Abstract This paper explains that, loosely defined, Pop Art describes works, which borrow imagery from the mass culture--high art mimicking low art; everyday items such as commercial product packaging, newspaper articles, advertisements and comic books are the foundation of the Pop Artist's works. The author believes that the greatest Pop artist, whose innovations have affected so much subsequent art, is the American artist, Andy Warhol, whose works--"Campbell's Soup Can" series, "Green Coca-Cola Bottles, 1962" and "192 Dollar Bills, 1962"--are detailed in this paper. The paper relates that Andy Warhol, son of disadvantaged Polish immigrants, became an icon not only of Post-Modern art in the Pop movement, but also the epitome of enviable glamour as one of the leading mass-media personalities of his time.
From the Paper "Warhol's method of reproducing identical images, echoing the assembly-line production of the objects depicted, gradually became more technically efficient and a standard feature of his work. He introduced this method of screen-printing in 1962 and encouraged the impression that works were churned out from the Factory, as his studio on East 47th Street in New York was known, by his entourage of assistants. "With screen-printing Warhol had finally found a way of eliminating altogether the distinguishing personality of brushwork, at the same time satisfying his professed desire to make himself into a machine, registering images as a mere film of colour on the canvas surface.""
Abstract This paper describes the "The Andy Griffith Show" in which Griffith playing Andy Taylor, a young sheriff of a small town in the American south. The show's visual and audio styles, theme song, tone, family values and characters, including barefoot Opie and Gomer Pyle are all described. The paper also discusses the work of Sheldon Leonard, the driving force behind many 60s Top Ten Nielsen television hits including not only this show but also "The Danny Thomas Show" and "The Dick Van Dyke Show".
From the Paper "Andy Griffith had two spin-offs that made it on their own. Jim Nabors took the character of the dim-witted hick, Gomer Pyle and ran with it in a sitcom featuring Gomer in the marines. Mayberry, R.F.D. was just "The Andy Griffith Show" retooled due to the departure of Andy in 1968. There was no rocket science involved. Leonard and Thomas took a successful idea and cloned it as long as the traffic would bear.
"The show had as its theme simple homespun stories of family values and simple people."
Tags: formulaic fcc, camera angles, spin-offs homespun replacements
This paper is aimed at deconstructing the personality of actor-comedian Andy Kaufman from an empirical point of view, based on Carl Jung's archetype theory.
Abstract The paper is based on the writer's observations of the 1999 film "Man on the Moon" in which actor Jim Carey portrays the late Andy Kaufman. It uses an array of other sources from publications such as Rolling Stone and Bill Zehm biographical title "Lost in the Funhouse." One of the main characteristics of Kaufman was that he was an archetype. Kaufman's problem was that didn?t know where he fit, especially in the world of entertainment. He just wanted to bring the world to his world of fun and fantasy.
From the Paper "After watching Man on the Moon (1999), starring Jim Carey portraying the late comedian Andy Kaufman. I wasn"t sure what aspects of Jung's theory to use. Kaufman was such a flamboyant character that I didn"t know where to begin Most of the people who worked with Kaufman described him as a genius; I personally think he came a bit before his time. Judd Hirsch Kaufman's co-star on the hit sit-com Taxi said, ?his genius was something akin to what I can only describe as designless illussion.? It's funny he used the word illusion, to describe Andy because that is the impression I got after I watched Man on the Moon for the first time. I think he meant that Andy lived in his own world of illusion, because when I watched the movie for the first time, there was a bit too much for me to take in all at once. When I first saw the movie I noticed that Andy displayed bizarre behavior for a man in his field. Kaufman had an array of characters that he used to entertain crowds. All these characters are personifications of an archetype, one of the aspects of Jung's theory that I am going to use to analyze Andy Kaufman's personality."
Abstract An examination of the art of Andy Warhol and the reasons his work is so well-known. The paper explores his methods of production - mostly silk screen printing - and his 'series' - producing several images of a certain subject. The paper discusses how Warhol, in his various struggles to create art, was attempting to redefine and popularize American art by making it commercial and also by making the focus upon commercialism in his art a comment upon society.
From the Paper "Warhol's art blurs the relationship between what comes first, the reality or the image. More and more people construct their lives around what they see on television. Warhol, in his own work, From a to b and Back Again, that: ?A whole day of life is like a whole day of TV.? (Warhol 5) Both, he says, are never ending and never shut off. The never-ending nature of life, Warhol also made use of in his epic, virtually unwatchable films. The intention by making such long films as Warhol did was to suggest that rather than art trying to change and reinterpret life, art should reflect life and be as much like life as possible. As life is no longer interior and private and personal, art should also be exterior public and impersonal."
