Louis Waldon, and Joe Dallesandro wrestle Eric Emerson amongst the cactus in Andy Warhol’s Lonesome Cowboys. The guy in the beginning is Tom Hompertz who was only in two Warhol films and this was the only one that got edited (sort of) and saw release. The other was a surf film that is still in the archives.
Discussion by Jonathan Katz, co-curator of “Hide/Seek” and Chair of the Visual Studies Doctoral Program at SUNY-Buffalo.
Andy Warhol was famous for much longer than the fifteen minutes of fame that he predicted for everyone in his 1968 quote. Indeed, Warhol became so famous for being famous that his art tended to take second place to his personality. Warhol had a peculiar kind of fame: he posed himself as a blank against the aggressive celebrity culture of the 1960s. His pale features, deadpan expression, obscure utterances, and famous wig created a persona that resisted questions or connections, let alone intimacy. In his series of Camouflage Self-Portraits, each of which had a different color of camouflage pattern superimposed on the artist’s face, Warhol built on the idea that portraits are a mask. Warhol hides in plain sight, not camouflaged at all, instantly recognizable yet hidden behind the facade of his own making.
“Hide/Seek: Difference and Desire in American Portraiture” was on view at the National Portrait Gallery, Smithsonian Institution, from October 30 through February 13, 2011.
For more on the exhibit, visit the exhibit website at: http://npg.si.edu/exhibit/hideseek .
Andy Warhol (1928-1987) Synthetic polymer paint and silkscreen on canvas, 1986 Philadelphia Museum of Art, Pennsylvania; acquired with funds contributed by the Committee on Twentieth-Century Art and as a partial gift of the Andy Warhol Foundation for the Visual Arts, Inc., 1993
Tagged: , art , Outsider art , Dada , dadaism , dadaist , dadaísmo , portraits , Portrait , portraiture , art brut , punk , punk art , queer , queer art , intuitive art , raw art , Folk Art , Pop Art , collage , probe droid , hoth
Larry Rivers delivered a eulogy for Francis “Frank” O’Hara that became one of the most infamous art world events of the late 1960s, but you’ve never heard of it. Artist Skylar Fein will read this eulogy, courtesy of the NYU Library Special Collections, and relate it to Rivers’s work. Fein makes the case that just as Rivers’s work prefigured Pop Art, the eulogy itself foreshadows the response to AIDS a few years later.