New PDF release: Andy Warhol and the Can that Sold the World

By Gary Indiana

ISBN-10: 0465020984

ISBN-13: 9780465020980

In the summertime of 1962, Andy Warhol unveiled 32 Soup Cans in his first solo exhibition on the Ferus Gallery in Los Angeles—and despatched the artwork international reeling. The responses ran from incredulity to outrage; the poet Taylor Mead defined the exhibition as “a excellent slap within the face to America.” The exhibition placed Warhol at the map—and remodeled American tradition endlessly. virtually single-handedly, Warhol collapsed the centuries-old contrast among “high” and “low” tradition, and created a brand new and substantially glossy aesthetic.

In Andy Warhol and the Can that bought 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 forefront.

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3 Socialist Realism, the approved art of the Communist world, restricted the artist to oversaturated realist paintings of joyful workers driving tractors and their beaming comrades operating industrial machinery. ) The more shrouded enclaves of American government also embraced the clear propaganda value of showing the new art abroad. As they habitually did and still do, they resorted to covert means of achieving their goal rather than attempting to seek funding through legislation. The CIA, using agent Tom Braden as its point man, laundered the money for overseas exhibitions through a network of private foundations and institutions (primarily the Museum of Modern Art).

3 Socialist Realism, the approved art of the Communist world, restricted the artist to oversaturated realist paintings of joyful workers driving tractors and their beaming comrades operating industrial machinery. ) The more shrouded enclaves of American government also embraced the clear propaganda value of showing the new art abroad. As they habitually did and still do, they resorted to covert means of achieving their goal rather than attempting to seek funding through legislation. The CIA, using agent Tom Braden as its point man, laundered the money for overseas exhibitions through a network of private foundations and institutions (primarily the Museum of Modern Art).

Interplanetary pods begin “replacing” humans, when they fall asleep, with emotionless replicas who carry on the everyday lives of their victims, but without the bothersome differences in temperament and ideas that make for a diverse and difficult 31 9780465002337-text:Layout 1 11/30/09 9:45 AM Page 32 ANDY WARHOL AND THE CAN THAT SOLD THE WORLD world. The pod people can exist free of grief, romantic love, disappointment, joy, and everything else that might be associated with “soul”: Finney’s dystopian fantasia had myriad offshoots in films and fictions about “cold” scientists who viewed a zombielike unanimity as the solution to all human conflict.

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Andy Warhol and the Can that Sold the World by Gary Indiana


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