Can Rectal Realism (and Other 1970s Art) Inspire?
The artists of “Fresh Faces from the 1970s”: (from left to right) Anton Perich, Marc H. Miller,…
See more posts like this on Tumblr
#98 Bowery #Andy Warhol #Anton Perich #Candy Darling #Colette #Colette Justine #Colette Lumiere #Gallery 98 #Gershwin Hotel #Marc H. Miller #Neke Carson #Taylor MeadMore you might like
Leave it to Mattel, the maker of the Barbie doll, to fulfill Andy Warhol’s famous wish to be plastic.
According to InStyle, the children’s toy company has collaborated with the Andy Warhol Foundation to produce a Barbie doll that has all of Andy’s signature traits, from the white wig and sunglasses to the leather jacket and black-and-white striped shirt. It’s Warhol as we know him — with the addition of impossibly long legs, a teeny tiny waist, a disproportionately large bust, and thick, permanent eyeliner.
The Kitsch of Death, or Andy Warhol’s Birthday Livestream
A screen shot from the live feed, of two men visiting Warhol’s grave (screenshot by the author for…
Voguing Andy Warhol in Whiteface
Raja Feather Kelly / The Feath3r Theory, “Andy Warhol’s DRELLA (I Love You Faye Driscoll)” (2014) (photo by Aitor Mendilibar)
In the early 1980s, Andy Warhol posed in drag for a series of Polaroid portraits. Wearing heavy white makeup in works like “Self-Portrait in Drag” (1981), he exudes a ghoulish glamour. The platinum blonde hair, crisp white shirt, and pale-as-a-vampire face pack so much…
It’s strange to picture Andy Warhol curled up with a novel, but the eccentric pop artist “lived and breathed” books, according to Warhol by the Book at the Williams College Museum of Art, the first US museum exhibition to explore the literary side of his practice.
The Andy Warhols of …
Still from Andy Warhol, “Empire” (1964) (image via)
- New York: Andy Warhol
- Pittsburgh: Andrej…
A Tale of Two Gallerists
Andy Warhol, “Ileana Sonnabend” (1973) (Courtesy The Sonnabend Collection. © 2013 Andy Warhol…
Socialism probably isn’t the first political movement you’d think to associate with Andy Warhol. The king of Pop Art was best known for work that cheekily glorified postwar American consumer culture, from paintings of Coca-Cola bottles to celebrities like Marilyn Monroe, and for his glitzy presence in high-society New York City.
Next month, Converse will team up with the Andy Warhol Foundation to create some of the tackiest footwear in recent memory: sneakers with iconic Warhol images, like the Campbell’s soup print, plastered onto their sides. The banner of cultural try-hards the world over, Warhol’s pop-prints have taken on a corporate life of their own, gracing commodities from Perrier bottles to skateboards and breeding in their owners an erroneous sense of cultured self-importance.
PARIS — With electronic digital simulacra, there is no longer a spent nostalgia for natural semblance: Warholian reproducibility is the fundamental logic and code of our information society. I have long idolized Andy Warhol’s early work for how it captures stardom’s need for repetition, but unfortunately the current Musée d’art moderne de la Villa de Paris show, Warhol Unlimited, is just a bland and banal Warhol primer show that leaves out the edgier, ghastly stuff. The show focuses on work based on the repetitive quality inherent in photographic film. The crass irony of being forbidden to photograph the show (except the climactic “Shadows” room) did not escape me.
In Paris, Andy Warhol’s Works Are Shadows of Their Former Selves
