Abstract
This paper examines the visual rhetoric in Andy Warhol's print of Che Guevara, comparing it to his own self-portrait, both of which are derived from photographs and manipulated by the artist to achieve iconicity. The paper describes how the artist's Guevara portrait reflects the commodization that he exhibits in his own self via his self-portrait.

From the Paper
"The power of visual rhetoric is that it can alter the way the viewer sees the subject by virtue of the fact that the subject is portrayed in a particular manner. The goals of rhetoric inform the design process (Campbell) and the result is that what the artist is trying to say in the piece becomes part of the work's texture and identity. This is the case with Andy Warhol's portrait of Che Guevara which is based on an..."

Tags:visual rhetoric, communication, Andy Warhol, Che Guevara, Alberto Korda, iconicity, indexicality

Abstract
The paper looks at how Cantor stated that modernism in the early 20th century "cared little for history; it was in fact hostile to it" (35), and according to Cantor, modernism called on a "shift in thought...from the big to the small, from the general to the particular" (35). The paper relates that Cantor expanded on this idea by stating that modernism in art included many of the art forms found in "pop art", although this period of art is primarily considered post-modernism (35). The paper discusses how Cantor contends that much of the pop art of the 20th century was initially believed to be "vanguard art" that was not taken seriously (35), however, as time progressed society began to accept this art form as one that focused on the "particulars" of society and that further pop art expressed that "everything was meaningful" and that in some way, all things were tied to something else" (35). The paper explains that Cantor contends that the most prevalent of the pop artists of the 20th century were Andy Warhol, Jasper Johns and Roy Lichtenstein (35). The paper explains that these artists focused on elements of every day life that spoke of the time in which they lived and mundane pieces of existence, such as Brillo boxes and soup cans were the central focus on their art. Furthermore, the paper explains that these artists had the view that by creating these images in their own personal fashion that they were asking the viewer to relate those items to their lives, thereby making a comment on particular facets of life (Cantor 35).

From the Paper
"Cantor stated that modernism in the early 20th century "cared little for history; it was in fact hostile to it" (35). According to Cantor, modernism called on a "shift in thought...from the big to the small, from the general to the particular" (35). Cantor expanded on this idea by stating that modernism in art included many of the art forms found in "pop art", although this period of art is primarily considered post-modernism (35). Cantor contends that much of the pop art of the 20th century was initially believed to be "vanguard art" that was not taken seriously (35)."

Tags:art, andy, warhol

Abstract
"Andy Warhol: Pop Art and Persona" is a five page paper that goes into how Andy Warhol's Interview in Pop Art Redefined identifies Warhol's persona as simple and emulative of the modern machine; Thomas Crow's "Saturday Disasters: Trace and Reference in Early Warhol" argues that Andy Warhol really wanted to dramatize the idea of commodity and was far more complex in motive than his outward characterization let on.

From the Paper
Andy Warhol: Pop Art and Persona Art can be seen through the interpretations and perceptions of the artist; no one defines such a filter of art than that of Andy Warhol. Not only was his work iconic of the Pop movement and of art history itself, so was the man behind the work, someone who has been debated about for years based on his eccentric, elusive but progressive behavior. Though Andy Warhol's Interview in Pop Art Redefined identifies Warhol's persona as simple and emulative of the modern machine; Thomas Crow's "Saturday Disasters: Trace and Reference in Early Warhol" argues that Andy Warhol really wanted to dramatize the idea of commodity and was far more complex in motive than

Tags:warhol, interview, persona

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

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 glamor 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 color on the canvas surface.""

Tags:critics, reproduction, identical, duchamp, icon

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."

Tags:pop, popart, painter, new, york

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.

Tags:warhol's, portraits

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
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."

Tags:analyst, jung, personality, pyschology

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."

Tags:acrylic, silkscreen, ink, canvas, China, style, mediums, meanings, colors, shapes