Tags: contemporary, commercialism, Reality, Television, Pop, art
Abstract This paper discusses the painting, "Mao", acrylic and silkscreen ink on canvas, that Andy Warhol painted in 1973 at the height of Mao's power in China. The author states that this painting is more realistic than many other Warhol paintings, but it is clearly his "style". The author believes that this painting is very interesting because of the two different mediums used and all the hidden meanings that seem to be buried in the colors and shapes.
From the Paper "The painting is over 15 feet high, and so Mao looks down at the viewers as if he is looking over a group of children. Mao's face is not what you would expect, except from someone like Warhol. The face is done in bright oranges and yellows, to show his Asian ancestry, but even more, to make him look vibrant and alive. Warhol has also given him bright red cheeks and lips, so much so that he looks like a woman wearing a lot of make-up, especially blush and bright lipstick. There is blue eye shadow over his eyes to enhance the look of make-up, too."
Abstract This is a study of Andy Warhol's portraits and the issues that they raise about celebrity and identity. In his portraits of celebrities, their vacant stares and stock poses communicate to the viewer the intractability of representing the 'real self'. In his self-portraits, the distortion of color and form, combined with the generic head-on-black-background format makes the subject of the portrait relatively unimportant, subsumed by art.
Abstract This paper presents an overview of the artwork of Andy Warhol. The paper begins by defining Warhol's work as original and creative. The writer then offers some background on the artist, including details of his family, education, and upbringing. The paper explains how Warhol instituted the art form known today as pop art.
From the Paper "Warhol received his education at the Carnegie Institute of Technology in Pittsburgh from 1945 to 1949. Subsequently, he moved to New York where he began working as a commercial artist for newspapers and magazines. Even his early worked showed sign of originality and are described by Mark Livingstone as "charming and often whimsical in tone, typified by outline drawings using a delicate blotted line that gave even the originals a printed appearance" (Livingstone). It was his shoe advertisements for Miller and Sons that were noticed and admired, which help him earn major awards from the Art Directors Club. (Livingstone) Warhol continued his commercial work but was determined to establish his name as a painter."
Abstract This paper examines how Andy Kaufman challenged the definition of comedy by making his audience use all of their emotions. It looks at how he effectively utilized emotions, such as happiness, confusion, and anger during his act and how he demanded real reactions from the audience, rather than careless giggles from an audience expecting to be amused by a typical stand-up comic.
From the Paper "While working on the set of Taxi, Kaufman negotiated a separate contract for Tony Clifton to appear on an episode of the sitcom. Nobody knew that Kaufman's Tony Clifton character was played by both Kaufman and Zmuda when necessary. When Bob Zmuda showed up as Clifton to film, his rude behavior was so detested by the cast and crew that the episode was scrapped and Clifton was escorted off the premises by security guards. This was one of Andy's attempts to make what he considered a boring unfunny show into something more challenging to the audience as well as the cast members, and as usual, Andy got the last laugh."
Abstract The paper examines how the author, designer, painter, photographer, filmmaker, and publisher known as Andy Warhol was one of the twentieth century's greatest artist. It looks at how he became a pop culture genius and how, through his work, became a part of it as a social commentator and visionary.
From the Paper "Magazines and film were two other mediums used by Warhol. After graduating from the Carnegie Institute of Technology in Pittsburgh, Warhol first worked as an illustrator for magazines like Vogue and Harpar's Bazaar and for commercial advertising. His magazine, however, would live on even after Warhol's death. In 1969, Warhol co-produced a magazine named "Interview" with John Wilcock, editor of an underground newspaper called "Other Scenes". The magazine featured text and loosely edited interviews from cassette tapes. Andy often said that he started the magazine to get free tickets to all the premieres. The magazine quickly turned into a monthly review of popular culture. Celebrities, fashion, art, music, movies, television, gossip, and celebrity nightlife (especially the notorious Studio 54) were all featured in the magazine."
Abstract This paper describes the Andy Warhol's images of Marilyn Monroe, displayed in his 1962 art exhibit. The paper explains the techniques and processes Warhol used and the message about society he tried to impart. The paper points out that the Marilyn images are a comment on the commercial aspect of art as well as the willingness of the public to buy into escapism.
From the Paper "There is controversy about exactly which image Warhol used to create the final work. The one that is widely accepted to be the source work, may be from the same photo session, but Warhol may have used a different shot. This is unknown. The image Warhol silkscreened is another pose, a new facial expression and different lighting. The process, however, is the determing mechanism of the final form of the work. His working method is well known. He chose a photograph, cropped it as necessary, then ordered a silkscreen in a specified size. Variations occurred when screening the reproduciton onto the canvas.
