Using
- black lights (U-V)
- strobe lights
- oil / liquid projections via overhead projectors
- silent film
- slide projections
projected over musical performances, Warhol and company attempted to take the performance art called "happenings" (usually passing a jug of wine while pursuing body painting) into a more ethereal realm.
Most of the media techniques were developed in San Francisco in the mid 60's. Warhol synthesized and introduced this sensory overload to the art crowd in the East Village, Manhattan, about 1967.
Thus the term multi-media show.
Tuesday, February 12, 2013
Monday, February 11, 2013
Five-slide presentation on any single aspect of the Warhol career
Email presentations by Wed/Th and for 12 pts. Several will be chosen for classroom presentation.
See earlier description of the assignment.
See earlier description of the assignment.
Tuesday, February 5, 2013
Andy Warhol: irony, celebs, money, non-art art
It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, says Wikipedia, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Muhammad Ali and Elizabeth Taylor.
His Manhattan studio in the 60's was large and called The Factory. He gathered a wide range of artists, writers, musicians, and underground characters.
Into mechanical reproduction of art, he began producing prints using the silkscreen method.
His work became popular in the early 60's. It was also deemed commercial, "a sell-out!" and thus controversial.
Among the Warhol images (mostly based on clippings from newspapers) were dollar bills, celebrities and brand name products such as Brillo boxes.
He also used newspaper headlines and photos of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters.
Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[10]
New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception.
Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.
His Manhattan studio in the 60's was large and called The Factory. He gathered a wide range of artists, writers, musicians, and underground characters.
Into mechanical reproduction of art, he began producing prints using the silkscreen method.
His work became popular in the early 60's. It was also deemed commercial, "a sell-out!" and thus controversial.
Among the Warhol images (mostly based on clippings from newspapers) were dollar bills, celebrities and brand name products such as Brillo boxes.
He also used newspaper headlines and photos of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters.
Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[10]
New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception.
Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.
Wednesday, January 30, 2013
Art and passion: Herb and Dorothy Vogel
Herbert Vogel and Dorothy Vogel, once described as "proletarian art collectors,"[1] worked as civil servants in New York City for more than a half-century while amassing what has been called one of the most important post-1960s art collections in the United States,[2] mostly of minimalist and conceptual art.[3]
They amassed a collection of over 4,782 works, which they displayed, and also stored in closets and under the bed, in their rent-controlled one-bedroom apartment on Manhattan's Upper East Side.[14][15] Though their focus was mainly conceptual art and minimalist art,[16] the collection also includes noteworthy post-minimalist work.[10] Their collection eventually came to include work from artists such as pop artist Roy Lichtenstein, photographers Cindy Sherman and Lorna Simpson, minimalist Robert Mangold and post-minimalist Richard Tuttle.
In 1992, the Vogels decided to transfer the entire collection to the National Gallery of Art because it charges no admission, doesn't sell donated works, and they wanted their art to belong to the public.[17]
In late 2008, they launched The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States along with the National Gallery of Art, the National Endowment for the Arts, and the Institute of Museum and Library Services.[18] The program donated 2,500 works to 50 institutions across 50 states and was accompanied by a book with the same name. In 2008, an award-winning documentary about their story, Herb and Dorothy, was released.
[edit]
They amassed a collection of over 4,782 works, which they displayed, and also stored in closets and under the bed, in their rent-controlled one-bedroom apartment on Manhattan's Upper East Side.[14][15] Though their focus was mainly conceptual art and minimalist art,[16] the collection also includes noteworthy post-minimalist work.[10] Their collection eventually came to include work from artists such as pop artist Roy Lichtenstein, photographers Cindy Sherman and Lorna Simpson, minimalist Robert Mangold and post-minimalist Richard Tuttle.
In 1992, the Vogels decided to transfer the entire collection to the National Gallery of Art because it charges no admission, doesn't sell donated works, and they wanted their art to belong to the public.[17]
In late 2008, they launched The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States along with the National Gallery of Art, the National Endowment for the Arts, and the Institute of Museum and Library Services.[18] The program donated 2,500 works to 50 institutions across 50 states and was accompanied by a book with the same name. In 2008, an award-winning documentary about their story, Herb and Dorothy, was released.
[edit]
Virginia Woolf quotes from Imdb.com
Martha: I swear, if you existed, I'd divorce you.
Honey: I dance like the wind.
Martha: Look, sweetheart, I can drink you under any goddamn table you want, so don't worry about me.
Honey: Oh, I don't know, a little brandy maybe. "Never mix, never worry!"
