New York, NY : Basic Books, a member of the Perseus Books Group, 2010.
Book — 1 online resource (xv, 175 pages) Digital: data file.
Part 1: Abjection And Epiphany
1: Boy on the hill
2: Leap of fate
3: Pop art: surf's up!
Part 2: Figment
4: Inside anarchy's rising tide
5: Mass production
6: That one painting
7: Portrait of the image as "important" artist
In the summer of 1962, Andy Warhol unveiled 32 Soup Cans in his first solo exhibition at the Ferus Gallery in Los Angeles, and sent the art world reeling. The responses ran from incredulity to outrage the poet Taylor Mead described the exhibition as a brilliant slap in the face to America." The exhibition put Warhol on the map, and transformed American culture forever. Almost single-handedly, Warhol collapsed the centuries-old distinction between high" and low" culture, and created a new and radically modern aesthetic. In Andy Warhol and the Can that Sold the World , the dazzlingly versatile critic Gary Indiana tells the story of the genesis and impact of this iconic work of art. With energy, wit, and tremendous perspicacity, Indiana recovers the exhilaration and controversy of the Pop Art Revolution and the brilliant, tormented, and profoundly narcissistic figure at its vanguard. (source: Nielsen Book Data)
"We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'"--Andy Warhol Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With "Our Kind of Movie" Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in forty years--and the first since the films were put back into circulation. In six essays, Crimp examines individual films, including Blow Job, Screen Test No. 2, and Warhol's cinematic masterpiece The Chelsea Girls (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise--films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinema-verite documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In "Our Kind of Movie" Crimp shows how Warhol's films allow us to see against the grain--to see differently and to see a different world, a world of difference. (source: Nielsen Book Data)