The artistry lies in the control of the density of the paint. In this way he was able to vary the black images between faint and darkly saturated. At this time, he elaborated the presentation of the photographic material, transforming it according to what he wanted the finished work to say. This method created an initial shock in the finished work and is the essence of its lasting significance."
Abstract This essay examines and discusses the ways in which Andy Warhol's work had been found scandalous at the time it was produced and exhibited. The paper discusses his paintings of the Campbell's soup cans and also his work as a filmmaker, a photographer, magazine publisher, and trendsetter. It discusses the scandals that surrounded him regarding his work as well as his personal life.
Abstract This paper argues that essential aspects of Andy Goldsworthy's work are the principles of time and change, which are exemplified by his ephemeral sculptures including "Reconstructed Refrozen Icicles" and his "Midsummer Snowballs". The paper suggests that Goldsworthy embraces the fragility of life and change as key elements of his work and that this idea is present in every aspect of his work; from the materials he uses to the short-lived, earthy sculptures he chooses to create.
From the Paper "A decade before Andy Goldsworthy several artists were experimenting with the idea of taking art outside of the museum and gallery setting and began to work directly with nature. "These artists were looking for new ways of dealing with nature, and Goldsworthy shares with them concerns with time and space, them ephemeral quality of natural materials, and the nature of their deterioration." In this respect Goldsworthy's sculpture has its roots in modern art's "land art" of the sixties and seventies. However, unlike these artists who wished to create a lasting work of art, Goldsworthy's work is ephemeral. He creates his work with the sole purpose and understanding that it will one day decay and disappear."
Abstract This paper analyzes the various elements of Marxist ideology that arise within Andy Warhol's art works "100 Cans" (1962), "Marilyn Monroe" (1967) and "A Set of Six Self Portraits" (1967). It discusses the idea of commodity and cultural identity within these works and aims to reveal Warhol's medium and ideology in industrial American society. The paper shows how Warhol merges images of capitalism and mass production into his portraits.
From the Paper "This was the biographical background for Warhol's interest in images of famous people, since he was obsessed with the way that people could become famous in the mass communications milieu of American culture. The use of photography could now capture a person's image and be broadcast to millions of people nationwide through the television. For icons like Marilyn Monroe, her image could now be processed and manipulated through media exploitation now that it could easily be replicated. In this way, the nightmare of Marx's human devaluation and exploitation of identity within a mass production industrial culture became realized; it was a beautiful dream-come-true for Andy Warhol and his choice of replicating popular icons in American society."
Abstract This paper describes and examines Andy Warhol's "Electric Chair", a stark and interesting image of an electric chair. The paper speculates why Warhol uses such an image, what the meaning behind it is, and what emotions it relates to. The paper suggests that the artwork is possibly a sign of protest against the death penalty, and that it reflects the human fear of lonliness, the unknown, darkness and death. The paper ends on the note that the artwork evokes the disturbing issue that no one truly knows what happens after death.
From the Paper "The image brings about several emotions. The emptiness and lack of human presence makes one feel completely isolated and alone. The dark colors and shadows bring a sense of fear. It makes you feel that death is near. Death is coming and it is unavoidable. Depending on how one interprets the art piece one might feel anger or a sense of justice. If one were to disagree with the death penalty then this image would bring a sense of anger. The electric chair would be seen as a tool for inhumane treatment and bring anger towards the government that allows its use."
Abstract The paper explains that Andy Warhol helped make viewers aware of the way that modern imaging affects emotive response. The paper shows how Warhol multiplied the poses of Jackie Kennedy in order to illustrate how the images were repetitive and thus desensitized by the mass media.
From the Paper "The 16 Jackies by Andy Warhol was created after the assassination of John F. Kennedy's assassination in 1963. The 16 images presented in the series are merely reflecting four different poses of Jackie Kennedy before and after the death of her husband, the president. The four images (from top to bottom) reflect Jackie coming into Love Field in Dallas, Texas, after the flight; the next image is Jackie at the swearing in ceremony of Lyndon B. Johnson after JFK's death; Jackie grieving at the capitol; and finally, Jackie smiling in the car right before JFK was assassinated. With each image there are three duplicates that simply follow a repetitious sequence, much like one would see in a film roll. In this manner, the images are stacked upon one another, yet they all reflect a similar pose that depict Jackie at various stages of experience before and after her husband's death."
