The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity
A Warhol 'Marilyn' Brings a Record Auction Price, $195 Million
Fran Lebowitz's 'Pretend It's a City' is the NYC Trip You Can't Take Right Now
When Comic Art Meets High Art, the Results Will Surprise You
It’s 2019. It’s Time to Revisit Andy Warhol. Do We Have to Spell it Out for You?
'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity
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You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. 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Now one of the most famous of these, the Prince series, is at the heart of a case the Supreme Court will examine on Wednesday. And it is a case of enormous importance to all manner of artists.\u003c/p>\n\u003cp>On one side of the dispute is Lynn Goldsmith, famous for photographing rock stars and whose work is on more than 100 album covers. In 1981 Goldsmith was commissioned to shoot a series of photos of Prince for \u003cem>Newsweek\u003c/em>. At the time the \u003cem>Purple Rain\u003c/em> rock star was just starting to take off. Goldsmith photographed him in concert and invited him to her studio where she gave him purple eyeshadow and lip gloss to accentuate his sensuality and his androgyny. She even set her photography umbrellas to create pinpricks of light in his eyes. The result was an image that she would later say was a portrait of vulnerability. \u003cem>Newsweek \u003c/em>didn’t use the studio photo, opting instead to use the concert photo, and Goldsmith kept the other photos in her files for future publication or licensing.\u003c/p>\n\u003cp>[aside postID='arts_11514986']Three years later Prince was a superstar, and \u003cem>Vanity Fair\u003c/em> magazine commissioned Andy Warhol to make an illustration of Prince for an article it was running. In commissioning the work, the magazine asked Warhol to use as a reference point one of Goldsmith’s black-and-white photos. The magazine paid Goldsmith $400 in licensing fees and promised in writing to use the image only in this one\u003cem> Vanity Fair\u003c/em> issue.\u003c/p>\n\u003cp>There is no evidence in the record that Warhol knew about the licensing agreement. But in any event, he went beyond it and created a set of 16 Prince silkscreens, which he copyrighted, and one of which \u003cem>Vanity Fair\u003c/em> used for the article. The silkscreen images have since been sold and reproduced to the tune of hundreds of millions of dollars in profits for the Andy Warhol Foundation, a nonprofit that was set up after Warhol’s death to promote his work and the visual arts.\u003c/p>\n\u003cp>After Prince died in 2016, \u003cem>Vanity Fair\u003c/em>‘s parent company, Conde Nast, expedited a tribute, “The Genius of Prince,” featuring many Prince photographs, and it paid the Warhol foundation $10,250 to run “Orange Prince” on its cover. Goldsmith received no payment or credit this time, and she eventually sued the foundation, claiming that Warhol had infringed her copyright, and that the foundation owes her potentially millions of dollars in unpaid licensing fees and royalties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, “transformative” because his artistic rendering is very different from Goldsmith’s original photo. The foundation asserted that in Warhol’s version, not only did Warhol crop the image to remove Prince’s torso, but he resized the image, altered the angle of Prince’s face, and changed the tones, lighting and detail, in addition to adding layers of bright and unnatural colors, conspicuous, hand-drawn outlines and line screens and stark back shading that exaggerated Prince’s features.\u003c/p>\n\u003cp>The result, according to the foundation, is “a flat, impersonal, disembodied, masklike appearance” that is no longer vulnerable but iconic. Essentially, the foundation is arguing that Warhol used a black-and-white photograph as a building block, in much the way that a collage artist might use slices of different photos in a larger work.\u003c/p>\n\u003cp>[aside postID='arts_13863015']As you might imagine, each side has its experts, and indeed two lower courts disagreed on the matter. A federal district court judge found that the Warhol series is “transformative” because it conveys a different message from the original, and thus is “fair use” under the Copyright Act. But a three-judge panel of the Second Circuit Court of Appeals disagreed, declaring that judges “should not assume the role of art critic and seek to ascertain … the meaning of the works at issue.” If the Supreme Court agrees, the Warhol Foundation will have to pay royalties or licensing fees, and potentially other damages to the original creator, Goldsmith.\u003c/p>\n\u003cp>However the Supreme Court rules, its decision will have rippling practical consequences. So it is no surprise that some \u003cem>three dozen \u003c/em>friend of the court briefs have been filed arguing on one side or the other, and representing everyone from the American Association of publishers and the Motion Picture Association of America to the Library Futures Institute, the Digital Media Licensing Association, Dr. Seuss Enterprises, the Recording Industry Association of America and even the union that represents NPR’s reporters, editors and producers, the Screen Actors Guild-American Federation of Television and Radio Artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The outcome could shift the law to favor more control by the original artist, but doing that could also inhibit artists and other content creators who build on existing work in everything from music and posters to AI creations and documentaries. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Supreme+Court+meets+Andy+Warhol%2C+Prince+and+a+case+that+could+threaten+creativity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Images Andy Warhol created of Prince are at the heart of a case the Supreme Court will examine on Wednesday. Warhol used a black-and-white portrait taken by Lynn Goldsmith as a reference point.","status":"publish","parent":0,"modified":1705006279,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":865},"headData":{"title":"The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity | KQED","description":"Images Andy Warhol created of Prince are at the heart of a case the Supreme Court will examine on Wednesday. Warhol used a black-and-white portrait taken by Lynn Goldsmith as a reference point.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Nina Totenberg","nprImageAgency":"Collection of the Supreme Court of the United States","nprStoryId":"1127508725","nprApiLink":"http://api.npr.org/query?id=1127508725&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/10/12/1127508725/prince-andy-warhol-supreme-court-copyright?ft=nprml&f=1127508725","nprRetrievedStory":"1","nprPubDate":"Wed, 12 Oct 2022 11:08:00 -0400","nprStoryDate":"Wed, 12 Oct 2022 05:00:26 -0400","nprLastModifiedDate":"Wed, 12 Oct 2022 11:08:51 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13920285/the-supreme-court-meets-andy-warhol-prince-and-a-case-that-could-threaten-creativity","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know all those famous Andy Warhol silk screen prints of Marilyn Monroe and Liz Taylor and lots of other glitterati? Now one of the most famous of these, the Prince series, is at the heart of a case the Supreme Court will examine on Wednesday. And it is a case of enormous importance to all manner of artists.\u003c/p>\n\u003cp>On one side of the dispute is Lynn Goldsmith, famous for photographing rock stars and whose work is on more than 100 album covers. In 1981 Goldsmith was commissioned to shoot a series of photos of Prince for \u003cem>Newsweek\u003c/em>. At the time the \u003cem>Purple Rain\u003c/em> rock star was just starting to take off. Goldsmith photographed him in concert and invited him to her studio where she gave him purple eyeshadow and lip gloss to accentuate his sensuality and his androgyny. She even set her photography umbrellas to create pinpricks of light in his eyes. The result was an image that she would later say was a portrait of vulnerability. \u003cem>Newsweek \u003c/em>didn’t use the studio photo, opting instead to use the concert photo, and Goldsmith kept the other photos in her files for future publication or licensing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11514986","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Three years later Prince was a superstar, and \u003cem>Vanity Fair\u003c/em> magazine commissioned Andy Warhol to make an illustration of Prince for an article it was running. In commissioning the work, the magazine asked Warhol to use as a reference point one of Goldsmith’s black-and-white photos. The magazine paid Goldsmith $400 in licensing fees and promised in writing to use the image only in this one\u003cem> Vanity Fair\u003c/em> issue.\u003c/p>\n\u003cp>There is no evidence in the record that Warhol knew about the licensing agreement. But in any event, he went beyond it and created a set of 16 Prince silkscreens, which he copyrighted, and one of which \u003cem>Vanity Fair\u003c/em> used for the article. The silkscreen images have since been sold and reproduced to the tune of hundreds of millions of dollars in profits for the Andy Warhol Foundation, a nonprofit that was set up after Warhol’s death to promote his work and the visual arts.\u003c/p>\n\u003cp>After Prince died in 2016, \u003cem>Vanity Fair\u003c/em>‘s parent company, Conde Nast, expedited a tribute, “The Genius of Prince,” featuring many Prince photographs, and it paid the Warhol foundation $10,250 to run “Orange Prince” on its cover. Goldsmith received no payment or credit this time, and she eventually sued the foundation, claiming that Warhol had infringed her copyright, and that the foundation owes her potentially millions of dollars in unpaid licensing fees and royalties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, “transformative” because his artistic rendering is very different from Goldsmith’s original photo. The foundation asserted that in Warhol’s version, not only did Warhol crop the image to remove Prince’s torso, but he resized the image, altered the angle of Prince’s face, and changed the tones, lighting and detail, in addition to adding layers of bright and unnatural colors, conspicuous, hand-drawn outlines and line screens and stark back shading that exaggerated Prince’s features.