Andy Warhol at the GOMA
TASK ONE
In Andy Warhol’s work, there are contrary elements found in his separate bodies of work. An example of this is found in the Ladies and Gentlemen (1975) series, in comparison his works surrounding the theme of Death and Disaster (1962 – 1964).
In Ladies and Gentlemen, Warhol uses the image of transvestites to demonstrate the idea that personalities are created, and put on. With cross dressing, it is thought that those who do so believe that in changing their dressing, they are able to change their personas. This could be done in order to realise what one truly is. In this case, it is likely that Warhol wanted to present the idea that in being ‘yourself’, you are creating/ putting on a personality. That perhaps there is no true way of being, that all is superficial.
In the Death and Disaster pieces, however, Warhol does oppose his own idea of superficiality. Warhol does two things: he chastises the role of the media in trivialising/sensationalising events, and in doing so, suggests that such events are not in the least superficial. It is with that that he opposes his original notion that all is superficial. For example, in White Burning Car III (1963), an image of a car accident is presented. This was an accident, presumably, which was publicised in the media for the nature of its passenger’s death (I believe the driver is the figure hanging from the telephone pole). The use of repetitive image in this work comments on the way in which the media has treated the event – creating copies, distributing, telling, etc. The nature of this treatment is then presented as something which has devalued the event – it has become an object of the press. (Also related to icon making, and the cult of celebrity statua) In saying that, Warhol inadvertently proposes that the event warrants something much greater than the product it has become. It deals with issues much greater than those found in the material. In this, the themes of death, and the affects of media are synthesised into a single work.
While there may be a contrast of extremes found in Warhol’s work, I do feel that there remains a constant – a fascination with the superficial. This is maintained even within the Death and Disaster pieces which, while dealing with issues that look beyond the material aspects of life, comment on the way in which the media’s treatment of such events (sensationalise/trivialise) transforms them into something quite shallow. Where scandals are made scandals for the sake of it.
TASK TWO
There were a few people that I looked at Screen Test display. It was a little bit difficult identifying exactly which name belonged to which video, especially since I’d only heard of a handful of the people named. I watched Dennis Hopper’s screen test, and found it quite intriguing. He had a frown on his face which intensified throughout the screen test. From this you could gather that he might have been thinking a great depth, or was becoming increasingly nervous about being filmed in such a revealing way. I know that I, myself, frown intensely at odd occasions (most of the time in anxiety). In saying that, perhaps the frown was part of a strange façade put on by Hopper. If that were his intention, then perhaps his character is a private, anxious one, hiding in drama.
I also looked at Alan Soloman, who, towards the end of his film, developed a faint smile on his face. This could mean a few things, for the most part, I see him as a having an enthusiastic and light hearted character. With that, he attempts to do as he is told, trying to remain aloof to the fat that he is being filmed.
I find this particular approach to portraiture quite clever and fascinating. To examine characters in the most basic setting, allowing every single movement (involuntary or otherwise) to be captured. I would say more, but I can’t express it in words. Maybe later.
TASK THREE
I do believe that Warhol’s Time Capsules are self portraits. Yes, self portraiture is a broad art form, exploring all the different aspects of a person – the persona, the subconscious etc. In this case, Warhol’s Time Capsules are an embodiment of the life that surrounded him. By looking at the objects which he chose to keep, it allows insight into the events of his life. So perhaps the Time Capsules are not a representative of him so much as the life he lived. Although, I suppose you could take the fact that he collected items in itself as a reflection on his character.
In regards to Andy Warhol’s sense of place in the world... The items in the Time Capsules determined him to lead a relatively busy, interactive life where he seemed to muse constantly. This is seen in his abundant collection items such as the letters – personal and fan, place cards and photo booth images found in the Time Capsules. At the same time, however, the way in which he avidly collected newsprint and signs, etc, suggests to me that within his busy, somewhat ‘fabulous’ life, he remained disconnected and in this, himself. Does that make sense?
TASK ONE
In Andy Warhol’s work, there are contrary elements found in his separate bodies of work. An example of this is found in the Ladies and Gentlemen (1975) series, in comparison his works surrounding the theme of Death and Disaster (1962 – 1964).
