{"id":6783,"date":"2021-03-08T09:00:00","date_gmt":"2021-03-08T08:00:00","guid":{"rendered":"https:\/\/hatchikiangallery.com\/?p=6783"},"modified":"2021-09-15T16:36:46","modified_gmt":"2021-09-15T14:36:46","slug":"andy-warhol-et-le-pop-art","status":"publish","type":"post","link":"https:\/\/hatchikiangallery.com\/en\/andy-warhol-et-le-pop-art\/","title":{"rendered":"Andy Warhol and Pop Art"},"content":{"rendered":"
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After an adolescence in Pittsburgh, a degree in pictorial design from the Carnegie Institute, Andy Warhol took off in New York where he began as an advertising illustrator. This journey may perhaps be seen as the etiology of the disassociated relationship to art of an artist who would live as a brand himself, constructing a public persona between narcissistic self-celebration and underground icon. Andy Warhol liked to define himself as a \u00abcommercial artist\u00bb. Provocation?<\/p><\/div><\/div><\/blockquote><\/div><\/div><\/blockquote><\/div><\/div><\/blockquote><\/div><\/div><\/blockquote><\/div><\/div><\/blockquote><\/div><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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An unprecedented artistic practice<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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D<\/span>In his studio, the Factory, where he employs assistants, he will be among the first to care about productivity, incorporating both consumerist and productive codes into the realization of the works and their silkscreens.\u00a0<\/span><\/div>
\u00ab\u00a0<\/em><\/span>Being good at business is the most fascinating form of art<\/span>\u00a0\u00bb<\/span><\/em><\/div>
The artist finds an unprecedented place among celebrities, those he encountered while working as an illustrator for the fashion magazines Vogue and Harpers Bazaar. The series of portraits of stars \u2013 and self-portraits \u2013 will remain emblematic within a prolific and diverse oeuvre, playing the role of all the ambiguity of Pop Art.<\/span><\/div><\/div><\/div><\/blockquote><\/div><\/div><\/blockquote>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Towards a post-modern aesthetic?<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00ab\u00a0<\/span>Before the media, there was a physical limit to the space that one person could occupy alone.<\/span>\u00a0\u00bb<\/span><\/em><\/div>
In 1967, one of the figures of the movement, Richard Hamilton, defined pop art in a letter addressed to his friends Peter and Alison Smythson: \u00abpop art is popular (designed for a mass audience), transient (a short-term solution), consumable (easily forgotten), low-cost, mass-produced, young and focused on youth, funny and witty, sexy, clever as a gadget, glamorous and big business.\u00bb.<\/span><\/div>
Should we see in this aestheticization of the object, this stylization of everyday life and this exaltation of opulence one of the first manifestations of postmodernity in art? Many of Andy Warhol\u2019s works illustrate this form of cynicism that feeds the illusion of happiness and completeness in the object of consumption.<\/span><\/div>
\u00ab\u00a0<\/em><\/span>Buying is more American than thinking<\/span>\u00a0\u00bb<\/span><\/em><\/div>
Pop Art plays on ambivalence: when Andy Warhol claims that he does not believe in the American dream but that, on the contrary, he intends to profit from it, is this ultimately a way of saying that lucidity does nothing to protect against and that one cannot escape this postmodern discourse that claims to eliminate the irreducible incompleteness that specifies being human, the inadequacy of the desiring subject with respect to the object of enjoyment? In consumer society, lack is no longer referred to as what is lacking in the subject; the cause of desire is no longer inscribed in the subjective lack but in the real object. Does Pop Art play on what the philosopher Marcuse called total objectification in the total fetishization of commodities? Is Pop Art a symptom, a cynicism, a critique? A question that remains unanswered: the best way to activate thought.<\/span><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The new realism of the 1960s, taking up the inspirations and codes of Pop Art, will renew the aesthetic language in the sense of a more frontal approach to consumer society, taking a more radical stance than American Pop Art, which remains ambivalent in its critical pretensions.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\tDiscover his works<\/span>\n\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

After an adolescence in Pittsburgh, a degree in pictorial design from the Carnegie Institute, Andy Warhol took off in New York where he began as an advertising illustrator. This journey may perhaps be seen as the etiology of the disassociated relationship to art of an artist who would live as a brand himself, constructing a public persona between narcissistic self-celebration and underground icon. Andy Warhol liked to define himself as a \u00abcommercial artist\u00bb. Provocation?<\/p>","protected":false},"author":4,"featured_media":6784,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_joinchat":[]},"categories":[108],"tags":[157,158,160,161,162,163,159],"yoast_head":"\nAndy Warhol et le Pop Art - Hatchikian Gallery & Production<\/title>\n<meta name=\"description\" content=\"Retracez l'histoire du chef de file du Pop Art, un artiste qui se plaisait \u00e0 se d\u00e9finir comme \u00ab un artiste commercial \u00bb. 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