\u003c/p>\n\u003cp>The result, according to the foundation, is “a flat, impersonal, disembodied, masklike appearance” that is no longer vulnerable but iconic. Essentially, the foundation is arguing that Warhol used a black-and-white photograph as a building block, in much the way that a collage artist might use slices of different photos in a larger work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13863015","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As you might imagine, each side has its experts, and indeed two lower courts disagreed on the matter. A federal district court judge found that the Warhol series is “transformative” because it conveys a different message from the original, and thus is “fair use” under the Copyright Act. But a three-judge panel of the Second Circuit Court of Appeals disagreed, declaring that judges “should not assume the role of art critic and seek to ascertain … the meaning of the works at issue.” If the Supreme Court agrees, the Warhol Foundation will have to pay royalties or licensing fees, and potentially other damages to the original creator, Goldsmith.\u003c/p>\n\u003cp>However the Supreme Court rules, its decision will have rippling practical consequences. So it is no surprise that some \u003cem>three dozen \u003c/em>friend of the court briefs have been filed arguing on one side or the other, and representing everyone from the American Association of publishers and the Motion Picture Association of America to the Library Futures Institute, the Digital Media Licensing Association, Dr. Seuss Enterprises, the Recording Industry Association of America and even the union that represents NPR’s reporters, editors and producers, the Screen Actors Guild-American Federation of Television and Radio Artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The outcome could shift the law to favor more control by the original artist, but doing that could also inhibit artists and other content creators who build on existing work in everything from music and posters to AI creations and documentaries. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Supreme+Court+meets+Andy+Warhol%2C+Prince+and+a+case+that+could+threaten+creativity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920285/the-supreme-court-meets-andy-warhol-prince-and-a-case-that-could-threaten-creativity","authors":["byline_arts_13920285"],"categories":["arts_1","arts_69","arts_235","arts_70"],"tags":["arts_3752","arts_1424","arts_6470"],"affiliates":["arts_137"],"featImg":"arts_13920286","label":"arts_137"},"arts_13913108":{"type":"posts","id":"arts_13913108","meta":{"index":"posts_1591205157","site":"arts","id":"13913108","score":null,"sort":[1652206184000]},"guestAuthors":[],"slug":"a-warhol-marilyn-brings-a-record-auction-price-195-million","title":"A Warhol 'Marilyn' Brings a Record Auction Price, $195 Million","publishDate":1652206184,"format":"standard","headTitle":"A Warhol ‘Marilyn’ Brings a Record Auction Price, $195 Million | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem> Shot Sage Blue Marilyn\u003c/em> has set a record as stunning as the actress it depicts.\u003c/p>\n\u003cp>[aside postID='arts_13904697,arts_13906250,news_11864704']One of Andy Warhol’s many silkscreened representations of Marilyn Monroe was \u003ca href=\"https://twitter.com/ChristiesInc/status/1523833792959553536\" target=\"_blank\" rel=\"noopener noreferrer\">auctioned by Christie’s in New York\u003c/a> for $195 million. The price, which includes fees, is the highest for a 20th century artwork sold at auction and the highest for an American artwork, topping the $179.4 million mark in 2015 for Pablo Picasso’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/11/406036959/photos-sculpture-sells-for-141m-picasso-painting-for-179m-both-records\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Les Femmes d’Alger (Version O)\u003c/em>\u003c/a> and $110.5 million in 2017 for a 1982 painting by Jean-Michel Basquiat.\u003c/p>\n\u003cp>The name of the buyer of \u003cem>Shot Sage Blue Marilyn\u003c/em> was not announced.\u003c/p>\n\u003cp>Warhol’s works have long been among the most coveted by collectors of American art, along with\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/19/529096175/at-110-5-million-basquiat-painting-becomes-priciest-work-ever-sold-by-a-u-s-arti\" target=\"_blank\" rel=\"noopener noreferrer\"> Basquiat\u003c/a>, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/12/532597956/art-collector-sells-lichtenstein-for-165-million-to-fund-criminal-justice-reform\" target=\"_blank\" rel=\"noopener noreferrer\">Roy Lichtenstein\u003c/a> and \u003ca href=\"https://www.npr.org/1998/05/01/1025672/rothkos-abstract-art\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Rothko\u003c/a>. But Warhol’s \u003cem>Marilyn\u003c/em> series carries a singular cultural mystique. Starting in 1964, Warhol churned out more than a dozen portraits of the actress, all based on an image from taken from one of Monroe’s more forgettable films, \u003cem>Niagara, \u003c/em>from 1953.\u003c/p>\n\u003cp>“Once you see the image, you will recognize that you’re actually much more familiar with Warhol’s vision of Marilyn than with the old movie shots from Marilyn herself,” said Alex Rotter, chairman of 20th and 21st Century Art at Christie’s,\u003ca href=\"https://www.npr.org/2022/03/31/1089885285/one-of-andy-warhols-most-famous-paintings-is-going-up-for-auction\" target=\"_blank\" rel=\"noopener noreferrer\"> to \u003cem>Morning Edition \u003c/em>last week.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final price may be as eyepopping as Warhol’s candy-colored palette. But \u003cem>Shot Sage Blue Marilyn\u003c/em> is not even the most expensive 20th century painting ever sold. A Willem De Kooning piece called \u003cem>Interchange\u003c/em> \u003ca href=\"https://www.nytimes.com/2016/02/19/business/dealbook/kenneth-griffin-joins-elite-rank-of-hedge-fund-art-patrons-with-500-million-deal.html?ref=dealbook&_r=0\">sold for $300 million in 2015 to a hedge fund manager\u003c/a> who also picked up a nice Jackson Pollock for $200 million.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Warhol+%27Marilyn%27+brings+a+record+auction+price%2C+%24195+million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The price was the highest ever at auction for an American artwork. Christie's in New York handled the sale.","status":"publish","parent":0,"modified":1705006872,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":304},"headData":{"title":"A Warhol 'Marilyn' Brings a Record Auction Price, $195 Million | KQED","description":"The price was the highest ever at auction for an American artwork. Christie's in New York handled the sale.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Neda Ulaby","nprImageAgency":"Christie's","nprStoryId":"1096617152","nprApiLink":"http://api.npr.org/query?id=1096617152&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/05/09/1096617152/a-warhol-marilyn-brings-a-record-auction-price-195-million?ft=nprml&f=1096617152","nprRetrievedStory":"1","nprPubDate":"Mon, 09 May 2022 21:53:00 -0400","nprStoryDate":"Mon, 09 May 2022 21:53:49 -0400","nprLastModifiedDate":"Mon, 09 May 2022 21:53:49 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13913108/a-warhol-marilyn-brings-a-record-auction-price-195-million","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem> Shot Sage Blue Marilyn\u003c/em> has set a record as stunning as the actress it depicts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904697,arts_13906250,news_11864704","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>One of Andy Warhol’s many silkscreened representations of Marilyn Monroe was \u003ca href=\"https://twitter.com/ChristiesInc/status/1523833792959553536\" target=\"_blank\" rel=\"noopener noreferrer\">auctioned by Christie’s in New York\u003c/a> for $195 million. The price, which includes fees, is the highest for a 20th century artwork sold at auction and the highest for an American artwork, topping the $179.4 million mark in 2015 for Pablo Picasso’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/11/406036959/photos-sculpture-sells-for-141m-picasso-painting-for-179m-both-records\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Les Femmes d’Alger (Version O)\u003c/em>\u003c/a> and $110.5 million in 2017 for a 1982 painting by Jean-Michel Basquiat.\u003c/p>\n\u003cp>The name of the buyer of \u003cem>Shot Sage Blue Marilyn\u003c/em> was not announced.\u003c/p>\n\u003cp>Warhol’s works have long been among the most coveted by collectors of American art, along with\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/19/529096175/at-110-5-million-basquiat-painting-becomes-priciest-work-ever-sold-by-a-u-s-arti\" target=\"_blank\" rel=\"noopener noreferrer\"> Basquiat\u003c/a>, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/12/532597956/art-collector-sells-lichtenstein-for-165-million-to-fund-criminal-justice-reform\" target=\"_blank\" rel=\"noopener noreferrer\">Roy Lichtenstein\u003c/a> and \u003ca href=\"https://www.npr.org/1998/05/01/1025672/rothkos-abstract-art\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Rothko\u003c/a>. But Warhol’s \u003cem>Marilyn\u003c/em> series carries a singular cultural mystique. Starting in 1964, Warhol churned out more than a dozen portraits of the actress, all based on an image from taken from one of Monroe’s more forgettable films, \u003cem>Niagara, \u003c/em>from 1953.\u003c/p>\n\u003cp>“Once you see the image, you will recognize that you’re actually much more familiar with Warhol’s vision of Marilyn than with the old movie shots from Marilyn herself,” said Alex Rotter, chairman of 20th and 21st Century Art at Christie’s,\u003ca href=\"https://www.npr.org/2022/03/31/1089885285/one-of-andy-warhols-most-famous-paintings-is-going-up-for-auction\" target=\"_blank\" rel=\"noopener noreferrer\"> to \u003cem>Morning Edition \u003c/em>last week.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final price may be as eyepopping as Warhol’s candy-colored palette. But \u003cem>Shot Sage Blue Marilyn\u003c/em> is not even the most expensive 20th century painting ever sold. A Willem De Kooning piece called \u003cem>Interchange\u003c/em> \u003ca href=\"https://www.nytimes.com/2016/02/19/business/dealbook/kenneth-griffin-joins-elite-rank-of-hedge-fund-art-patrons-with-500-million-deal.html?ref=dealbook&_r=0\">sold for $300 million in 2015 to a hedge fund manager\u003c/a> who also picked up a nice Jackson Pollock for $200 million.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Warhol+%27Marilyn%27+brings+a+record+auction+price%2C+%24195+million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13913108/a-warhol-marilyn-brings-a-record-auction-price-195-million","authors":["byline_arts_13913108"],"categories":["arts_1","arts_75"],"tags":["arts_3752","arts_10744","arts_11323"],"affiliates":["arts_137"],"featImg":"arts_13913109","label":"arts_137"},"arts_13891000":{"type":"posts","id":"arts_13891000","meta":{"index":"posts_1591205157","site":"arts","id":"13891000","score":null,"sort":[1610397044000]},"guestAuthors":[],"slug":"fran-lebowitzs-pretend-its-a-city-is-the-nyc-trip-you-cant-take-right-now","title":"Fran Lebowitz's 'Pretend It's a City' is the NYC Trip You Can't Take Right Now","publishDate":1610397044,"format":"standard","headTitle":"Fran Lebowitz’s ‘Pretend It’s a City’ is the NYC Trip You Can’t Take Right Now | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Iconoclastic humorist \u003ca href=\"https://www.npr.org/books/authors/657929490/fran-lebowitz\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Lebowitz\u003c/a> used to be known as a writer. Back in the late 1970s and ’80s she released two popular collections of essays featuring her cutting observations and opinions about life. But that part of her career was cut short by a decades long case of writer’s block—now she’s known for talking.