess. What they suggested was not the humanizing touch of the hand but the pervasiveness of routine error and of entropy..." - From "American Visions", by Robert Hughes
