By Gary Indiana
In the summertime of 1962, Andy Warhol unveiled 32 Soup Cans in his first solo exhibition on the Ferus Gallery in Los Angeles—and despatched the paintings global reeling. The responses ran from incredulity to outrage; the poet Taylor Mead defined the exhibition as “a marvelous slap within the face to America.” The exhibition placed Warhol at the map—and reworked American tradition perpetually. virtually single-handedly, Warhol collapsed the centuries-old contrast among “high” and “low” tradition, and created a brand new and extensively smooth aesthetic.In Andy Warhol and the Can that bought the World, the dazzlingly flexible critic Gary Indiana tells the tale of the genesis and influence of this iconic murals. With power, wit, and great perspicacity, Indiana recovers the excitement and controversy of the Pop artwork Revolution and the bright, tormented, and profoundly narcissistic determine at its forefront.
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The very concrete allegations against German soldiers were rejected not only because they violated what were held to be traditional codes of honourable soldierly conduct, but also because they breached a civic ideal. The question of atrocities turned into a general debate on the merits of German national culture, each group responding to the perceived deliberate defamation of German character and conduct by highlighting German values and virtues. 6 The atrocity charges thus challenged the essence of what it meant to be German for the elites.
5. Female Artists and Cultural Mobilization for War 27 campaign for women’s political and social emancipation, ensured the support of many hitherto politically inactive women. As the following excerpt from a wartime pamphlet written by Bäumer suggests, the war was understood as a rite of passage for the women’s movement, putting to the test its ambitious goal of educating citizens: The war rouses us and asks us, as it asks every other great German cultural movement: what is your significance, now at this moment?
69 In a study on post-war Britain, Ana Carden-Coyne shows how ‘modernist’ and ‘classicist’ impulses were interlinked in social, medical, and cultural schemes of reconstruction: Ana CardenCoyne, Reconstructing the Body: Classicism, Modernism, and the First World War (Oxford: Oxford University Press, 2009). 70 Jay Winter, ‘The Great War and the Persistence of Tradition: Languages of Grief, Bereavement, and Mourning’, in War, Violence and the Modern Condition, ed. Bernd Hüppauf (Berlin and New York: Walter de Gruyter, 1997), pp.
Andy Warhol and the Can that Sold the World by Gary Indiana