安迪·沃霍爾全部影視作品

在美國(guó)波普藝術(shù)中, 最重要的角色被稱為“第一藝術(shù)明星”。憑借圖形廣告和背景導(dǎo)演,沃霍爾成為了博物館和拍賣場(chǎng)中的企業(yè)家和藝術(shù)家。

通過(guò)對(duì)1962年的空難的描繪，他的策略最終建構(gòu)在一種對(duì)特殊絹網(wǎng)印刷和攝影印刷技術(shù)的認(rèn)可性之上。他也曾在達(dá)芬奇的其它作品上進(jìn)行再創(chuàng)作，從《天使報(bào)喜》到《最后的晚餐》。

1986年，他在很長(zhǎng)一個(gè)時(shí)間周期內(nèi)都在從事色彩多變性的工作,包括軍裝的迷彩效果。他重復(fù)“蒙娜麗莎”的最初作品可以追溯到1963年——《30比1好》。這里展示的是四重蒙娜麗莎。

This work consists of six identical black and white photographic prints stitched together with thread into a grid of three rows of two. Trails of thread are left hanging at the ends of the joins of the images. The photograph depicts a close-up section of the dashboard of a taxicab taken from inside the vehicle. This section of dashboard, which is illuminated by the flash of the camera, occupies the lower half of the image, above which is the windscreen through which five white lights can be seen as indistinct spots against the dark night sky along with several others of a less intense brightness. On the dashboard, below the small rectangular fare meter, a hand-written sign reads: ‘Cough: Driver has a nice sugar-free cough drop for you… Sneeze: Kleenex is right behind you…’. To the right of this sign is the driver’s licence, which includes an identification photograph and the driver’s name, Robert A. Dinu, and number, 202761. Between 1982 and 1987 Andy Warhol made over five hundred unique stitched photograph works each comprising several prints of the same image arranged into a grid. The images used as the basis for the stitched photographs were all taken by Warhol, who took photographs almost every day from 1976 onwards using several 35 mm cameras. When he began making the stitched photograph works, Warhol selected images from among the thousands he had amassed. The stitched photograph works feature a broad array of subjects including pictures of celebrities, objects, and monuments. Cough is one of a number of these works featuring signs, which range from the handwritten, such as I Am Blind 1986 (Tate AR00289 ), to the more formal or commercial, such as Sunday Brunch 1986 (Tate AR00295 ). The apparent focus of this work according to its title is the ‘Cough’ sign which indicates the driver’s concern for health and maintaining a sanitary environment. It is well documented that Warhol suffered from hypochondria and so it is likely that he would have empathised with and appreciated the driver’s attempt to keep his car free from germs. Warhol experienced periods of illness as a child that significantly affected his later health: I had had three nervous breakdowns when I was a child, spaced a year apart. One when I was eight, one at nine, and one at ten. The attacks – St Vitus’ Dance – always started on the first day of summer vacation. I don’t know what this meant. I would spend all summer listening to the radio and lying in bed. (Warhol 1977, p.21.) Throughout his adult life the artist frequently expressed concern about his skin and body, or about the risk of infection. Occasionally these fears manifested themselves in his art. For instance, the 1961 painting Where Is Your Rupture? , which was based on a plastic surgeon’s advertisement, depicts a basic outline of the female body from neck to hips, penetrated by several numbered arrows. Warhol’s hypochondria also seems to underpin the series of Tunafish Disaster paintings made in 1963, each of which was based on a page from Newsweek detailing the story of two housewives from a Detroit suburb who were killed by botulism contracted from a can of contaminated tuna.

Self-Portrait (Strangulation) comprises six silk-screened canvases assembled in a vertical grid of three pairs, each silk-screened in vertical bands of pink, red, yellow, blue, and grey. Horizontal smears of paint are also apparent across the surface of each canvas. The single monochrome panel, placed on the left side of the central row, is dark-toned, painted with shades of grey that partially obscure the image of Warhol’s face as he undergoes ‘self-strangulation’. The six canvases were made in Warhol’s New York studio, known as the Factory, on unstretched canvas, rolled out flat on the studio floor. For these works Warhol used photo-silkscreens and employed an assistant named Rupert Smith to help with screen-printing. Synthetic polymer paint, a fast drying alternative to oil paint, was used as the background onto which the image was screen-printed. The work is both ambiguous and ironic. The subject matter – death by strangulation – might be compared with Warhol’s Death and Disaster series of 1962–3 in which he enlarged and displayed images of violence, notably car crashes or press photographs of police dogs attacking protestors. However, the images here suggest a staged and potentially comical act, similar in concept to the earlier self-relating work Self-Portrait (Being Punched) 1963–6 (The Andy Warhol Museum, Pittsburgh). Warhol famously proclaimed that ‘in the future, everybody will be world famous for fifteen minutes’ but lived with the pressures of celebrity life in the public imagination for much of his career. This peaked when on 3 June 1968 Valerie Solanis, a part-time extra in Warhol’s films, appeared at The Factory and shot him. Although he survived, the near-death experience had a profound effect on Warhol and the theme of his own mortality featured prominently – even if sometimes facetiously – in much of his late work (see, for example, Self-Portrait with Skull 1978, AR00610 ).