Andy Warhol
September 2, 2008
For Andy and After
Perspectives on Curating West
Coast Pop Art
Marlaina Buch, Curatorial Assistant,
Maltwood Art Museum and Gallery
The Andy Warhol art/brand enterprise
has outlived his proclamation that “In the future, everyone will be
famous for fifteen minutes.” In many ways, the Andy concept deserves
to endure beyond its watershed moment in art history. Warhol’s slick
mash-up of commercial production, rock n roll aesthetic, fabricated
persona and attentive documentation of superficiality swung a glittering
wrecking ball through the sacred temple of Modern Art. For better or
for worse, Warhol’s Duchampian trickery rolled a red carpet straight
from the club to the gallery and collapsed formal distinctions between
art, life, business, reality and work. This is the single most important
result of his extensive output and the reason his influence is still
being echoed by the work of contemporary artists today.
The advances of the digital age make
us re-evaluate Warhol’s work. Basic Photoshop functions can replicate
his silkscreen techniques in minutes. Albums have given way to downloading
and cover art and inserts have become digital booklets. Facebook is
the new voyeur’s simulated happening, blogs function as the Everyperson’s
gossip rag and YouTube beams Everyone’s Factory party around the globe.
Had he lived to see it, Warhol would have been mesmerized by developments
in production technology and would certainly have known how to capitalize
on the ever-sensational global celebrity system and larger than life
advertising campaigns of the 90s. How do iconoclasts keep pace with
the times and maintain the relevancy of their legacy posthumously? The
artists who now make work under the Pop Art mantle are the answer. Warhol
set the precedent and today’s image and tastemakers are continuing
to push his ideas in new, unimagined directions.
Closer to home, Canada has seen a
number of significant Warhol- and Pop Art-themed exhibits this year.
In September, Montreal’s Museum of Fine Arts will host Warhol Live,
the first exhibit to examine music as a fundamental part of Warhol’s
art. The Art Gallery of Greater Victoria is showing Warhol: Larger Than
Life, a traveling exhibit organized by the Winnipeg Art Gallery that
showcases a cross section of Warhol’s oeuvre. The Maltwood Art Museum
and Gallery in Victoria is exhibiting P/OP! : Parallel Visions in Pop
and Op. This show features the work of major American Pop artists including
Andy Warhol, Tom Wesselmann, Roy Lichtenstein and Jasper Johns from
the collection but also includes works by prominent West Coast artists
connected to The Western Front Society in Vancouver. The Western Front
is one of Canada’s first artist-run centers and in its heyday was
a hub that functioned much like the Factory.
In putting together the Maltwood’s!
show, head curator Caroline Riedel wanted to emphasize the influence
of Pop Art on local artists. She searched the collection for British
Columbian artists whose work approximated the aesthetics and concerns
of major American and British Pop masters. Significant early works by
the recent Governor General’s Award winner and Western Front co-founder,
Eric Metcalfe, anchor the show. Metcalfe’s medium-blurring career
began in Victoria, where he studied with Dana Atchley, Joan Brown and
Denis Bowen. He later became involved with a mail art collective known
as Image Bank, which included Michael Morris and Vincent Trasov. The
collective acted as a proto-internet network of artists trading ideas
and images and collaborating on experimental projects.
Metcalfe worked with groundbreaking
artists in Vancouver including his then wife Kate Craig, with whom he
created the personas of Dr. and Lady Brut. The art duo is best known
for projects involving leopard print objects expressing the meaning
of banal exotica in contemporary culture. Metcalfe also fabricated a
research venture called Leopard Realty and painted a massive leopard
print mural on the Vancouver Art Gallery. The show at the Maltwood
Gallery features “The Boys in the Band”: four wooden cutouts of
jazz players with leopard-spotted saxophones. The cutouts are props
from Metcalfe’s videos and live performances, along with his special
saxophone with a kazoo built in and his jazz persona. He adopted this
persona most famously in the “Mr. Peanut For Mayor Campaign”, where
he dressed in a Mr. Peanut costume and followed Vincent Trasov around
the streets of Vancouver attempting to convince passersby that he was
fit for politics.
