#AndyWarhol at Tate Modern
More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)
5 September
#AndyWarhol at Tate Modern
Andy Warhol produced art at a time of immense social, political and technological change.
This exhibition examines Warhol’s subject matter, his experiments in media
and the way he cultivated his public persona.
and the way he cultivated his public persona.
It draws attention to Warhol’s personal story and how his view of the world shaped his art.
Unlike Factory Girl (2006), suggesting Andy Warhol's attitudes to others as monstrous and / or that he was a monstrosity, #Warhol at @tate Modern shows or finds humanness, and an equal caring about people's humanity : as with Picasso, curation that subverts the norm is welcoming. pic.twitter.com/n4kOVz4trB— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) September 5, 2020
One of the most significant wall-notes in the whole of the #Warhol show might not even be seen by many visitors (it is in Room 3, opposite the soup, and the Coke bottles)
Nice image !
— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) September 25, 2020
Also indicative how an image (or a group of them) will reveal, as one experiments, an ideal distance at which to view it / them - even if that's more difficult in these days of SD* !
* And limited by how far back one can stand in Room 9 and not trigger the alarm.
— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) September 25, 2020
Notes or observations on the dozen or so screen-tests (compiled and converted to video by ???, the Warhol museum in Pittsburgh, from around 150 in all) :
* Susan Sontag's weeping, and a tear falling down her face, and then from her chin
* From the lively intelligence, eyes twinkling and even cigar-smoking and smoke-blowing of Duchamp to the dullness of Dylan - in medium shot, and resolutely trying to rest his fingers on the right-hand side of his shades (as if even he thinks that he looks / will look good ?), and, all in all, an imposture of posture :
Using both arm-rests, right leg crossed over left, clothing dark (except light jacket), with the fingers of his left hand angled down to be partly hidden behind the base of his right thigh
left hand's * Little like Dylan (wooden, unregal, and as obedient as if 'looking into my light' at the opticians'), Duchamp is so animated that he leans both ways sideways, forwards, and can be seen actively looking, taking in what surrounds him
* Ginsberg is intense, and, but for blinking, a likeable living passport pose - he is shot almost full face, and lit mainly from his left (as the subject)
[...]
If you want to Tweet, Tweet away here
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
