Gary Indiana's Andy Warhol and the Can that Sold the World PDF

By Gary Indiana

ISBN-10: 0465002331

ISBN-13: 9780465002337

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 very good slap within the face to America.” The exhibition positioned Warhol at the map—and remodeled American tradition without end. virtually single-handedly, Warhol collapsed the centuries-old contrast among “high” and “low” tradition, and created a brand new and significantly glossy aesthetic.In Andy Warhol and the Can that offered the World, the dazzlingly flexible critic Gary Indiana tells the tale of the genesis and influence of this iconic murals. With power, wit, and large perspicacity, Indiana recovers the pleasure and controversy of the Pop paintings Revolution and the intense, tormented, and profoundly narcissistic determine at its leading edge.

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1-1 and 1-2) was a wonder to behold, crammed with shrines to the pantheon of Roman gods; theaters, amphitheaters, and baths to entertain the masses; forums for the conduct of public business; triumphal arches to advertise the emperors’ achievements; as well as multistory apartment houses for a huge urban population. The city awed all those who saw it for the first time, whether rich or poor, citizen or foreigner. For example, according to the historian Ammianus Marcellinus, when the emperor Constantius II (r.

Xliv INTRODUCTION Italy Before the Rise of Rome the centuries-old Etruscan tradition of conceiving the home of the dead as an echo of the houses of the living. Twelve niches in the walls housed the remains of the most important members of the Matuna clan. The deepest niche, in the center of the rear wall, was reserved for the owner and his spouse. The sculptor decorated the front of that niche with a funerary bed in relief, complete with two pillows. Above are arms and armor, testifying to the deceased’s military prowess, and two damaged busts that probably depicted Underworld divinities because below the bed are two monstrous creatures.

The (white-faced) goddess carries a child in her arms. Many scholars think the child is Apulu, whose presence serves to identify the goddess as his mother although that would mean the son appears twice and at different ages in the same myth. It is possible, however, that the statues atop the Portonaccio temple represented more than one myth. ) carrying a child, from the roof of the Portonaccio temple,Veii, ca. 510–500 BCE. Painted terracotta, 5Ј 5 38Љ high. Museo Nazionale di Villa Giulia, Rome.

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

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