Word: souped
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Dates: during 1970-1979
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...ordinances. Still, in an event which compressed past and future into the liquid nugget of the present, her stand echoed the tradition of subtle resistance that had characterized the efforts black people have made to obtain justice in America-the quiet violence of ground glass in the master's soup-while simultaneously conveying the continuing injustice and simple pain of the present, Rosa Parks had made her point: NO MORE. She would not be moved. It was a supremely tangible expression, as plain and physical as the way in which she described her motivation, "There was no plan...
Being Someone. Painting a soup can is not in itself a radical act. But what was radical in Warhol was that he adapted the means of production of soup cans to the way he produced paintings, turning them out en masse-consumer art mimicking the process as well as the look of consumer culture. This was a startling act of confrontation. Here, Warhol was saying, is the world you inhabit but do not see. High art is your escape route from its crudities. But why escape? Why not accept it as your cultural ground, he demanded, since...
...minutes has been very long. His fame is self-replicating: like a perpetual-motion machine, it grinds on amid the iridescent cavorting of his superstars and the thump of heavy, if rigged auction prices ($60,000 from a Swiss dealer for a Campbell's soup can recently). It has reached the point where Warhol is not so much famous for doing something-he rarely turns out any paintings beyond a few commissioned portraits a year, and no longer directs his own films-as for being someone named Andy Warhol...
...sampling of his work on canvas from 1962 to 1971, hived off from a larger, more systematic show that Critic John Coplans organized for the Pasadena Art Museum last year and has since been touring Europe to near-hysterical acclaim. The Whitney show starts with a series of the soup cans that propelled Warhol into notoriety. But earlier sequences are not present, which is unfortunate, since it denies viewers the chance to follow Warhol's extraordinary range in his exploration of impersonality, and one gets little sense of the roots of his style. For instance, the Do It Yourself...
...look at an image like Campbell's Soup Can, 1965, is not to see it through Warhol's eyes-he has eliminated all idiosyncrasies. There is no contagion of personality. What remains is the flat, mute face of an actuality presented as meaning nothing beyond itself. When Warhol's series of cans, dollar bills, stickers and movie stars appeared in the early and middle '60s, they were thought ironic, an indictment of consumer culture; and a Goyaesque mordancy was attributed to his silk-screen portraits. Because it was deemed improper for an artist...