[PDF] ANDY WARHOL - Tate Andy Warhol produced art at

View - Download ANDY WARHOL - Tate

Previous PDF

Next PDF

LARGE PRINT GUIDE

ANDY WARHOL

12 March - 15 November 2020

3 1104
5 7 8 12 26
11 9 33

WARHOL AUDIO GUIDE

Scan this QR code to play the FREE Warhol audio guide. Place a smart phone camera over the QR code or click on the URL. Hear commentary, stories and personal reflections from Tate curators and Warhol collaborators.

Please use headphones

44

CONTENTS

Introduction ........................................................................ 5

1. Andrew Warhola ..............................................................7

2. Sleep ........................................................................

.....20

3. Pop ........................................................................

........24

4. The Factory ....................................................................46

5. Silver Clouds ..................................................................60

6. Exploding Plastic Inevitable ............................................63

7. The Shooting ..................................................................71

8. Back to work ..................................................................90

9. Ladies and Gentlemen ....................................................99

10. Exposures ...................................................................115

11. Mortal Coil ..................................................................129

12. The Last Supper ..........................................................135

Credits ........................................................................ .....140

INTRODUCTION

66

INTRODUCTION

Andy Warhol reimagined what art could be at a time of immense social, political and technological change. While his work reflected the American dream of prosperity and success, it also challenged it. Warhol often kept the meaning behind his art ambiguous. His fame has overshadowed the impulses that drove this shy, gay man to be an artist. This exhibition examines Warhol's subject matter, his experiments with different media, and the way he cultivated his public identity. It draws attention to Warhol's personal story, and how this affected his view of the world and the art he created.

ANDREW WARHOLA

88

Anticlockwise from the room entrance

List or Manifest of Alien Passengers for the United States Immigration Offlcer at Port of Arrival 11 June 1921

1921, printed 2020

2 sheets, print on paper

Warhol's mother Julia Warhola (Varhola) is listed on the first line of this document. Andrej Warhola (Varhola) is recorded as the person she is going to join. They married in 1909, and Andrej had been in America since 1914, avoiding conscription during the First World War. Presented to Tate 2019 by American Family Immigration

History Center

Z75663

99

ANDREW WARHOLA

Andy Warhol produced art at a time of immense social, political and technological change. This exhibition examines Warhol's subject matter, his experiments in media and the way he cultivated his public persona. It draws attention to Warhol's personal story and how his view of the world shaped his art. Born in 1928 in the industrial town of Pittsburgh, Pennsylvania, Andrew Warhola was the third son of Andrej and Julia Warhola. His parents were Carpatho-Rusyn, and had emigrated from Miková, a mountain village in what is now Slovakia. Warhol was brought up Ruthenian Catholic, attending church throughout his life. Religious imagery and the glamour of Hollywood movies interested him from a young age. He would draw with his mother and took art lessons at his local museum. When Warhol's father died in 1942, he left his savings for his youngest child to go to college, where he studied pictorial design. In 1949, at the age of 21, Warhol moved to New York to work as a commercial illustrator. During this time, he permanently dropped the 'a' from his surname. His mother joined him in New York a few years later. She helped with his illustrations and lived with him until shortly before her death in 1972. 1010
As a gay man growing up at a time when sex between men was illegal in the United States, Warhol embraced New York's queer community of designers, poets, dancers and artists. Warhol's first exhibitions in the 1950s featured line drawings of young men. Abstract expressionist art dominated the US art world. Warhol was considered too camp, or what some referred to as 'swish', and overly connected to the commercial world of advertising illustration to be a serious contender. It would take another decade before he found success as an artist. 100
1111

Clockwise from top left:

Andy Warhol as a young boy

c.1936 Julia Zavacky Warhola (Ulya Varhola) in a photograph made for her passport 1920

Julia, John and Andy Warhola

1932
Andy and Julia Warhola, George Guke, Mary (Zavacky)

Preksta

1937

Facsimiles of originals

The Andy Warhol Museum, Pittsburgh; Founding

Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.

