Relevant bibliographies by topics / Andy Warhol

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Andy Warhol'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 August 2024

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Journal articles on the topic "Andy Warhol"

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Rusinko, Elaine. "Rear Cover: “We Are All Warhol’s Children”: Andy and the Rusyns." Carl Beck Papers in Russian and East European Studies, no. 2204 (November 5, 2012): A. http://dx.doi.org/10.5195/cbp.2012.190.

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Andy Warhol is the world’s most famous American of Carpatho-Rusyn ancestry, and the icons of the Ruthenian Byzantine Catholic Church were his first exposure to art. His unexpected death in 1987 was followed by the fall of communism in Eastern Europe and the rise of the Rusyn movement for identity, which embraced the flamboyant pop artist, filmmaker, and jet setter as their iconic figurehead. From their own idiosyncratic perspective, the traditional, religious, provincial Rusyns have reconstructed the image of Andy Warhol, pointing up aspects of the artist that have gone largely unnoticed. In a reciprocal process, Andy has had a significant impact on the Rusyn movement and on the recognition of Rusyns worldwide. This study establishes Warhol’s Carpatho-Rusyn ethnicity and explores its possible influence on his persona and his art. It also analyzes the Rusyns’ reception of Warhol, with a focus on the history of the Warhol Museum of Modern Art in Slovakia. The author concludes that recognition of the Rusyn Andy contributes to a distinctive perspective on the American Warhol.
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Aronson, Arnold, Daniel $Dvo\v{r}\'{a}k$, $Ji\v{r}\'{i}$ Nekvasil, Jan Schmid, Jaroslav $Etl\'{i}k$, Zdenek Mahler, and Miroslav $Ko\v{r}\'{i}nek$. "Andy Warhol." Theatre Journal 43, no. 4 (December 1991): 517. http://dx.doi.org/10.2307/3207980.

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Bohlinger, Vincent. "Commercialism and the quotidian." Short Film Studies 10, no. 2 (April 1, 2020): 141–44. http://dx.doi.org/10.1386/sfs_00004_1.

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Abstract This article examines Andy Warhol Eating a Hamburger in relation to the aesthetics of Andy Warhol's own filmmaking and contemporaneous American television commercials. I point to how the film's design ‐ including the single long take, ambient sound, and Warhol's performance ‐ draw upon and undermine American commercial culture.
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Joan Kelly, Elizabeth. "Andy Warhol: documentaries and biographical films." Collection Building 33, no. 3 (July 1, 2014): 81–85. http://dx.doi.org/10.1108/cb-04-2014-0021.

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Purpose – This paper aims to compile an annotated list of films about or pertaining to the artist Andy Warhol. Design/methodology/approach – Films were located using library catalogs, databases and online searches. Selections were evaluated through inspection and both academic and popular film reviews. Inclusion was predicated not only on subject matter and merit but also on availability either on home media or online. Findings – Warhol’s many artistic creations can be introduced and evaluated using a combination of visual and auditory representation. Movies and television (TV) depicting Warhol through dramatization, primary source film, biographical documentary and his art in the context of other artists and movements are readily available through a variety of media. Originality/value – The selected titles provide a comprehensive introduction to the scholarly analysis of Warhol’s art and work through a format that allows the most extensive representation of Warhol’s artistic output.
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McKelvey, Patrick. "Ron Whyte's “Disemployment”: Prosthetic Performance and Theatrical Labor." Theatre Survey 57, no. 3 (August 10, 2016): 314–35. http://dx.doi.org/10.1017/s0040557416000302.

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Andy Warhol was being an asshole. At least Ron Whyte thought so when the two artists crossed paths at a Soho gallery opening in the early 1970s. It's unclear what offense Warhol committed, another incident whose details have been lost to the historical record. But if Warhol had not behaved badly that fateful evening, Whyte—a queer and disabled playwright—might never have removed the “cosmetic glove” covering his “withered” left arm and hurled it at the visual artist, enabling the glove to make its own “contribution to modern art.” The famed artist, Whyte claimed, would go on to copy this assault by prosthesis in Andy Warhol's Frankenstein (1973).
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Peraino, Judith A. "I’ll Be Your Mixtape." Journal of Musicology 36, no. 4 (2019): 401–36. http://dx.doi.org/10.1525/jm.2019.36.4.401.

