By Gary Indiana
In the summertime of 1962, Andy Warhol unveiled 32 Soup Cans in his first solo exhibition on the Ferus Gallery in Los Angeles—and despatched the artwork global reeling. The responses ran from incredulity to outrage; the poet Taylor Mead defined the exhibition as “a amazing slap within the face to America.” The exhibition placed Warhol at the map—and reworked American tradition without end. nearly single-handedly, Warhol collapsed the centuries-old contrast among “high” and “low” tradition, and created a brand new and substantially smooth aesthetic.In Andy Warhol and the Can that offered the World, the dazzlingly flexible critic Gary Indiana tells the tale of the genesis and impression of this iconic murals. With strength, wit, and great perspicacity, Indiana recovers the pleasure and controversy of the Pop paintings Revolution and the intense, tormented, and profoundly narcissistic determine at its leading edge.
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Additional resources for Andy Warhol and the Can that Sold the World
II, p. 240 (letter to Francesco Sansovino). 21 I use Bywater’s translation in W. D. ). (1946). The Works of Aristotle, Vol. XI (London: Oxford University Press). 22 H. Ost (1992). Tizian-Studien (Köln, Weimar, Wien: Böhlau Verlag), p. 155. 23 Herrick, Italian Tragedy, p. 79. 24 Tatarkiewicz, History of Aesthetics, p. 177. 25 Herrick, Italian Tragedy, pp. 80 and 87. , p. 132. , p. 85. , p. 167. , p. 129. 30 Hope, Titian, p. 117. 31 Keller, “Tizians Poesie,” p. 142. 32 Hope, Titian, p. 125. 33 Panofsky, Problems in Titian, p.
This enclosing space is generated by the exclusion of the male gaze; blinded by sunlight, he knows nothing of the world he naively believes he oversees. To my eye the idea of a secular madonna, the closed world of women, children, animals is overreached and strained in a painting like A Woman Nursing an Infant with a Child and a Dog; whilst failing, the painting underlines the relative autonomy of the domestic universe that I am claiming is being constructed by de Hooch at this moment. By contrast, consider the relaxed and lovely The Bedroom, in which the movement from the bedroom with its recessed bed at the right of the picture, the mother standing before the bed, making it, through the room to the doorway with the playing child holding the door handle, and then out into an entrance hall or public room, then out into the yard and beyond creates perhaps the most continuous movement from private into public, or better, from private out into city and nature, so that the connection between inside and outside is felt to be porous, casual, immediate.
Will . . please the devout better than any painting of Italy. It will appeal to women and nuns and to certain noblemen who have no sense of true harmony. In Flanders they paint with a view to external exactness or such things as may cheer you and of which you cannot speak ill, as for example saints and prophets. They paint stuffs and masonry, the green grass of the fields, the shadow of the trees, and rivers and bridges, which they call landscapes, with many figures on this side and many figures on that.