In Ladies and Gentlemen, Warhol uses the image of transvestites to demonstrate the idea that personalities are created, and put on. With cross dressing, it is thought that those who do so believe that in changing their dressing, they are able to change their personas. This could be done in order to realise what one truly is. In this case, it is likely that Warhol wanted to present the idea that in being ‘yourself’, you are creating/ putting on a personality. That perhaps there is no true way of being, that all is superficial.
In the Death and Disaster pieces, however, Warhol does oppose his own idea of superficiality. Warhol does two things: he chastises the role of the media in trivialising/sensationalising events, and in doing so, suggests that such events are not in the least superficial. It is with that that he opposes his original notion that all is superficial. For example, in White Burning Car III (1963), an image of a car accident is presented. This was an accident, presumably, which was publicised in the media for the nature of its passenger’s death (I believe the driver is the figure hanging from the telephone pole). The use of repetitive image in this work comments on the way in which the media has treated the event – creating copies, distributing, telling, etc. The nature of this treatment is then presented as something which has devalued the event – it has become an object of the press. (Also related to icon making, and the cult of celebrity statua) In saying that, Warhol inadvertently proposes that the event warrants something much greater than the product it has become. It deals with issues much greater than those found in the material. In this, the themes of death, and the affects of media are synthesised into a single work.
While there may be a contrast of extremes found in Warhol’s work, I do feel that there remains a constant – a fascination with the superficial. This is maintained even within the Death and Disaster pieces which, while dealing with issues that look beyond the material aspects of life, comment on the way in which the media’s treatment of such events (sensationalise/trivialise) transforms them into something quite shallow. Where scandals are made scandals for the sake of it.
TASK TWO
There were a few people that I looked at Screen Test display. It was a little bit difficult identifying exactly which name belonged to which video, especially since I’d only heard of a handful of the people named. I watched Dennis Hopper’s screen test, and found it quite intriguing. He had a frown on his face which intensified throughout the screen test. From this you could gather that he might have been thinking a great depth, or was becoming increasingly nervous about being filmed in such a revealing way. I know that I, myself, frown intensely at odd occasions (most of the time in anxiety). In saying that, perhaps the frown was part of a strange façade put on by Hopper. If that were his intention, then perhaps his character is a private, anxious one, hiding in drama.
I also looked at Alan Soloman, who, towards the end of his film, developed a faint smile on his face. This could mean a few things, for the most part, I see him as a having an enthusiastic and light hearted character. With that, he attempts to do as he is told, trying to remain aloof to the fat that he is being filmed.
I find this particular approach to portraiture quite clever and fascinating. To examine characters in the most basic setting, allowing every single movement (involuntary or otherwise) to be captured. I would say more, but I can’t express it in words. Maybe later.
TASK THREE
I do believe that Warhol’s Time Capsules are self portraits. Yes, self portraiture is a broad art form, exploring all the different aspects of a person – the persona, the subconscious etc. In this case, Warhol’s Time Capsules are an embodiment of the life that surrounded him. By looking at the objects which he chose to keep, it allows insight into the events of his life. So perhaps the Time Capsules are not a representative of him so much as the life he lived. Although, I suppose you could take the fact that he collected items in itself as a reflection on his character.
In regards to Andy Warhol’s sense of place in the world... The items in the Time Capsules determined him to lead a relatively busy, interactive life where he seemed to muse constantly. This is seen in his abundant collection items such as the letters – personal and fan, place cards and photo booth images found in the Time Capsules. At the same time, however, the way in which he avidly collected newsprint and signs, etc, suggests to me that within his busy, somewhat ‘fabulous’ life, he remained disconnected and in this, himself. Does that make sense?
1 comment:
You, my Dear - are amazing. This is beautifully reasoned and explored.
Such insightful comments you have shared here.
The self portrait in screen test style could be a good way of filming and therefore capturing still images (unlikely, fleeting ones) from which to create your paintings - Its easy to pose for a still but not easy to hide the inner life in such a long video shot... will you think about it? You could dress in the black and white and with your hair and skin, the low key colour range you spoke about could be achieved - a play on mirror image ... through the glass darkly ... peering into the inner self? Your visual diary is full of possibilities for the body of work, I have picked upon one only here but please consider.
ma h
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