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I’m sorry, but I need sugar with my coffee this morning, and this suits my saccharine needs just fine…
(Source: comewasteawaywith-me, via susanzeppellini)
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please can you send heather my appologies for not being able to make earthfall meeting tomorrow x
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MADAME TUTLI-PUTLI
A beautiful stop motion film really worth watching
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haveMuse
A bit of everything worth a peek
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Velvet underground
White light white heat
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filming of Andy Warhol 1966
Velvet underground performance I’m waiting for the man
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Portrait
Andy Warhol (American, 1928-1987)
1966. Silkscreen ink on synthetic polymer paint on nine canvases, Each canvas 22 1/2 x 22 1/2” (57.2 x 57.2 cm), overall 67 5/8 x 67 5/8” (171.7 x 171.7 cm). Gift of Philip Johnson. © 2010 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York -
Gold Marilyn Monroe
Andy Warhol (American, 1928-1987)
1962. Silkscreen ink on synthetic polymer paint on canvas, 6’ 11 1/4” x 57” (211.4 x 144.7 cm). Gift of Philip Johnson. © 2010 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
Publication Excerpt: The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 241
Marilyn Monroe was a legend when she committed suicide in August of 1962, but in retrospect her life seems a gradual martyrdom to the media and to her public. After her death, Warhol based many works on the same photograph of her, a publicity still for the 1953 movie Niagara. He would paint the canvas with a single color—turquoise, green, blue, lemon yellow—then silkscreen Monroe’s face on top, sometimes alone, sometimes doubled, sometimes multiplied in a grid. As the surround for a face, the golden field in Gold Marilyn Monroe (the only one of Warhol’s Marilyns to use this color) recalls the religious icons of Christian art history—a resonance, however, that the work suffuses with a morbid allure.
In reduplicating this photograph of a heroine shared by millions, Warhol denied the sense of the uniqueness of the artist’s personality that had been implicit in the gestural painting of the 1950s. He also used a commercial technique— silkscreening—that gives the picture a crisp, artificial look; even as Warhol canonizes Monroe, he reveals her public image as a carefully structured illusion. Redolent of 1950s glamour, the face in Gold Marilyn Monroe is much like the star herself—high gloss, yet transient; bold, yet vulnerable; compelling, yet elusive. Surrounded by a void, it is like the fadeout at the end of a movie.
