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Andy, Andy everywhere. Twenty-three years after his death, few figures hover over New York City—its art, its street life, its commerce, its creativity, its nightlife, its myths, and its idea of itself—like Andy Warhol. Andy Warhol’s New York City provides a panoramic view of the artist’s life there from the fifties through the eighties. Eighty sites associated with the artist careen delightfully from coffee shops to museums, from disco clubs to churches, with dozens of glamorous and gritty places in between. Fashionistas will love reading about the rare pretzel-print dress Warhol designed (now in the Metropolitan Museum of Art) and seeing him looking like a character out of Mad Men as he’s photographed on the steps of the Met; cineastes will be riveted to the behind-the-scenes stories of his films; art lovers will appreciate the comprehensive listing of his many shows; and New York City history buffs will savor glimpses of the city’s icons—vanished (Schrafft’s), current (Serendipity 3), and never-realized (the Andy-Mat). There are sidebars on Warhol’s residences, favorite restaurants, and factories. Brief biographies of figures in the book familiarize the reader with the revolving cast of glittering characters that enter and leave the stage as Warhol’s story unfolds. Nine original drawings in the book were made specially for Andy Warhol’s New York City by the artist Vito Giallo, a former studio assistant of Warhol’s who executed hundreds of Warhol’s ink blot drawings, and who later owned the antique store where Warhol bought thousands of items that were posthumously auctioned at Sotheby’s.
A tale of two Pop artists in 1960s New York This book charts the emergence of Marisol Escobar (1930-2016) and Andy Warhol (1928-87) in New York during the dawn of Pop art in the early 1960s. Through essays, interviews and prose, the book explores the artists' parallel rise to success, the formation of their artistic personas, their savvy navigation of gallery relationships and the blossoming of their early artistic practices from 1960 to 1968. The exhibition features key loans of Marisol's work from major global collections, along with iconic works and rarely seen films and archival materials from the Andy Warhol Museum's collection. By situating Marisol's work in dialogue with Warhol's, this new collection of writing seeks to reclaim the importance of her art; reframe the strength, originality and daring nature of her work; and reconsider her as one of the leading figures of the Pop era.
Few figures tower over twentieth-century art like Salvador Dalí and Andy Warhol. Their works were pathbreaking and incalculably influential, yet at the same time both artists were wildly popular in their lifetime and have only become more so in the decades since their deaths. Despite the striking differences in their art and personalities, the two men nonetheless had a lot in common--the most obvious being a strong sense of the power of publicity and an affinity for eccentricity and extravagance. They also shared a love of New York, which both men made the heart of their social lives; it was there, in the 1960s, that they met for the first time. This book offers the first-ever direct juxtaposition of Dalí and Warhol as personalities and artists. Torsten Otte builds his account through perceptive analyses of similarities in their lives and work, and he fleshes it out brilliantly through invertiews with some one hundred and twenty people who knew and worked with the men. A rich illustration program rounds out the book, making it an essential document of twentieth-century art and a wonderful addition to the libraries of fans of these two giants.
Factory Made: Warhol and the Sixties is a fascinating look at the avant-garde group that came together—from 1964 to 1968—as Andy Warhol’s Silver Factory, a cast that included Lou Reed, Nico, Edie Sedgwick, Gerard Malanga, Paul Morrissey, Joe Dallesandro, Billy Name, Candy Darling, Baby Jane Holzer, Brigid Berlin, Ultra Violet, and Viva. Steven Watson follows their diverse lives from childhood through their Factory years. He shows how this ever-changing mix of artists and poets, musicians and filmmakers, drag queens, society figures, and fashion models, all interacted at the Factory to create more than 500 films, the Velvet Underground, paintings and sculpture, and thousands of photographs. Between 1961 and 1964 Warhol produced his most iconic art: the Flower paintings, the Marilyns, the Campbell’s Soup Can paintings, and the Brillo Boxes. But it was his films—Sleep, Kiss, Empire, The Chelsea Girls, and Vinyl—that constituted his most prolific output in the mid-1960s, and with this book Watson points up the important and little-known interaction of the Factory with the New York avant-garde film world. Watson sets his story in the context of the revolutionary milieu of 1960s New York: the opening of Paul Young’s Paraphernalia, Truman Capote’s Black and White Ball, Max’s Kansas City, and the Beautiful People Party at the Factory, among many other events. Interspersed throughout are Watson’s trademark sociogram, more than 130 black-and-white photographs—some never before seen—and many sidebars of quotes and slang that help define the Warholian world. With Factory Made, Watson has focused on a moment that transformed the art and style of a generation.