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This article tells the story of a cassette tape housed in the Andy Warhol Museum Archives, a set of never-released (and rarely heard) songs by Lou Reed, and the tape’s intended audience: Andy Warhol. Warhol and Reed are giant figures in the history of twentieth-century Pop Art and popular music, and their collaboration from 1966 to 1967 resulted in the acclaimed album The Velvet Underground and Nico. Based on extensive archival research and interviews, I discuss how this tape reflects Warhol’s and Reed’s failed attempt to collaborate on a stage version of Reed’s album Berlin (1973); Reed’s reaction to Warhol’s book, THE Philosophy of Andy Warhol (From A to B and Back Again) (1975); and how elements of Warhol’s own audio aesthetics and taping practices find their way into Reed’s recordings around 1975. I also place this cassette in the context of the emerging common practice of creating and gifting homemade mixtapes of curated music, and demonstrate how such mixtapes function as a type of “closet media” (to quote theater scholar Nick Salvato) marked by private audience, disappearance, and inaccessibility. Drawing on William S. Burroughs’s conceptual spliced-tape experiments and their challenge to unified subjectivity, I explore the epistemological and ontological ramifications of sonically entangling the self with another person, and the queer intimacies of doing so on cassette tape.
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Min, Kyoungjae. "Quo vadis, What will be the Future of Appropriation Art?: Focusing on “The Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith”." Korea Copyright Commission 142 (June 30, 2023): 117–49. http://dx.doi.org/10.30582/kdps.2023.36.2.117.

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The Supreme Court’s ruling on “Andy Warhol v. Goldsmith” (hereinafter referred to as the “Andy Warhol case”) was made on May 18, 2023. The Supreme Court agreed with the ruling of the Second Circuit Court of Appeals and ruled that Andy Warhol’s “Orange Prince” and “Prince Series” were copyright infringement, not fair use, because they could not be regarded as transformative use. This case will be the most important case in the art world as a ruling on fair use in the past 20 years or so. And the outcome of this ruling could have a tremendous impact on the future of appropriation art, so-called pop art. In the Andy Warhol case, the rulings of the first trial and the appeal trial were sharply divided. The first trial judged that Andy Warhol’s use could not be regarded as fair use for each factor of judgment, but as a result, it was fair use. However, the appeals court ruled in favor of Goldsmith, judging that the first trial court made a mistake in reviewing the fair use factors and that it was not fair use in all of the fair use judgment factors. Therefore, this paper analyzed the rulings in each court. In addition, the concept of appropriation art in Korea and copyright infringement cases related to the current parody were reviewed, and what judgments would be made if the Andy Warhol ruling was applied to Korea in the future. Finally, in Korea, it was concluded that it is desirable to actively interpret fair use doctrine as much as possible so that freedom of creation can be guaranteed if fair use is a problem in copyright infringement cases.
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Sidorova, Elena. "MoMA Goes beyond the Iron Curtain: The Eastern European Tour of The Prints of Andy Warhol." Arts 13, no. 2 (February 21, 2024): 42. http://dx.doi.org/10.3390/arts13020042.

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In 1990, three years after Andy Warhol’s death and one year after the fall of the Berlin Wall, the Museum of Modern Art (MoMA) organized the first one-man show of this pop artist in Eastern Europe. The Prints of Andy Warhol, although never shown at the MoMA in New York, traveled to the Fondation Cartier pour l’Art Contemporain in Jouy-en-Josas, France, the Národní Galerie in Prague, Czechoslovakia, the Staatliche Kunstsammlung in Dresden, the GDR, the Mücsarnok in Budapest, Hungary, and the Muzeum Narodowe in Warsaw, Poland. The current paper analyzes the cultural–political context of The Prints of Andy Warhol. It first discusses the place of both American pop art and Eastern Europe in MoMA’s International Program (IP) and then explores the organizational challenges, art historical contents, and public reception of the exhibition. The paper concludes by examining the broader impact of The Prints of Andy Warhol on both the growing awareness of American pop art in Eastern Europe and MoMA’s cultural diplomacy in this region after the fall of the Iron Curtain.
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Mazzone, Marian. "Andy Warhol: Computational Thinking, Computational Process." Leonardo 53, no. 2 (April 2020): 179–82. http://dx.doi.org/10.1162/leon_a_01574.

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This article positions Andy Warhol as a model for computational thinking and art-making, linking him to concepts in new media art. Warhol's work is analyzed for its variability in form generation and output, both in painting and on the early Amiga computer. His work becomes a simulation of the abstraction of process and methods of production familiar to us in electronic computational art of today. Rather than seen as banal mass production on the modern assembly line, Warhol's work can be seen as inspiration for new media arts practitioners.
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GELDZAHLER, HENRY, ROBERT ROSENBLUM, and THAMES HUDSON. "ANDY WARHOL PORTRAITS." Art Book 1, no. 2 (March 1994): 37. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00052.x.

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Dissertations / Theses on the topic "Andy Warhol"

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Mesquita, Tiago dos Santos. "Pintura e fotografia (Andy Warhol e Gerhard Richter)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-16042018-084033/.

