[porkmarras]

Marisol was(not sure if she is still alive) excellent artist.

[atari 2600]

Originally Posted by Tokolosh

Machines have less problems. I'd like to be a machine, wouldn't you?
Andy Warhol, 1963

Pop artists painted pictures of things that anyone walking along Broadway could recognize in a split second - comics, picnic tables, men's trousers, celebrities, shower curtains, refrigerators, Coke bottles - all great modern things that the Abstract Expressionists tried so hard not to notice at all.
Andy Warhol, 1980

Andy wanted to be an abstract expressionist, but he also wanted to bring objects into the non-objective plane. He didn't agree that abstract expressionism had to be non-objective as an absolute rule. The abexers didn't want him around though. More importantly, when he started to do "fine" work, the very first canvas he created was a single Coca-Cola bottle with some free brushwork & drips.

Henry Geldzahler, the critic & Met sugar daddy, saw this earliest painting & told Andy it sucked. Andy didn't listen entirely & kept on doing a pop/abex style with paintings from comic strips like Popeye, Dick Tracy, Superman & Batman which included freebrushwork, lots of empty space, compositional overpainting, & drips when they happened. To me, these early efforts are his all-time best works. They influenced Roy Lichtenstein or the other way around ---there's always been a debate...Andy's were in a display window before Lichtenstein though...that business is all besides the point.

The main point was that Andy eventually got the message that the AbExers were not going to allow an ex-commercial illustrator homosexual into their fold & so he started doing his own unique thing by taking the action out of the painting & doing Coke bottles with less drips, basically, and most importantly, by repeating the image of the Coke bottles. After all, what else is one going to fill the canvas with if a Coke bottle is the subject other than other Coke bottles? As Andy remarked, "if one were the Queen of England then you couldn't get a better Coke than anyone else," & this was an aspect of consumer culture that fascinated him.

The Campbell's Soup Cans were next, many of which are lesser known works that also contained abex-like experimental coloring & drips, but he had to show them in L.A. due to an increasingly hostile environment in NYC to his work & so that he could meet an elder Marcel Duchamp who was having a retrospective at the Pasedena Museum of Fine Art out there & who would undoubtably understand what he was doing. He got shit there too, but eventually things worked out his way. Why? Sheer persistence &, as has been remarked, one cannot look at a Warhol (art done with a minimal amount of thought) without thinking. Right after the soup and silver balloons, Warhol employed Malanga & went to silkscreening (in many cases, censored) Associated Press pictures of death & disaster for that series, and those are also among his very best works.

[Bunbury]

Originally Posted by porkmarras

Marisol was(not sure if she is still alive) excellent artist.

still alive, i can confirm this because she was a part of an ASSignment of mine.

[porkmarras]

Originally Posted by Bunbury

still alive, i can confirm this because she was a part of an ASSignment of mine.

Cool what is she up to these days?

[atari 2600]

rocking good news!


This is coming very soon to a PBS station near you!

It's airing as part of PBS' excellent American Masters series. Check your local listings here:
http://www.pbs.org/wnet/americanmast.../upcoming.html

 

Directed by Ric Burns
Rating: MA

The two-part, four-hour documentary is narrated by artist and musician Laurie Anderson and features artist Jeff Koons as the voice of Andy Warhol. Andy Warhol: A Documentary Film is a definitive film portrait of an artist whose signature works are among the most recognized and sought-after works of art ever created. No artist of the second half of the 20th century was more famous – or, perhaps in the end, more famously misunderstood – than Andy Warhol. At once the most accessible and enigmatic, straightforward and elusive, naïve and savagely ironic artist of his time, he was the Wizard of Icons – the supreme archaeologist of a culture of desire – and the mercurial Merlin of a mass media age.

[static-harmony]

Do you have the website to this info Atari? it seems interesting.

[atari 2600]

the PBS webpage:
http://www.pbs.org/wnet/americanmast.../warhol_a.html

I quoted from here:
http://www.imperialtheatre.com/september06.htm

[static-harmony]

I like that show American Masters.

[atari 2600]

There was one that was an overview of 20th-century American art recently that was great.