\u003c/p>\n\u003cp>The Netflix series, \u003cem>Pretend It’s a City\u003c/em>, features Lebowitz in conversation with Martin Scorsese—who directed both the new series and the 2010 HBO documentary about Lebowitz, \u003cem>Public Speaking. \u003c/em>Lebowitz has known Scorsese for so long she’s no longer certain of how they met—though she thinks it was probably at a party.\u003c/p>\n\u003cp>“Whenever I saw Marty at a party, I would spend most of the evening talking to Marty,” she says.\u003c/p>\n\u003cp>In the new series, Lebowitz talks about why she cleaned apartments in her 20s when her friends were making more money waitressing, working as a New York City cab driver in the 1970s, getting kicked out of high school in New Jersey, and her collection of 10,000 books. Many of her stories center on Manhattan—a place both she and Scorsese feel deeply connected to.\u003c/p>\n\u003cp>“We both have such a strong connection to New York that, in fact, when I made my deal with Marty for \u003cem>Public Speaking\u003c/em> … Marty said, ‘OK, here’s the deal. We don’t leave Manhattan,’ ” Lebowitz says. “In \u003cem>Pretend It’s a City\u003c/em>, we did go to Queens [and it was] something Marty talked about as if we were going to Afghanistan.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MClMxqD-HNA\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On living alone during the COVID-19 pandemic \u003c/strong>\u003c/p>\n\u003cp>Well, it still seems to me to be by far the best choice. I cannot understand how people who do not live alone have stood this last 10 months, because the only upside of having to stay in my apartment is at least there was no one else there. I would find that unbearable, I mean, truly unbearable. … At the very beginning [of the pandemic], this guy I know, this friend of mine sent me, like, one million dollars worth of orchids saying, “These are to keep you company.” And I thought, really? I mean, thank you. They’re beautiful, but I keep myself company. So I don’t feel that living alone is a drawback during this. I think it’s an asset. …\u003c/p>\n\u003cp>Truthfully, I really never get lonely. I mean, I certainly can say that there are people that I miss, specific people that I’ve missed in my life numerous times, some very grievously. But a kind of abstract loneliness? No.\u003c/p>\n\u003cp>\u003cstrong>On being comfortable as herself and not being envious of others \u003c/strong>\u003c/p>\n\u003cp>I’m always surprised that people, adults, look to other people—even for things like haircuts. I just never thought about it. I don’t know why. But that was true even when I was a little kid. I don’t have a habit of comparing myself to other people. … The few times in my life I felt deeply envious, the feeling was so repellent to me that I thought, “God, this must be what it’s like to be these people who are constantly envious of other people.” … It’s less surprising that, say, teenagers feel that way. But I know a lot of adults who feel that way, and I think it is just ridiculous.\u003c/p>\n\u003cp>\u003cstrong>On being a lifelong germaphobe \u003c/strong>\u003c/p>\n\u003cp>I’ve always been very careful about touching things. … I’ve never touched a single thing in the New York City subway system—ever. Usually I’m by myself on the subway, but a few times I remember … [I was] with someone, and he said to me, when we got out, he said, “You didn’t touch anything.” And I said, “No.” And the truth is, if I dropped the Hope Diamond on the floor of a subway car, I’d leave it there. I’d say, “Well, you know, it’s just the Hope Diamond.” [aside postid='pop_8412']\u003c/p>\n\u003cp>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fran+Lebowitz%27s+%27Pretend+It%27s+A+City%27+Is+The+NYC+Trip+You+Can%27t+Take+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The show features the humorist's conversations with Martin Scorsese. \"If I dropped the Hope Diamond on the floor of a subway car, I'd leave it there.\"","status":"publish","parent":0,"modified":1705019667,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1591},"headData":{"title":"Fran Lebowitz's 'Pretend It's a City' is the NYC Trip You Can't Take Right Now | KQED","description":"The show features the humorist's conversations with Martin Scorsese. "If I dropped the Hope Diamond on the floor of a subway car, I'd leave it there."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Terry Gross","nprImageAgency":"Netflix","nprStoryId":"955483273","nprApiLink":"http://api.npr.org/query?id=955483273&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/01/11/955483273/fran-lebowitzs-pretend-its-a-city-is-the-nyc-trip-you-cant-take-right-now?ft=nprml&f=955483273","nprRetrievedStory":"1","nprPubDate":"Mon, 11 Jan 2021 13:40:00 -0500","nprStoryDate":"Mon, 11 Jan 2021 12:08:19 -0500","nprLastModifiedDate":"Mon, 11 Jan 2021 12:09:01 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/01/20210111_fa_01.mp3?orgId=427869011&topicId=1138&d=2200&p=13&story=955483273&ft=nprml&f=955483273","nprAudioM3u":"http://api.npr.org/m3u/1955677800-4705a4.m3u?orgId=427869011&topicId=1138&d=2200&p=13&story=955483273&ft=nprml&f=955483273","templateType":"standard","featuredImageType":"standard","path":"/arts/13891000/fran-lebowitzs-pretend-its-a-city-is-the-nyc-trip-you-cant-take-right-now","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/01/20210111_fa_01.mp3?orgId=427869011&topicId=1138&d=2200&p=13&story=955483273&ft=nprml&f=955483273","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iconoclastic humorist \u003ca href=\"https://www.npr.org/books/authors/657929490/fran-lebowitz\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Lebowitz\u003c/a> used to be known as a writer. Back in the late 1970s and ’80s she released two popular collections of essays featuring her cutting observations and opinions about life. But that part of her career was cut short by a decades long case of writer’s block—now she’s known for talking.\u003c/p>\n\u003cp>The Netflix series, \u003cem>Pretend It’s a City\u003c/em>, features Lebowitz in conversation with Martin Scorsese—who directed both the new series and the 2010 HBO documentary about Lebowitz, \u003cem>Public Speaking. \u003c/em>Lebowitz has known Scorsese for so long she’s no longer certain of how they met—though she thinks it was probably at a party.\u003c/p>\n\u003cp>“Whenever I saw Marty at a party, I would spend most of the evening talking to Marty,” she says.\u003c/p>\n\u003cp>In the new series, Lebowitz talks about why she cleaned apartments in her 20s when her friends were making more money waitressing, working as a New York City cab driver in the 1970s, getting kicked out of high school in New Jersey, and her collection of 10,000 books. Many of her stories center on Manhattan—a place both she and Scorsese feel deeply connected to.\u003c/p>\n\u003cp>“We both have such a strong connection to New York that, in fact, when I made my deal with Marty for \u003cem>Public Speaking\u003c/em> … Marty said, ‘OK, here’s the deal. We don’t leave Manhattan,’ ” Lebowitz says. “In \u003cem>Pretend It’s a City\u003c/em>, we did go to Queens [and it was] something Marty talked about as if we were going to Afghanistan.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MClMxqD-HNA'\n title='//www.youtube.com/embed/MClMxqD-HNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On living alone during the COVID-19 pandemic \u003c/strong>\u003c/p>\n\u003cp>Well, it still seems to me to be by far the best choice. I cannot understand how people who do not live alone have stood this last 10 months, because the only upside of having to stay in my apartment is at least there was no one else there. I would find that unbearable, I mean, truly unbearable. … At the very beginning [of the pandemic], this guy I know, this friend of mine sent me, like, one million dollars worth of orchids saying, “These are to keep you company.” And I thought, really? I mean, thank you. They’re beautiful, but I keep myself company. So I don’t feel that living alone is a drawback during this. I think it’s an asset. …\u003c/p>\n\u003cp>Truthfully, I really never get lonely. I mean, I certainly can say that there are people that I miss, specific people that I’ve missed in my life numerous times, some very grievously. But a kind of abstract loneliness? No.\u003c/p>\n\u003cp>\u003cstrong>On being comfortable as herself and not being envious of others \u003c/strong>\u003c/p>\n\u003cp>I’m always surprised that people, adults, look to other people—even for things like haircuts. I just never thought about it. I don’t know why. But that was true even when I was a little kid. I don’t have a habit of comparing myself to other people. … The few times in my life I felt deeply envious, the feeling was so repellent to me that I thought, “God, this must be what it’s like to be these people who are constantly envious of other people.” … It’s less surprising that, say, teenagers feel that way. But I know a lot of adults who feel that way, and I think it is just ridiculous.\u003c/p>\n\u003cp>\u003cstrong>On being a lifelong germaphobe \u003c/strong>\u003c/p>\n\u003cp>I’ve always been very careful about touching things. … I’ve never touched a single thing in the New York City subway system—ever. Usually I’m by myself on the subway, but a few times I remember … [I was] with someone, and he said to me, when we got out, he said, “You didn’t touch anything.” And I said, “No.” And the truth is, if I dropped the Hope Diamond on the floor of a subway car, I’d leave it there. I’d say, “Well, you know, it’s just the Hope Diamond.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_8412","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fran+Lebowitz%27s+%27Pretend+It%27s+A+City%27+Is+The+NYC+Trip+You+Can%27t+Take+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13891000/fran-lebowitzs-pretend-its-a-city-is-the-nyc-trip-you-cant-take-right-now","authors":["byline_arts_13891000"],"categories":["arts_1","arts_990"],"tags":["arts_3752","arts_8350","arts_3324","arts_6713"],"affiliates":["arts_137"],"featImg":"arts_13891001","label":"arts_137"},"arts_13864877":{"type":"posts","id":"arts_13864877","meta":{"index":"posts_1591205157","site":"arts","id":"13864877","score":null,"sort":[1566855261000]},"guestAuthors":[],"slug":"when-comic-art-meets-high-art-the-results-will-surprise-you","title":"When Comic Art Meets High Art, the Results Will Surprise You","publishDate":1566855261,"format":"standard","headTitle":"When Comic Art Meets High Art, the Results Will Surprise You | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>There are two graphic novels out this summer about Jean-Michel Basquiat, and you’re definitely going to hate one of them. Which one? That’s harder to say. \u003ca href=\"https://www.npr.org/books/titles/753548833/basquiat\">Julian Voloj and Søren Mosdal’s \u003cem>Basquiat\u003c/em>\u003c/a> and Paolo Parisi’s \u003cem>Basquiat: A Graphic Novel\u003c/em> couldn’t be more different: Mosdal emulates the artist’s agitated lines, while Parisi uses flat zones of primary color, in the style of Basquiat’s mentor Andy Warhol. Aficionados will doubtless disagree about which book works—but that was probably inevitable. There’s something inherently odd about using one artistic tradition to depict the life (to say nothing of reproducing the work) of an artist from a different tradition. And yet, not only are a growing number of cartoonists creating books about famous artists, but their approaches are dizzyingly varied. When is a comic book a fitting tribute to an icon?