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Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960.
From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.
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Zahner, Nina Tessa. "Die neuen Regeln der Kunst : Andy Warhol und der Umbau des Kunstbetriebs im 20. Jahrhundert /." Frankfurt am Main [u.a.] : Campus Verl, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014797152&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Neves, Calac Nogueira Salgado. "Máquina, corpo e erotismo nos filmes de Andy Warhol." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-31102017-160336/.

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O trabalho tem como objeto os filmes realizados por Andy Warhol entre 1963 e 1969. No primeiro capítulo, \"A máquina\", discutimos algumas questões mais gerais e teóricas sobre a passagem de Warhol pelo cinema, em especial a constituição de um estilo impessoal e maquínico, que o artista parece trazer diretamente de sua prática anterior na pintura. No segundo capítulo, \"Corpo, superfície e erotismo\", observaremos como essa máquina atua na prática, submetendo os corpos filmados a um rígido dispositivo, trazendo à tona reflexões sobre temas como a performance e o erotismo nesses filmes.
The present work is focused on the films directed by Andy Warhol between 1963 and 1969. On the Chapter 1, \"The machine\", we\'ll deal with more wide and theoretical questions concerning Warhol\'s itinerary through cinema, in particular the setting up of an impersonal and machinic style brought to cinema by the artist from his previous practice on painting. On the Chapter 2, \"Body, surface and eroticism\", we\'ll see how this machine works in practical terms by subduing the bodies to its rigid apparatus, bringing out issues such as the performance and the eroticism in those films.
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TORRES, FERNANDA LOPES. "YVES KLEIN, ANDY WARHOL AND JOSEPH BEUYS: PLACES OF MELANCHOLIA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10053@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Lugar da contingência radical da arte, nos anos 1960 e 1970, tal como proposta pelas obras do francês Yves Klein, do norte- americano Andy Warhol e do alemão Joseph Beuys, o lugar-melancolia dimensiona a crise contemporânea da substância poética a partir da iminente saturação pública da arte. Por que agir quando toda ação é absorvida homogênea e acriticamente? Como se portar diante de uma realidade aparentemente refratária a qualquer valor? Destituídas da realidade da obra como espaço íntegro da possibilidade de ação e conhecimento, tais subjetividades artísticas fragmentárias apontam, segundo nossa hipótese, novas coordenadas para a capacidade produtiva do homem. Klein, Warhol e Beuys elaboram personas artísticas públicas a fim de circular com desenvoltura no iminente contexto cultural aberto, crescentemente dominado por formas de cultura de massa. Esses artistas se identificam com certas categorias artísticas, mas propõem a revitalização da arte a partir do ponto de indiferença entre potência e não-potência poética - condição precípua do dar forma ao mundo e, conseqüentemente, a nós mesmos.
A place of radical contingency in art in the 1960s and 1970s, as proposed by the works of Frenchman Yves Klein, American Andy Warhol and German Joseph Beuys, the place of melancholia gives a dimension to the contemporary crisis concerning the poetic substance in view of the imminent public saturation of art. What is the point of taking action when all action is absorbed both homogeneously and acritically? How should one behave when faced with a reality which would appear resistant to any value? Bereft of the reality of the artwork as an unmarred space for the possibility of action and knowledge, we propose that these fragmentary artistic subjectivities set a new route for man´s productive capacity. Klein, Warhol and Beuys developed public art personae to circulate freely in the impending context of open culture that was increasingly dominated by forms of mass culture. Though they are identified with certain artistic categories, these artists set out to revitalize art from the point of indistinction between poetic potency and non-potency - an essential precondition for shaping the world, and therefore, for shaping ourselves.
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Fernandes, Cecília Samel Côrtes. "O retrato de Andy Warhol: o artista segundo Arthur Danto." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/7111.

