The epitome of elegant glamour.
Sunday, November 18, 2012
Saturday, November 17, 2012
Thursday, November 15, 2012
The Dark Side of Warhol
I was having a conversation with my flatmate today about her dissertation on pop art, which inspired me to write this blogpost. And I suppose it's also keeping to the theme I started with the post about Edie Sedgwick.
Let's establish 2 generally accepted notions about pop art: (1) it's fun and (2) Andy Warhol is amazing. While I agree with both of these points, there are some things about this brillant man that I don't think people who don't have a particular interest in him would know - I hope you find it interesting!
Warhol always made it a point to state to the media that there was no emotion behind his silk screening, or that they were supposed to be interpreted just as they are: prints of iconic images. Although I, as do most others, believe that this is not possible in creating art, it's hardly surprising that an - at times - controversial figure like Warhol would want to deter against speculations about his intentions.
When we think of his pop art - Campbell's Soup and Marilyn Monroe come to mind. They embody pop culture, consumerism, and all the other disillusioned goodness of the 1960s. But here are some pieces that reflect some of the darker feelings inside Warhol.
This print of Monroe was done right after her death. It differs from the one we're all accustomed to because of the monotone contrast on the right. She seems to be fading as the image goes one - many art historians think that Warhol was trying to make a statement about the fleeting nature of fame. But people still haven't forgotten about her.
This print was done around the time that Elizabeth Taylor almost died. Although she obviously didn't in the end, it's interesting that he would, once again, centre the content of his prints around such a morbid theme. Also, was it intentional that the lowest row is overlapped? It almost makes her face look skull-like in my opinion.
And these aren't even his most 'disturbing' works. There's a series of prints of car crashes and other violent death scenes. What were the meaning behind these? How can he possibly maintain that his pop art is supposed to taken at face value when they clearly evoke a strong emotion within us?
Let's establish 2 generally accepted notions about pop art: (1) it's fun and (2) Andy Warhol is amazing. While I agree with both of these points, there are some things about this brillant man that I don't think people who don't have a particular interest in him would know - I hope you find it interesting!
Warhol always made it a point to state to the media that there was no emotion behind his silk screening, or that they were supposed to be interpreted just as they are: prints of iconic images. Although I, as do most others, believe that this is not possible in creating art, it's hardly surprising that an - at times - controversial figure like Warhol would want to deter against speculations about his intentions.
When we think of his pop art - Campbell's Soup and Marilyn Monroe come to mind. They embody pop culture, consumerism, and all the other disillusioned goodness of the 1960s. But here are some pieces that reflect some of the darker feelings inside Warhol.
Marilyn Diptych
This print of Monroe was done right after her death. It differs from the one we're all accustomed to because of the monotone contrast on the right. She seems to be fading as the image goes one - many art historians think that Warhol was trying to make a statement about the fleeting nature of fame. But people still haven't forgotten about her.
Blue Liz
This print was done around the time that Elizabeth Taylor almost died. Although she obviously didn't in the end, it's interesting that he would, once again, centre the content of his prints around such a morbid theme. Also, was it intentional that the lowest row is overlapped? It almost makes her face look skull-like in my opinion.
16 Jackies
This one breaks my heart a little, mainly because I love JFK. The image on the top row is of Jackie right before the assassination, then during Johnson's inauguration on Air Force One, at JFK's funeral, and once again her on the tour in Texas. The image on the second row is probably the most well known just because Jackie's Chanel suit in the image was still covered in blood. It's such a dark and sensitive event in American history; the colours of the print make it quite haunting as well. I find it interesting that he placed the two poignant images in the centre rather than have them be in a chronological order. What do you think that's saying?
And these aren't even his most 'disturbing' works. There's a series of prints of car crashes and other violent death scenes. What were the meaning behind these? How can he possibly maintain that his pop art is supposed to taken at face value when they clearly evoke a strong emotion within us?
Thursday, November 8, 2012
Distance and Time
"Nothing makes the earth seem so spacious as to have friends at a distance; they make the latitudes and longitudes".
Henry David Thoreau
Tuesday, November 6, 2012
Factory Girl
I've always really admired Edie Sedgwick's style and embodiment of the glamourous, underground art scene of the 60s. She always looked effortlessly edgy, which is what I love most about her look. You can easily incorporate elements of her style (or go all out); whether it's her signature eye makeup or oversized earrings. 
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