X79085, X79092, X79086, X79087

1212
Wall

In a working class section of Pittsburgh

1941
Photo: Jack Delano (1914-1997) Library of Congress Prints and Photographs Division Washington, D.C 1313

Vitrine (left - right)

Andy Warhol 1928-1987

Julia Warhola 1891-1972

A Gold Book

1957
Offset lithograph and Dr Martins Aniline dye on paper and coated metallic paper, with buckram A Gold Book is one of many artist books that Warhol self- published. It features the blot-line drawing technique that he became known for in his work as a commercial illustrator. This involved drawing an image in ink onto tracing paper and then carefully blotting it onto a sheet of paper, which produced a reverse image with slightly unsteady irregular lines. The text, like much of the writing accompanying Warhol's illustrations, was written by his mother Julia Warhola. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts,

Inc. 1998.3.2427.1-3

X78150-2

1414
Wall

DRAWINGS

Throughout the 1950s, Warhol exhibited his drawings in various New York venues, including the Serendipity Café. These drawings offer an insight into Warhol's personal interests. In 1956, he presented a solo exhibition at the Bodley Gallery titled Studies for a Boy Book. We don't know which pictures were included, but the works on display here give an idea of the type of drawings Warhol exhibited in this period. Many of the figures are unidentified men, but one is Charles Lisanby (1924-

2013). He was a successful production designer and one

of Warhol's crushes. They travelled around the world together and remained friends until the mid-1960s. 1515

Bottom row, left to right:

Resting Boy c.1955-7

Charles Lisanby c.1956

Unidentified Male c.1956

Unidentified Male c.1954

Unidentified Male c.1956

Unidentified Male c.1956

Ink on paper

ARTIST ROOMS. Acquired jointly with the National

Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial

Fund and the Art Fund 2008. AR00272

Cheim & Read, New York . X71268-9, X71275, X71270-1 1616

Middle row, left to right:

Leon Danielian c.1956

Male Torso 1956

Unidentified Female c.1956

Standing Male c.1957

Reclining Male c.1956

Male Nude c.1956-7

Unidentified Male c.1957

Ink on paper

Cheim & Read, New York. X71266

ARTIST ROOMS. Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008.

AR00269

Cheim & Read, New York. X71283, X71279, X71277

Galerie des Modernes, Paris. X78158

Cheim & Read, New York. X71273

1717

Top row, left to right:

Untitled [Head of a Male] 1957

Ink and graphite on paper

Boy Licking his Lips 1956

Boy with Flowers 1955-7

Unidentified Male c.1957

Kneeling Male Over Male Lower Torso 1955-7

Madame Helena Rubinstein 1956-7

Ink on paper

1818

Untitled [Head of a Male] 1957

Ink, graphite and gold on on paper

Collection of John Cheim. X17289

ARTIST ROOMS. Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008.

AR00590, AR00271

Cheim & Read, New York. X71274

Galerie des Modernes, Paris. X78159

Cheim & Read, New York. X71280

Collection of John Cheim. X71288

1919

Self-Portrait

1964

Acrylic paint and screenprint on canvas

Warhol used a single image from a photo booth strip to make this painting. It forms part of his first series of self-portraits, commissioned by art collector Florence Barron. He kept the dividing lines, so the image on the canvas appears like a filmstrip. His pose also reflects this, as it is more like the image of a film star than a traditional artist's portrait. The photo booth provided a safe space for queer culture, as the photograph was developed in private automatically without the aid of other people. Warhol uses it to play with his artistic persona.

Fondation Louis Vuitton, Paris

X73817

From the exhibition entrance,

continue to the door on the right SLEEP 2121

Clockwise from room entrance

SLEEP From the start of his career, Warhol used his intimate personal relationships with people to create new ways of looking at the world. His first serious art film was Sleep, made over several nights in summer and autumn 1963 with a 16mm camera. The film shows 22 close-ups of the poet John Giorno, who was briefly Warhol's lover, as he sleeps in the nude. Warhol was fascinated by the ability of his friends to stay up for days on end while using drugs and wondered whether sleep would soon become obsolete. Warhol shot around 50 reels of film for Sleep, each one lasting only three minutes. He edited them with Sarah Dalton, who recalled, 'he asked me to edit it, taking out bits where John moved too much - he wanted the movie to be without movement. I protested that I hadn't a clue how to edit, but he fished out an old moviola editing machine, showed me how it operated and so to work I went.' The final version repeats many scenes and lasts over five hours. It is projected in slow motion, giving a dream-like feel. 2222
By documenting a single action with no dramatic narrative, Warhol turned film into something that could be treated like a painting hanging on the wall. John Giorno said that Warhol got round the homophobia of the art world 'by making the movie Sleep into an abstract painting: the body of a man as a field of light and shadow.' 2323

Anticlockwise from Wall Text

Sleep 1963
Film, 16mm, transferred to digital file, black and white Duration: 5 hours 21 minutes at 16 frames per second

The Andy Warhol Museum, Pittsburgh; Founding

Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.

