Prior to going any further, let me just get this out of the way. No, I would not consider Andy Warhol a very good artist, much less a great one. And, yes, his biggest claims to fame — repetition, mass production, irony, the overuse of color — merely took one or two ideas that MIGHT have worked as part of a smaller series, and made an entire life’s work of it, as opposed to a short, controlled burst of activity that would have been far easier to justify.
In short, this is the equivalent of having a single, minor idea, not being happy with its general lack of application, and therefore deciding to write the same 1,200 page book about it, a hundred times over, albeit with slightly different formatting at each go. Obviously, painting some banal object, or re-touching someone else’s photo, over and over again, can only take an artist so far, ending, as it does, precisely where the work ends: a colored image of a bad actress or dictator, or an ode to the commonness of soup — and the ‘deeper’ (I use this word lightly) reactions to said commonness. Sure, one can think of far worse paintings and/or statements, but this, by itself, does not ameliorate the real issue. It only reveals how easily confused the public is, manipulated, as it is, by artists who consider themselves above the sort of pettiness that they in fact engage in, thus taking the heat away from their own lacks.
Yet there’s another side to Warhol, as well. Unlike, say, the repetition of a Jackson Pollock, or the self-serving ‘explanations’ (if they can even be termed such) of a Mark Rothko, Andy Warhol had an advantage that these other folks did not. And I don’t just mean talent, because Warhol, in his ‘serious’ moments, was far more penetrating re: the arts, and FAR more self-aware when it came to his place there — including the transience of his own position, and what it says not only of other artists, but of the consumers who respond to such.
And, naturally, these responses aren’t very pretty. A couple of months ago, I watched a few documentaries on Warhol, including a 3 hour doc (“The Complete Picture”) and a better, 4 hour one. Yet I use the word ‘better’ loosely, since the only real reason why the 4 hour doc was better was stylistic — on top of the fact that it actually quoted a great deal from Warhol, who could be very interesting to listen to, at times. In fact, the primary drawback of both is their overuse of talking-heads, and especially clueless talking-heads that, in their admiration of Warhol, offer no real criticism, no original insight, and merely take Warhol’s art at face value, raving about the color saturation of this or that photo, or throwing around terms and judgments that, if one merely has eyes, clearly … Continue reading →