[static-harmony]

I missed that one, I have no time to watch most of those shows, I need Tivo.

[atari 2600]

The hits just keep comin'!

Watch this (& the others in the series) on the web at five bucks a pop.

http://www.documen.tv/asset/Billy_Name.html
The BILLY NAME Interview, FACTORY PEOPLE Andy Warhol’s Sixties Silver Factory



Uncut Interview (English)

87 minutes

2006

Written by: Catherine O’Sullivan Shorr ,

Directed by:Yves Billon

Planet Group Entertainment/Zarafa Films Paris

“The Billy Name Interview” is the uncut original ninety minute interview that was filmed last year for the soon to be released “Factory People” Documentary Series, about the people who were part of Andy Warhol’s Sixties Silver Factory from 1964 to 1968 in New York. Note that time codes are embedded in the interview to protect it from commercial use. Billy experienced the Factory like no other person. He was the unofficial/official photographer of all Factory life, the gatekeeper of the Factory, and its only full time resident. In his interview, Billy talks about the origins of the Silver Factory, his friendship with Andy and his relationship with many of the Factory regulars. This exciting interview takes the viewer back to this very special era in a unique way to experience the truth about the Factory, its secrets, its survivors and non-survivors. Billy Name was born Billy Linich on February 22, 1940 and moved to New York in 1958. He called himself Billy Name because "People would ask me what my name was, and semi-facetiously I would say my name is Name. I thought it was cute and I'd never seen anyone use the name “Name” for a name." Billy met Andy Warhol while working as a waiter at Steven Bruce’s specialty restaurant, Serendipity 3, at their original location at 234 East 58th Street. http://serendipity3.com/ "Andy and I were hanging around together. I had an apartment on the Lower East Side, where I had haircutting salons... I was famous for giving haircuts, so he said, 'Would you let me do a film of you doing haircuts?' I had covered my entire apartment in silver foil and painted everything silver. Andy said, 'Well I just got a new loft, would you do to it what you've done to your apartment?'... Andy had a still camera, but he had gotten the Bolex. He was going to start to do films, and he gave me the Pentax, and said 'Here Billy, you do the still photography, I'm going to start making films.' I became the in-house photographer and was sort of like the foreman. Eventually I moved in." -Billy Name Not only was Billy Name responsible for the silver look of the Factory, he also discovered the famous sofa that became the focal point of many of the photographs and films (including Couch) during the Silver Factory era. During "one of his midnight outings" Billy found the couch "on the sidewalk of 47th Street near Third Avenue, and dragged it back to the Factory." Billy left the Factory in early 1970 because he felt "isolated" and thought he should "find out what was going on in the world". He felt that Fred [Hughes] had pretty much taken over the operations. “Andy didn't need me anymore... And I went out and started living in the streets. The most money I had ever had in my life until that time was the $300 I got for the third Velvet Underground album cover. I had $300, so I said, 'Well I have $300 I can go out and see what's going on and do it!” Years later, Billy re-appeared at Andy’s funeral, and learned that the silver trunk that he left behind at the Factory years earlier had been saved for him by Andy. The trunk contained MORE THAN 8000 photo negatives of Billy’s shots taken during the Silver Factory era. Many of these photos will be used to illustrate the era in the Series. “The Billy Name Interview” is one of 12 major interviews conducted for the Series. The Producers plan to make all 12 available on www.documen.tv in their uncut form over the coming months, prior to the release of the three-hour documentary Series. The Silver Factory Series will be released in Fall 2006.

[atari 2600]

Originally Posted by static-harmony

I missed that one, I have no time to watch most of those shows, I need Tivo.

I've been thinking about buying a DVD recorder lately. The PBS news just cinched/clinched it for me.

Laurie's voice is going to entrance you all & then you'll end up like me!

wheeeeeeeeeeeeeee!

[porkmarras]

Originally Posted by atari 2600

The hits just keep comin'!

