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

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 global reeling. The responses ran from incredulity to outrage; the poet Taylor Mead defined the exhibition as “a really good 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 appreciably glossy aesthetic.

In Andy Warhol and the Can that offered the realm, 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 pleasure and controversy of the Pop paintings Revolution and the bright, tormented, and profoundly narcissistic determine at its forefront.

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Extra resources for Andy Warhol and the Can that Sold the World

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But for all of the publicity surrounding Abstract Expressionism, the public reaction to it was overwhelmingly negative. The hype, in the short run, did little for the sales and income of the artists, who remained a hard sell. Instead, over time, it enriched the small, elite group of collectors whose purchases were gradually ratified by institutional acquisition of the same artists. “Buy low, sell high” is the enduring principle of the art world as well as the stock market. In time, the artists too would materially benefit, but then, as now, they pushed the caboose on the gravy train.

You had to buy American if you were going to buy anything, since the Second World War had curtailed the supply of available French painting. MoMA, Peggy Guggenheim’s Art of This Century Gallery, and corporate buyers all engaged in nativist cultural boosterism during the war years; auction houses and private dealers, by 1944, were selling prodigious quantities of American art. Auction houses hit all-time record sales in 1945; “galleries reported a 37 percent increase in sales over the previous record year,” Alice Goldfarb Marquis reports in Art Czar: The Rise and Fall of Clement Greenberg.

Four hile modern art was lampooned in the tabloids, detested by most of the public that took any notice of it, and greeted with trite epithets of charlatanism and fraud by traditionalist artists and educators, its most clamorous enemies in the late 1940s and early ’50s could be found among the Great Apes of the United States Congress, who were eager to capitalize on Senator Joseph McCarthy’s crusade against domestic subversion wherever it could be imagined to exist. S. Information Agency (USIA) and armed forces libraries abroad of books containing un-American themes and stories.

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