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. 5
... night at the apartment where I was living with a few suitcases and shopping bags, and she announced that she'd left Pennsylvania for good “to come live with my Andy.” I told her okay, she could stay, but just until I got a burglar alarm ...
... night at the apartment where I was living with a few suitcases and shopping bags, and she announced that she'd left Pennsylvania for good “to come live with my Andy.” I told her okay, she could stay, but just until I got a burglar alarm ...
Стр. 12
... night he was describing for me “the greatest art exhibit” he'd ever been to. In the mid-fifties, Jasper Johns had called De up and very formally invited him to dinner “a week from Wednesday.” De and his wife at the time—I think it was ...
... night he was describing for me “the greatest art exhibit” he'd ever been to. In the mid-fifties, Jasper Johns had called De up and very formally invited him to dinner “a week from Wednesday.” De and his wife at the time—I think it was ...
Стр. 17
... night. He was one of those people who always got there before you did and was still there after you left. While he was talking to you, he had this way of turning to someone else as you were leaving, and you got the feeling of automatic ...
... night. He was one of those people who always got there before you did and was still there after you left. While he was talking to you, he had this way of turning to someone else as you were leaving, and you got the feeling of automatic ...
Стр. 18
... night after night was to see your friends . . . Frank O'Hara, Kenneth Koch, John Ashbery . . .” The art world sure was different in those days. I tried to imagine myself in a bar striding over to, say, Roy Lichtenstein and asking him to ...
... night after night was to see your friends . . . Frank O'Hara, Kenneth Koch, John Ashbery . . .” The art world sure was different in those days. I tried to imagine myself in a bar striding over to, say, Roy Lichtenstein and asking him to ...
Стр. 37
... night. And day and night there were screenings going on at the Coop. Jonas actually lived there, in one of the corners: he once told me he slept under the table. Although I didn't come to know him personally until late '63, I went to a ...
... night. And day and night there were screenings going on at the Coop. Jonas actually lived there, in one of the corners: he once told me he slept under the table. Although I didn't come to know him personally until late '63, I went to a ...
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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