By Gary Indiana
In the summertime of 1962, Andy Warhol unveiled 32 Soup Cans in his first solo exhibition on the Ferus Gallery in Los Angeles—and despatched the paintings international reeling. The responses ran from incredulity to outrage; the poet Taylor Mead defined the exhibition as “a marvelous slap within the face to America.” The exhibition positioned Warhol at the map—and reworked American tradition ceaselessly. nearly single-handedly, Warhol collapsed the centuries-old contrast among “high” and “low” tradition, and created a brand new and extensively sleek aesthetic.In Andy Warhol and the Can that offered the World, the dazzlingly flexible critic Gary Indiana tells the tale of the genesis and effect of this iconic murals. With strength, wit, and super perspicacity, Indiana recovers the pleasure and controversy of the Pop artwork Revolution and the bright, tormented, and profoundly narcissistic determine at its forefront.
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Extra info for Andy Warhol and the Can that Sold the World
As objects? As beings? How did representations of the human form reshape prehistoric ideas of what it was to be human? What are the consequences of taking account of who is looking and why? What are the consequences of thinking about who is being looked at and why? How could we redeﬁne ﬁgurines if we think more deeply in terms of the visual and the roles that the spectator plays and if we examine the power relationships that develop around acts (and mechanisms) of being looked at? What are the politics of looking and being seen?
The multiplicity of types and significances of ancestors and the correlative division of the community along gender lines are important, suggesting not only that there can be more than one set of ancestors being depicted and ritualized, but also that ﬁgurine imagery can be made and used by women and can refer to women even when women are a subordinate component of a community. This is another warning of the dangers of the assumption that ﬁgurines can be read as direct representations of rulers or divinities.
In the middle of the northern wall is a square hearth. In the corner, between the hearth and the platform are grindingstones. Near the platform was found another miniature, a clay house replica. Thirty cm on each side, it is complete with oven, platform, door and walls all arranged as in the house itself. Besides these miniature finds, there is nothing special about this building: its size (6 ϫ 6 m) is typical, as is its orientation (NS–EW). Information about the range of activities that took place here is limited, though there were a number of large pots.