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A presente dissertação consiste na análise e revisão bibliográfica da obra de Arthur Danto, filósofo norte-americano. O intuito dessa pesquisa é buscar nas obras de Danto seu “modelo” de artista e analisar a forma como ele utiliza o exemplo de Andy Warhol, artista norteamericano, como principal figura desse modelo. Danto não estrutura esse modelo conceitualmente, no entanto é possível extraí-lo a partir dos exemplos em que são utilizados artistas. A pesquisa foi desenvolvida em três momentos, a saber: as fundamentações e influências teóricas de Danto que sustentam seus conceitos principais, que são o de arte e do de “fim da arte”; o uso de exemplos de artistas na obra de Danto e a demonstração de seu “modelo” de artista; a análise de Andy Warhol a partir de Danto e outros teóricos. Serão estabelecidos, ao longo da dissertação, diálogos de Danto com Georg Hegel, Clement Greenberg, Thierry de Duve, Hal Foster, Lucy Lippard, Hector Obalk.
The present dissertation consists on the analysis and bibliographical revision of North American philosopher Arthur Danto’s work. The aim of this research is to seek in Danto’s works his “idea” of the artist and to analyse the way North American artist Andy Warhol is used as an example and as the main figure in this idea. Danto does not structure this idea conceptually, however is is possible to extract it by means of his examples in which artists are in. The research was divided into three moments: Danto’s theoretical fundaments and influences that sustain his main concepts, which are the concept of art and of the “end of art”; usage of examples of artists in Danto’s work and demonstration of his “ideia” of artist; Andy Warhol’s analysis according to Danto and other authors. In the course of the dissertation, there will be stablished dialogues between Danto and Georg Hegel, Clement Greenberg, Thierry de Duve, Hal Foster, Lucy Lippard, Hector Obalk.
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Silva, Nayse Ribeiro Ferreira. "Fabricações em Andy Warhol: vida, arte e linhas de fuga." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/6587.

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Esta pesquisa busca apresentar um retrato de Andy Warhol não por uma luz decididamente informativa, linear, biográfica; mas por tessituras com traços biografemáticos, pelo compartilhamento de pequenos pontos luminosos que nos captam a atenção em seu cotidiano: seus gestos, seus pensamentos, a fabricação de sua (filosofia de) vida. A experiência artística espaço-temporal warholiana materializa-se por uma lógica de transfiguração do banal, que é aberta e encontra-se em constante progressão: desenvolve-se, transforma-se, adapta-se, renasce constantemente. Acreditamos que, em Warhol, sendo convidados à imersão em obras que nos convocam o corpo, e não apenas a mente, percebemos e inventamos formas outras para atravessarmos o tempo e para estabelecermos novas relações – linhas de fuga – com e em nossos entornos.
This research aims to present a picture of Andy Warhol not by a decidedly informative, linear, biographic path; but sewing a biographematic text by sharing small bright dots that capture our attention in his daily life: his gestures, his thoughts, the fabrication of his life (philosophy). The artistic experience of the warholian spacetime rises through a logic of the transfiguration of the commonplace, which is open and in constant progression: develops, transforms, adapts itself and constantly reborn. We believe that in Warhol, once we are invited to immerse in artworks that call up our bodies, not only our minds, we realize and create other ways to pass the time and to establish new relations - lines of flight, as in Deleuze's concept - with our environments.
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Silva, Lígia Almeida da. "15 minutos de fama: Andy Warhol e a hegemonia americana." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=689.

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Esta proposta procurou estabelecer o desenvolvimento e as obras do período pop, principalmente do artista Andy Warhol, como registros da história recente americana. Mostra também, uma correlação entre estas obras com a ideologia do consumo estabelecida nos anos seguintes a II Guerra Mundial, e que possibilitou a estabilização da hegemonia política, cultural e econômica dos Estados Unidos. Associou-se ainda a participação dos meios de comunicação de massa e da publicidade nesse processo, como divulgadores e propagadores da ideologia do consumo e, concomitantemente, fontes temáticas das obras de Warhol e outros artistas pop. Apresenta também a relação entre as mudanças geradas no pós II Guerra com elementos da atualidade, que sugerem um possível declínio desta hegemonia e, que se denominou contemporaneidade pop. Para isso realizou-se análises de algumas das obras mais características desse artista, associado a estudos bibliográficos específicos e gerais relacionados ao tema.
This essay proposes to demonstrate the development and the works of the pop art period, principally of Andy Warhol, as registered in recent American History. This essay also shows a correlation between those works and the ideology of consumerism established in the years following the Second World War, which made political, cultural and economical hegemony possible in the USA. Means of mass communication and publicity will be associated with this process as disseminators and propagators of consumerism and at the same time, thematic works of Warhol and other pop artists. The relationship between post war changes and present day elements will also be presented, which suggests a possible decline in this hegemony, which has been named contemporary pop.To this end, analyses of some of the most characteristic works of this artist will be realised, associated with specific and general bibliographic studies related to the subject.
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Gustafsson, Anna. ""When POP sucks the tits of ART" : Warhol och Gaga - mötet mellan konsten och populärkulturen." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-21529.

