#warholian

[fionaapplerocks]

Fiona Apple’s lips

[savage-kult-of-gorthaur]

"WE ARE ALWAYS LOOKING FOR IDEAS TO ELEVATE THE WHOPPER, OUR MOST ICONIC BURGER."

PIC(S) INFO: Spotlight on the late, great Andy Warhol eating a Whopper, and part of a 1982 Danish documentary film called “66 scenes from America," directed by Jørgen Leth.

OVERVIEW: "In the early 1980s, pop artist and enduring icon, Andy Warhol sat down at a desk and ate a burger. That fact would be otherwise unremarkable except that Danish director Jorgen Leth had a camera rolling for what would become his 1982 film 66 Scenes from America, a project that stitched together images of everyday people, objects, and landscapes of American life."

-- FOOD & WINE, "How Burger King Turned Andy Warhol Eating a Whopper into the Anti-Super Bowl Ad," by Adam Campbell-Schmitt, February 4, 2019

Source: www.foodandwine.com/news/burger-king-andy-warhol-whopper-commercial-super-bowl.

[bitter69uk]

Happy 79th birthday to possessor of the world’s most sensational cheekbones, Blondie frontwoman, ultimate punk pin-up, occasional actress and the personification of effortless deadpan Warholian cool - Miss Deborah Harry (née Angela Trimble, 1 July 1945)! Pictured: Harry photographed by Kate Simon, 1977.

Debbie Harry by Kate Simon, 1977

[flunkard]

forgot to post here! commissioned an emoji of my boy clance from @inochancei earlier this fall and he is just so dashing ♥

[gregdotorg]

It was one clip of many, but Sturtevant loved using this HD 16:9 horned owl closeup she ganked from iStockvideo in her artworks about the cybernetic media networks we're encased in.

[images: simulacra, 2010, 16:9 single channel piece installed at matthew marks gallery, oct. 2022; inverted flatscreen pyramid of rock & roll simulacra, act 3, 2013, installed at the serpentine galleries in london, 2013; and owl wallpaper in moma's double trouble, sturtevant retrospective in 2014-15]

[noicloud]

[blakegopnik]

THE FRIDAY PIC is a frame from Carl Theodor Dreyer's 1928 "Passion of Joan of Arc." I got my latest look at the film in a gorgeous room-filling projection in "The Madness of Crowds," yet another brilliant group show at Carriage Trade gallery in New York.

I was more blown away than ever by Dreyer's film, and especially by his use of almost-static close ups. For a Warholian like me, they immediately made me think of Warhol's Screen Tests, but I admit that the connection seemed unlikely.

Then, five minutes ago, I checked my vast Warhol database ... and found an obscure text where the owner of the amazing Outlines gallery in Pittsburgh, a vital hangout for Warhol in the 1940s, said that she did indeed show the Dreyer, as part of her wildly ambitious program of screenings.

Knowing how Warhol was a Dyson vacuum for telling imagery, I feel almost certain that Dreyer was a real and direct influence on the Screen Tests.

[justdavina]

Andrej Pejic's: Transgender Super Model's Latest Gender Switch is One of His Most Confusing and Convincing Yet!

Pejic not only makes an incredibly convincing Andy, but also proves his gender morphing chops as Warholian superstars Edie and Nico.

[learnfromwarhol]

Why Andy Warhol Would Have Been Obsessed With Instagram

Hey, Warhol-lovers! It's time to dive into the world of social media, where filters reign supreme and everyone's a celebrity. And who better to explore this topic than the legendary Andy Warhol?

If Warhol were alive today, he'd be obsessed with Instagram. The app is practically tailor-made for his love of repetition and obsession with fame. Just think about it – scrolling through endless grids of perfectly curated feeds, capturing everyday moments with a filter, and collecting likes and followers like they're currency. It's practically the embodiment of Warhol's philosophy that "everyone will be famous for 15 minutes."

And let's not forget about Instagram's Stories feature. With the ability to add text, stickers, and music to your photos and videos, it's like the lovechild of Warhol's Pop Art and his experiments with film. Imagine Warhol's iconic soup cans popping up on your screen, or a series of Marilyn Monroe portraits with the lyrics of her favorite song overlaid. It's like a mini art exhibit in your pocket.

But Warhol wouldn't just be a passive user of Instagram. He'd likely be using it to create his own art, manipulating photos with filters and digital tools to create his signature aesthetic. And just like he did with his silkscreen prints, he'd find a way to make Instagram images his own, whether it's by cropping, editing, or overlaying.

So next time you're scrolling through Instagram, take a moment to think about what Warhol would have thought. Would he have been mesmerized by the endless stream of images, or would he have found a way to turn it into art? One thing's for sure – Instagram would have been Warhol's playground.

Until next time, keep living the Warholian dream, my friends.

[thirdity]

How can I be looking at this terrible thing and feeling nothing?” is the quintessential Warholian sensation and it’s had a very long afterlife. Uncomfortably numb: that’s still the non-emotion that so many young artists, across all media, are gunning for.

Zadie Smith, "Man Versus Corpse"

[iwant2rob]

Me grocery shopping: this is warholian af…

[ortodelmondo]

© Jorge Alberto Cadi

In the streets of Havana, Jorge Alberto Cadi (1963 – , Cuba) is known only as “El Buzo” – the diver -, constantly looking for material for his works, in the city’s abandoned objects. Boltanskian in his memorial use of photography, Warholian when he stitches bits of images together, Cadi seeks above all to reveal what the images hide

[curtvilescomic]

Tuska 2023

So the metal festival over now but that was fun!

This was three days, my Son and his girlfriend were full three days I was friday saturday and She was on friday.

Definite highlights were Gojira In Flames, Jinjer and Butcher Babies. Avatar kicked plenty of behinds and Clutch did a good show despite technical difficulties. 

Young ones got their 15 Warholian munutes of game being on Gojira Instagram and Finnish YLE as frontrow. Here is YLE pic

And yes the dude peeking behind my Son throwing horns is his old man in a kilt. And yes there is nothing but me under the kilt for fucks sake.

Avatar was a great festival opener and good live band. On friday Gojira and Jinjer crushed it.

Tati is a goddess

The kids said my stupid face was on screens from audience whether trance like or moshing like a freak I do not know. This band rules 

Young ones liked Arch Enemy too but while I like the band they have way too many guitat solos. I want riffs on riffs and brutality guitat solos are utterly useless 999 times out of thousand and you can keep them.

And we met up with my groovy ex girlfriend which was fun too.

Mokoma had a great tent gig even if it was the most drunken crowd of friday. And Gojira absolutely smashed it.

Today Satan, today. And yes that is bright blue Donald Duck slingbag.

Her friend turns fifty so while on saturday She went to a birthday party ( snd see their new puppy) me and young metalhead couple went back to Tuska.

Orbit Culture was s nice surprisr but despite some rain I left to see Clutch from front roe. And despite drums needing fixing and some looping they went to town. I checked my phone during set and found out that some ranfom female tried to choke my Son but thanks to his great goth girlfriend they got out of situation. And the drigged out assaillant was lucky that I wss elseehere.

We were feeling amgry and down awhile after that but thanks Motionless in White. This was in a way most fun set. My Son wanted to see them. Me and his girlfriend we...found them unintentionently funny emo band. So we just goofed snd danced. As my Son said " I had the gig and a free stand-up show"  and it began to pour rain during the set. I had rainponcho from Her and as my son's girlfriend marked " you turned into hairiest, grumpiest purple metal garden Elf"

Then we waited for In Flames. In the downpour. And made new friends.

In Flames eas good. No. Great. DINOSAUR!

That is not a song. Someone had brougth an inflatable dinosaur. On which the vocalist commented and got the chant of Dinosaur! DINOSAUR!" From the crowd and he apparently forgot this is Finland. I guess he thought saying"I want to see someone riding the Dino " was a joke. Still. Finland.

So, someone riding the inflatable dinosaur on people carrying Said dinosaur. In the pit.

I left through the pit because while In Flames was..well in flames I wanted frontrow of Butcher Babies. ( After I left it apparently went even more mental as flood of crowdsurfing began)

I went Mental with Butcher Babies. Carla and Heidi went to Yorktown and it was great show. And thsnkfully there was last december so I could rest and not have cardiac arrest. Will see them again for sure.

Managed to find the youth utterly spent and had a few as none of us gave a shit about Ville Valo. Though. The final heartfelt ballad "When love and death embrace" it is a pretty ballad. It is And it's a ballad.

So we had three person synchronized moshpit the whole song. Laughing.

They went sunday, me and Her went to movies.

Horns up!

[indie-queer-movie-tournament]

Funeral Parade of Roses

An electrifying journey into the nether-regions of the late-’60s Tokyo underworld.

Letterboxd:

With subliminal Warholian vignettes, fragments of cinematic hapax legomena (if such term could be applied to the film industry), assaulting psychosexual imagery, fragments of societal ridicule, jaw-dropping personifications, a fractured chronology, revolutionary techniques of film editing, a ghastly and hypnotic camera work and metafilm self-references, Bara no sôretsu is one of the most enthralling, unpredictable and thought-provoking avant-garde experiments that international celluloid has ever offered to mankind.

[longlistshort]

There are currently two exhibitions in New York celebrating Richard Avedon's photography. At The Metropolitan Museum of Art is Richard Avedon: Murals. Pictured above are two of the large murals included. The first is of Andy Warhol and members of The Factory and the other is of members of the Mission Council in Saigon.

From The Met's website about the show-

In 1969, Richard Avedon was at a crossroads. After a five-year hiatus, the photographer started making portraits again, this time with a new camera and a new sense of scale. Trading his handheld Rolleiflex for a larger, tripod-mounted device, he reinvented his studio dynamic. Instead of dancing around his subjects from behind a viewfinder, as he had in his lively fashion pictures, he could now stand beside a stationary camera and meet them head-on. Facing down groups of the era’s preeminent artists, activists, and politicians, he made huge photomural portraits, befitting their outsized cultural influence. On the centennial of the photographer’s birth, Richard Avedon: MURALS will bring together three of these monumental works, some as wide as 35 feet. For Avedon, the murals expanded the artistic possibilities of photography, radically reorienting viewers and subjects in a subsuming, larger-than-life view.

The murals are society portraits. In them, Avedon assembles giants of the late twentieth century—members of Andy Warhol’s Factory, architects of the Vietnam war, and demonstrators against that war—who together shaped an extraordinarily turbulent era of American life. Presented in one gallery, their enormous portraits will stage an unlikely conversation among historically opposed camps, as well as contemporary viewers. The formal innovations of Avedon’s high style—of starkly lit bodies in an unsparing white surround—are best realized in these works, where subjects jostle and crowd the frame, and bright voids between them crackle with tension. Uniting the murals with session outtakes and contemporaneous projects, the exhibition will track Avedon’s evolving approach to group portraiture, through which he so transformed the conventions of the genre.

About Andy Warhol and members of The Factory-

Avedon fantasized about throwing an annual fete for New York society and watching the group evolve over time. This mural is his downtown take on such a party, featuring a new "smart set" of sexual revolutionaries. They were affiliated with Andy Warhol’s Factory, the studio and gathering place for a coterie of avant-garde filmmakers, artists, and socialites. Avedon summoned them to his own studio, where they met over a series of weeks. Working in his most directorial mode, he arranged his subjects—including transgender actress Candy Darling and adult film star Joe Dallesandro—in a lateral frieze across adjoining frames, the fracture and repetition of their bodies in space suggesting the filmic passage of time.

The culmination of much trial and error, the mural’s composition took　time to perfect, as evidenced by session outtakes displayed nearby. Avedon later praised the professionalism of his cast but joked, "You couldn’t keep the clothes on anybody in those years.　.　.　. Before you could say ‘hello,’ they were nude and ready to ride." If this unabashed undress tests gallery decorum, it is a provocation grounded in art history: in the central panel Avedon presents a male version of the "three graces," riffing on a gendered tradition in allegorical painting with an ironic, Warholian wink.

About The Mission Council, Saigon, South Vietnam-

Avedon knew he would have mere minutes to photograph the U.S. generals, ambassadors, and policy experts who ran the war in Vietnam—not the weeks he spent refining his first mural. Planning in advance, he requested the heights of the men known collectively as the Mission Council and mapped out their positions, with careful attention to rank and influence. He rigged a makeshift studio at the embassy in Saigon, and recalled that once assembled, they “lined up like high school boys. They all wanted to be in the picture.” This is true of all but Ted Shackley, the camera-averse CIA station chief known to colleagues as the Blond Ghost, who begged out of the sitting for “a meeting,” leaving a void in the rightmost panel.

As blunt and procedural as a police lineup, the mural recalls Avedon’s first photography gig as a teenager in the Merchant Marine, where he made mugshot-style portraits of new recruits. Here, scrutinizing the faces of the war’s top brass, Avedon invokes their unseen operatives and victims. When the work was later published, one critic deemed it “a terrifying picture of business as usual.”

This exhibition closes 10/1/23.

For a more comprehensive look at Avedon's career, Gagosian's Chelsea location is showing Avedon 100, "a collection of Avedon photographs was selected by more than 150 people—including prominent artists, designers, musicians, writers, curators, and fashion world representatives—who elaborate on the impact of the photographer’s work today."

The gallery's website has a video of the installation that is well worth checking out, especially if you can't see the exhibition in person.

This exhibition will close on Friday, 7/7/23.

[stylecouncil]

her getting phil lynott to pose with her penthouse cover, warholian camp