scholarly journals ANDY WARHOL VE YEMEK FORMLARI

2021 ◽  
Vol 8 (73) ◽  
pp. 2184-2198
Author(s):  
Ayşegül TÜRK
Keyword(s):  
Andy Warhol

Screen Presence

2016 ◽  
Author(s):  
Stephen Monteiro
Keyword(s):  
Contemporary Art ◽  
Social Contexts ◽  
Popular Media ◽  
Andy Warhol ◽  
Film Culture ◽  
Artistic Practice ◽  
Popular Film ◽  
Robert Rauschenberg ◽  
Mona Hatoum ◽  
Source Materials

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Working from a media and cultural studies perspective, Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures – Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through analysis of a range of examples and source materials, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema’s shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.

Reading a Poker Face: Books on Andy Warhol

1993 ◽  
Vol 33 (4) ◽  
pp. 25-31
Author(s):  
Sarah Vowell
Keyword(s):  
Andy Warhol

scholarly journals Pop-art and criticism of reception of vacuity (the society) in the works of Andy Warhol

2017 ◽  
Vol 5 (9) ◽  
Author(s):  
Nataša Vilić
Keyword(s):  
Pop Art ◽  
Pure Form ◽  
Artistic Expression ◽  
Andy Warhol ◽  
The West ◽  
Artistic Creativity ◽  
The Creation

With the advent of pop art and artistic creativity of Andy Warhol arechanged the classic works of reception of art and art in general. AndyWarhol in his artistic action is insisting on the immediate actions andthe naked form - those are so-called the works of “pure” form, whichcreate a confusing gap; whose “content” is necessary to construct, thatis, to invent. That in the opinion of Andy Warhol can only audiencesand critics - with that he actually makes room for interpretation of hisartistic work. Andy Warhol was aware of the existing “gaps of entity”.He wants the freedom which he enjoys in his artistic expression to alsoprovide to the recipient, he is trying to leave his artwork fully open forreading and interpretation. In his quest he comes to the intelligiblesymbolic acts spontaneously. When the artist himself once firmly justifieshis image - he imposes the audience and the lasting perceptionof his work. Andy Warhol observes that in the creation of mass industrialsociety is a source of the anxiety of the West. The causes of thiscondition are different: the money, the androgynous future of man,machines which are replacing man and colonizing his consciousnessand thus enslave him. Andy Warhol wonders - whether the contemporaryart can offer the optimism?! His optimism could be seen as hisopposition to European pessimism and decadence.

scholarly journals Creation procedures in The Parthenon Metopes, by Romeo Castelluci

2020 ◽  
Vol 2 (38) ◽  
pp. 1-34
Author(s):  
Renan Marcondes
Keyword(s):  
Walter Benjamin ◽  
Judith Butler ◽  
Andy Warhol ◽  
Daily Lives ◽  
Knowing That ◽  
American Artist ◽  
The Relationship

The article analyzes procedures for creation and staging of the play The Partenon Metophes, by Romeo Castellucci. Based on Judith Butler and Walter Benjamin, we analyze central topics for the work, such as: the artist's use of images of war and violence that circulate in our daily lives; dialogue with aspects of the tragedy; the reference to the American artist Andy Warhol; the dissociation of the relationship between seeing and knowing that he proposes to his audience. Focusing on the formal choices of unframing, repetition of scenes and exposure of the bodies of the actors and actresses in this play, we seek to understand how the artist seeks a work in which the experiences of commotion and catharsis are suspended or displaced.

scholarly journals Blending In and Standing Out - Camouflage and Masking as Queer Tactics of Negotiating Visibility

2014 ◽  
Author(s):  
Magda Szcześniak
Keyword(s):  
Andy Warhol ◽  
Jack Smith ◽  
Social Invisibility

The article considers camouflage and masking as tactics of queering the dominant regime of visibility. Departing from queer critiques of visibility voiced by such theoreticians as Peggy Phelan, Lee Edelman, Rosemary Hennessy, and Hito Steyerl, the author poses the question of what would it mean to queer visibility in a way which wouldn't force queer subjects to return to previously occupied sites of social invisibility. The answer is offered through the analysis of works by Jack Smith, Andy Warhol, Pauline Boudry & Renate Lorenz, Zach Blas, and Karol Radziszewski.

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