X50145

POP 2525

Anticlockwise from the wall text

POP Although he was a successful illustrator, Warhol still wanted to be taken seriously as an artist. Inspired by the new wave of art he saw in New York galleries, in 1960 he started making hand-painted pictures combining advertising imagery with expressive painting. This soon gave way to a clean graphic style now known as Pop Art. Warhol grew up eating watered-down ketchup with salt for soup. His images of consumer items such as Campbell's soup cans are rooted in his experience of an emerging aspirational culture, selling a dream of economic and social progress. Warhol was eager to speed up the process of replicating his images, so in 1962 he adopted the commercial production technique of screenprinting. He began to use photographs from newspapers and magazines, often depicting traumatic scenes. Screenprinting meant he could reproduce photographs onto canvas multiple times. While the printing process removed the artist's hand, Warhol often allowed his screen to be over or under-inked. This created effects that disrupted the images. The face of film star Marilyn Monroe became almost mask-like, while the emotional impact of 2626
the news images in his Death and Disaster series was both emphasised and undermined. Some images, such as Pink Race Riot (Red Race Riot), which depicts peaceful civil rights campaigners being attacked by police, connected his work to broader social struggles and forced viewers to look at the world around them. Warhol said creating pop art was 'being like a machine', as the process was often machine-like or mechanised. He then said, 'everybody should be a machine', as machines don't discriminate. If we were all machines then 'everybody should like everybody', whatever their gender. Warhol's open and fluid approach to his subject matter, to people, and the relationships between them, spoke to a decade of social change. 2727

Before and After [3]

1961

Casein paint on canvas

This work is based on an advertisement for plastic surgery. Warhol had surgery in 1957 to remove the ball on the end of his nose. He was apparently very disappointed with the result. Throughout his life Warhol was self-conscious about his physical appearance and enjoyed experimenting with fashion, to transform his appearance. In the early 1950s he started wearing a light brown toupee to cover his receding and thinning hair. This later progressed to blond and then silver- grey. Toward the end of the 1950s he used contact lenses, in addition to glasses, to deal with his short-sightedness. The Doris and Donald Fisher Collection at the San Francisco

Museum of Modern Art

X75797

2828
$199 Television 1961

Acrylic paint and oil stick on canvas

This is an early example of Warhol's attempt to combine abstract painting and commercial imagery. He was probably influenced by the work of Jasper Johns and Robert Rauschenberg. Both artists used familiar objects in paintings that featured abstract expressionist brush marks. Warhol also knew them from their work as shop window designers, which they conducted under the pseudonym Matson Jones.

Whitney Museum of American Art, New York Gift

of The American Contemporary Art Foundation, Inc.,

Leonard A. Lauder, President

X51580

2929

Green Coca-Cola Bottles

1962

Acrylic paint, screenprint and graphite on canvas

Coca-Cola is one of the most recognisable brands in the United States. Warhol said, 'What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you can know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke.' Whitney Museum of American Art, New York; Purchase, with funds from the Friends of the Whitney Museum of

American Art

X73012

3030

100 Campbell's Soup Cans

1962
Casein paint, acrylic paint and graphite on canvas Warhol's first major exhibition was at the Ferus Gallery in Los Angeles. It was here that he first showed his Campbell's Soup Can paintings. While each of these works were hand painted, for this painting Warhol used a stencil to speed up the process. Featuring a repeat image of the same type of soup, Warhol's use of repetition played on the idea of value in art and the consumerism of the post Second World War era. MMK Museum f̈ür Moderne Kunst Frankfurt am Main, former

X58066

3131

White Brillo Boxes

1964

Screenprint on wood

These Brillo Boxes were first exhibited at the Stable Gallery in New York in 1964. Around 100 were stacked on top of another, as they would be in a warehouse. This made it almost impossible to enter the room. The designer of the original Brillo box, which packaged Brillo scouring pads, was James Harvey (1929-65), who made abstract expressionist paintings when he wasn't earning a living as a commercialquotesdbs_dbs44.pdfusesText_44

[PDF] pop art coca cola

[PDF] green coca cola bottles société de consommation

[PDF] oeuvre coca cola

[PDF] 210 coca cola bottles

[PDF] green coca cola bottles technique

[PDF] greffe du tribunal de commerce d'evreux

[PDF] greffe du tribunal de commerce rouen

[PDF] président du tribunal de commerce de rouen

[PDF] greffe du tribunal de commerce de dieppe

[PDF] greffe tribunal d'instance de rouen

[PDF] prise de constantinople

[PDF] prise de conscience des problèmes environnementaux

[PDF] paragraphe argumenté brevet

[PDF] diary of a wimpy kid 1-7 pdf

[PDF] diary of a wimpy kid 2