\u003c/p>\n\u003cp>It’s a question that numerous publishers and creators are eager to address. Andy Warhol, Salvador Dalí, Jackson Pollock and Francis Bacon have all been memorialized in panel form in recent years. It’s not a stretch to use the quintessentially modern medium of comics to capture the life of a 20th-century artist; the free-flowing \u003ca href=\"https://www.npr.org/books/titles/753549304/niki-de-saint-phalle-the-garden-of-secrets\">\u003cem>Niki de Saint Phalle: The Garden of Secrets\u003c/em>, by Dominique Osuch and Sandrine Martin\u003c/a>, is a particularly ingenious tribute to an underappreciated figure. But even Velázquez, Caravaggio and Goya are getting cartoon treatments.\u003c/p>\n\u003cfigure id=\"attachment_13864881\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg\" alt=\"'This Is Monet' by Sara Pappworth and Aude Van Ryn.\" width=\"400\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85-160x210.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘This Is Monet’\u003cbr>by Sara Pappworth and Aude Van Ryn.\u003c/figcaption>\u003c/figure>\n\u003cp>The results of such attempts vary widely, but one rule is clear: Don’t reproduce the artist’s paintings if you can possibly get away with it. That’s the misstep of \u003ca href=\"https://www.npr.org/books/titles/753550360/monet-itinerant-of-light\">\u003cem>Monet: Itinerant of Light\u003c/em>, by Salva Rubio and Efa\u003c/a>. Efa envisions the world around Monet the way the artist would paint it, with vivid patches of light and dark dappling every scene. It makes for a beautiful book—that is, until you get to Efa’s recreations of Monet’s best-known paintings, which naturally suffer by comparison with the originals. In \u003cem>This Is Monet\u003c/em>, on the other hand, illustrator Aude Van Ryn doesn’t attempt to duplicate her subject’s famous works. Instead, the book intersperses color plates of the actual paintings with Van Ryn’s drawings of scenes from Monet’s life. (In one particularly charming interlude, the Monet family helps to carry canvases in a wheelbarrow). Van Ryn’s style is complementary without being imitative—a tough balancing act that Efa doesn’t pull off.\u003c/p>\n\u003cp>\u003cem>This Is Monet\u003c/em> is part of an unusual series from British publisher Laurence King that combines biographical text, reproductions and modern illustrations. “I wanted to be able to show, in illustrations, the pop culture that existed around the artists,” series editor Catherine Ingram says. “Even … Old Masters paintings, they’ve got a vibrant visual culture they’re tapping on. That visual culture is missing from art history books. It’s time to get back to that, to get the illustrators involved.”\u003c/p>\n\u003cfigure id=\"attachment_13864884\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13864884 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg\" alt=\"'7 Miles a Second' by David Wojnarowicz, James Romberger and Marguerite Van Cook.\" width=\"400\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85-160x216.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘7 Miles a Second’\u003cbr>by David Wojnarowicz, James Romberger and Marguerite Van Cook.\u003c/figcaption>\u003c/figure>\n\u003cp>Some corners of the art world have always embraced comics, of course. In 1988, David Wojnarowicz asked his friend and fellow East Village artist James Romberger to collaborate with him on \u003cem>Seven Miles a Second,\u003c/em> an adaptation of Wojnarowicz’ autobiographical writings. Romberger, whose depictions of downtown New York life can be found in many museums’ collections, had to finish the book alone after Wojnarowicz died of AIDS in 1992. But he was aided by Marguerite Van Cook, who’d shown Wojnarowicz in her gallery, gone on road trips with him and had long discussions with him about color theory. Van Cook gave the book its explosive palette. (The book was reissued by Fantagraphics in 2013 and is now being self-published by Romberger and Van Cook.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Marguerite kind of lets things rush outside the lines,” Romberger says. “The color is running, smushing together—it’s not so defined. In comics the lines are usually… meant to hold in the color. Marguerite does something where the color is actually erupting outside of the lines, breaking the boundaries. Which kind of suits David, who’s someone who was very much against boundaries.”\u003c/p>\n\u003cp>\u003cem>Seven Miles a Second\u003c/em> remains a landmark crossover between comic art and fine art. It was a similar desire to bridge the high-low divide that led Boston’s Isabella Stewart Gardner Museum to incorporate comics into its spring Botticelli exhibit. The museum hired Karl Stevens, known for such graphic novels as 2010’s \u003cem>The Lodger\u003c/em> and last year’s \u003cem>The Winner\u003c/em>, to create cartoons of the Roman myths behind Botticelli’s \u003cem>The Tragedy of Lucretia\u003c/em> and \u003cem>The Story of Virginia.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13864885\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg\" alt=\"The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli's paintings.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85-160x120.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli’s paintings. \u003ccite>(David Matthews/Courtesy of the Isabella Stewart Gardner Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I thought one of the ways we could make Botticelli appealing to an audience who were not familiar with him was to approach these narrative paintings through the lens of a graphic novel,” says Nathaniel Silver, the William and Lia Poorvu Curator of the Collection at the museum. Stevens puts it a bit differently: “Museums have gotten tighter with cash, and they need to find ways to bring in the rabble.” Stevens believes the mainstream art world will always look down its nose at comics to some degree. Comic art, he notes, has “always been seen as an offshoot of commercial art, which it was originally. It was designed for the mass market. It wasn’t designed for elitist rich people, which is [who] fine art has always been for.”\u003c/p>\n\u003cp>That may explain the fascinating energy that infuses so many graphic novels about art. Illustrating artists’ lives through a lowbrow medium detaches them from their elevated creations and places them back on a human plane. Silver notes that while Stevens’ work on the Botticelli exhibit might seem humble, his position isn’t so different from what Botticelli’s was in his own time. Both then and now, Silver says, artists had to struggle to capture the attention of a broad, easily distractible audience.\u003c/p>\n\u003cp>“We tried to show how these stories were reinterpreted by Botticelli in his time to make them relevant to a contemporary audience in the Renaissance,” Silver says. “In the same way, they can be reinterpreted in our time, to make them relevant to a contemporary audience in 2019.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Comic+Art+Meets+High+Art%2C+the+Results+Will+Surprise+You&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"In recent years, several graphic novel biographies of fine artists have come out—some more successful than others. One rule is clear: Don't reproduce an artist's paintings if you can avoid it.","status":"publish","parent":0,"modified":1705022256,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1184},"headData":{"title":"When Comic Art Meets High Art, the Results Will Surprise You | KQED","description":"In recent years, several graphic novel biographies of fine artists have come out—some more successful than others. One rule is clear: Don't reproduce an artist's paintings if you can avoid it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"ETELKA LEHOCZKY","nprImageAgency":"Laurence King Publishing","templateType":"standard","featuredImageType":"standard","path":"/arts/13864877/when-comic-art-meets-high-art-the-results-will-surprise-you","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two graphic novels out this summer about Jean-Michel Basquiat, and you’re definitely going to hate one of them. Which one? That’s harder to say. \u003ca href=\"https://www.npr.org/books/titles/753548833/basquiat\">Julian Voloj and Søren Mosdal’s \u003cem>Basquiat\u003c/em>\u003c/a> and Paolo Parisi’s \u003cem>Basquiat: A Graphic Novel\u003c/em> couldn’t be more different: Mosdal emulates the artist’s agitated lines, while Parisi uses flat zones of primary color, in the style of Basquiat’s mentor Andy Warhol. Aficionados will doubtless disagree about which book works—but that was probably inevitable. There’s something inherently odd about using one artistic tradition to depict the life (to say nothing of reproducing the work) of an artist from a different tradition. And yet, not only are a growing number of cartoonists creating books about famous artists, but their approaches are dizzyingly varied. When is a comic book a fitting tribute to an icon?\u003c/p>\n\u003cp>It’s a question that numerous publishers and creators are eager to address. Andy Warhol, Salvador Dalí, Jackson Pollock and Francis Bacon have all been memorialized in panel form in recent years. It’s not a stretch to use the quintessentially modern medium of comics to capture the life of a 20th-century artist; the free-flowing \u003ca href=\"https://www.npr.org/books/titles/753549304/niki-de-saint-phalle-the-garden-of-secrets\">\u003cem>Niki de Saint Phalle: The Garden of Secrets\u003c/em>, by Dominique Osuch and Sandrine Martin\u003c/a>, is a particularly ingenious tribute to an underappreciated figure. But even Velázquez, Caravaggio and Goya are getting cartoon treatments.\u003c/p>\n\u003cfigure id=\"attachment_13864881\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg\" alt=\"'This Is Monet' by Sara Pappworth and Aude Van Ryn.\" width=\"400\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781780676234_vert-f3820b39a689f697f3eec80fb4d0ced2901a9228-s600-c85-160x210.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘This Is Monet’\u003cbr>by Sara Pappworth and Aude Van Ryn.\u003c/figcaption>\u003c/figure>\n\u003cp>The results of such attempts vary widely, but one rule is clear: Don’t reproduce the artist’s paintings if you can possibly get away with it. That’s the misstep of \u003ca href=\"https://www.npr.org/books/titles/753550360/monet-itinerant-of-light\">\u003cem>Monet: Itinerant of Light\u003c/em>, by Salva Rubio and Efa\u003c/a>. Efa envisions the world around Monet the way the artist would paint it, with vivid patches of light and dark dappling every scene. It makes for a beautiful book—that is, until you get to Efa’s recreations of Monet’s best-known paintings, which naturally suffer by comparison with the originals. In \u003cem>This Is Monet\u003c/em>, on the other hand, illustrator Aude Van Ryn doesn’t attempt to duplicate her subject’s famous works. Instead, the book intersperses color plates of the actual paintings with Van Ryn’s drawings of scenes from Monet’s life. (In one particularly charming interlude, the Monet family helps to carry canvases in a wheelbarrow). Van Ryn’s style is complementary without being imitative—a tough balancing act that Efa doesn’t pull off.\u003c/p>\n\u003cp>\u003cem>This Is Monet\u003c/em> is part of an unusual series from British publisher Laurence King that combines biographical text, reproductions and modern illustrations. “I wanted to be able to show, in illustrations, the pop culture that existed around the artists,” series editor Catherine Ingram says. “Even … Old Masters paintings, they’ve got a vibrant visual culture they’re tapping on. That visual culture is missing from art history books. It’s time to get back to that, to get the illustrators involved.”\u003c/p>\n\u003cfigure id=\"attachment_13864884\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13864884 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg\" alt=\"'7 Miles a Second' by David Wojnarowicz, James Romberger and Marguerite Van Cook.\" width=\"400\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781606996140_vert-5e578a0a74eec04174f2260e3d7848fada43ffa9-s600-c85-160x216.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘7 Miles a Second’\u003cbr>by David Wojnarowicz, James Romberger and Marguerite Van Cook.\u003c/figcaption>\u003c/figure>\n\u003cp>Some corners of the art world have always embraced comics, of course. In 1988, David Wojnarowicz asked his friend and fellow East Village artist James Romberger to collaborate with him on \u003cem>Seven Miles a Second,\u003c/em> an adaptation of Wojnarowicz’ autobiographical writings. Romberger, whose depictions of downtown New York life can be found in many museums’ collections, had to finish the book alone after Wojnarowicz died of AIDS in 1992. But he was aided by Marguerite Van Cook, who’d shown Wojnarowicz in her gallery, gone on road trips with him and had long discussions with him about color theory. Van Cook gave the book its explosive palette. (The book was reissued by Fantagraphics in 2013 and is now being self-published by Romberger and Van Cook.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Marguerite kind of lets things rush outside the lines,” Romberger says. “The color is running, smushing together—it’s not so defined. In comics the lines are usually… meant to hold in the color. Marguerite does something where the color is actually erupting outside of the lines, breaking the boundaries. Which kind of suits David, who’s someone who was very much against boundaries.”\u003c/p>\n\u003cp>\u003cem>Seven Miles a Second\u003c/em> remains a landmark crossover between comic art and fine art. It was a similar desire to bridge the high-low divide that led Boston’s Isabella Stewart Gardner Museum to incorporate comics into its spring Botticelli exhibit. The museum hired Karl Stevens, known for such graphic novels as 2010’s \u003cem>The Lodger\u003c/em> and last year’s \u003cem>The Winner\u003c/em>, to create cartoons of the Roman myths behind Botticelli’s \u003cem>The Tragedy of Lucretia\u003c/em> and \u003cem>The Story of Virginia.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13864885\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg\" alt=\"The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli's paintings.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2019_botticelli_heroines-heroes01-95e4b54b9f3f1ee651aa214ccdaca752d83f199e-s600-c85-160x120.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Isabella Stewart Gardner Museum in Boston hired graphic novelist Karl Stevens to create cartoons of the Roman myths behind some of Botticelli’s paintings. \u003ccite>(David Matthews/Courtesy of the Isabella Stewart Gardner Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I thought one of the ways we could make Botticelli appealing to an audience who were not familiar with him was to approach these narrative paintings through the lens of a graphic novel,” says Nathaniel Silver, the William and Lia Poorvu Curator of the Collection at the museum. Stevens puts it a bit differently: “Museums have gotten tighter with cash, and they need to find ways to bring in the rabble.” Stevens believes the mainstream art world will always look down its nose at comics to some degree. Comic art, he notes, has “always been seen as an offshoot of commercial art, which it was originally. It was designed for the mass market. It wasn’t designed for elitist rich people, which is [who] fine art has always been for.”\u003c/p>\n\u003cp>That may explain the fascinating energy that infuses so many graphic novels about art. Illustrating artists’ lives through a lowbrow medium detaches them from their elevated creations and places them back on a human plane. Silver notes that while Stevens’ work on the Botticelli exhibit might seem humble, his position isn’t so different from what Botticelli’s was in his own time. Both then and now, Silver says, artists had to struggle to capture the attention of a broad, easily distractible audience.\u003c/p>\n\u003cp>“We tried to show how these stories were reinterpreted by Botticelli in his time to make them relevant to a contemporary audience in the Renaissance,” Silver says. “In the same way, they can be reinterpreted in our time, to make them relevant to a contemporary audience in 2019.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Comic+Art+Meets+High+Art%2C+the+Results+Will+Surprise+You&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864877/when-comic-art-meets-high-art-the-results-will-surprise-you","authors":["byline_arts_13864877"],"categories":["arts_1","arts_73","arts_75","arts_1564"],"tags":["arts_3752"],"affiliates":["arts_137"],"featImg":"arts_13864878","label":"arts_137"},"arts_13857445":{"type":"posts","id":"arts_13857445","meta":{"index":"posts_1591205157","site":"arts","id":"13857445","score":null,"sort":[1558036319000]},"guestAuthors":[],"slug":"andy-warhol-sfmoma-see-what-we-did-there","title":"It’s 2019. It’s Time to Revisit Andy Warhol. Do We Have to Spell it Out for You?","publishDate":1558036319,"format":"image","headTitle":"It’s 2019. It’s Time to Revisit Andy Warhol. Do We Have to Spell it Out for You? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Ask anyone to describe the work of Andy Warhol and they can easily rattle off a list of the Pop artist’s most famous subjects: all those Marilyns, Campbell’s soup cans and Brillo boxes, the Marlon Brandos and Coca-Cola bottles. \u003c/p>\n\u003cp>But Warhol was a master of disguise and reinvention. \u003c/p>\n\u003cp>Constantly identified with his early 1960s work—those silkscreened images of consumer goods and film icons—Warhol’s 40-year career actually encompasses installation, film, material experiments, abstraction, sculpture, magazine publication, photography, a television show and time capsules. \u003c/p>\n\u003cfigure id=\"attachment_13857450\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200.jpg\" alt=\"Andy Warhol, 'Self-Portrait,' 1963–64.\" width=\"1200\" height=\"1517\" class=\"size-full wp-image-13857450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200-800x1011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200-768x971.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200-1020x1289.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200-949x1200.jpg 949w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Warhol, ‘Self-Portrait,’ 1963–64. \u003ccite>(© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS) New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Do we get to know the \u003ci>real\u003c/i> Warhol in the San Francisco Museum of Modern Art’s staging of the traveling exhibition \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/andy-warhol-from-a-to-b-and-back-again/\" rel=\"noopener noreferrer\" target=\"_blank\">Andy Warhol—From A to B and Back Again\u003c/a>\u003c/i>? We do not—because there’s simply no such thing.\u003c/p>\n\u003cp>Ever elusive, Warhol routinely answered personal questions with charmingly off-kilter aphorisms. “I never like to give my background,” he said. “And anyway, I make it all up different every time I’m asked.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finding the different Andys across the three floors and over 300 works that make up the exhibition is part of the fun. \u003c/p>\n\u003cp>Grouped together by theme and chronology, the bulk of \u003ci>From A to B\u003c/i> lives on the museum’s fourth floor, covering subjects like “female icons,” “death and disasters,” and the even more dramatic “death, sex, faith, and politics” section.\u003c/p>\n\u003cfigure id=\"attachment_13857456\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200.jpg\" alt=\"Andy Warhol, 'Brillo Boxes,' 1969 (version of 1964 original).\" width=\"1200\" height=\"903\" class=\"size-full wp-image-13857456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200-1020x768.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Warhol, ‘Brillo Boxes,’ 1969 (version of 1964 original). \u003ccite>(© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS) New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was, for the most part, apolitical. (Though one fantastic screenprint renders Nixon as a green monster and urges “Vote McGovern.”) But Warhol’s sexuality was never downplayed or concealed in his work. \u003c/p>\n\u003cp>In his early elegant line drawings displayed on the second floor, Warhol draws beautiful men staring out at landscapes, biting their lips and arching their necks. \u003c/p>\n\u003cp>John Giorno, Warhol’s lover, appears in a similar pose upstairs in \u003ci>Large Sleep\u003c/i>, a sculpture that takes frames from a film of Giorno sleeping nude, enlarges them and screenprints the images onto Plexiglas.\u003c/p>\n\u003cp>Knitted together with Warhol’s sense of intimacy is a bit of dispassion—a studious and scientific gaze. In a darkened gallery behind Giorno’s image, a selection of Warhol’s films play on 16mm.\u003c/p>\n\u003cp>Looking directly into the camera in one of the now-famous screen tests, Edie Sedgwick tries to hold still, making each small movement or variation in her expression all the more apparent. She looks extremely vulnerable.\u003c/p>\n\u003cp>Multiple screenprints on the same canvas achieve a similar result. \u003c/p>\n\u003cfigure id=\"attachment_13857455\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/12-Paramount_1200.jpg\" alt=\"Jean-Michel Basquiat and Andy Warhol, 'Paramount,' 1984–85.\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13857455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/12-Paramount_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/12-Paramount_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/12-Paramount_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/12-Paramount_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/12-Paramount_1200-1020x685.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat and Andy Warhol, ‘Paramount,’ 1984–85. \u003ccite>(© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No image is static for Warhol. Even when someone as beautiful as a young Elizabeth Taylor is reproduced through mechanical means, perfection is unattainable. \u003c/p>\n\u003cp>Over the course of \u003ci>From A to B\u003c/i>, what emerges most compellingly are the lesser-known works—delicate early paintings, a strange commercial for a sundae, a series of sherbert-colored sunset prints, a vacuum cleaner performance and a film of David Bowie acting like a mime.\u003c/p>\n\u003cp>Popular, well-known pieces aren’t any less impactful in light of such discoveries. \u003c/p>\n\u003cp>Querulous observers will whine about the ubiquity of Warhol’s images and style. But \u003ci>Campbell’s Soup Cans\u003c/i> still impresses. (Only in America could there be so many kinds of soup!) \u003c/p>\n\u003cp>Really, when we critique Warhol for selling out or losing touch, or for churning out celebrity portraits on commission (see the museum’s Instagram-like arrangement on the fifth floor)—could it be we’re not looking closely enough?\u003c/p>\n\u003cfigure id=\"attachment_13857454\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200.jpg\" alt=\"Andy Warhol, 'Silver Clouds at Leo Castelli,' 1966.\" width=\"1200\" height=\"956\" class=\"size-full wp-image-13857454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200-1020x813.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Warhol, ‘Silver Clouds at Leo Castelli,’ 1966. \u003ccite>(© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Selections from the 1980s, the artist’s “late years” (though he was only 58 when he died in 1987 after a routine gallbladder surgery), make efforts to recuperate Warhol’s latter day reputation. \u003c/p>\n\u003cp>There, we see a return to early form—black and white paintings of material clipped from newspapers—as well as new experiments: collaborations with Keith Haring and Basquiat, the publication of \u003ci>Interview\u003c/i> magazine, television content that is both awkward and mesmerizing.\u003c/p>\n\u003cp>Unconvinced? \u003c/p>\n\u003cp>Visit, and see if you can withstand the pure joy of a room full of \u003ci>Silver Clouds\u003c/i>, puffy Mylar balloons inflated with helium. \u003c/p>\n\u003cp>Warhol thought of them as paintings that could “float away.”\u003c/p>\n\u003cp>X factor and chameleon-like qualities aside, Warhol was at his core a compulsive maker. In films shot in the Factory, his silver-walled studio, he mostly fades into the background, working on screenprints, reading the newspaper, quietly listening to someone on the phone—often all the while chewing gum. In his cryptic way, he explained as much as he needed to about his art. The rest of the work is on us to interpret and enjoy as we will. \u003c/p>\n\u003cp>(Yep, I did it.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Zig-zag your own way through ‘Andy Warhol—From A to B and Back Again’ at the San Francisco Museum of Modern Art, May 19–Sept. 2, 2019. \u003ca href=\"https://www.sfmoma.org/exhibition/andy-warhol-from-a-to-b-and-back-again/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"SFMOMA's 'Andy Warhol—From A to B and Back Again' sheds light on a career that's far more than soup cans.","status":"publish","parent":0,"modified":1705026199,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":933},"headData":{"title":"It’s 2019. It’s Time to Revisit Andy Warhol. Do We Have to Spell it Out for You? | KQED","description":"SFMOMA's 'Andy Warhol—From A to B and Back Again' sheds light on a career that's far more than soup cans.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13857445/andy-warhol-sfmoma-see-what-we-did-there","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask anyone to describe the work of Andy Warhol and they can easily rattle off a list of the Pop artist’s most famous subjects: all those Marilyns, Campbell’s soup cans and Brillo boxes, the Marlon Brandos and Coca-Cola bottles. \u003c/p>\n\u003cp>But Warhol was a master of disguise and reinvention. \u003c/p>\n\u003cp>Constantly identified with his early 1960s work—those silkscreened images of consumer goods and film icons—Warhol’s 40-year career actually encompasses installation, film, material experiments, abstraction, sculpture, magazine publication, photography, a television show and time capsules. \u003c/p>\n\u003cfigure id=\"attachment_13857450\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200.jpg\" alt=\"Andy Warhol, 'Self-Portrait,' 1963–64.\" width=\"1200\" height=\"1517\" class=\"size-full wp-image-13857450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200-800x1011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200-768x971.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200-1020x1289.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/03-Self_Portrait_1963_64_1200-949x1200.jpg 949w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Warhol, ‘Self-Portrait,’ 1963–64. \u003ccite>(© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS) New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Do we get to know the \u003ci>real\u003c/i> Warhol in the San Francisco Museum of Modern Art’s staging of the traveling exhibition \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/andy-warhol-from-a-to-b-and-back-again/\" rel=\"noopener noreferrer\" target=\"_blank\">Andy Warhol—From A to B and Back Again\u003c/a>\u003c/i>? We do not—because there’s simply no such thing.\u003c/p>\n\u003cp>Ever elusive, Warhol routinely answered personal questions with charmingly off-kilter aphorisms. “I never like to give my background,” he said. “And anyway, I make it all up different every time I’m asked.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finding the different Andys across the three floors and over 300 works that make up the exhibition is part of the fun. \u003c/p>\n\u003cp>Grouped together by theme and chronology, the bulk of \u003ci>From A to B\u003c/i> lives on the museum’s fourth floor, covering subjects like “female icons,” “death and disasters,” and the even more dramatic “death, sex, faith, and politics” section.\u003c/p>\n\u003cfigure id=\"attachment_13857456\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200.jpg\" alt=\"Andy Warhol, 'Brillo Boxes,' 1969 (version of 1964 original).\" width=\"1200\" height=\"903\" class=\"size-full wp-image-13857456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/15-BRILLO-BOXES_1200-1020x768.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Warhol, ‘Brillo Boxes,’ 1969 (version of 1964 original). \u003ccite>(© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS) New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was, for the most part, apolitical. (Though one fantastic screenprint renders Nixon as a green monster and urges “Vote McGovern.”) But Warhol’s sexuality was never downplayed or concealed in his work. \u003c/p>\n\u003cp>In his early elegant line drawings displayed on the second floor, Warhol draws beautiful men staring out at landscapes, biting their lips and arching their necks. \u003c/p>\n\u003cp>John Giorno, Warhol’s lover, appears in a similar pose upstairs in \u003ci>Large Sleep\u003c/i>, a sculpture that takes frames from a film of Giorno sleeping nude, enlarges them and screenprints the images onto Plexiglas.\u003c/p>\n\u003cp>Knitted together with Warhol’s sense of intimacy is a bit of dispassion—a studious and scientific gaze. In a darkened gallery behind Giorno’s image, a selection of Warhol’s films play on 16mm.\u003c/p>\n\u003cp>Looking directly into the camera in one of the now-famous screen tests, Edie Sedgwick tries to hold still, making each small movement or variation in her expression all the more apparent. She looks extremely vulnerable.\u003c/p>\n\u003cp>Multiple screenprints on the same canvas achieve a similar result. \u003c/p>\n\u003cfigure id=\"attachment_13857455\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/12-Paramount_1200.jpg\" alt=\"Jean-Michel Basquiat and Andy Warhol, 'Paramount,' 1984–85.\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13857455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/12-Paramount_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/12-Paramount_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/12-Paramount_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/12-Paramount_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/12-Paramount_1200-1020x685.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat and Andy Warhol, ‘Paramount,’ 1984–85. \u003ccite>(© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No image is static for Warhol. Even when someone as beautiful as a young Elizabeth Taylor is reproduced through mechanical means, perfection is unattainable. \u003c/p>\n\u003cp>Over the course of \u003ci>From A to B\u003c/i>, what emerges most compellingly are the lesser-known works—delicate early paintings, a strange commercial for a sundae, a series of sherbert-colored sunset prints, a vacuum cleaner performance and a film of David Bowie acting like a mime.\u003c/p>\n\u003cp>Popular, well-known pieces aren’t any less impactful in light of such discoveries. \u003c/p>\n\u003cp>Querulous observers will whine about the ubiquity of Warhol’s images and style. But \u003ci>Campbell’s Soup Cans\u003c/i> still impresses. (Only in America could there be so many kinds of soup!) \u003c/p>\n\u003cp>Really, when we critique Warhol for selling out or losing touch, or for churning out celebrity portraits on commission (see the museum’s Instagram-like arrangement on the fifth floor)—could it be we’re not looking closely enough?\u003c/p>\n\u003cfigure id=\"attachment_13857454\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200.jpg\" alt=\"Andy Warhol, 'Silver Clouds at Leo Castelli,' 1966.\" width=\"1200\" height=\"956\" class=\"size-full wp-image-13857454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/11-SILVER-CLOUDS_1200-1020x813.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Warhol, ‘Silver Clouds at Leo Castelli,’ 1966. \u003ccite>(© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Selections from the 1980s, the artist’s “late years” (though he was only 58 when he died in 1987 after a routine gallbladder surgery), make efforts to recuperate Warhol’s latter day reputation. \u003c/p>\n\u003cp>There, we see a return to early form—black and white paintings of material clipped from newspapers—as well as new experiments: collaborations with Keith Haring and Basquiat, the publication of \u003ci>Interview\u003c/i> magazine, television content that is both awkward and mesmerizing.\u003c/p>\n\u003cp>Unconvinced? \u003c/p>\n\u003cp>Visit, and see if you can withstand the pure joy of a room full of \u003ci>Silver Clouds\u003c/i>, puffy Mylar balloons inflated with helium. \u003c/p>\n\u003cp>Warhol thought of them as paintings that could “float away.”\u003c/p>\n\u003cp>X factor and chameleon-like qualities aside, Warhol was at his core a compulsive maker. In films shot in the Factory, his silver-walled studio, he mostly fades into the background, working on screenprints, reading the newspaper, quietly listening to someone on the phone—often all the while chewing gum. In his cryptic way, he explained as much as he needed to about his art. The rest of the work is on us to interpret and enjoy as we will. \u003c/p>\n\u003cp>(Yep, I did it.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Zig-zag your own way through ‘Andy Warhol—From A to B and Back Again’ at the San Francisco Museum of Modern Art, May 19–Sept. 2, 2019. \u003ca href=\"https://www.sfmoma.org/exhibition/andy-warhol-from-a-to-b-and-back-again/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13857445/andy-warhol-sfmoma-see-what-we-did-there","authors":["61"],"categories":["arts_235","arts_75","arts_70"],"tags":["arts_3752","arts_1118","arts_596","arts_769","arts_1381"],"featImg":"arts_13857453","label":"arts"},"arts_13841824":{"type":"posts","id":"arts_13841824","meta":{"index":"posts_1591205157","site":"arts","id":"13841824","score":null,"sort":[1538226001000]},"guestAuthors":[],"slug":"contact-warhol-dives-into-andys-obsessions-with-sex-and-celebrity","title":"'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity","publishDate":1538226001,"format":"audio","headTitle":"‘Contact Warhol’ Dives into Andy’s Obsessions with Sex and Celebrity | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Before there was Instagram and Snapchat, there was Andy Warhol.\u003c/p>\n\u003cp>He anticipated the way we would come to openly acknowledge and then celebrate our fascination with pop culture and, really, ourselves.\u003c/p>\n\u003cp>The visual documentation of that life, 1976-1987, is now on view at the \u003ca class=\"profileLink\" href=\"https://www.facebook.com/CantorArtsCenter/?__tn__=K-R-R&eid=ARDBufKIVySDCrgm1CKcVwR5swFlcpRJ_eXA_mxTdI7LfBeIGnp_LeK5a1FQLRQ-QCvdf1EkyBp5zqKo&fref=mentions&__xts__%5B0%5D=68.ARBfSpOt5PqWlm-x9rcXM2KGDtfRn5kYHDlkL-_JT-qPmXDLmWFcmNbZL3wh-fp7UGlvio2k0eC8eHajg4uNE831QsHDGbibGAEys2SFQ9_akn0DlYWeEaW618tOCSbrFNmXEsDgVTUcn6uCSqRYDs55jYD66Bj67xw_r3WO9tN7RiVpEGpBj7c\">Cantor Arts Center at Stanford University\u003c/a> with \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\">\u003ci>Contact Warhol: Photography Without End\u003c/i>\u003c/a>, celebrating the digitization of a huge collection of Warhol’s photographs, the vast majority of which have never been available to the public before.\u003c/p>\n\u003cp>It’s part of a deal with \u003ca href=\"https://warholfoundation.org\" target=\"_blank\" rel=\"noopener\">The Andy Warhol Foundation for the Visual Arts\u003c/a> in New York. To land this prize, Stanford digitized the images that expose Warhol’s artistic process.\u003c/p>\n\u003cfigure id=\"attachment_13841852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg\" alt=\"Detail from a contact sheet of Andy Warhol, 1986.\" width=\"800\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-768x247.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1020x328.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1200x385.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1920x617.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1180x379.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-960x308.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-240x77.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-375x120.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-520x167.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a contact sheet of Andy Warhol, 1986. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reared on the flat, iconic paintings of the Byzantine Catholic church he grew up in, Warhol was quick to identify what and how we worship in the modern era — and then capitalize on that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the late 1970s, the nation’s premier pop artist was a celebrity himself, cashing in on the appetite he created for iconic portraits of the rich and famous. By night, he was also holding court with his posse, a coterie of hot young men and artists in pre-AIDS Manhattan.\u003c/p>\n\u003cp>“The big revelation for me was how good Warhol was as a director, and indeed, as a performer. What matters isn’t actually the end result, but rather the act of shooting,” says co-curator \u003ca href=\"https://english.stanford.edu/people/peggy-phelan\" target=\"_blank\" rel=\"noopener\">Peggy Phelan\u003c/a>, who directs Stanford’s \u003ca href=\"https://arts.stanford.edu/arts-institute/\" target=\"_blank\" rel=\"noopener\">Arts Institute\u003c/a>.\u003c/p>\n\u003cp>Her co-curator is \u003ca href=\"https://art.stanford.edu/people/richard-meyer\" target=\"_blank\" rel=\"noopener\">Richard Meyer\u003c/a> of Stanford’s School of Humanities and Sciences. “This is an exhibition based on an extraordinary collection of 3,600 contact sheets. Not the Polaroids, but every other single photograph that Warhol took from 1976, the year he bought a Minox — his first camera he had that wasn’t a Polaroid — to his unexpected death in 1987,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841862\" class=\"wp-caption aligncenter\" style=\"max-width: 730px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg\" alt=\"Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \" width=\"730\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg 730w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-375x411.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-520x570.jpg 520w\" sizes=\"(max-width: 730px) 100vw, 730px\">\u003cfigcaption class=\"wp-caption-text\">Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phelan says Warhol understood that the back story to his public paintings was something interesting in itself. That’s something we can appreciate in 2018 in way we might not have fully grasped in 1978. “He is anticipating our own habit with our cell phone photographs,” she says.\u003c/p>\n\u003cp>In one gallery suite, you can see the process that went into Warhol’s silkscreen of Liza Minnelli.\u003c/p>\n\u003cp>“Warhol is photographing Liza with a Polaroid camera because Polaroids were the sources of the big paintings that we have,” Phelan explains. “But he made sure that someone with a 35 millimeter camera — his 35 millimeter camera — was photographing him. And in this case, he made sure that there was someone filming both the 35 millimeter camera photographing him and him photographing Liza.”\u003c/p>\n\u003cp>Hinting at the size of the collection, blow-ups of the contact sheets ring the rooms on the walls at knee level. Tables waist-high feature samples of the actual contact sheets under plexiglas.\u003c/p>\n\u003cp>Then, mirroring the kind of work done at the \u003ca href=\"http://library.stanford.edu/rumsey\" target=\"_blank\" rel=\"noopener\">David Rumsey Map Center\u003c/a> at Stanford, there’s an interactive table, allowing you to look at anything in the archive digitized over two-and-a-half years by Cantor archivists.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/506663418″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>“You can zoom in on one contact sheet, and then one frame within that contact sheet, and that zooming in will then be projected on the screen in the middle of the gallery,” Phelan says.\u003c/p>\n\u003cp>So, a warning here to think about who else is in the gallery with you before you zoom in on any of the sexually explicit photos of Warhol’s friends.\u003c/p>\n\u003cp>These photographs document a now lost world of gay culture in the 1970s and ’80s. We see, for example, many shots of Victor Hugo, the window dresser and boyfriend of fashion designer Roy Halston Frowicknot, having sex with different men. Warhol used those images for a series called \u003cem>Sex Parts\u003c/em>.\u003c/p>\n\u003cp>In a nod to modern sensitivities about sexual exploitation, Phelan says she and Meyer chose to crop the heads off of explicit images. “We were quite conscious of the risks of showing the faces of men who were engaged in sex acts 35 years ago who may or may not want to be identified now,” Phelan says.\u003c/p>\n\u003cfigure id=\"attachment_13841865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841865\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-800x705.jpg\" alt=\"Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print.\" width=\"800\" height=\"705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-240x212.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-375x330.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-520x458.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those, she means, who are still alive today. “Looking at it in 2018, you can’t but see the kind of sexual freedom and almost jubilation,” Meyer says, before adding “Not Warhol. He’s not jubilant. He very rarely smiles!”\u003c/p>\n\u003cp>Meyer adds something that might not seem obvious in this age: “These were not selfies,” Meyers says. “He was not holding the camera out in front of him. He passed the camera to assistants to other people at the dinner parties, at Studio 54, at the discotheque. But every photograph taken by his camera is considered a Warhol.\u003c/p>\n\u003cp>“Warhol is the most pictured person in the contact sheets, and his boyfriend, John Gould, who was his last boyfriend, [was] the second most photographed.”\u003c/p>\n\u003cp>Gould died of HIV/AIDS-related complications in 1986, a year before Warhol’s death after gallbladder surgery.\u003c/p>\n\u003cp>“He took his tape recorder and his pocket-sized camera with him every night when he went out, and he was very proud of going out every night,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841864 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg\" alt=\"Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1174x1200.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Altogether, the exhibition documents a point in time when superstars of that era wanted to be photographed by Warhol, or with him: Debbie Harry, Michael Jackson, John Lennon, Dolly Parton, Keith Haring, Jean-Michel Basquiat, Nancy Reagan, Maria Shriver and Arnold Schwarzenegger, to name a few.