Art for Politics: Reflections on the Whitney Biennial
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Notice bibliographique
Résumé
Given the apocalyptic title Andy Warhol/Supernova: Stars, Deaths and Disasters, 1962-1964, the exhibition was a tightly focused selection of Warhol's silkscreen paintings and films from a pivotal period in his career when he was developing his screened serial technique, linking the themes of tragedy and celebrity, and exploring the way the mass media transforms tragedy into celebrity. It arrived in Toronto at the Art Gallery of Ontario (AGO) in the summer of 2006 (after originating at the Walker Art Center in Minneapolis) to intense public and media interest, affirming the continued resonance of Warhol's themes and his pull as a brand name. (1) [ILLUSTRATION OMITTED] With the constant commercial and critical attention Warhol has received over the past forty years, especially since his death in 1987, one wonders, however, what new interpretations could be brought to his work. For example, there has been exhaustive interest in Warhol's Death and Disaster series ever since the Houston Menil Collection's comprehensive exhibition in 1988 and the scholarship by Neil Printz, in addition to that of Thomas Crow and Hal Foster. (2) These endeavors reflected the desire to overturn the notion that Warhol was a thematic lightweight who epitomized the vacuity of pop art, as well as the greater interest in trauma and the mass mediation of catastrophe that became prevalent in the nineties. Also propelling Warhol's themes onto center stage was the concurrent postmodern infatuation with signs and simulacra and how these circulate in the public sphere (after Jean Baudrillard). Warhol's obsession with celebrity and the mass media through which it is endlessly reproduced and mythologized thus seemed so prescient (after Walter Benjamin). There was also the influence of Warhol's technique of appropriation, which was key for the evolution of 1980s photo-based art, especially in the work of Sarah Charlesworth, Louise Lawler, and Sherrie Levine, who developed it into the most significant artistic paradigm of the decade. In relation to the present decade's infatuation with all things digital (video, photography, slick museum installations of projected images), what makes Warhol's grainy silkscreen paintings or his silent, black-and-white, 16 mm films (whose aesthetic appears intentionally amateur) pertinent for today, rather than nostalgic analogue dinosaurs? I suggest that Warhol's work continues not only to sustain critical and institutional engagement, but offers a significant prehistory to some contemporary cultural strategies. The most significant revelations from the Warhol/Supernova show are the result of the intervention of Canadian independent filmmaker David Cronenberg, whose cult reputation in shock and horror is built on Videodrome (1983), The Fly (1986), Dead Ringers (1988), Naked Lunch (1991), Crash (1996), and, more recently, the Academy Award-nominated History of Violence (2005). Invited to be a guest curator by David Moos, AGO's curator of contemporary art, Cronenberg projected a handful of Warhol's early films, namely, Sleep (1963), Haircut No. 1 (1963), Kiss (1963), Couch (1964), Blow Job (1964), Empire (1964), and Screen Tests (1964-66), onto the gallery walls among the paintings. By bringing the films and paintings into direct contact, Cronenberg's currency was in his interdisciplinary approach, certainly one of this decade's strongest theoretical premises. His reframing meant that the films were not sequestered in darkened viewing rooms but ran within the lit spaces of the gallery for immediate comparison with the paintings and each other. This comparative framework was enabled by the fact that all of the chosen films are silent and were presented via digital technologies, which allowed them to be projected by machines discreetly lodged in the gallery ceiling. What Cronenberg succeeded in creating was a novel installation where still and moving images are exhibited side by side, punctuating, undermining, or enlivening each other to an uncanny degree. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle