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 international reeling. The responses ran from incredulity to outrage; the poet Taylor Mead defined the exhibition as “a significant slap within the face to America.” The exhibition placed Warhol at the map—and reworked American tradition ceaselessly. nearly single-handedly, Warhol collapsed the centuries-old contrast among “high” and “low” tradition, and created a brand new and appreciably 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 influence of this iconic murals. With power, wit, and great perspicacity, Indiana recovers the pleasure and controversy of the Pop artwork Revolution and the intense, tormented, and profoundly narcissistic determine at its leading edge.
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Extra resources for Andy Warhol and the Can that Sold the World
24, 1951, 2. –Oct. 1970, 42. , 43. 7 Alloway, “Symbolism in the Third Man,” World Review, Mar. 1950, 60. 8 Eugene Jolas, “Mushrooming Magazines” in the “Across Frontiers” column in NY Herald Tribune, Apr. 11, 1950, in The Lawrence Alloway Papers, 44/15. 9 Alloway, “Matta,” 3. 2 The ICA in the early 1950s the ica in the early 1950s The ICA had been at last able to purchase its own premises in late 1950. ”¹ The opening exhibition, 1950: Aspects of British Art, emphasized the more adventurous younger British artists such as Eduardo Paolozzi, Richard Hamilton, and William Turnbull—artists about whom Alloway would soon be writing.
His discipline extended to his writing the text during the honeymoon of his marriage to Sylvia Sleigh which took place on June 28, 1954. ”¹0 Adams, Heath, Hill, and the Martins were bracketed with him. ”¹¹ Theirs is a kind of “sensual impressionism without things. ”¹³ From his comments, it is apparent that he felt the “St Ives” tendency less successful, not because of an aesthetic predilection for non-objectivity or hard-edged forms on his part but because of the undercurrent in the semi-abstract work of the British disease of Romanticism.
We felt none of the dislike of commercial culture standards amongst most intellectuals, but accepted it as fact, discussed it in detail, and consumed it enthusiastically. ¹² It may have been discussed seriously, but that did not mean it was discussed earnestly. Topics were debated enthusiastically and with passion, revealing them to be live interests and pet subjects. Popular culture— which was referred to in IG circles in the 1950s as “Pop” or “pop”¹³—was not discussed just as a social phenomenon but as pleasure.