\u003c/p>\n\u003cp>They understood instinctively what Warhol was doing, and they wanted to bask in the refracted light of his vision.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Contact Warhol: Photography Without End \u003c/strong>r\u003ci>uns September 29, 2018 through January 6, 2019 at the Cantor Arts Center on the Stanford campus in Palo Alto. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"All of the photographs documenting Andy Warhol's last decade are on display at the Cantor Arts Center.","status":"publish","parent":0,"modified":1705027188,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1170},"headData":{"title":"'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity | KQED","description":"All of the photographs documenting Andy Warhol's last decade are on display at the Cantor Arts Center.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/09/MyrowWarhol.mp3","sticky":false,"audioTrackLength":114,"path":"/arts/13841824/contact-warhol-dives-into-andys-obsessions-with-sex-and-celebrity","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before there was Instagram and Snapchat, there was Andy Warhol.\u003c/p>\n\u003cp>He anticipated the way we would come to openly acknowledge and then celebrate our fascination with pop culture and, really, ourselves.\u003c/p>\n\u003cp>The visual documentation of that life, 1976-1987, is now on view at the \u003ca class=\"profileLink\" href=\"https://www.facebook.com/CantorArtsCenter/?__tn__=K-R-R&eid=ARDBufKIVySDCrgm1CKcVwR5swFlcpRJ_eXA_mxTdI7LfBeIGnp_LeK5a1FQLRQ-QCvdf1EkyBp5zqKo&fref=mentions&__xts__%5B0%5D=68.ARBfSpOt5PqWlm-x9rcXM2KGDtfRn5kYHDlkL-_JT-qPmXDLmWFcmNbZL3wh-fp7UGlvio2k0eC8eHajg4uNE831QsHDGbibGAEys2SFQ9_akn0DlYWeEaW618tOCSbrFNmXEsDgVTUcn6uCSqRYDs55jYD66Bj67xw_r3WO9tN7RiVpEGpBj7c\">Cantor Arts Center at Stanford University\u003c/a> with \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\">\u003ci>Contact Warhol: Photography Without End\u003c/i>\u003c/a>, celebrating the digitization of a huge collection of Warhol’s photographs, the vast majority of which have never been available to the public before.\u003c/p>\n\u003cp>It’s part of a deal with \u003ca href=\"https://warholfoundation.org\" target=\"_blank\" rel=\"noopener\">The Andy Warhol Foundation for the Visual Arts\u003c/a> in New York. To land this prize, Stanford digitized the images that expose Warhol’s artistic process.\u003c/p>\n\u003cfigure id=\"attachment_13841852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg\" alt=\"Detail from a contact sheet of Andy Warhol, 1986.\" width=\"800\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-768x247.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1020x328.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1200x385.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1920x617.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1180x379.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-960x308.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-240x77.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-375x120.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-520x167.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a contact sheet of Andy Warhol, 1986. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reared on the flat, iconic paintings of the Byzantine Catholic church he grew up in, Warhol was quick to identify what and how we worship in the modern era — and then capitalize on that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the late 1970s, the nation’s premier pop artist was a celebrity himself, cashing in on the appetite he created for iconic portraits of the rich and famous. By night, he was also holding court with his posse, a coterie of hot young men and artists in pre-AIDS Manhattan.\u003c/p>\n\u003cp>“The big revelation for me was how good Warhol was as a director, and indeed, as a performer. What matters isn’t actually the end result, but rather the act of shooting,” says co-curator \u003ca href=\"https://english.stanford.edu/people/peggy-phelan\" target=\"_blank\" rel=\"noopener\">Peggy Phelan\u003c/a>, who directs Stanford’s \u003ca href=\"https://arts.stanford.edu/arts-institute/\" target=\"_blank\" rel=\"noopener\">Arts Institute\u003c/a>.\u003c/p>\n\u003cp>Her co-curator is \u003ca href=\"https://art.stanford.edu/people/richard-meyer\" target=\"_blank\" rel=\"noopener\">Richard Meyer\u003c/a> of Stanford’s School of Humanities and Sciences. “This is an exhibition based on an extraordinary collection of 3,600 contact sheets. Not the Polaroids, but every other single photograph that Warhol took from 1976, the year he bought a Minox — his first camera he had that wasn’t a Polaroid — to his unexpected death in 1987,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841862\" class=\"wp-caption aligncenter\" style=\"max-width: 730px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg\" alt=\"Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \" width=\"730\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg 730w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-375x411.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-520x570.jpg 520w\" sizes=\"(max-width: 730px) 100vw, 730px\">\u003cfigcaption class=\"wp-caption-text\">Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phelan says Warhol understood that the back story to his public paintings was something interesting in itself. That’s something we can appreciate in 2018 in way we might not have fully grasped in 1978. “He is anticipating our own habit with our cell phone photographs,” she says.\u003c/p>\n\u003cp>In one gallery suite, you can see the process that went into Warhol’s silkscreen of Liza Minnelli.\u003c/p>\n\u003cp>“Warhol is photographing Liza with a Polaroid camera because Polaroids were the sources of the big paintings that we have,” Phelan explains. “But he made sure that someone with a 35 millimeter camera — his 35 millimeter camera — was photographing him. And in this case, he made sure that there was someone filming both the 35 millimeter camera photographing him and him photographing Liza.”\u003c/p>\n\u003cp>Hinting at the size of the collection, blow-ups of the contact sheets ring the rooms on the walls at knee level. Tables waist-high feature samples of the actual contact sheets under plexiglas.\u003c/p>\n\u003cp>Then, mirroring the kind of work done at the \u003ca href=\"http://library.stanford.edu/rumsey\" target=\"_blank\" rel=\"noopener\">David Rumsey Map Center\u003c/a> at Stanford, there’s an interactive table, allowing you to look at anything in the archive digitized over two-and-a-half years by Cantor archivists.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/506663418″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/506663418″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You can zoom in on one contact sheet, and then one frame within that contact sheet, and that zooming in will then be projected on the screen in the middle of the gallery,” Phelan says.\u003c/p>\n\u003cp>So, a warning here to think about who else is in the gallery with you before you zoom in on any of the sexually explicit photos of Warhol’s friends.\u003c/p>\n\u003cp>These photographs document a now lost world of gay culture in the 1970s and ’80s. We see, for example, many shots of Victor Hugo, the window dresser and boyfriend of fashion designer Roy Halston Frowicknot, having sex with different men. Warhol used those images for a series called \u003cem>Sex Parts\u003c/em>.\u003c/p>\n\u003cp>In a nod to modern sensitivities about sexual exploitation, Phelan says she and Meyer chose to crop the heads off of explicit images. “We were quite conscious of the risks of showing the faces of men who were engaged in sex acts 35 years ago who may or may not want to be identified now,” Phelan says.\u003c/p>\n\u003cfigure id=\"attachment_13841865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841865\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-800x705.jpg\" alt=\"Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print.\" width=\"800\" height=\"705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-240x212.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-375x330.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-520x458.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those, she means, who are still alive today. “Looking at it in 2018, you can’t but see the kind of sexual freedom and almost jubilation,” Meyer says, before adding “Not Warhol. He’s not jubilant. He very rarely smiles!”\u003c/p>\n\u003cp>Meyer adds something that might not seem obvious in this age: “These were not selfies,” Meyers says. “He was not holding the camera out in front of him. He passed the camera to assistants to other people at the dinner parties, at Studio 54, at the discotheque. But every photograph taken by his camera is considered a Warhol.\u003c/p>\n\u003cp>“Warhol is the most pictured person in the contact sheets, and his boyfriend, John Gould, who was his last boyfriend, [was] the second most photographed.”\u003c/p>\n\u003cp>Gould died of HIV/AIDS-related complications in 1986, a year before Warhol’s death after gallbladder surgery.\u003c/p>\n\u003cp>“He took his tape recorder and his pocket-sized camera with him every night when he went out, and he was very proud of going out every night,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841864 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg\" alt=\"Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1174x1200.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Altogether, the exhibition documents a point in time when superstars of that era wanted to be photographed by Warhol, or with him: Debbie Harry, Michael Jackson, John Lennon, Dolly Parton, Keith Haring, Jean-Michel Basquiat, Nancy Reagan, Maria Shriver and Arnold Schwarzenegger, to name a few.\u003c/p>\n\u003cp>They understood instinctively what Warhol was doing, and they wanted to bask in the refracted light of his vision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Contact Warhol: Photography Without End \u003c/strong>r\u003ci>uns September 29, 2018 through January 6, 2019 at the Cantor Arts Center on the Stanford campus in Palo Alto. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13841824/contact-warhol-dives-into-andys-obsessions-with-sex-and-celebrity","authors":["251"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_3752","arts_3935","arts_1255","arts_1315","arts_5612","arts_4642","arts_3001","arts_2309","arts_5165","arts_5164"],"featImg":"arts_13841860","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0017_BayCurious_iTunesTile_01.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/BBC_1400.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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