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I uppsatsen undersöks utbytet mellan populärkultur och konst genom en jämförande analys av Andy Warhols Marilyn Diptych från 1962 och en stillbild från Lady Gagas musikvideo Telephone från 2010, i vilken hon refererar till Warhol. Lady Gaga har flera gånger refererat till konstvärlden genom kostym och sceniskt uttryck vilket hos mig väckte associationer kring hur Andy Warhol och popkonstnärerna influerades av populärkulturen. Warhols användning av populärkulturens bilder är idag välkänd som ett sätt att bryta mot konstvärldens normer. Detta utbyte undersöks och diskuteras i relation till hur Lawrence Alloway, John A. Walker och Richard Hamilton definierar populärkultur, massmedia och popkonst. De visar på en upplösning mellan populärkultur och konst som olika kategorier, något som Theodor Adorno och Clement Greenberg vänder sig emot. Popkonsten skulle dock kunna uppfattas som populärkultur efter de definitioner jag använt då Warhol idag både brukas filitigt av populärkultur och massmedia, samtidigt som konstvärlden också använder honom för att tilltala en masspublik. Jag vill mena att Andy Warhols konstproduktion och skapandet av Lady Gagas image grundas i olika typer av konstnärligt arbete, men att bådas verksamhet genom massproduktion sprids som populärkultur. Lady Gaga verkar framgångsrikt genom masskommunikation och hon är idag välkänd inom populärkulturella sammanhang. Genom vad som kan tyckas vara absurd styling utmanar hon den populärkulturella normen kring skönhet, en norm som skapades med bland andra Marilyn Monroe. Reproduktioner av Andy Warhols bilder med Marilyn Monroe som motiv har idag fått enorm spridning och stor popularitet. Populariteten för Warhols bild av Marilyn och Lady Gagas refererande till den kan förstås genom Jean Baudrillards teorier om hyperrealism och simulacra. Lady Gaga stylad som Warhols Marilyn blir ett tydligt exempel på simulacra då hon framstår som en kopia utan original. Detta eftersom Warhols Marilyn är ett eget orignal, frikopplat från det fotografi av Marilyn Monroe som han från början utgick från. Warhol använder sig av ett välkänt ansikte från populärkulturen, ett ansikte som sedan influerar Lady Gaga. Influensen kommer dock inte från Marilyn Monroes ansikte, utan Warhols version av Marilyn. Lady Gaga använder sig heller inte av själva bilden, utan refererar endast till den genom sin styling. Någon anslutning till verkligheten finns inte. Referenserna mellan konstvärlden och populärkulturen sprids som ringar på vattnet, och den mittersta utgångspunkten blir allt svagare.
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Fox, John. "Profane illuminations : creolisation and disenchantment in the work of Andy Warhol." Thesis, University of Essex, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542336.

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Léon, Benjamin. "Les plasticités du cadre : Andy Warhol et le cinéma expérimental américain." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA084.

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En tant que préalable à l’appréciation d’une forme, le cadre demeure une question centrale en esthétique de l’image. Où débute une forme, où s’achève-t-elle ? Si le cadre délimite l’image en y circonscrivant un espace au regard, il peut jouer de ses plasticités et renverser ce présupposé en son contraire : la tendance all-over de l’expressionnisme abstrait montre bien des exemples où le cadre se défait dans une ouverture qui rend l’espace à son indétermination, fut-elle fixée à l’avant de notre regard. Le point de départ de cette recherche vient du concept établi par Meyer Schapiro du cadre comme « véhicule matériel » où il y fait distinction entre l’image-objet (absence de limites de surface et visibilité du support) et l’image-signe (limite de surface liée à la représentation). Faisant état de cette différence fondamentale, nous proposons un travail interdisciplinaire – le cinéma expérimental et sa relation avec les autres arts – où l’œuvre d’Andy Warhol servira de fil conducteur. A partir d’une première occurrence appelée cadre-surface, il semble important de revenir sur certains malentendus concernant le Pop art tant sur le plan historique, philosophique, qu’esthétique en proposant le concept de « ready-made illusionniste ». Dans un deuxième temps, le cadre-perception sera l’occasion d’affiner notre travail en revenant sur la position du spectateur face aux images à travers le concept de « Pensée visuelle » développé par Rudolf Arnheim. On verra de quelle façon le cinéma expérimental à tendance structurelle et matérialiste (Michael Snow, Paul Sharits, Peter Gidal) se nourrit de la relation figure-fond établit par la psychologie de la forme (gestalt). Par là, comment le film ouvre aux possibles phénoménologiques d’un autre rapport à l’image ? Enfin, la dernière partie situera le cadre à sa propre destitution physique dans un chemin qui va du cadre-écran au cadre-performance. Devant cette typologie quelque peu taxinomique, nous souhaitons moins y penser un cloisonnement entre les différents types de cadre qu’y trouver force circulaire afin de répondre à l’hypothèse suivante : en quoi la matérialité des premiers films de Warhol nous engage progressivement dans une réflexion ambiguë parce qu’ambivalente autour d’une image spectrale et dématérialisée ?
As a prerequisite to the assessment of a form, the framework remains a central issue in the aesthetics of the image. Where does a form begin, where does it end? If the frame defines the image circumscribing there a space for the eye to see, it can play of its plasticity and overturn this assumption into its opposite: the all-over pattern of abstract expressionism shows examples where the frame opens up to an undetermined space, whether it might have been fixed or not before we set eyes on it. The starting point for this research comes from the concept established by Meyer Schapiro of the frame as a "material vehicle" where he makes a distinction between the image-object (no surface boundaries and visibility of support) and the image-sign (surface boundary associated with the representation). Stating this fundamental difference, we propose an interdisciplinary work - experimental cinema and its relationship to the other arts - where Andy Warhol’s work will serve as a guideline. From a first occurrence called frame-surface, it seems important to revisit some misunderstandings about Pop art, historically, philosophically, and aesthetically, by proposing the concept of "ready-made illusionist". Secondly, the frame-perception will be an opportunity to refine our work by returning to the position of the viewer facing images through the concept of "visual thinking" developed by Rudolf Arnheim. We'll see how experimental film with structural and materialistic tendency (Michael Snow, Paul Sharits, Peter Gidal) feeds on the figre-ground organization established by the psychology of form (Gestalt). Then, how does the film open to the phenomenological possibilities of another connection to the image? The last part will place the frame over its own physical removal on a path that goes from frame-screen to frame-performance. Given this typology somewhat taxonomic, we wish to think of it less as a division between different types of frame than to find circular strength in it, in order to meet the following hypothesis: how does the materiality of early Warhol films progressively engage us in an ambiguous, since ambivalent, reflection around a spectral and dematerialized image?
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Books on the topic "Andy Warhol"

