And I cannot stress this enough: bury their bones in an unmarked ditch.
Those are original Warhol boxes. Two Brillos, a Motts and a Campbells tomato soup. Multiple millions worth of original art, set on the floor by the front door.
Theres a regular customer whom i do plumbing work for, for the last 3 or 4 years. These belong to her. She also has Cherub Riding a Stag, and a couple other Warhols that i cannot identify, along with other originals by other artists that i also cannot identify. I have to go back to her house this coming Monday, i might get photos of the rest of her art, just so i can figure out what it is.
Even though i dont have an artistic bone in my entire body, i can appreciate art. I have negative feelings on private art like this that im too dumb to elucidate on.
eat the fucking rich. they are good for nothing.
Me being told over and over again how wholesomely working class and glass roots and punk an art movement was while also calling me a tasteless unwashed consumer drone because I don’t endlessly praise the subversive value of a roughly 50 year old picture of a can of soup is definitely me experiencing an unintentional act of performance art in this thread.
Marx, Paine, Christ, the writings are old, older than fifty years. are they not radical, not subversive? what does fifty years mean? Cervantes did metafiction 500 years ago. tragedy is dead, representational art is dead, plato is dead, they’ve been dead as long as any one can remember, and the modern condition extends generations.
if a disposition towards socialism is a disposition to ameliorate unjust hierarchy and order, then a concomitant and helpful social practice would be one which illuminates how the social order, which comes to us ready made and carved at the joints, and speaks to its own essentialism, is actually unset and contingent. (such works or practices might do so, even just locally, by calling into question and blurring the borders of their own existence/categorization.)
but who cares. a work of art cannot simply be reduced to a series of propositions; an essay or dozens of posts do not encompass an ecstatic truth. if one can’t see the playfulness or wryness, if one isn’t touched with reflection or curiosity, in watching a dude get sucked off and watching a chick eat a hamburger, or seeing the mass products of mid century, re-oriented and re-produced in mass, re-commodified, finding an aesthetic form in mass production, reducing art (democratizing art?) as products of a factory, then there is simply something wrong with either warhol or the viewer.
Clearly quite a few in this thread do.
Yeah not arguing there, except to ask why the singular absolutist “you are a barbarian if you don’t give continual respect and reverence to Andy Warhol” take that I’ve been replying to?
Crediting all art that followed after Andy Warhol to Andy Warhol with the implication that he had some unique and profound contribution is serious Great Man Theory nonsense, especially because when extrapolated on widely enough, pretty much every person that ever lived contributed something to the present moment whether or not they got rich or famous from it or not. Claims about how all of it would be drastically different without that one rich asshole, that so much art and culture simply would not exist at all in any comparable or similar or even recognizable form even if absolutely nothing else was changed except the absence of Andy Warhol, don’t sound leftist and all and are an unprovable hypothesis in favor of belief in the Great Man’s unique and special presence.