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Warhol: A Life as Art [Kõva köide]

  • Formaat: Hardback, 976 pages, kõrgus x laius x paksus: 240x162x60 mm, kaal: 1582 g
  • Ilmumisaeg: 05-Mar-2020
  • Kirjastus: Allen Lane
  • ISBN-10: 0241003385
  • ISBN-13: 9780241003381
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  • Formaat: Hardback, 976 pages, kõrgus x laius x paksus: 240x162x60 mm, kaal: 1582 g
  • Ilmumisaeg: 05-Mar-2020
  • Kirjastus: Allen Lane
  • ISBN-10: 0241003385
  • ISBN-13: 9780241003381
The definitive biography of one of the most famous and influential artists the world has ever seen

A GUARDIAN, TIMES AND HERALD SCOTLAND BOOK OF THE YEAR

"Superb...Gopnik persuasively assembles his case over the course of this mesmerising book, which is as much art history and philosophy as it is biography" Kathryn Hughes, The Guardian

When critics attacked Andy Warhol's Marilyn paintings as shallow, the Pop artist was happy to present himself as shallower still: He claimed that he silkscreened to avoid the hard work of painting, although he was actually a meticulous workaholic; in interviews he presented himself as a silly naïf when in private he was the canniest of sophisticates. Blake Gopnik's definitive biography digs deep into the contradictions and radical genius that led Andy Warhol to revolutionise our cultural world.

Based on years of archival research and on interviews with hundreds of Warhol's surviving friends, lovers and enemies, Warhol traces the artist's path from his origins as the impoverished son of Eastern European immigrants in 1930s Pittsburgh, through his early success as a commercial illustrator and his groundbreaking pivot into fine art, to the society portraiture and popular celebrity of the '70s and '80s, as he reflected and responded to the changing dynamics of commerce and culture.

Warhol sought out all the most glamorous figures of his times - Susan Sontag, Mick Jagger, the Barons de Rothschild - despite being burdened with an almost crippling shyness. Behind the public glitter of the artist's Factory, with its superstars, drag queens and socialites, there was a man who lived with his mother for much of his life and guarded the privacy of his home. He overcame the vicious homophobia of his youth to become a symbol of gay achievement, while always seeking the pleasures of traditional romance and coupledom. (Warhol explodes the myth of his asexuality.)

Filled with new insights into the artist's work and personality, Warhol asks: Was he a joke or a genius, a radical or a social climber? As Warhol himself would have answered: Yes.

Arvustused

John Lennon and I once hid from Andy in a closet at the Sherry-Netherland hotel. I wish I'd known him better. This fantastic new biography makes me feel that I do. It really reveals the man - and the genius - under that silver wig. * Elton John * Superb...Gopnik persuasively assembles his case over the course of this mesmerising book, which is as much art history and philosophy as it is biography -- Kathryn Hughes * Guardian * A major biography based on hundreds of interviews, which considers the artist as a symbol of gay achievement and explodes the myth of his asexuality. * Guardian * Monumental... rollicking... a formidable achievement -- Mick Brown * The Telegraph * Gripping * The Daily Mail * Full of irresistible titbits...Gopnik leaves us little doubt of the significance of Warhol at his best: the links between serial production in his Pop paintings and minimal avant-garde music; the Death & Disaster series identifying tragedy as a new form of mass entertainment; voyeuristic films occluding the line between art and life; portraits that presented America's elite like a range of luxury goods. To borrow a favourite Warholism: Wow. -- Hettie Judah * i newspaper * Gopnik's exhaustive but stylishly written and entertaining account is Warholian in the best sense-raptly engaged, colorful, open-minded, and slyly ironic. ("He had become his own Duchampian urinal, worth looking at only because the artist in him had said he was.") Warhol fans and pop art enthusiasts alike will find this an endlessly engrossing portrait * Publisher's Weekly * Serves up fresh details about almost every aspect of Warhol's life in an immensely enjoyable book that blends snappy writing with careful exegeses of the artist's influences and techniques...a fascinating, major work that will spark endless debates. * Kirkus Reviews * Blake Gopnik's incisive, richly detailed bio puts you in Andy's inner circle and sanctum from beginning to end. It breaks down how, for decades, Andy strategically defined the pop culture zeitgeist as the world's most renowned artist -- Fab 5 Freddy, graffiti and hip-hop pioneer An excellent inside view of Andy's life, personality, and genius. -- Diane von Furstenberg Art and art history jumped the tracks with Andy Warhol. Blake Gopnik's lucid account of the artist and the wild times puts all that back on track again. An eye-opening biography that reads like a potboiler * Jerry Saltz, winner of the Pulitzer Prize for Criticism * Fabulously joyful... Gopnik seemingly had access to every doodle, soup tin and erotic snap, not to mention bus ticket and tax return, that the artist ever produced... Gopnik has such a strong sense of the design and patterns of his subject's life that the 976 pages seem if anything too few. For Gopnik, Warhol is the significant figure of the 20th century, surpassing even Picasso. It's a big claim, but the veteran critic makes a compelling case, arguing that Warhol collapsed and cleared the binaries - representation/abstraction, high/low and even art/not art - that every previous artist had been obliged to wrangle with. -- Kathryn Hughes * Guardian Books of the Year * Warhol was important and Gopnik is an assiduous and sometimes meditative historian of his strange life. Unlike the artist's taste for ready-made consumables, the book is the result of years scouring the 100,000 documents in the Warhol archive * The Times Best Books of the Year *