In the early 70s, Western Front was
an artistic society comprised of considerable artistic force and witnessed
a roll call of Canada's most celebrated contemporary artists, including
Paul Wong, General Idea, Gary Lee Nova and Gathie Falk, pass through
its doors. Film, performance and dance were strongly integrated into
programming. Western Front was Canada’s answer to Warhol’s Factory.
The dissolution of artistic boundaries separating mediums, practices
and accepted approaches to art began to define the period. The communal
and collaborative pooling of creative ideas significantly informed the
work produced at both Western Front and the Factory. Warhol had a cast
of characters at his disposal, a built-in entourage and the makings
of a party rolled into his workspace. This artistic availability and
sense of creative license also permeated Western Front, resulting in
risk taking that pushed art into daily life and daily life into art.
Andy Warhol’s work resonates beyond
a facile homage. His totemic presence is uncompromised by the staggering
amount of Andy products on the market, and his turning his work into
a commodity supports his philosophy: “Making money is art and working
is art and good business is the best art.”
Warhol’s conceptual advances broke
open an entirely new arena of social art. Other artists at the time
contributed, but Warhol’s marketing sensibilities launched him towards
the stardom he chased his entire life. In an era of Paris Hilton, Starbucks
and MySpace, it’s no surprise that artists still explore the glamorous
surface of the superficial people and products that constitute our dearest
vices.
> P/OP!
Mattwood Art Museum and Gallery
April 14 - September 22
www.maltwood.uvic.ca
An Explosion Of Narrative Codes
Nisa Malli
Over 20 years after his death, the
ultimate interdisciplinary artist Andy Warhol is popping up in museums
and galleries. In September, Warhol Live, at the Montreal Museum of
Fine Arts, looks at his musical influences, and on October 10, The Montreal
Contemporary Art Museum launches Sympathy for the Devil: Art and Rock
and Roll since 1967. Out west, Warhol: Larger Than Life is touring the
galleries.
Interdisciplinary exhibitions such
as the Palant House Gallery’s Eye Music: Kandisnksy, Klee and All
That Jazz are a current trend in curating but the Montreal Museum of
Fine Arts has been ahead of the curve for decades. “There is a trend
of making connections between the different realms, the different worlds
of art,” says Stephane Aquin, the Museum’s curator of contemporary
art. “But we’ve been doing it for 25 years.” In 2001, the Museum’s
Hitchcock and Art exhibit analyzed Hitchcock’s inspirations in 19th-
and 20th-century art. Last year, Once Upon a Time Walt Disney highlighted
the great European illustrators hired by Disney Studios.
Aquin says the idea came from a Picasso
exhibit he attended with museum director Nathalie Bondil. “Warhol
was the leading artist in the mid-20th century in the same way that
Picasso was at the beginning of the century.” They summed up their
eras and foreshadowed the future. Despite the influx of Warhol exhibits,
no gallery had examined the role of music in Warhol’s life.
But there is more to the story than
just music. Warhol worked in film, photography, illustration and installation.
He started a magazine, made music videos and turned his studio into
a revolving piece of performance art. Aquin and Bondil said: “Let’s
do the whole narrative.” The result is an exhibit akin to a Fluxus
happening, a Warholian performance of images, movement and sound that
invites the spectator to choose between participating and viewing.
Warhol’s narrative began in Pittsburgh
in the 1930s. His family attended a Byzantine Catholic church known
for its choral compositions and holy icons. He was born in 1928, the
same year as Shirley Temple and one year after the first talking picture,
The Jazz Singer, was released. The Wizard of Oz came out when he was
nine years old and Warhol remained a Judy Garland fan until his death.
