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Andy Warhol — страница 4 | Referat.ru

Andy Warhol — страница 4

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wrapping whole buildings. This couldn’t last forever, as Christo’s attention again wavered, this time to nature. In southern California Christo and his wife got permission to string together an amazingly long fence made of billowy fabric. This fence stretched across flowing, rolling hilltops and valleys and eventually terminated in the Pacific Ocean. But it doesn’t end there, for Christo’s ambitious undertakings continue today. Another artist in this vein is Marisol. The full name is Marisol Escobar, but this is not really of any consequence. Marisol is a Paris-born Venezuelan artist who worked out of New York. This rather amazing worldliness gave her a unique perspective. Her art mostly consisted of making mixed media assemblages. These assemblages were usually portraits

of famous people, for instance Andy Warhol. Others she immortalized include Linden Johnson and John Page 6 Wayne. Her work usually consisted of wood, plaster, paint and whatever objects she happened to find and like. The last artist of the type discussed above is Julian Schnabel. Julian is Brooklyn born and yet raised in Texas. She in a way ignited the Nineteen-Eighties. When she burst onto the scene art was rather static, rather boring. She started showing with her epically scaled works. The sheer size and the iconographic imagery shocked artist of the time, as did her cultural archetypes. She came along at the end of Warhol’s career; he didn’t really have time to be influenced by her. But her electric style certainly influenced the people she would have seen when being

around Andy Warhol and the people he saw at the time. The last visual artist to be talked about is Roy Lichtenstein. Roy Lichtenstein is easily the artist most like Andy Warhol stylistically. They basically broke onto the art scene at the same time. They each had an amazing simplistic approach. The difference between the two was perhaps Lichtenstein’s more detailed approach. While Andy Warhol loved the silk screen and the repeatedly printed picture, Lichtenstein preferred to majestically blow up single pictures. He grossly enlarged comic strip panels from the time, including detail down to the dots used by newspaper printing presses. This approach of the colored dots is called Ben Day, named after the pioneer of the process. Roy Lichtenstein’s most famous example is Whaam.

This amazing work of art is approximately fourteen feet across. The scale and skill of this work is what set it apart. Also the use of limited, flat colors helped to perfect the theme. It could be said also that Lichtenstein mildly parodied these images so familiar to the American pop culture. In addition to these painting, Roy Lichtenstein made both large adaptations of Pablo Picasso paintings and sculpture. His sculpture echoed his love of the pure, solid line. One could say that his sculptures were far more graphically oriented than three-dimensionally oriented. These two amazing artists were no doubt friends, if for nothing more than the common bond they shared in their bold artistic statements, their establishment of a movement. The Beatniks were also seen frequently around

The Factory in the early days. The Factory must have been the absolute best place to se and be seen, as can be judged from the scope of people present there. The most important and popular Beatniks, Allen Ginsburg, Jack Kerouac, and Ken Kesey all frequented the Factory. These men quite possibly influenced each other through their individual sense of freedom. Each, however, had their own desires. Kerouac, for instance, did not really know how to deal with celebrity, he simply wanted to be and do. Page 7 When he wrote On the Road he simply wanted to chronicle the adventures that he had travelling. He did not exactly want to shock anyone, as Andy Warhol and Allen Ginsburg did. The fame that came with On the Road was never very comfortable for Jack Kerouac. Allen Ginsburg, on the

other hand, had not problem with his celebrity. When he first publicly read Howl he got exactly the response he was after. His book was banned in several places, which gave him immediate notoriety. In this way he and Andy Warhol were alike. They were both thoroughly open and frank in public; in fact it could be said that both men enjoyed shocking the general public. Both led exceedingly abnormal lives, enjoying the shock value of it all. The main difference was that Ginsburg communicated with writing, while Warhol stuck mainly to his art. Ken Kesey was also a Beatnik regular. Perhaps crazier than the rest, he still managed to write arguably the most sensible book. When chronicled in On the Road, Ken Kesey was the insane Dean Moriarty. Given this character, he most likely would