In 1975, Andy Warhol undertook a series of portraits of New York City transvestites, most of whom were recruited by Bob Colacello from a club called The Gilded Grape. The method for making these portraits followed Warhol's customary formula: a Polaroid portrait of the sitter was silkscreened onto a canvas, which was then embellished with synthetic polymer paint in a bright array of red, pinks, yellows and pastels. Warhol's transvestites are portrayed in a fairly classical fashion, neck-up, often at a three-quarter angle, and beckon at the viewer with a variety of expressions, from the plaintive to the coquettish to the triumphant. This beautifully produced monograph features 40 spot-varnished color reproductions of the "Ladies and Gentlemen" series, and reprints the Italian film-maker and poet Pier Paolo Pasolini's fascinating and unusual take on Warhol and on the series.
Scholarly considerations of Andy Warhol abound, including very fine catalogues raisonné, notable biographies, and essays in various exhibition catalogues and anthologies. But nowhere is there an in-depth scholarly examination of Warhol’s oeuvre as a whole—until now. Jonathan Flatley’s Like Andy Warhol is a revelatory look at the artist’s likeness-producing practices, not only reflected in his famous Campbell’s soup cans and Marilyn Monroe silkscreens but across Warhol’s whole range of interests including movies, drag queens, boredom, and his sprawling collections. Flatley shows us that Warhol’s art is an illustration of the artist’s own talent for “liking.” He argues that there is in Warhol’s productions a utopian impulse, an attempt to imagine new, queer forms of emotional attachment and affiliation, and to transform the world into a place where these forms find a new home. Like Andy Warhol is not just the best full-length critical study of Warhol in print, it is also an instant classic of queer theory.
Here you will find over 400 Polaroids by Andy Warhol of street hustlers and call boys engaging in sexual acts and posing as drag queens. The pictures inspired paintings known as the "Torso Series but, as Bob Colacello recounts, were known around the office as the "Cocks, Cunts, and Assholes Series.
Before his mysterious murder in 1975, Pier Paolo Pasolini had become famous—and infamous—not only for his groundbreaking films and literary works but also for his homosexuality and criticism of capitalism, colonialism, and Western materialism. In Pier Paolo Pasolini: Performing Authorship, Gian Maria Annovi revisits Pasolini's oeuvre to examine the author's performance as a way of assuming an antagonistic stance toward forms of artistic, social, and cultural oppression. Annovi connects Pasolini's notion of authorship to contemporary radical artistic practices and today's multimedia authorship. Annovi considers the entire range of Pasolini's work, including his poetry, narrative and documentary film, dramatic writings, and painting, as well as his often scandalous essays on politics, art, literature, and theory. He interprets Pasolini's multimedia authorial performance as a masochistic act to elicit rejection, generate hostility, and highlight the contradictions that structure a repressive society. Annovi shows how questions of authorial self-representation and self-projection relate to the artist's effort to undermine the assumptions of his audience and criticize the conformist practices that the culture industry and mass society impose on the author. Pasolini reveals the critical potential of his spectacular celebrity by using the author's corporeal or vocal presence to address issues of sexuality and identity, and through his strategic self-fashioning in films, paintings, and photographic portraits he destabilizes the audience's assumptions about the author.
This book explores Andy Warhol’s creative engagement with social class. During the 1960s, as neoliberalism perpetuated the idea that fixed classes were a mirage and status an individual achievement, Warhol’s work appropriated images, techniques, and technologies that have long been described as generically “American” or “middle class.” Drawing on archival and theoretical research into Warhol’s contemporary cultural milieu, Grudin demonstrates that these features of Warhol’s work were in fact closely associated with the American working class. The emergent technologies Warhol conspicuously employed to make his work—home projectors, tape recorders, film and still cameras—were advertised directly to the working class as new opportunities for cultural participation. What’s more, some of Warhol’s most iconic subjects—Campbell’s soup, Brillo pads, Coca-Cola—were similarly targeted, since working-class Americans, under threat from a variety of directions, were thought to desire the security and confidence offered by national brands. Having propelled himself from an impoverished childhood in Pittsburgh to the heights of Madison Avenue, Warhol knew both sides of this equation: the intense appeal that popular culture held for working-class audiences and the ways in which the advertising industry hoped to harness this appeal in the face of growing middle-class skepticism regarding manipulative marketing. Warhol was fascinated by these promises of egalitarian individualism and mobility, which could be profound and deceptive, generative and paralyzing, charged with strange forms of desire. By tracing its intersections with various forms of popular culture, including film, music, and television, Grudin shows us how Warhol’s work disseminated these promises, while also providing a record of their intricate tensions and transformations.
A colorful array of male portraits by the innovative artist and filmmaker features a sensual array of illustrations, paintings, drawings, silkscreens, Polaroid studies, and fine art photographs capturing such notables as Christopher Isherwood, Truman Capote, and James Dean, as well as other colleagues, friends, and entourage members. Original.
This revised and expanded fourth edition of Andy Warhol Prints: A Catalogue Raisonne 1962-1987, with 1,700 illustrations and full documentation, presents the artist's complete graphic production, from his first unique works on paper in 1962 through his final published portfolio in 1987, including trial proof prints and unpublished prints. The fourth edition contains a new portrait section, featuring images of artists, entertainers, writers and sports figures, among others, with 125 illustrations, one hundred of which were not included in the earlier editions of this catalogue. Another highlight is a 33-page supplement covering the illustrated books and portfolios Warhol created in the 1950s, which documents techniques that reappear, in more developed forms, in his later prints. These innovative works of the 1950s, explored in a new essay by Donna De Salvo, represent the first phase in the process of Warhol's conceptualization of printmaking. Two other perceptive essays analyse Warhol's graphic work from different perspectives. In 'God is in the Details', De Salvo traces the evolution of Warhol's printmaking process from blotted line to silkscreen, revealing how Warhol dissected the