Indiana’s witty, insightful analysis brings refreshing intellect to a well-worn period of American art history.
Incisive look at how Warhol’s iconic Soup Cans paintings sparked the Pop Art movement, bringing American artists—Warhol especially—to the forefront of artistic and sociological discourse.
Prolific cultural critic Indiana (The Shanghai Gesture, 2009, etc.) presents a concise yet highly illuminating treatise on the paintings’ significance. During a period saturated with the art of the Abstract Expressionist movement, Warhol’s entrée to the scene, both in terms of his banal subject matter and ambiguous sexuality, was met with mixed reviews. His Soup Cans, lacking the technique and complexity that marked the success of big names like Pollock or de Kooning, were initially dismissed by critics as boring. But soon the importance of Warhol’s artistic commentary gained traction, and his symbolic aesthetic was recognized as ’60s America reflected in high art. By echoing his obsession with media and pop culture in his images, Warhol tapped into the psyche of a public whose intrigue with art was stymied by Abstract Expressionism’s very abstractness. Indiana writes that “Warhol’s cans demonstrate that modern reality is mediated through the symbolic,” and that his paintings are a “projection of everything that can be bought and sold, the practical but impermanent symbols that sustain us.” Warhol’s meteoric rise to fame brought with it a completely innovative approach to the art scene, culminating in The Factory, his infamous studio that was constantly filled with oddballs, ingénues, actors and artists. The Factory’s silkscreen production line was in itself a projection of commercial culture, and yet each painting was unique. Warhol’s genius lay in recognizing how to select the right subjects at the right time—from Marilyn to Mao—in order to elicit cultural self-recognition from viewers. It was only fitting that Campbell’s soup, a product Warhol was forced to eat for lunch each day of his childhood, was the first image he chose to immortalize.
Indiana’s witty, insightful analysis brings refreshing intellect to a well-worn period of American art history.Pub Date: Feb. 10, 2010
ISBN: 978-0-465-00233-7
Page Count: 192
Publisher: Basic Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A zesty, energetic history, not only of a building, but of more than a century of American culture.
A revealing biography of the fabled Manhattan hotel, in which generations of artists and writers found a haven.
Turn-of-the century New York did not lack either hotels or apartment buildings, writes Tippins (February House: The Story of W. H. Auden, Carson McCullers, Jane and Paul Bowles, Benjamin Britten, and Gypsy Rose Lee, Under One Roof In Wartime America, 2005). But the Chelsea Hotel, from its very inception, was different. Architect Philip Hubert intended the elegantly designed Chelsea Association Building to reflect the utopian ideals of Charles Fourier, offering every amenity conducive to cooperative living: public spaces and gardens, a dining room, artists’ studios, and 80 apartments suitable for an economically diverse population of single workers, young couples, small families and wealthy residents who otherwise might choose to live in a private brownstone. Hubert especially wanted to attract creative types and made sure the building’s walls were extra thick so that each apartment was quiet enough for concentration. William Dean Howells, Edgar Lee Masters and artist John Sloan were early residents. Their friends (Mark Twain, for one) greeted one another in eight-foot-wide hallways intended for conversations. In its early years, the Chelsea quickly became legendary. By the 1930s, though, financial straits resulted in a “down-at-heel, bohemian atmosphere.” Later, with hard-drinking residents like Dylan Thomas and Brendan Behan, the ambience could be raucous. Arthur Miller scorned his free-wheeling, drug-taking, boozy neighbors, admitting, though, that the “great advantage” to living there “was that no one gave a damn what anyone else chose to do sexually.” No one passed judgment on creativity, either. But the art was not what made the Chelsea famous; its residents did. Allen Ginsberg, Bob Dylan, Andy Warhol, Janis Joplin, Leonard Cohen, Robert Mapplethorpe, Phil Ochs and Sid Vicious are only a few of the figures populating this entertaining book.
A zesty, energetic history, not only of a building, but of more than a century of American culture.Pub Date: Dec. 3, 2013
ISBN: 978-0-618-72634-9
Page Count: 448
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Sept. 18, 2013
Kirkus Reviews Issue: Oct. 1, 2013
BOOK REVIEW
A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.
Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.
Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.
A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.Pub Date: Oct. 13, 2015
ISBN: 978-1-250-05890-4
Page Count: 432
Publisher: St. Martin's
Review Posted Online: July 27, 2015
Kirkus Reviews Issue: Aug. 15, 2015
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