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Journal articles on the topic 'Andy Warhol'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 August 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Mulroney, Lucy. "Editing Andy Warhol." Grey Room 46 (January 2012): 46–71. http://dx.doi.org/10.1162/grey_a_00060.

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12

Dufresne, Todd. "Buying Andy Warhol." European Legacy 13, no. 2 (April 2008): 223–25. http://dx.doi.org/10.1080/10848770801913198.

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13

Roden, Frederick. "“Andy Warhol: Revelation”." Religion and the Arts 27, no. 3 (June 12, 2023): 397–402. http://dx.doi.org/10.1163/15685292-02703005.

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14

Mattick, Paul. "The Andy Warhol of Philosophy and the Philosophy of Andy Warhol." Critical Inquiry 24, no. 4 (July 1998): 965–87. http://dx.doi.org/10.1086/448903.

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15

Butler, Rex. "Andy Warhol Ai Weiwei." Australian Historical Studies 48, no. 2 (March 29, 2017): 283–86. http://dx.doi.org/10.1080/1031461x.2017.1298979.

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16

Babbiotti, Paolo. "Andy Warhol: Sublime Superficiality." Rivista di estetica, no. 53 (June 1, 2013): 283–87. http://dx.doi.org/10.4000/estetica.1583.

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17

Sayre, Henry M. "Andy Warhol, Poetry, and Gossip in the 1960s. Reva Wolf , Andy Warhol." Modern Philology 99, no. 1 (August 2001): 165–68. http://dx.doi.org/10.1086/493057.

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18

Su, Diyin. "American Consumer Culture as Reflected in Andy Warhol's Marilyn Monroe and Green Coca-Cola Bottle." Communications in Humanities Research 2, no. 1 (February 28, 2023): 591–97. http://dx.doi.org/10.54254/2753-7064/2/2022631.

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Andy Warhol was in an extremely prosperous post-World War II United States when Pop Art was flourishing in America, when art was becoming civilianized and began to focus on the daily lives of the public. Andy Warhol was keenly aware of the effects that consumer society brought to the mass culture and he brought the commodities and elements used by the masses into Pop Art, such asGreen Coca-Cola BottleandMarilyn Monroewhich concentrated and distinctly embodied the cultural characteristics of the consumerist. This paper applied The Consumer Society written by Jean Baudrillard to argue the consumer culture reflected in two of Andy Warhol's classic paintings, namely Green Coca-Cola Bottle and Marilyn Monroe. The former reflected the state of consumption-controlled production in America, while the latter reflected the emergence of the consumer protagonist as the new concern of popular culture, the rise of mass media and the frenzied pursuit of consumer symbols. Lastly the inspiration he brought to us that is to provide an in-depth and well-reasoned understanding for the consumer culture reflected in Warhol's paintings and the implications for modern consumer society and contemporary art.

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19

Boczkowska, Kornelia. "Boredom revisited, or how Andy Warhol predated slow cinema." Short Film Studies 10, no. 2 (April 1, 2020): 157–62. http://dx.doi.org/10.1386/sfs_00008_1.

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Abstract The article analyses how Andy Warhol Eating a Hamburger predates slow cinema by evoking situative and existential boredom. Rather than simply facilitating modernist and temporal ways of seeing, Leth explores the creative potential of Warhol's post-Romantic boredom, marked by both duration and meaninglessness, to counteract the anti-immersion effect and amplify receptiveness.

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20

Ginsburg, Jane C. "US Second Circuit Court of Appeals tames ‘transformative’ fair use; rejects ‘celebrity-plagiarist privilege’; clarifies protectable expression in photographs." Journal of Intellectual Property Law & Practice 16, no. 7 (June 30, 2021): 638–46. http://dx.doi.org/10.1093/jiplp/jpab094.

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Abstract Andy Warhol Found for the Visual Arts, Inc v Goldsmith, 992 F.3d 99 (2d Cir 2021) The Second Circuit reversed the SDNY’s grant of summary judgment that Andy Warhol’s silk screen adaptation of a photographic portrait of entertainer Prince was a fair use; the 2d Circuit’s decision retreats both from its prior caselaw’s generous characterization of artistic reuse as ‘transformative’, and from the outcome-determinacy of a finding of ‘transformativeness’. The court also provided an important explanation of copyrightable authorship in photographs.

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21

Lisica, Cindy, and Lucy Mulroney. "Cindy Lisica & Lucy Mulroney on Listening to Artists." Art Libraries Journal 40, no. 1 (2015): 11–15. http://dx.doi.org/10.1017/s0307472200000055.