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Warhol, Andy. Andy Warhol by Andy Warhol. Milano, Italy: Skira, 2008.

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Warhol, Andy. Andy Warhol by Andy Warhol. Milano, Italy: Skira, 2008.

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Andy, Warhol. Andy Warhol by Andy Warhol. Milano, Italy: Skira, 2008.

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Venezia, Mike. Andy Warhol. New York: Children's Press, 1996.

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Lanchner, Carolyn. Andy Warhol. New York: Museum of Modern Art, 2008.

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Lanchner, Carolyn. Andy Warhol. New York: Museum of Modern Art, 2008.

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Tretiack, Philippe. Andy Warhol. New York, NY: Universe, 1997.

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Evans, Kim. Andy Warhol. [United States?]: RM Associates, 2000.

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Gagosian Gallery (N.Y.). Andy Warhol $. New York: Gagosian Gallery, 1997.

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1928-, Warhol Andy, ed. Andy Warhol. Munich: Prestel, 2004.

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Book chapters on the topic "Andy Warhol"

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Kelleter, Frank. "Warhol, Andy." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18853-1.

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Knecht, Johannes Vincent. "Andy Warhol." In Joseph Beuys-Handbuch, 220–22. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05792-1_37.

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Kelleter, Frank. "Warhol, Andy: Das Prosawerk." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18854-1.

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Bush, Stephen S. "The Lived Religion of Andy Warhol." In Religion and Contemporary Art, 245–54. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003326809-20.

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Meißner, Thomas. "Andy Warhol: Ein Fremder auf dem Planeten Erde." In Der prominente Patient, 201–3. Berlin, Heidelberg: Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-662-57731-8_50.

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Gregory, Elizabeth. "Is Andy Warhol Marianne Moore? Celebrity, Celibacy and Subversion." In Twenty-First Century Marianne Moore, 237–51. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65109-5_14.

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"Andy Warhol." In Greatest Hits, 85–89. Metales pesados, 2012. http://dx.doi.org/10.2307/j.ctvckq6n1.21.

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"SIX. Andy Warhol Enterprises." In Andy Warhol, 120–34. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300154986-009.

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"Andy Warhol for the Widow of Andy Warhol." In Iconoscope, 72. University of Pittsburgh Press, 2015. http://dx.doi.org/10.2307/jj.11498451.45.

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"Mr. Andy Warhol." In A History of the Western Art Market, 333–35. University of California Press, 2017. http://dx.doi.org/10.1525/9780520340770-102.

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Conference papers on the topic "Andy Warhol"

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Iakovleva, Elena Ludvigovna. "Andy Warhol In The Mirror Of Literary And Documentary Heritage." In International Scientific Congress «Knowledge, Man and Civilization». European Publisher, 2022. http://dx.doi.org/10.15405/epsbs.2022.12.66.

