Popism: The Warhol SixtiesHarperCollins, 3 февр. 2015 г. - Всего страниц: 418 Anecdotal, funny, frank, POPism is Warhol's personal view of the Pop phenomenon in New York in the 1960s. A cultural storm swept through the 1960s—Pop Art, Bob Dylan, psychedelia, underground movies—and at its center sat a bemused young artist with silver hair: Andy Warhol. Andy knew everybody (from the cultural commissioner of New York to drug-driven drag queens) and everybody knew Andy. His studio, the Factory, was the place: where he created the large canvases of soup cans and Pop icons that defined Pop Art, where one could listen to the Velvet Underground and rub elbows with Edie Sedgwick and where Warhol himself could observe the comings and goings of the avant-garde. In the detached, back-fence gossip style he was famous for, Warhol tells all in POPism—the ultimate inside story of a decade of cultural revolution. |
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Стр. 3
... Henry Geldzahler, curator of twentieth-century art at the Metropolitan Museum before he was appointed official culture czar of New York, once described the beginnings of Pop this way: “It was like a science fiction movie—you Pop artists ...
... Henry Geldzahler, curator of twentieth-century art at the Metropolitan Museum before he was appointed official culture czar of New York, once described the beginnings of Pop this way: “It was like a science fiction movie—you Pop artists ...
Стр. 18
... see me that July was a new young “curatorial-assistant-with-no-specific-duties” at the Met. Henry Geldzahler had grown up in Manhattan, gone to Yale and then to grad school at Harvard. Before coming POPism: The Warhol Sixties 18.
... see me that July was a new young “curatorial-assistant-with-no-specific-duties” at the Met. Henry Geldzahler had grown up in Manhattan, gone to Yale and then to grad school at Harvard. Before coming POPism: The Warhol Sixties 18.
Стр. 19
... Henry had taken him down to see Tom Wesselmann. When Henry and Ivan came in, I could see Henry doing an instant appraisal of every single thing in the room. He scanned all the things I collected—from the American folk pieces to the ...
... Henry had taken him down to see Tom Wesselmann. When Henry and Ivan came in, I could see Henry doing an instant appraisal of every single thing in the room. He scanned all the things I collected—from the American folk pieces to the ...
Стр. 20
... Henry and I were both, in our very different ways, coming fresh into and up against the intrigues and strategies of the New York art scene, so that was good for at least four hours a day on the phone right there. Henry liked all the ...
... Henry and I were both, in our very different ways, coming fresh into and up against the intrigues and strategies of the New York art scene, so that was good for at least four hours a day on the phone right there. Henry liked all the ...
Стр. 21
... Henry, it was a couple of months before I was secure enough about his mentality to show them to him. Henry knew that the only thing that counted was what showed up on canvas—not where the idea came from or what you were doing before you ...
... Henry, it was a couple of months before I was secure enough about his mentality to show them to him. Henry knew that the only thing that counted was what showed up on canvas—not where the idea came from or what you were doing before you ...
Содержание
1964 | 85 |
Photo Insert | 117 |
1965 | 119 |
1966 | 177 |
1967 | 253 |
19681969 | 319 |
Postscript | 377 |
Index | 379 |
Back Cover | 393 |
Spine | 394 |
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