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
... took the inside and put it outside, took the outside and put it inside. The Pop artists did images that anybody walking down Broadway could recognize in a split second—comics, picnic tables, men's trousers, celebrities, shower curtains ...
... took the inside and put it outside, took the outside and put it inside. The Pop artists did images that anybody walking down Broadway could recognize in a split second—comics, picnic tables, men's trousers, celebrities, shower curtains ...
Стр. 7
... took his advice about most other things, though. I used to go around to all the galleries in the late fifties, usually with a good friend of mine named Ted Carey. Ted and I both had wanted to have our portraits done by Fairfield Porter ...
... took his advice about most other things, though. I used to go around to all the galleries in the late fifties, usually with a good friend of mine named Ted Carey. Ted and I both had wanted to have our portraits done by Fairfield Porter ...
Стр. 9
... took a look at Lichtenstein's work, he got confused—they were “peculiar and aggressive,” very remote from anything he'd seen before, and he told Roy that he'd like to keep two paintings in back room racks to show to Leo Castelli. Ivan ...
... took a look at Lichtenstein's work, he got confused—they were “peculiar and aggressive,” very remote from anything he'd seen before, and he told Roy that he'd like to keep two paintings in back room racks to show to Leo Castelli. Ivan ...
Стр. 17
... took him very seriously; they would announce what he was doing every single second—'There's Jackson!' or 'Jackson just went to the john!' “I'll tell you what kind of guy he was. He would go over to a black person and say, 'How do you ...
... took him very seriously; they would announce what he was doing every single second—'There's Jackson!' or 'Jackson just went to the john!' “I'll tell you what kind of guy he was. He would go over to a black person and say, 'How do you ...
Стр. 25
... took on Roy Lichtenstein, and the two of you in the same gallery would collide.” Ivan had warned me that Leo was going to tell me, “The two of you in the same gallery . . .” so I can't say I wasn't prepared, but still I was really ...
... took on Roy Lichtenstein, and the two of you in the same gallery would collide.” Ivan had warned me that Leo was going to tell me, “The two of you in the same gallery . . .” so I can't say I wasn't prepared, but still I was really ...
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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