Muu info

The definitive biography of one of the most famous and influential artists the world has ever seen.
Prelude: Death 1(4)
Chapter 1 (1928-1934)
5(16)
Birth Pittsburgh
Carpatho-Rusyns
Church
Chapter 2 (1934-1945)
21(20)
Family Life
School
Illness
The Carnegie Institute
Schenley High
College Bound
Chapter 3 (1945-1947)
41(24)
Fine Arts at Carnegie Tech
Classmates and Teachers
A Dose of Failure
Window Dressing
Gay Life and Its Dangers
Artistic Role Models
Chapter 4 (1947-1949)
65(18)
Dada and Film at Tech
Outlines Gallery and the Avant-Garde
Origins of the Blotted Line
New York Horizons
Chapter 5 (1949)
83(10)
First New York Digs and Contracts
Fashion Magazines, Record Covers, Book Jackets
Chapter 6 (1949-1951)
93(18)
Franziska Boas and the Bohemian Life
A Starving-Artist Commune
Tommy Jackson and a First Flirtation
Living Solo and Hunting Work
Chapter 7 (1951-1952)
111(20)
New Luxuries
Otto Fenn
Stalking Capote
Julia Warhola Arrives
Commercial Success
Whimsical Chapbooks
Chapter 8 (1952-1954)
131(14)
Hago Grallery and an Homage to Capote
To Lower Lexington
The Cats
The First Boyfriend
The First Wig
Chapter 9 (1954-1955)
145(10)
Serendipity Cafe
Coloring Parties
Camp
The Loft Gallery
Chapter 10 (1955-1956)
155(16)
Window Display
Shoes Shoes Shoes
Nathan Gluck Arrives
The Bodley Gallery
Gallery
Chapter 11 (1956-1959)
171(22)
Generosity
Charles Lisanby
The World Tour
Compulsive Shopping
Edward Wallowitch
Ray Johnson
The Foot Book
A Silver Decor for the Theater
1,000 Names and Where to Drop Them
Chapter 12 (1960-1961)
193(16)
The New Town House
Illness
Art Collecting
Judson Church Performances
Emile de Antonio
The Threat of Photography
An Art-Market Boom
Chapter 13 (1961)
209(24)
Window Props Become Pop Art
Yves Klein
Ivan Karp and Henry Geldzahler Visit the Studio
Chapter 14 (1961-1962)
233(14)
Youth Culture
Faux Innocence
The Critical Reception of Pop
Chapter 15 (1962)
247(20)
Warhol, a "New Talent"
Hunt for a Gallery
Painting Money
Soup Cans in Los Angeles
Martha Jackson Cancels a Show
The Stable Gallery Steps Up
Chapter 16 (1962)
267(22)
Birth of the Silkscreen
Liz Taylor and Baseball
"New Realists" and the Launch of Pop
Marilyn at the Stable
Chapter 17 (1963)
289(16)
The Firehouse
Death and Disasters
Costumes for The Beast in Me
Photo Booth Portraits
A Portrait of Ethel Scull
Mona Lisa
Chapter 18 (1963)
305(24)
Gerard Malanga Starts Work
Downtown Poets
Amphetamines
Downtown Filmmakers
Home Movies with Jack Smith in Old Lyme
John Giorno in Sleep
Kiss
The Put-On
Chapter 19 (1963)
329(24)
Elvis and Liz in Los Angeles
Driving to L.A.
Hollywood Reception and Marcel Duchamp
Taylor Mead and Naomi Levine in Tarzan
Mourning J.F.K.
Jackie
The Haircuts
Chapter 20 (1964)
353(18)
Finding the Factory
Screen Tests
Billy Name
The Factory Silvered
Boxes at the Stable Gallery
Chapter 21 (1964)
371(20)
The First Factory Party
