ANTIQUES AND THE ARTS WEEKLY

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“Campbell’s Soup Cans,” by Andy Warhol (1928–1987), 1962. Casein, acrylic and graphite on linen, 32 panels: 20 by “Elvis Presley,” Andy Warhol (1928–1987),
16 inches each. The Museum of Modern Art, New York; partial gift of Irving Blum, additional funding provided by circa 1956. Collaged metal leaf and
Nelson A. Rockefeller Bequest, gift of Mr and Mrs William A.M. Burden, Abby Aldrich Rockefeller Fund, gift of embossed foil with ink on paper, 20 by 14
Nina and Gordon Bunshaft in honor of Henry Moore, acquired through the Lillie P. Bliss Bequest, Philip Johnson inches. The Brant Foundation, Green-
Fund, Frances R. Keech Bequest, gift of Mrs Bliss Parkinson, and Florence B. Wesley Bequest (all by exchange) wich, Conn. ©The Andy Warhol Founda-
476.1996.1–32 ©The Andy Warhol Foundation for the Visual Arts, Inc / Artists Rights Society (ARS) New York. tion for the Visual Arts, Inc / Artists
Rights Society (ARS) New York.

ANDY
WARHOL

From A to B and Back Again

ST309 Edie Sedgwick, by Andy Warhol (1928–1987), 1965,
16mm, black and white, silent; 4½ minutes @ 16 fps, 4 min-
utes @ 18 fps. Pictured: Edie Sedgwick. ©2018 The Andy
Warhol Museum, Pittsburgh, Penn., a museum of Carnegie
Institute. All rights reserved.

Left, “Most Wanted Men No. 6, Thomas Francis C.,” by Andy Warhol (1928–1987), 1964. Silk-
screen ink on linen, two panels: 48 by 77-5/8 inches. The Eli and Edythe L. Broad Collection
©The Andy Warhol Foundation for the Visual Arts, Inc / Artists Rights Society (ARS) New
York. Right, “Most Wanted Men No. 1, John M.” by Andy Warhol (1928–1987), 1964. Silk-
screen ink on linen, two panels: 49 by 75½ inches. Herbert F. Johnson Museum of Art, Cor-
nell University, Ithaca, N.Y.; acquired with funds provided by the National Endowment for
the Arts, and through the generosity of individual donors 76.048a‒b ©The Andy Warhol
Foundation for the Visual Arts, Inc / Artists Rights Society (ARS) New York.

( continued from page 1C )

“Triple Elvis [Ferus Type],” by Andy Warhol (1928–1987), He was soon rocketing ahead on a blinding trajec- experiments, Sleep and Empire, hours pass and
1963. Spray paint and silkscreen ink on linen, 82¼ by 118½ tory that would lead him from silkscreen painting to very little happens.
inches. The Doris and Donald Fisher Collection at the San filmmaking and publishing as well. Warhol had
Francisco Museum of Modern Art, FC.556 ©The Andy War- clearly left behind the humble family living room he For his short, silent, black and white film portraits,
hol Foundation for the Visual Arts, Inc / Artists Rights Soci- depicts in an early watercolor made when he was a his sitters were given a set of “diabolically challenging
ety (ARS) New York. student at Carnegie Mellon Institute of Technology. performance instructions, and expected to pose for a
Yet it was as if an inveterate outsider’s eye had nearly unendurable three minutes,” the late Callie
primed him to pick up on the iconography on Ameri- Angell, longtime curator of the Andy Warhol film proj-
ca’s grocery shelves much the same way he had ect at the Whitney Museum, in her catalog, Screen
absorbed iconic messages he ascertained as a prac- Tests, writes. “The emotional and physiological
ticing Byzantine Catholic. Over time these influenc- responses to this ordeal are often the most riveting
es coalesced into a personal language. His portrait of aspect of the Screen Tests, adding complex layers of
Marilyn Monroe as gilded martyr-saint, 1962, just psychological meaning to the visual images struc-
months after the actress’ suicide, provides an early tured by the artist.” These, like much of Warhol’s work,
example. There would be a lifetime of others. “are conceptual hybrids, arising from the formal
transposition of idioms from one medium to another.”
In his early newspaper ads for the I. Miller Shoe
Company, we see Warhol’s uncanny ability to trans- “They are as rigidly formal as his early minimalist
form the products into objects of desire. Who would films, as society-conscious as his silk-screened por-
not want a buccaneer boot that embodies Elvis Pres- traits of the 1970s, and as visually striking as his
ley, or bead-encrusted slippers worthy of Cinderella? paintings of Hollywood movie stars,” she says.
Why not appropriate celebrity photographs from the
daily press, and transform them? Soon enough in his For this exhibition, a number of films are being
serial paintings of Elvis, Marilyn, Liz and Jackie, it is screened in their original 16mm format, and are sta-
as if through his silkscreened images replete with tioned in the museum’s black box gallery so as to be
smudges and streaks and off-kilter registrations, we in dialogue with Warhol’s related paintings. Other
were experiencing them as he did, as home movies. important films, including Outer and Inner Space,
1965, and Lupe, 1965, will be shown in the muse-
Conversely when he embarked full-time on film- um’s theater through the run of the exhibit. These
making, we find a number of his earliest films mas- feature his iconic and tragic superstar, Edie Sedg-
querading as still images. In two of his best-known wick — and offer a rare opportunity to view them on
a double screen, as Warhol intended.

Empire, by Andy Warhol (1928–1987), 1964. 16mm, black and white, silent; 8 hours, 5 min-
utes at 16 fps, 7 hours, 11 minutes at 18 fps ©2018 The Andy Warhol Museum, Pittsburgh,
Penn., a museum of Carnegie Institute. All rights reserved.