George: Martha? Rubbing alcohol for you?
Martha: Sure! "Never mix, never worry!"
[Martha has changed into an embarrassingly tight and revealing outfit]
George: Why Martha! Your Sunday chapel dress!
Martha: I hope that was an empty bottle, George! You can't afford to waste good liquor, not on YOUR salary!
George: All I said was that our son, the apple of our three eyes, Martha being a cyclops, our son is a beanbag, and you get testy!
Honey: They dance like they've danced before.
George: It's a familiar dance, monkey nipples, they both know it.
Martha: You make me puke.
George: That wasn't a very nice thing to say, Martha.
George: Martha, in my mind you're buried in cement right up to the neck. No, up to the nose, it's much quieter.
Nick: To you, everybody's a flop. Your husband's a flop, I'm a flop.
Martha: You're all flops. I am the Earth Mother, and you are all flops.
Nick: I'm tired, I've been drinking since nine o'clock, my wife is vomiting, there's been a lot of screaming going on around here!
George: So you get testy, naturally, don't worry about it! Anybody who comes here ends up getting testy, it's expected. Don't be upset.
Nick: I'm not upset.
George: You're testy.
Nick: Yes.
George: Martha is 108... years old. She weighs somewhat more than that.
Nick: Who did the painting?
George: Some Greek with a moustache that Martha attacked one night.
George: Martha, will you show her where we keep the, uh, euphemism?
George: Vanish!
Martha: I disgust me. You know, there's only been one man in my whole life who's ever made me happy. Do you know that?
[pause]
Martha: George, my husband... George, who is out somewhere there in the dark, who is good to me - whom I revile, who can keep learning the games we play as quickly as I can change them. Who can make me happy and I do not wish to be happy. Yes, I do wish to be happy. George and Martha: Sad, sad, sad. Whom I will not forgive for having come to rest; for having seen me and having said: yes, this will do.
George: You take the trouble to construct a civilization, to build a society based on the principles of... of principle. You make government and art and realize that they are, must be, both the same. You bring things to the saddest of all points, to the point where there is something to lose. Then, all at once, through all the music, through all the sensible sounds of men building, attempting, comes the Dies Irae. And what is it? What does the trumpet sound? Up yours.
George: I'm very impressed.
Martha: You're damn right.
George: I said I was impressed. I'm beside myself with jealousy. What do you want me to do, throw up?
Martha: [derogatorily, to George] Hey, swamp! Hey swampy!
George: Yes, Martha? Can I get you something?
Martha: Ah, well, sure. You can, um, light my cigarette, if you're of a mind to.
George: No. There are limits. I mean, a man can put up with only so much without he descends a rung or two on the old evolutionary ladder, which is up your line. Now, I will hold your hand when it's dark and you're afraid of the boogeyman and I will tote your gin bottles out after midnight so no one can see but I will not light your cigarette. And that, as they say, is that.
Martha: Jesus.
Martha: Well, you're going bald.
George: So are you.
Nick: [to Honey] We'll go in a little while.
George: Oh no. No, you mustn't. Martha is changing, and Martha is not changing for me, Martha hasn't changed for me in years. If Martha is changing, that means we're going to be here for days. You're being accorded an honor, and you mustn't forget that Martha is the daughter of our beloved boss. She is his right... arm. I was going to use another word, but we'll leave that sort of talk to Martha.
[George takes a corner far too fast, tossing everyone in the car from side to side. Pause]
Martha: Aren't you going to apologize?
George: Not my fault, the road should've been straight.
Martha: No, aren't you going to apologize for making Honey throw up?
George: I didn't make her throw up.
Martha: What, you think it was sexy back there? You think he made his own wife sick?
George: Well, you make me sick.
Martha: That's different.
Martha: Hey!
George: Hark! Jungle sounds.
Martha: Hey!
George: Animal noises.
George: You're a monster - You are.
Martha: I'm loud and I'm vulgar, and I wear the pants in the house because somebody's got to, but I am not a monster. I'm not.
George: You're a spoiled, self-indulgent, willful, dirty-minded, liquor-ridden...
Martha: SNAP! It went SNAP! I'm not gonna try to get through to you any more. There was a second back there, yeah, there was a second, just a second when I could have gotten through to you, when maybe we could have cut through all this, this CRAP. But it's past, and I'm not gonna try.
Martha: I looked at you tonight and you weren't there... And I'm gonna howl it out, and I'm not gonna give a damn what I do and I'm gonna make the biggest god-damn explosion you've ever heard.
George: Try and I'll beat you at your own game.
Martha: Is that a threat George, huh?
George: It's a threat, Martha.
Martha: You're gonna get it, baby.
George: Be careful Martha. I'll rip you to pieces.
Martha: You're not man enough. You haven't the guts.
George: Total war.
Martha: Total.
George: I used to drink brandy.
Martha: You used to drink bergen, too.
George: Did you really think I was going to kill you, Martha?
Martha: You, kill me? That's a laugh.
George: Well now, I might some day.
Martha: Fat chance.
George: And that's how you play "Get the Guests".
George: Good. Better. Best. Bested.
Honey: I'm gonna be sick.
George: Ah yeah that's nice.
Honey: I'm gonna die.
George: Good, good. Go right ahead.
George: Martha's got money because Martha's father's second wife, not Martha's mother but after Martha's mother died, was a very old lady with warts who was very rich.
Nick: She was a witch!
George: She was a good witch, and she married the white mouse with the tiny red eyes and he must have nibbled her warts or something like that, because she went up in a puff of smoke almost immediately. Poof!
Nick: Poof!
George: Poof! And all that was left, aside from some wart medicine, was a big fat will.
Nick: Your wife never mentioned a stepmother.
George: Maybe it isn't true.
Nick: Who did the painting?
George: Some Greek with a mustache Martha attacked one night.
Nick: It's got a...
George: Quiet intensity?
Nick: Well, no, a...
George: Well then, a certain noisy relaxed quality maybe?
Nick: No, what I meant was...
George: How about a quietly noisy relaxed intensity?
George: Now that's it! You can take over a few classes from the older men, but until you start plowing pertinent wives, you really aren't working. The broad, inviting avenue to man's job is through his wife, and don't you forget it.
Nick: And I'll be your wife has the broadest, most inviting avenue of the whole damn campus.
[long pause]
Nick: Her father president and all.
George: You can sit around with the gin running out of your mouth; you can humiliate me; you can tear me to pieces all night, that's perfectly okay, that's all right.
Martha: You can stand it!
George: I cannot stand it!
Martha: You can stand it, you married me for it!
Martha: A drowning man takes down those nearest.
Honey: I dance like the wind.
Martha: Look, sweetheart, I can drink you under any goddamn table you want, so don't worry about me.
Honey: Oh, I don't know, a little brandy maybe. "Never mix, never worry!"
George: Martha? Rubbing alcohol for you?
Martha: Sure! "Never mix, never worry!"
[Martha has changed into an embarrassingly tight and revealing outfit]
George: Why Martha! Your Sunday chapel dress!
Martha: I hope that was an empty bottle, George! You can't afford to waste good liquor, not on YOUR salary!
George: All I said was that our son, the apple of our three eyes, Martha being a cyclops, our son is a beanbag, and you get testy!
Honey: They dance like they've danced before.
George: It's a familiar dance, monkey nipples, they both know it.
Martha: You make me puke.
George: That wasn't a very nice thing to say, Martha.
George: Martha, in my mind you're buried in cement right up to the neck. No, up to the nose, it's much quieter.
Nick: To you, everybody's a flop. Your husband's a flop, I'm a flop.
Martha: You're all flops. I am the Earth Mother, and you are all flops.
Nick: I'm tired, I've been drinking since nine o'clock, my wife is vomiting, there's been a lot of screaming going on around here!
George: So you get testy, naturally, don't worry about it! Anybody who comes here ends up getting testy, it's expected. Don't be upset.
Nick: I'm not upset.
George: You're testy.
Nick: Yes.
George: Martha is 108... years old. She weighs somewhat more than that.
Nick: Who did the painting?
George: Some Greek with a moustache that Martha attacked one night.
George: Martha, will you show her where we keep the, uh, euphemism?
George: Vanish!
Martha: I disgust me. You know, there's only been one man in my whole life who's ever made me happy. Do you know that?
[pause]
Martha: George, my husband... George, who is out somewhere there in the dark, who is good to me - whom I revile, who can keep learning the games we play as quickly as I can change them. Who can make me happy and I do not wish to be happy. Yes, I do wish to be happy. George and Martha: Sad, sad, sad. Whom I will not forgive for having come to rest; for having seen me and having said: yes, this will do.
George: You take the trouble to construct a civilization, to build a society based on the principles of... of principle. You make government and art and realize that they are, must be, both the same. You bring things to the saddest of all points, to the point where there is something to lose. Then, all at once, through all the music, through all the sensible sounds of men building, attempting, comes the Dies Irae. And what is it? What does the trumpet sound? Up yours.
George: I'm very impressed.
Martha: You're damn right.
