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
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
"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
The paper examines the works "100 Cans" (1962) by Marilyn Monroe (1967), and "A Set of Six Self Portraits" (1967) by Andy Warhol through the ideology of Marxist capitalism. The paper discusses how while Marx defined the growing reliance on industrial technology as a devaluation of human labor and skill, Warhol sought to embrace this facet of mass produced form of exploitation of the 1960s. The paper shows how the growing trend for the artist to use mediums that allowed millions of people to have access to images in America, allowed a greater inclusion in the artistic process.

Tags:art, history, warhol

Abstract
The paper discusses how Andy Warhol sought to use the mechanized and repetitious format of the mass media of the 1960s to help bring about this experience of the "other" as an object appearing on paper. The paper demonstrates how without the real person or experience to give a deeper view of the assassination, the artist has droned out the emotions of this tragedy by diluting the shock and pain of what really happened.

Tags:warhol, art, painting

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
This paper takes a look at Andy Warhol, one of the most famous pop art artist to date. The author provides a short background on Warhol's parentage and outlines his career high points. The author then discusses the central theme in Warhol's works - the American culture. The paper explains that Warhol's premise was that Americans define their central identities through the products they buy and the foods and drinks they consume. The paper also comments on Warhol's lifestyle and the events leading up to his death at the age of 58.

Outline:
1970s
The 1980s
Death
Bibliography

From the Paper
"This demonstrated the central theme of Warhol's art. That, America, in all its richness and diversity, has a sense of fairness and democracy that allows the poorest to consume the same products as the richest. In making state statement, Warhol also reveals American materialism and consumerism. Also, Warhol's premise is that, in essence, we as Americans define our central identities through the products we buy, and the drinks and foods we consume. Warhol used popular imagery and methods to visualize the American cultural identity of the 20th century. This popular redefinition of American culture is a theme and result of Warhol's art. Because American culture has had great international influence, Warhol has, as well. His portrayal of America has infused itself in the world's perception of us. In other words, he indirectly told the world who we are."

Tags:pop art, artist consumerism

Abstract
The writer notes that Andy Warhol was considered one of the icons of pop art in the 1960s. The writer discusses that Warhol's works were not restricted by the type of artistic methods or tools that he used in creating his art, nor were they determined by the beliefs of other people that reflected what they considered art. The writer discusses that in 1967 Warhol created an image of Marilyn Monroe using silkscreen that he was criticized for because of its inability to imitate life. The writer maintains that despite the criticism that existed toward the work of Marilyn that Warhol created, it is evident that this work was a reflection of the time period and a comment on the capitalistic society that was impacting the lives of all people throughout the world.

From the Paper
"Working from a photograph of the motion picture star, Warhol's image of Marilyn would be reproduced ten times using different colors within the work. Yet, what was strikingly apparent was that the image of Marilyn seemed to be distorted by over exaggerating her lips, coloring her eyelids with a heavy blue tone and giving her the appearance of a manufactured plastic image, rather than of a human being. "

Tags:art

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