Warhol offers his observations of love, beauty, fame, work, and art and discusses the continuous play and display of his many fetishes.
A new reading of Warhol presents his life and work in the context of contemporary concerns, emphasizing his continued relevance in the digital age. As an underground art star, Andy Warhol was the antidote to the prevalent Abstract Expressionist style of the 1950s. His work in advertising, fashion, film, and music videos featured popular everyday subjects, openly acknowledged wide-ranging influences, and had a fascination with popular culture. Looking at his background in an immigrant family, ideas of death and religion, sexuality, and ambition to push traditional artistic boundaries, the book reveals Warhol as an artist who succeeded and failed in equal measure and who embraced the establishment while cavorting with the underground. It explores Warhol's flirtation with the commercial world of celebrity alongside his socially engaged collaborations and advocacy of alternative lifestyles. Including many iconic as well as lesser-known works, this book highlights Warhol's conceptual ambition within the shifting creative and political landscape, permitting a broad view of how Warhol, and his work, mark a period of cultural transformation.
Essays by John W. Smith, Mario Kramer and Matt Wrbican. Introduction by Thomas Sokolowski and Udo Kittelmann.
When James Warhola was a little boy, his father had a junk business that turned their yard into a wonderful play zone that his mother didn't fully appreciate! But whenever James and his family drove to New York City to visit Uncle Andy, they got to see how "junk" could become something truly amazing in an artist's hands.
Published on the occasion of an exhibition held at the Art Gallery of New South Wales, Sydney, Australia, February 28-May 28, 2017 and at the Andy Warhol Museum, Pittsburgh, Pennsylvania, February-May 2018.
"Andy Warhol: Revelation, opening October 20, 2019, will be accompanied by this 96 page full-color exhibition catalogue. This publication includes a forward from Patrick Moore, the director of The Andy Warhol Museum, an essay by José Carlos Diaz, chief curator at The Warhol, titled "Into the Sunset" on the spiritual aspects of Warhol's "Sunset" commission in 1967, and an essay by Miranda Lash, curator of contemporary art at the Speed Art Museum, titled "Kitsch You Can Believe In: Warhol's Incessant Last Supper." The book will also feature descriptions of the thematic exhibition sections, along with high quality image plates of selected works and a comprehensive checklist of all the objects featured in the show. The Revelation catalogue will provide a snapshot of the exhibition, which will be the first of its kind to comprehensively examine the Pop artist's complex Catholic faith in relation to his artistic production. In what follows, you will find a summary of the scope and scale of the exhibition's content: Christian motifs frequently appear in both explicit and metaphorical forms throughout the body of Warhol's oeuvre. While his monumental crosses and depictions of Christ directly reference biblical stories, the exhibition will also explore his coded depictions of spirituality such as an unfinished film reel depicting the setting sun, originally commissioned by the de Menil family and funded by the Roman Catholic Church. Born in Pittsburgh to a devout Byzantine Catholic family, Warhol grew up attending multiple weekly services at his local church with his mother, Julia Warhola. He would stare for hours at the icon paintings of Christ and the saints that hung in the elaborate iconostasis, or icon screen, at the front of the nave. In the Warhola family's Carpatho-Rusyn neighborhood, life revolved around the church community, and the young artist was deeply affected by this environment. Using The Warhol's robust holdings of the artist's early works, the exhibition will trace the influence of his religious roots in Pittsburgh to his Pop career in New York City. Throughout his life as a celebrity artist, Warhol retained some of his Catholic practices when his peers were distancing themselves from their religious backgrounds. Yet, his relationship with Catholicism was far from simple. As a queer man, Warhol may have felt a sense of guilt and fear towards the Catholic Church, which kept him from fully immersing himself in the faith. Nevertheless, he used various media to explore this tension through his art. From iconic portraits of celebrities to appropriated Renaissance masterpieces, Warhol flirted with styles and symbolism from Eastern and Western Catholic art history, carefully reframing them within the context of Pop. Through this process, the artist elevated kitsch and mundane images from mass media, and transformed them into sacred high art. The exhibition will feature over 100 objects from the museum's permanent collection, including archival materials, drawings, paintings, prints and film. Rare source material and newly discovered items will provide an intimate look on Warhol's creative process. Through both obscure works such as the "sunset" film commission from 1967 and late masterpieces like the pink Last Supper (1986), the exhibition will present a fresh perspective on the artist. Andy Warhol: Revelation is curated by José Carlos Diaz, chief curator at The Andy Warhol Museum. After opening at The Warhol, Andy Warhol: Revelation will travel to the Speed Art Museum in Louisville, Kentucky and be on view from April 3 through August 21, 2020"--