Watch this (& the others in the series) on the web at five bucks a pop.

http://www.documen.tv/asset/Billy_Name.html
The BILLY NAME Interview, FACTORY PEOPLE Andy Warhol’s Sixties Silver Factory



Uncut Interview (English)

87 minutes

2006

Written by: Catherine O’Sullivan Shorr ,

Directed by:Yves Billon

Planet Group Entertainment/Zarafa Films Paris

“The Billy Name Interview” is the uncut original ninety minute interview that was filmed last year for the soon to be released “Factory People” Documentary Series, about the people who were part of Andy Warhol’s Sixties Silver Factory from 1964 to 1968 in New York. Note that time codes are embedded in the interview to protect it from commercial use. Billy experienced the Factory like no other person. He was the unofficial/official photographer of all Factory life, the gatekeeper of the Factory, and its only full time resident. In his interview, Billy talks about the origins of the Silver Factory, his friendship with Andy and his relationship with many of the Factory regulars. This exciting interview takes the viewer back to this very special era in a unique way to experience the truth about the Factory, its secrets, its survivors and non-survivors. Billy Name was born Billy Linich on February 22, 1940 and moved to New York in 1958. He called himself Billy Name because "People would ask me what my name was, and semi-facetiously I would say my name is Name. I thought it was cute and I'd never seen anyone use the name “Name” for a name." Billy met Andy Warhol while working as a waiter at Steven Bruce’s specialty restaurant, Serendipity 3, at their original location at 234 East 58th Street. http://serendipity3.com/ "Andy and I were hanging around together. I had an apartment on the Lower East Side, where I had haircutting salons... I was famous for giving haircuts, so he said, 'Would you let me do a film of you doing haircuts?' I had covered my entire apartment in silver foil and painted everything silver. Andy said, 'Well I just got a new loft, would you do to it what you've done to your apartment?'... Andy had a still camera, but he had gotten the Bolex. He was going to start to do films, and he gave me the Pentax, and said 'Here Billy, you do the still photography, I'm going to start making films.' I became the in-house photographer and was sort of like the foreman. Eventually I moved in." -Billy Name Not only was Billy Name responsible for the silver look of the Factory, he also discovered the famous sofa that became the focal point of many of the photographs and films (including Couch) during the Silver Factory era. During "one of his midnight outings" Billy found the couch "on the sidewalk of 47th Street near Third Avenue, and dragged it back to the Factory." Billy left the Factory in early 1970 because he felt "isolated" and thought he should "find out what was going on in the world". He felt that Fred [Hughes] had pretty much taken over the operations. “Andy didn't need me anymore... And I went out and started living in the streets. The most money I had ever had in my life until that time was the $300 I got for the third Velvet Underground album cover. I had $300, so I said, 'Well I have $300 I can go out and see what's going on and do it!” Years later, Billy re-appeared at Andy’s funeral, and learned that the silver trunk that he left behind at the Factory years earlier had been saved for him by Andy. The trunk contained MORE THAN 8000 photo negatives of Billy’s shots taken during the Silver Factory era. Many of these photos will be used to illustrate the era in the Series. “The Billy Name Interview” is one of 12 major interviews conducted for the Series. The Producers plan to make all 12 available on www.documen.tv in their uncut form over the coming months, prior to the release of the three-hour documentary Series. The Silver Factory Series will be released in Fall 2006.

This Billy told me about before it came out.At the time i emailed the director who's a very friendly and engaging chap.Good tip atari.

[atari 2600]

 

[Tokolosh]

 

Cinema exterior during the German release of Flesh

[Tokolosh]

 

Andy Warhol
Suicide
1964
monotype on paper
40 x 30 in.
$717,500 at Sotheby's

[SpectralJulianIsNotDead]

The Warhol I thought was disappointingly small. I love the balloon room though. I could sit in there for hours.

[static-harmony]

I like that one, Suicide.

[atari 2600]

Originally Posted by static-harmony

I like that one, Suicide.

If you watch(ed) the documentary for which porkmarras originally posted the youtube link, there's that nice part with the female Warhol scholar elucidating upon that image.

[Rob Instigator]

Warhol was great. I love his prints. there are a good number of them, including a giant tomato suop can one, at the Menil Collection here in Houston.

Andy says whassup?