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Ramón Fernández, Francisca, Cristina Lull Noguera, and Desamparados Soriano Soto. "Alimentos del futuro: la ciencia ficción culinaria a través del arte." In 3er Congreso Internacional sobre Patrimonio Alimentario y Museos. Valencia: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/egem2021.2021.13927.

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Se presenta la propuesta relativa al estudio de distintas obras de arte en las que se plasma la denominada “comida futurista”. Tras la publicación en 1930 del Manifiesto de la Cocina Futurista, en la que se inicia una revolución gastronómica con la aparición de platos como el “Pollo Fiat”, el “Carneplástico”, o experiencias sensoriales como el “Aeroabanquete”, son numerosas las ocasiones en las que la vanguardia en la gastronomía se ha plasmado en una obra artística, principalmente en la pintura. Partiendo de esta consideración analizaremos desde distintos puntos de vista obras tan conocidas como las latas de sopa Campbell, de Andy Warhol; Nedick's, 1970, de Richard Estes, Hamburguesa de piso, de Claes Oldenburg; Pasteles, de Wayne Thibaud; Sándwich de jamón y huevo, Tjalf Sparnaay, o Figura con carne, de Francis Bacon. Del análisis indicado se han obtenido unas conclusiones válidas respecto a la utilización de los alimentos en la obra pictórica, y su connotación social y perspectiva sensitiva, además de su influencia en la época en la que se sitúa la misma.
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Corrêa, Patricia Leal Azevedo. "Sobre o conceito de blank form: uma leitura minimalista de Duchamp." In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3806.

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Em 1961, convidado a participar de uma publicação coletiva em homenagem a John Cage, o artista Robert Morris escreveu um texto intitulado Blank Form. Breve, enigmático e sarcástico, esse texto revela, porém, a referência a um terceiro artista, Marcel Duchamp, central para a conformação da cena vanguardista nova-iorquina em que se deram as trocas entre Morris e Cage. Neste artigo pretendemos refletir sobre o conceito de blank form introduzido por Morris, buscando entendê-lo do ponto de vista de uma recepção específica da obra de Duchamp, através do qual Morris deflagrava o que se constituiria a seguir numa estética minimalista. Propomo-nos a pensar blank form como um conceito operativo de uma certa leitura minimalista de Duchamp, ligada à construção histórica deste artista pela geração dos anos 1960 nos Estados Unidos. Ao apresentar e comentar tal conceito – que poderíamos traduzir livremente por forma vazia, branca, neutra ou inexpressiva –, Morris sugere questões que nos parecem cruciais para a identificação do que se convencionou chamar de Duchamp effect na arte contemporânea, especialmente o particular viés cético, até solipsista, enfatizado sob as óticas minimal e pop. Assim, podemos indicar no texto de Morris um desvio da leitura cageana de Duchamp, vigente à época sobretudo através dos happenings e event scores de artistas como Allan Kaprow e George Maciunas, e a produção de uma outra leitura, um novo registro para duas importantes premissas duchampianas: a indiferença do artista e a arte-como-recepção. Esse novo registro da blank form nos ajudaria a compreender a emergência de obras tão distintas quanto as de Robert Morris e Andy Warhol.
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Mancebo, Juan. "[Re]readings of the perfect. Mysticism of James Lee Byars." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-21.

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The complex contextualization of the work of James Lee Byars (1932–1997) in contemporary artistic practices was determined by its timelessness in both form and concept. Considered by Kevin Power as one of the key artists of the second half of the twentieth century alongside figures such as Joseph Beuys and Andy Warhol, his legacy seems to have declined probably because of the discomfort caused by the approach to his work, since any previous consideration and attempt at cataloging, escapes through the loopholes on which they are based. Byars’ performances and pieces were mostly structured around the cryptic concept of perfection. The artist’s mission, in this case, takes on the roles of a shaman and a magician who questions the illegibility of a world whose materialism seems to have expelled any consideration of the sacred, thus articulating a work that, far from providing answers, raises questions about the ultimate meaning of life. Gold, geometry, time (and its transience), space (re-signified by his cultural heritage), language and the body expressed a proposal in which installations and actions are the instruments he uses primarily to question us about the big questions. Byars in this sense has been considered a mystic, since he places us at the doors of a new perception to make us uncomfortable and provoke us, to transmit us the questions about being in the world. This article is modulated on the poetics of the work, thought and actions of James Lee Byars, one of the few contemporary artists who can be defined as mystic in the broad sense of the word and for whom the sacred, contrary to the current of unidirectional thought, is inherent to the contemporary subject.
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Gleeson, Andrew Ryan. "The Mies Mystique: Irreducible Opposites in the Work of Mies Van Der Rohe." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.79.