Most Wanted Men for the World's Fair
A Raunchy Couch and Blow Job
The Empire State Building, Observed
Flowers
Chapter 22 (1964)
391(14)
From Eleanor Ward to Leo Castelli
Stipend Stability
Baby Jane Holzer, Girl of the Year
Soap Opera
Pop Goes Mainstream
Chapter 23 (1965)
405(20)
An Anti-Christmas Tree
Film Accolades
Speed Freaks
Henry Geldzahler Smokes a Cigar
Philip Pagan, First of the Live-in Lovers
30 Films In One Year
Movies and the Death of Painting
Chapter 24 (1965)
425(20)
Edie Sedgwick
To Paris with Friends
Superstardom
Andy and Edle, Fashion Twins
The Striped Shirt
The Birth of Video Art: Outer and Inner Space
Warhol Fan Clubs
A Celebrity, At Last
Chapter 25 (1965)
445(18)
Factory Rivalries
New Arrivals: Paul Morrissey Brigid Berlin Hansen
Too Many Parties
My Hustler
Danny Williams Moves In, Then I Out
Chapter 26 (1965)
463(16)
Andymania at the Philadelphia I.C.A.
Warhol Sculpts His Persona
Chapter 27 (1966)
479(14)
The Velvet Underground
Rocking a Dinner for Shrinks
Fall of Edie, Rise of Ingrid Superstar
Chapter 28 (1966)
493(14)
The Exploding Plastic Inevitable
New Warholians: Mary Woronov, Susan Bottomly, Susan Pile
The End of Illustration
Money Worries, and Hope
A Velvet Underground Album
Chapter 29 (1966)
507(12)
Silver Clouds and Wallpaper Cows
Julia Warhola at Home, and Ailing
Richard Rheem Moves In, Then Out
Chapter 30 (1966)
519(20)
Repetition as an Art Supply
A Portrait of Holly Solomon
Clouds and Cows Cross the Country
A Boston Retrospective
The Velvets on Tour
"You're In" Perfume
Jane Heir, A Failed Feature Film
The Birth of Chelsea Girls
Chapter 31 (1967)
539(14)
Max's Kansas City
Flesh on Film: Bike Boy and Nude Restaurant
A Crumbling Factory
Rod La Rod
The Andy Warhol Story
Superstar Russian Roulette
Chapter 32 (1967)
553(14)
Dead-End Art
Prints, A New Income Stream
Chelsea Girls Goes
National, and to Cannes
Thirteen Most Wanted Men in Paris
End of the Velvets
Chapter 33 (1967)
567(20)
Four Stars---25 Hours of Film
a: a novel---24 Hours of Talk
Andy Warhol's Index (Book)
A Fake Lecture Tour
Exit Gerard Malanga
The Silver Factory Shuts Down
Chapter 34 (1968)
587(22)
A New Studio on Union Square
Lonesome Cowboys in Arizona
Order Replaces Chaos
Last of the Factory Crowd
Fancy Fred Hughes
A Survey in Sweden
Chapter 35 (1968)
609(16)
Valerie Solanas
SCUM Manifesto
I, a Man
The Shooting
The Hospital
The Arrest
Chapter 36 (1968)
625(16)
Recovery
Security at the Studio
Midnight Cowboy
Solanas and the Feminists
Flesh and the Business of Film
New (Super-)Stars: Joe Dallesandro and a Transgendered Trio
Chapter 37 (1968)
641(22)
Home from the Hospital
Editing Lonesome Cowboys
100 Happy Rockefellers
Julia in Decline
Jed Johnson Moves In
Back in the Saddle but Still Sore
Pat Hackett, Ultimate Ghostwriter
Hospital Bills, Lawsuits and Rubber Checks
Profitable Portraits
Chapter 38 (1968-1969)
663(22)
Fuck, A Blue Movie
