“In the future, everyone will be world-famous for 15 minutes” this is a quote from the legendary pop artist Andy Warhol in a 1968 exhibition of his work at the Moderna Museet in Stockholm, Sweden. Warhol was an American artist, director, and producer whose works explore the relationship between artistic expression, celebrity culture, and advertising. His mediums included everything from painting, silk-screening, photography, film, and even sculpture. His studio, The Factory, became a well-known gathering place for all kinds of individuals from drag queens, celebrities, wealthy patrons. The Factory known for being a lively party space, Andy Warhol was even more so. Warhol was the life of the party, he frequently enjoyed dressing up in drag
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Her essay entitled Queer Wallpaper for the book A Companion to contemporary art since 1945 in 2000. The main goal of this essay is to showcase to the readers' different question to pose when reading about queer art in history or viewing it in a gallery setting. This essay is not wholly based around Andy Warhol as an artist or his life, rather she uses him as a platform to reach the broader topic of queer art misrepresentation and to showcase another major queer artist such as David Wojnarocicz and Yasumasa Morimura. Doyle opens her essay with an anecdote about a homoerotic Warhol piece called Sex Parts, which she ran across at a gay bar in Southern California. Doyle comments on the easy accessibility of the piece saying that during business hours anyone can go view it. Doyle takes the anecdote further by comparing a straight person walking into M.J.’s bar feeling the “I don’t belong here” to the feeling people get walking into a museum. Big name art institutions tend to make visitors feel like an outsider. Doyle states “The unease feeling of being unwelcome in such big spaces is not entirely unlike how many queer scholars feel about the discipline of art …show more content…
Watney when talking about Warhol childhood he mentioned psychoanalysis criticism will insist that even at the best of times, childhood is a very dangerous place, whatever else it may also be. He adds that Warhol was relentlessly teased, bullied, hurt and humiliated but it was this teasing that ignited a passion to which he began to invent his own America. As a child, Warhol often joked that he was from another planet a “planet queer” that the author adds all joking aside that it is an accurate horror of a queer childhood. These statements resonated with the Watney as a homosexual male faced similar challenges growing up. He added a beautiful antidote story from Warhol childhood. “Cans of soup are only banal to those who didn’t have to grow up on canned food. To Warhol, those same cans transformed into flowers by his mother’s shears, to raise cash to buy little Andrew a projector to screen Orphan Annie films at home.” This story brings a whole new perspective to Warhol soup cans, he is representing a pivotal moment in his childhood that is a cornerstone of his
Her essay entitled Queer Wallpaper for the book A Companion to contemporary art since 1945 in 2000. The main goal of this essay is to showcase to the readers' different question to pose when reading about queer art in history or viewing it in a gallery setting. This essay is not wholly based around Andy Warhol as an artist or his life, rather she uses him as a platform to reach the broader topic of queer art misrepresentation and to showcase another major queer artist such as David Wojnarocicz and Yasumasa Morimura. Doyle opens her essay with an anecdote about a homoerotic Warhol piece called Sex Parts, which she ran across at a gay bar in Southern California. Doyle comments on the easy accessibility of the piece saying that during business hours anyone can go view it. Doyle takes the anecdote further by comparing a straight person walking into M.J.’s bar feeling the “I don’t belong here” to the feeling people get walking into a museum. Big name art institutions tend to make visitors feel like an outsider. Doyle states “The unease feeling of being unwelcome in such big spaces is not entirely unlike how many queer scholars feel about the discipline of art …show more content…
Watney when talking about Warhol childhood he mentioned psychoanalysis criticism will insist that even at the best of times, childhood is a very dangerous place, whatever else it may also be. He adds that Warhol was relentlessly teased, bullied, hurt and humiliated but it was this teasing that ignited a passion to which he began to invent his own America. As a child, Warhol often joked that he was from another planet a “planet queer” that the author adds all joking aside that it is an accurate horror of a queer childhood. These statements resonated with the Watney as a homosexual male faced similar challenges growing up. He added a beautiful antidote story from Warhol childhood. “Cans of soup are only banal to those who didn’t have to grow up on canned food. To Warhol, those same cans transformed into flowers by his mother’s shears, to raise cash to buy little Andrew a projector to screen Orphan Annie films at home.” This story brings a whole new perspective to Warhol soup cans, he is representing a pivotal moment in his childhood that is a cornerstone of his