Word: warholism
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...also, from the outset, much possessed by death. Warhol's multiple- image disasters of the early '60s based on news photos of fatal car wrecks are suffused with dread and compassion beneath their icily casual surface. Such works looked amazingly raw, frank and direct when they were made. More than 20 years later, they still...
Then in 1968, one of Warhol's hangers-on -- a crazed actress named Valeria Solanis -- shot and wounded him with a .32. Neither his health nor his talent would fully recover. There had been one Warhol before the shooting; another would emerge after it. The former had been the onlooker, both fascinated and wounded by media culture and its power to dictate desire and nostalgia. You could not look at early Warhol (Marilyn-as-virgin, in full drag-queeny apotheosis on a gold ground; Golgotha, envisioned in repeated views of an $ execution chamber with its electric chair and its sign...
...tabloids gave Andy Warhol a Viking funeral last week, as well they might. At 58 he suffered cardiac arrest following gall-bladder surgery. To the end, he remained surrounded by an aura of popular fame such as no other American artist had ever known in his or her lifetime -- a flash-card recognizability that almost rivaled Picasso's. Millions of Americans who could not have picked Jasper Johns or Henri Matisse from a police lineup could identify that pale, squarish, loose-lipped face with its acne, blinking gaze and silvery...
...Warhol's early works were the ones that mattered. He began as a commercial artist, became for a time (between about 1962 and 1968) a fine artist with something akin to genius and then lapsed back into a barely disguised form of commercial art. His sense of timing, his grip on how to give an image graphic clout, and his fixation on style as an end in itself all came out of his years of advertising and display work during the '50s for I. Miller, Lord & Taylor, Glamour and Vogue. By the end of this period he was rich, professionally...
...immediate, a slice of unexplained life half-registered over and over, full of slippages and visual stutters. Marilyn Monroe repeated 50 times, 200 Campbell's soup cans, a canvas filled edge to edge with effigies of Liz, Jackie, dollar bills or Elvis. Absurd though these pictures looked at first, Warhol's fixation on repetition and glut emerged as the most powerful statement ever made by an American artist on the subject of a consumer economy. The cranking out of designed objects of desire was so faithfully mirrored in Warhol's images and so approvingly mimicked in his sense of culture...