February 1, 2019 — Antiques and The Arts Weekly — 9C

“Self-Portrait,” by Andy Warhol (1928–1987), 1981. Facsimile of an original “Living Room,” by Andy Warhol (1928–1987), circa 1948. Watercolor on
Polaroid™ Polacolor 2, 3-3/8 by 4¼ inches. The Andy Warhol Museum, Pitts- paper, 15 by 20 inches. Collection of the Paul Warhola Family ©The Andy
burgh ©The Andy Warhol Foundation for the Visual Arts, Inc / Artists Warhol Foundation for the Visual Arts, Inc / Artists Rights Society (ARS)
Rights Society (ARS) New York. New York.

While his mural, “Thirteen Most Wanted Men” fabric that was designed for the battlefield, to
mounted on the exterior of the New York State Pavil- obscure the human form.
ion at the of the 1964 World’s Fair in Flushing,
Queens, N.Y., would be censored and silvered over, to There has been considerable debate over the years
De Salvo’s mind it was one of Warhol’s’ most brazen over whether or not Warhol was political — and as a
attempts to broach male homosexual desire in a pub- regular consumer of the tabloids, Warhol was well-
lic arena. Early drawings of male genitalia, and his aware of the ways in which these publications used
filmic attention to male dancers and young poets, art- scenes of carnage and disaster to boost circulation
ists and wannabes, some of whom would be included and sales. Yet as early as 1964, in his first mono-
in his “13 Best Boy” series, shines further light on this graphic exhibition in Europe at Sonnabend Gallery
openly gay artist’s inquiries. While many of these in Paris, another catalog essayist, Hendrik Folkerts,
works were shocking in the 1960s, when homosexual- curator of contemporary and modern art at the
ity was illegal, the landscape of acceptability has Institute of Chicago, argues Warhol was signaling
changed radically since then. that something in America was seriously awry. War-
hol’s silkscreened suicides, execution chambers, road
Warhol also managed Velvet Underground, whose and air crashes and violent civil rights demonstra-
earsplitting Exploding Plastic Inevitable multimedia tions provide an anguished overview of a tumultu-
performances were sending audiences scurrying for ous time, Folkerts adds.
the exit doors. An incident in 1967 at a black-tie ban-
quet of the New York Society for Clinical Psychiatry To De Salvo’s mind, Warhol became our foremost
at Delmonico’s Hotel on Park Avenue was a case in Twentieth Century history painter, “who had a
point; “Psychiatrists Flee Warhol,” the headline capacity to find themes within consumer culture
beamed the next day in the New York Herald Tribune. and their equivalent within art history.” His genius
For middle class suburban families, Warhol’s amphet- was to pull them together, which is why, she contin-
amine-fueled silver Factory, the midtown studio ues, “he’s one of the few people who will have his 15
where he worked, had come to personify perversity, minutes extended over and over again.”
with its miscreants, socialites and creatives. Yet the
EPI’s experiments would influence filmmakers and “Andy Warhol — From A to B and Back Again”
video performance artists for generations. through March 31 at the Whitney Museum of Amer-
ican Art, 99 Gansevoort Street, Manhattan, 212-
De Salvo and colleagues have taken great pains to 570-3600, www.whitney.org. The exhibition travels
probe Warhol’s lesser-known autumnal period, when to the San Francisco Museum of Modern Art (May
he not only survived an assassination attempt, but 18–September 2) and the Art Institute of Chicago
flourished. There are examples of his collaborative (October 20–January 26, 2020).
paintings with young conceptual artists Kenny
Scharf and Jean-Michel Basquiat, and one of his “piss “Green Coca-Cola Bottles,” by Andy Warhol (1928–1987),
paintings,” known as his “Oxidation” series, 1978. In 1962. Acrylic, screenprint and graphite pencil on canvas,
the brilliantly colored portrait series, “Ladies and 82¾ by 57-1/8 inches. Whitney Museum of American Art, New
Gentlemen,” 1975, we encounter among his drag York; purchase with funds from the Friends of the Whitney
queens the stunning Marsha P. Johnson, who would Museum of American Art 68.25. ©2018 The Andy Warhol
become an important activist in the fight for trans- Foundation for the visual Arts, Inc./ Artists Rights Society
gender rights. There is “Shadows,” 1978–79, a mas- (ARS), N.Y.
sive work, that art critic Holland Cotter has pro- “The Nation’s Nightmare,” by Andy Warhol (1928–1987),
claimed an abstract masterpiece, in which “darkness 1951. Ink and wash on paper, 14½ by 14½ inches. The Andy
has no source and no end,” which was on loan through Warhol Museum, Pittsburgh; Founding Collection, contribu-
mid-December from Dia Art Foundation Calvin Klein tion The Andy Warhol Foundation for the Visual Arts, Inc.
headquarters at 205 39th Street. 1998.1.1175 ©The Andy Warhol Foundation for the Visual
Arts, Inc / Artists Rights Society (ARS) New York.
In the final decade of his life, AIDS was ravaging
the NYC arts scene and Warhol’s loss of friends and AMERICAN ART
lovers was profound. There are only a few paintings
in the show that address this apocalyptic crisis,
with Warhol’s “Camouflage Last Supper,” 1986, par-
ticularly poignant. In one of the final works of this
retrospective, we find Warhol interacting with
Michelangelo’s famous painting by cloaking it in

WHITNEY MUSEUM OF

“Camouflage Last Supper,” by Andy Warhol (1928–1987), 1986. Acrylic and silkscreen ink on canvas, 6 feet 8 inches by 25 feet 5 inches. Private collection
©The Andy Warhol Foundation for the Visual Arts, Inc / Artists Rights Society (ARS) New York.

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