George: I said I was impressed. I'm beside myself with jealousy. What do you want me to do, throw up?
Martha: [derogatorily, to George] Hey, swamp! Hey swampy!
George: Yes, Martha? Can I get you something?
Martha: Ah, well, sure. You can, um, light my cigarette, if you're of a mind to.
George: No. There are limits. I mean, a man can put up with only so much without he descends a rung or two on the old evolutionary ladder, which is up your line. Now, I will hold your hand when it's dark and you're afraid of the boogeyman and I will tote your gin bottles out after midnight so no one can see but I will not light your cigarette. And that, as they say, is that.
Martha: Jesus.
Martha: Well, you're going bald.
George: So are you.
Nick: [to Honey] We'll go in a little while.
George: Oh no. No, you mustn't. Martha is changing, and Martha is not changing for me, Martha hasn't changed for me in years. If Martha is changing, that means we're going to be here for days. You're being accorded an honor, and you mustn't forget that Martha is the daughter of our beloved boss. She is his right... arm. I was going to use another word, but we'll leave that sort of talk to Martha.
[George takes a corner far too fast, tossing everyone in the car from side to side. Pause]
Martha: Aren't you going to apologize?
George: Not my fault, the road should've been straight.
Martha: No, aren't you going to apologize for making Honey throw up?
George: I didn't make her throw up.
Martha: What, you think it was sexy back there? You think he made his own wife sick?
George: Well, you make me sick.
Martha: That's different.
Martha: Hey!
George: Hark! Jungle sounds.
Martha: Hey!
George: Animal noises.
George: You're a monster - You are.
Martha: I'm loud and I'm vulgar, and I wear the pants in the house because somebody's got to, but I am not a monster. I'm not.
George: You're a spoiled, self-indulgent, willful, dirty-minded, liquor-ridden...
Martha: SNAP! It went SNAP! I'm not gonna try to get through to you any more. There was a second back there, yeah, there was a second, just a second when I could have gotten through to you, when maybe we could have cut through all this, this CRAP. But it's past, and I'm not gonna try.
Martha: I looked at you tonight and you weren't there... And I'm gonna howl it out, and I'm not gonna give a damn what I do and I'm gonna make the biggest god-damn explosion you've ever heard.
George: Try and I'll beat you at your own game.
Martha: Is that a threat George, huh?
George: It's a threat, Martha.
Martha: You're gonna get it, baby.
George: Be careful Martha. I'll rip you to pieces.
Martha: You're not man enough. You haven't the guts.
George: Total war.
Martha: Total.
George: I used to drink brandy.
Martha: You used to drink bergen, too.
George: Did you really think I was going to kill you, Martha?
Martha: You, kill me? That's a laugh.
George: Well now, I might some day.
Martha: Fat chance.
George: And that's how you play "Get the Guests".
George: Good. Better. Best. Bested.
Honey: I'm gonna be sick.
George: Ah yeah that's nice.
Honey: I'm gonna die.
George: Good, good. Go right ahead.
George: Martha's got money because Martha's father's second wife, not Martha's mother but after Martha's mother died, was a very old lady with warts who was very rich.
Nick: She was a witch!
George: She was a good witch, and she married the white mouse with the tiny red eyes and he must have nibbled her warts or something like that, because she went up in a puff of smoke almost immediately. Poof!
Nick: Poof!
George: Poof! And all that was left, aside from some wart medicine, was a big fat will.
Nick: Your wife never mentioned a stepmother.
George: Maybe it isn't true.
Nick: Who did the painting?
George: Some Greek with a mustache Martha attacked one night.
Nick: It's got a...
George: Quiet intensity?
Nick: Well, no, a...
George: Well then, a certain noisy relaxed quality maybe?
Nick: No, what I meant was...
George: How about a quietly noisy relaxed intensity?
George: Now that's it! You can take over a few classes from the older men, but until you start plowing pertinent wives, you really aren't working. The broad, inviting avenue to man's job is through his wife, and don't you forget it.
Nick: And I'll be your wife has the broadest, most inviting avenue of the whole damn campus.
[long pause]
Nick: Her father president and all.
George: You can sit around with the gin running out of your mouth; you can humiliate me; you can tear me to pieces all night, that's perfectly okay, that's all right.
Martha: You can stand it!
George: I cannot stand it!
Martha: You can stand it, you married me for it!
Martha: A drowning man takes down those nearest.
Tuesday, January 29, 2013
Quiz, Who's Afraid of Virginia Woolf? Edward Albee
Name the speaker for quotes 1 - 13. George, Martha, Nick, Honey
1. "Will you show her where we keep the, uh, euphemism?"