These were Warhol’s first musical influences: the vespers of his childhood
and the Golden Era of the Musical. At the Carnegie Institute of Technology
he studied design and discovered classical music and dance, which led
him to illustrate for Dance Magazine and Opera News in New York. “He
was what they used to call a sensitiva,” says Aquin.
The Warhol Live show is organized
chronologically and thematically. To curate an exhibit of this complexity,
Aquin says you have to look at how objects relate genealogically. Warhol
would have loved this. Photographs of his apartment show he was an obsessive
collector: everything from cookie jars to diamonds, colonial furniture
to folk art. Every month he swept the contents of his desk into a time
capsule. By the time he died, his record collection was enormous.
The Juke Box Room will house this
collection alongside his cover illustrations. The room tells two different
stories. “His illustrations tell the story of the dominant taste in
America,” says Aquin. We see the evolution from classical to jazz
to rock to pop. What would Warhol listen to now? “He’d probably
love Britney Spears when she was first on the scene. He liked people
who had the look. But he was most serious about opera.” His personal
collection contained many Wagner recordings and he had season tickets
to the Met. Aquin says, “His nostalgia comes out of opera, for the
lost fusion of the arts.” In 1964 Warhol opened the Silver Factory,
a tinfoil-sheathed studio on East 47th Street that became a perpetual
performance piece. At parties he played opera and rock music from separate
stereos, or Maria Callas records between Velvet Underground rehearsals.
His other major musical influence
was John Cage and the New Music, which he discovered in the early 1960s.
Cage was a pioneer of the American Fluxus movement and best known for
his 1952 composition 4’3”, in which the musicians were silent. The
sound came from the audience rustling, chairs creaking, and bows scraping
against thighs. From Cage and Satie he took the idea of furniture music,
“that will be part of the noises of the environment” (Cage, Living
Room) and applied it to film, inventing the first film installations.
“All of Warhol’s work is made to reflect the world around him and
silence himself,” Aquin explains. “His art is fundamentally Cagian.”
Though he was a child of the Hollywood
Narrative, Warhol tore traditional film structure apart. “His contribution
to cinema is groundbreaking,” says Aquin. “It was an explosion of
all narrative codes.” Sleep (1963) borrowed techniques from repetitive
music, subtly varying the image throughout the film. In Empire
(1964) he demolished the idea of film time, aiming a camera at the Empire
State Building in real time for eight hours straight. Sleep, Kiss, Haircut
and Eat (1964) was screened on repeating loop cartridges and scored
by La Monte Young, the Fluxus minimalist composer. Warhol was in an
artistic dialogue with other conceptual minimalists such as John Cage,
Merce Cunningham, Bernd Alois Zimmerman, Yvonne Rainer, and Erik Satie.
What is it about Andy Warhol that
made his fame so resilient to time? “He’s a more complete artist,”
says Aquin. “It’s his capacity to take the very right, simple decisions
that transport an image to the exquisite.” The depth and breadth of
Warhol’s work is only now becoming apparent, as art and film finally
catch up to Warhol with the aid of technology.
The exhibit ends in the portrait
room. The room is a kaleidoscope of fame: musicians, millionaires, and
models mugging for the camera with Warhol at the centre: the mirror
held up to the stage. Aquin’s favourite is a photo of Warhol in drag.
His face is covered with white makeup and his red lips are grave. “There
is nothing of the drag queen as comedian here,” says Aquin. “Looking
at this photo, you realize that the superficial, funny Andy was just
another mask.” Underneath the makeup and the persona was a devoted
workaholic who recorded hundreds of films and supported himself with
commissions during the first decades of his career. At the end, the
exhibit asks us to replace our reading of Warhol’s pop art as a comment
on commercialism with a more deeply aesthetic philosophy.
> The Montreal Museum of Fine
Arts
Warhol Live
September 25 - January 18
www.mbam.qc.ca
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