Forays into Conceptualism: Vacuum Cleaners and Superstars for Rent
"Raid the Icebox" and the Museum as Art
Floating Chairs and Rain Machines
Video Ventures
A Sundae for Schrafft's
Chapter 39 (1969)
685(24)
Valerie Solanas Gets Out
More Surgery
Rolling Stones Album Covers
Hollywood Film Plans Collapse (Twice)
Gerard Malanga's "Male Parade"
The Birth of Interview
Business Art, the Next Step After Art
Frozen Foods at the Andy-Mat
Chapter 40 (1970-1971)
709(20)
A Warhol Retrospective (Again)
Bob Colacello and Vincent Fremont Come on Board
Andy Warhol, Super-Shopper
New Patrons: Sandy and Peter Brant
L'Amour and Its Crowd
VIP Living
Failures in Theater: Andy Warhol's Pork and Man on the Moon
Chapter 41 (1971-1972)
729(10)
Financial Fiddling
Fine Cars and Real Estate
Country Life and Celebrity Renters: Lee Radziwill and the Kennedy Kids, Mick and Bianca Jagger
Chapter 42 (1972-1973)
739(22)
Julia Warhola Heads Home to Die
Chairman Mao and the Un-Death of Painting
Biting into Europe's Upper Crust
The Polaroid Big Shot, for Big Shots
Gallstone Warning
Frankenstein and Dracula in Rome
With Warhol, Liz Taylor is in The Driver's Seat
Chapter 43 (1974)
761(22)
Warhol Headquarters in Paris
Interview, Fashion and Society
Halston and Glamour
The Bent Genders of Ladies and Gentlemen
The Philosophy of Andy Warhol (and of His Ghostwriters)
POPism, a (Non-)Autobiography
Chapter 44 (1974-1975)
783(20)
New Home
Jed Johnson Decorates
Return of Brigid Berlin
Time Capsules and the Fine Art of Junk
Highborn Interns
A Rolls-Royce to the Diamond District
The Interview Lunch and Its Prey
Chapter 45 (1975-1977)
803(16)
Portrait Prey: Iranian Royals and Imelda Marcos
At the White House with Gerald Ford
In Georgia with jimmy Carter
Commercial Art: Athletes, Pets, Cars and Houses
Victor Hugo and the Nude as Landscape
Piss Paintings
Chapter 46 (1977-1980)
819(18)
Studio 54
Shadow Paintings
Bad, the Last Movie
Jed Johnson Leaves
Chapter 47 (1981)
837(16)
Warhol the Model
Exposures: A Social Life
Ronald Feldman's Business Propositions
Outsourcing to Rupert Smith
Chapter 48 (1982-1983)
853(18)
The New Art Kids
Warhol and Basquiat
Rorschach Paintings
Shopping and Collecting
Chapter 49 (1982-1986)
871(26)
The ConEd Studio
Andy Warhol TV
Tensions with Fred Hughes
Ad Work
The Love Boat
Camouflage Painting
Jon Gould
AIDS
Fred Hughes
Warhol's Chanty
Chapter 50 (1933-1937)
897(14)
Crystal Therapy
Last Suppers in Milan
Stitched Photos
The Last Runway
Gallbladder Trouble
The Fatal Surgery Photos
Postlude: Afterlife 911(4)
A Note on Sources 915(4)
Acknowledgments 919(2)
Credits 921(2)
Index 923
Blake Gopnik is one of North America's leading arts writers, has served as art and design critic at Newsweek and as chief art critic at the Washington Post and Canada's Globe and Mail. He is a regular contributor to the New York Times and has a PhD in art history from Oxford University.