2. "In my mind, you are buried in cement right up to the neck. No, up
to the nose — it's much quieter."
3."I hope that was an empty bottle! You can't afford to waste good liquor."
4. "Never mix, never worry!"
5. "Unless you're carrying on like a hyena, you're not having any fun."
6. "Don't worry about it! Anybody who comes here ends up getting
testy; it's expected! Don't be upset!"
7. "They're dancing like they (have) danced before."
8. "There was a second back there — yeah, there was a second, just a
second — when I could have gotten through to you, when maybe we could
have cut through all this, this CRAP! But it's past, and I'm not gonna
try."
9. "To you, everybody's a flop!"
10. "I disgust me."
11. "Someone who can keep learning the games we play as quickly as I
can change them."
12. "Truth or illusion; you don't know the difference."
13. "A drowning man takes down those nearest."
14. Northeast state in which the WAVW college is located. __
15. Welsh actor who won fame playing King Arthur in the musical
"Camelot." Also appeared in the movie "Cleopatra." __ __
16. One exploration of WAVW is that of the facade of married couples.
What's the name for the diacritical mark that makes the hard C sound
into an S sound? ___
17. In 1966-67 WAVW won the Pulitzer Prize for literature. T / F
18. US president who was in office when the play of WAVW debuted (1962). ____
19. English author, essayist, publisher, and writer of short stories, regarded as one of the foremost modernist literary figures of the
twentieth century.
20. Word that begins with "n" that means "ready or suitable for marriage by virtue of age or maturity."
Discussion of the answers
1.G 2.G 3.M 4.H 5.G 6.G 7.H 8.M 9.N 10.M 11.M 12.M 13.M 14.Conn 15.Richard Burton 16.cedilla 17.False 18.JFK 19.Virginia Woolf 20.nubile
Tuesday, January 22, 2013
The epochal drama "Who's Afraid of Virginia Woolf?"
Who's Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962–63 New York Drama Critics' Circle Award for Best Play.
Its stars won the 1963 Tony Awards for Best Actor and Actress as well. It was also selected for the 1963 Pulitzer Prize for Drama by that award's drama jury. However, the award's advisory board—the trustees of Columbia University—objected to the play's then-controversial use of profanity and sexual themes, and overruled the award's advisory committee, awarding no Pulitzer Prize for drama in 1963.
In this scathing satire of modern marriage, the border between fiction and reality is continually challenged.
The play ends with Martha answering the titular question of who is afraid to live their life free of illusions with, "I am, George, I am." Implicitly, exposure is something everyone fears: façade (be it social or psychological), although damaging, provides a comfort.
Quotes and vocab -
- "What a dump."
- You never DO anything."
- "Braying at everyone . . . "
- "Are you sulking?"
- "You make me puke."
- "I like your anger. That's what I like about you the most."
- "I can drink you under the g*dd*mned table."
- If you existed, I'd divorce you."
- "Unless you're carrying on like a hyena, you're not having fun."
- euphemism
- "Dashed hopes; good intentions."
- "Good, better, best, bested."
- Rearranging the chromosomes. Making everyone the same."
- "The ants will take over the world."
- "I hope that was an empty bottle. You can't afford to waste a bottle of liquor on an associate professor's salary."
Its stars won the 1963 Tony Awards for Best Actor and Actress as well. It was also selected for the 1963 Pulitzer Prize for Drama by that award's drama jury. However, the award's advisory board—the trustees of Columbia University—objected to the play's then-controversial use of profanity and sexual themes, and overruled the award's advisory committee, awarding no Pulitzer Prize for drama in 1963.
In this scathing satire of modern marriage, the border between fiction and reality is continually challenged.
The play ends with Martha answering the titular question of who is afraid to live their life free of illusions with, "I am, George, I am." Implicitly, exposure is something everyone fears: façade (be it social or psychological), although damaging, provides a comfort.
Quotes and vocab -
- "What a dump."
- You never DO anything."
- "Braying at everyone . . . "
- "Are you sulking?"
- "You make me puke."
- "I like your anger. That's what I like about you the most."
- "I can drink you under the g*dd*mned table."
- If you existed, I'd divorce you."
- "Unless you're carrying on like a hyena, you're not having fun."
- euphemism
- "Dashed hopes; good intentions."
- "Good, better, best, bested."
- Rearranging the chromosomes. Making everyone the same."
- "The ants will take over the world."
- "I hope that was an empty bottle. You can't afford to waste a bottle of liquor on an associate professor's salary."
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