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A chronological historiography of Mies van der Rohe’s architecture uncovers a constant reassessment of his work by critics in changing eras. By the 1990’s he was reassessed as a more complex figure than previously understood. Publications, such as, The Presence of Mies, and, Mies in Berlin/America revealed new ways to conceptualize his work. Today he’s a well-worn symbol of the elite European architect in a necessary, refresh¬ing, and fruitful landscape of broader inclusivity. However, in the canon of Western Modern Architecture Mies is the most mysterious; an architect who conceals multitudes with his silence. Mies’s works are like tofu, his buildings act as tabula rasa in which new meanings can be absorbed within the constant, restless, and shifting tastes of architectural scholarship. Mies cultivated this mystery by saying one thing and doing another. Like Andy Warhol he reduced explanations of his design process to the point of rationalist banality. But a closer understanding of Mies’s philosophy betrays a much deeper surface. A new English translation of highlighted passages in Mies’s personal copy of Romano Guardini’s “Der Gegensatz” (The Opposite), gives a clue into how mysteries within Mies’s works are cultivated. For Mies, these passages revised the understanding of dualities as laid out by classic German philosophy. Hegel supported the synthesis of contradiction through a reposed resolution, but this passage declares an irreducible simultaneity present within paradox. Architecture is a relevant discipline for exploring dualities because it is a discipline steeped in both the rational and the spiritual, serving immediate and abstract needs. Reframing a transitional period in Mies’s career—the projects for the Ulrich Lange and Hubbe House—within the context of his meditations on Guardini reveals a new complexity embedded in the work. His quest to understand the nature of dualities is the underlying flavor of his work after the 1920s.
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Bowen, Jonathan P., and B. Jack Copeland. "Turing, Warhol, and Monroe: Development of The Turing Guide cover." In Proceedings of EVA London 2024. BCS Learning & Development, 2024. http://dx.doi.org/10.14236/ewic/eva2024.3.

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Danly, B. G. "Gyroklystron-Powered WARLOC Radar." In HIGH ENERGY DENSITY AND HIGH POWER RF: 6th Workshop on High Energy Density and High Power RF. AIP, 2003. http://dx.doi.org/10.1063/1.1635137.

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Saad, Amna, Ahmad Roshidi Amran, and M. Naim Abu Hasan. "WarBox: Portable wardriving over Raspberry PI." In 2016 International Conference on Information and Communication Technology (ICICTM). IEEE, 2016. http://dx.doi.org/10.1109/icictm.2016.7890806.

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Fliflet, A. W. "Cloud Imaging Using the NRL WARLOC Radar." In HIGH ENERGY DENSITY AND HIGH POWER RF: 6th Workshop on High Energy Density and High Power RF. AIP, 2003. http://dx.doi.org/10.1063/1.1635138.

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Fu, Daniel D., and Ryan Houlette. "Warcon: a wargame construction toolset for military simulations." In Defense and Security, edited by Dawn A. Trevisani and Alex F. Sisti. SPIE, 2004. http://dx.doi.org/10.1117/12.548270.

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Reports on the topic "Andy Warhol"

1

Sweeney, Liam. Pipelines and Inroads: The Andy Warhol Museum. Ithaka S+R, January 2018. http://dx.doi.org/10.18665/sr.306188.

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Galenson, David. Artists and the Market: From Leonardo and Titian to Andy Warhol and Damien Hirst. Cambridge, MA: National Bureau of Economic Research, September 2007. http://dx.doi.org/10.3386/w13377.

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Hart, Shane W. D. Warthog: Progress on Coupling BISON and PROTEUS. Office of Scientific and Technical Information (OSTI), September 2016. http://dx.doi.org/10.2172/1335353.

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McCaskey, Alexander J., Stuart Slattery, and Jay Jay Billings. Warthog: A MOOSE-Based Application for the Direct Code Coupling of BISON and PROTEUS. Office of Scientific and Technical Information (OSTI), September 2015. http://dx.doi.org/10.2172/1255660.

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Art of the Print. Inter-American Development Bank, March 2005. http://dx.doi.org/10.18235/0005899.

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The Organization of American States (OAS) joined with other Washington D.C. institutions to feature programs dedicated to printmaking during the month of March 2005. The exhibit Art of the Print was organized to welcome participants in the Southern Graphics Council's International Conference being held in Washington D.C. The show exhibited works of 60 artists representing Argentina, Brazil, Bolivia, Colombia, Chile, Costa Rica, Cuba, El Salvador, Guatemala, Mexico, Peru, Panama, Puerto Rico, Trinidad and Tobago, Uruguay, Venezuela, and the United States. The IDB Cultural Center co-sponsored the exhibit, provided the catalogue, and loaned works by Francisco Amighetti, Diego Rivera, and Andy Warhol.
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