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Cindy Lisica, Assistant Archivist of The Andy Warhol Museum, and Lucy Mulroney, Interim Senior Director of Special Collections at Syracuse University Libraries, discuss Andy Warhol, archives research, and listening to artists. Their work involves collaborations, unorthodox approaches and unusual research methods in archives. Their unique experiences working with rare and special collections, listening to audio and speaking direcdy with those involved in the making of the material often deliver unexpected results in their writing projects and conversations. This conversation raises questions of authenticity and authorship in art historical lineage, well-known quotes, publications and audio recordings by Warhol and today’s contemporary artists.

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22

Gills, Libertad. "Eye contact in Andy Warhol Eating a Hamburger." Short Film Studies 10, no. 2 (April 1, 2020): 149–52. http://dx.doi.org/10.1386/sfs_00006_1.

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23

Pennacchioni, Irène. "Sur l'écran blanc : Andy Warhol." Sociétés & Représentations 4, no. 1 (1997): 285. http://dx.doi.org/10.3917/sr.004.0285.

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24

Danto, Arthur. "O filósofo como Andy Warhol." ARS (São Paulo) 2, no. 4 (2004): 99–115. http://dx.doi.org/10.1590/s1678-53202004000400007.

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25

TÜRK, Ayşegül. "ANDY WARHOL VE YEMEK FORMLARI." International Journal of Social Humanities Sciences Research (JSHSR) 8, no. 73 (January 1, 2021): 2184–98. http://dx.doi.org/10.26450/jshsr.2641.

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26

Sullivan, Ann M. "Endangered Species by Andy Warhol." Mayo Clinic Proceedings 77, no. 5 (May 2002): 474. http://dx.doi.org/10.4065/77.5.474.

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27

Taehi Kang. "Andy Warhol and Popular Culture." Journal of History of Modern Art ll, no. 25 (June 2009): 153–78. http://dx.doi.org/10.17057/kahoma.2009..25.006.

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28

Leth, Jørgen. "Andy Warhol Eating a Hamburger." Short Film Studies 10, no. 2 (April 1, 2020): 133–36. http://dx.doi.org/10.1386/sfs_00002_7.

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29

Sullivan, Ann M. "Endangered Species by Andy Warhol." Mayo Clinic Proceedings 77, no. 5 (May 2002): 474. http://dx.doi.org/10.1016/s0025-6196(11)62216-7.

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30

Scholz, Albrecht. "Die Narben des Andy Warhol." Der Hautarzt 47, no. 2 (February 1996): 141–42. http://dx.doi.org/10.1007/s001050050394.

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31

Osterweil, Ara. "Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné, Volume One (review)." Moving Image 7, no. 1 (2007): 100–103. http://dx.doi.org/10.1353/mov.2007.0026.

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32

Kristensen, Kim. "Andy Warhol Eating a Hamburger as part of the universe of art1." Short Film Studies 10, no. 2 (April 1, 2020): 163–65. http://dx.doi.org/10.1386/sfs_00009_1.

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Abstract In this article I will place Leth's clip of Andy Warhol in the tradition of artistic gestures, as they evolved after Duchamp's 1917 Fountain. By treating Warhol as a ready-made, Leth posed the same questions as Duchamp, Joyce, Pound and even Warhol himself and provided an elegant solution.

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33

Rauschenberg, Nicholas. "Entre el cine y la serigrafía: para una biografía sociológica de Andy Warhol." Tempo Social 31, no. 1 (April 17, 2019): 301–21. http://dx.doi.org/10.11606/0103-2070.ts.2019.133761.

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Procuramos neste artigo reconstruir uma breve biografia sociológica de Andy Warhol, ícone da pop art. Nosso objetivo é identificar em sua trajetória uma dimensão performativa da objetivação como sujeito do campo do artista norte-americano. Warhol transformou um procedimento original – a serigrafia – em obra de arte. Se, por um lado, Andy encontrou um modo específico de estilizar fotografias, por outro, encontrou um modo de legitimar a reprodutibilidade das obras de arte para fins de mercado, isto é, transformou suas obras de arte em mercadorias produzidas em série. No entanto, Warhol, em seus trabalhos cinematográficos, desenvolveu uma perspectiva de gênero com base em sua estética cinematográfica que nos interessa ressaltar.

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34

Silva, Cássia Pérez da, and Jane Aparecida Marques. "Processos de legitimação e permanência no mercado de arte: uma análise da trajetória dos artistas Andy Warhol e Vik Muniz." Revista Extraprensa 12 (October 17, 2019): 136–51. http://dx.doi.org/10.11606/extraprensa2019.153465.

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Este artigo realiza estudos acerca do artista estadunidense Andy Warhol e do brasileiro Vik Muniz, tendo como hipótese que o último utiliza estratégias de difusão e permanência de mercado similares às praticadas por Warhol na década de 1960 e as aplica no contexto do mercado de arte brasileiro contemporâneo desde a década de 1990, ampliando essas práticas para o mercado global. São realizadas considerações referentes ao processo de legitimação dos artistas contemporâneos, levantando o debate de que os artistas o tornam um projeto legitimador que engloba uma rede em conjunto aos agentes culturais e ao público consumidor, visando demonstrar a consciência de mercado desenvolvida pelos artistas estudados. Palavras-chave: mercado de arte, sistema das artes, processos de legitimação, Vik Muniz, Andy Warhol

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35

Ulman, Erik. "13 Most Beautiful . . . Songs for Andy Warhol's Screen Tests. Andy Warhol, director. Plexifilm, 2009." Journal of the Society for American Music 4, no. 2 (April 15, 2010): 273–75. http://dx.doi.org/10.1017/s175219631000012x.

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36

Ghanem, Nadia. "Popisme, Andy Warhol et Pat Hackett." Marges, no. 08 (October 15, 2008): 124–25. http://dx.doi.org/10.4000/marges.586.

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37

Yu, Chu, and Ming Di. "Andy Warhol hides a third eye." Ploughshares 48, no. 1 (March 2022): 31. http://dx.doi.org/10.1353/plo.2022.0013.

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38

Stinespring, John A., and Alan R. Pratt. "The Critical Response to Andy Warhol." Studies in Art Education 40, no. 1 (1998): 92. http://dx.doi.org/10.2307/1320231.

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39

BROWN, KATHRYN. "ANDY WARHOL BY ARTHUR C DANTO." Art Book 17, no. 4 (November 2010): 70–71. http://dx.doi.org/10.1111/j.1467-8357.2010.01137_23.x.

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40

Thomson, Keith. "Dinosaurs, the Media and Andy Warhol." American Scientist 90, no. 3 (2002): 222. http://dx.doi.org/10.1511/2002.9.3319.

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41

Cook, Roger. "Andy Warhol, Capitalism, Culture, and Camp." Space and Culture 6, no. 1 (February 2003): 66–76. http://dx.doi.org/10.1177/1206331202238963.

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42

Tillman, Lynne. "The Last Words Are Andy Warhol." Grey Room 21 (October 2005): 38–45. http://dx.doi.org/10.1162/152638105774539806.

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43

de Duve, Thierry, and Rosalind Krauss. "Andy Warhol, or The Machine Perfected." October 48 (1989): 3. http://dx.doi.org/10.2307/778945.

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44

Corona, Victor P. "Andy Warhol by Arthur C. Danto." Journal of American Culture 33, no. 2 (June 9, 2010): 156–57. http://dx.doi.org/10.1111/j.1542-734x.2010.00741_2.x.

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45

Jackson, Kathy Merlock. "Andy Warhol by Arthur C. Danto." Journal of American Culture 33, no. 4 (December 2010): 338–39. http://dx.doi.org/10.1111/j.1542-734x.2010.00756_2.x.

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46

Stoner, Joyce Hill. "Andy Warhol and Jamie Wyeth: Interactions." American Art 13, no. 3 (October 1999): 59–83. http://dx.doi.org/10.1086/424346.

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47

Stevenson, Deborah. "Andy Warhol: Pop Art Painter (review)." Bulletin of the Center for Children's Books 60, no. 4 (2006): 188–89. http://dx.doi.org/10.1353/bcc.2006.0878.

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48

Thomson, Keith. "Dinosaurs, the Media and Andy Warhol." American Scientist 90, no. 3 (2002): 222. http://dx.doi.org/10.1511/2002.9.222.

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49

Panea, José Luis. "La muerte pop americana: estética y catástrofe." Laocoonte. Revista de Estética y Teoría de las Artes, no. 8 (December 19, 2021): 223. http://dx.doi.org/10.7203/laocoonte.0.8.21462.

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Bajo este sugerente epíteto, “La muerte pop americana” (p. 155) Marta Castanedo Alonso (Doctora en Filosofía por la Universidad de Salamanca) se refiere a la obra de Andy Warhol, concretamente a la serie Death and Disaster (1964), en el contexto cultural estadounidense de principios de los años sesenta del pasado siglo. El conjunto de serigrafías que abarca el proyecto, uno de las más comprometidos del artista, servirá de leitmotiv para el libro Muerte, desastre y accidente. Andy Warhol y el final del sueño americano, publicado por la autora este 2021 en la Colección Ars de la editorial Publicacions de la Universitat Jaume I.

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50

Oliveira, Luiz Sérgio de. "Arte e consumo." POIÉSIS 19, no. 32 (January 19, 2019): 165. http://dx.doi.org/10.22409/poiesis.1932.165-174.

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