by Steven Watson
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by Andy Warhol
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Pop Art: A Critical History (The Documents of Twentieth-Century Art) by Steven Henry Madoff |
by David Weisman
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by Editors of Phaidon Press
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Product Description
Freshly arrived in New York from his native UK, David McCabe was contacted in early 1964 by Andy Warhol after the artist had seen a layout by the young photographer in the pages of "Mademoiselle". McCabe was assigned the gigantic and very Warholesque project of documenting the artist's life for a whole year. Warhol would, spontaneously and on a regular basis for that whole year, call and invite McCabe to his studio, or to whatever event he was about to attend. Some 2500 photographs later, McCabe had succeeded in capturing Andy in the most various events and settings that characterized his life at the time: Andy chatting with Barnett Newman at some Fifth Avenue art openings, Andy at the crowded and psychedelic parties at the Factory, Andy drinking his morning coffee at the diner around the corner, Andy working on the first "Flower" paintings in his studio with assistant Gerard Malanga, Andy and Edie Sedgwick preparing to shoot a movie scene, Andy alone, Andy with! William Burroughs, Richard Avedon, Dennis Hopper, Philip Johnson, and much more. 1964-65 was a crucial year in Warhol's career, and also possibly the time when his public image started playing a major role in the construction of his legend. McCabe's images were in the end never used by Warhol, and they constitute an astonishing documentation of his life. Warhol is known for always playing a role in front of cameras, to a point where it was difficult to say whether he was posing or not. However ambiguous the limit between the public and private Andy is, McCabe's images somehow go beyond this ambiguity, and McCabe's camera was like an accessory that Warhol became used to carrying with and around him. These images are not only a valuable documentation of one of the most important artist of the postwar period, they are also an insight into the world and people that surrounded Warhol, into the New York art world when Pop Art was at its peak. McCabe selected 450 of the most significant 2500 pictures, organized here in chronological order. David Dalton, who took part in many of the events organized at the Factory at that time and became an insider to Warhol's world, wrote the captions and short stories that accompany McCabe's pictures. These writings reveal unique facts, stories, and anecdotes about Warhol and the community of cellebrities that surrounded him.
Freshly arrived in New York from his native UK, David McCabe was contacted in early 1964 by Andy Warhol after the artist had seen a layout by the young photographer in the pages of "Mademoiselle". McCabe was assigned the gigantic and very Warholesque project of documenting the artist's life for a whole year. Warhol would, spontaneously and on a regular basis for that whole year, call and invite McCabe to his studio, or to whatever event he was about to attend. Some 2500 photographs later, McCabe had succeeded in capturing Andy in the most various events and settings that characterized his life at the time: Andy chatting with Barnett Newman at some Fifth Avenue art openings, Andy at the crowded and psychedelic parties at the Factory, Andy drinking his morning coffee at the diner around the corner, Andy working on the first "Flower" paintings in his studio with assistant Gerard Malanga, Andy and Edie Sedgwick preparing to shoot a movie scene, Andy alone, Andy with! William Burroughs, Richard Avedon, Dennis Hopper, Philip Johnson, and much more. 1964-65 was a crucial year in Warhol's career, and also possibly the time when his public image started playing a major role in the construction of his legend. McCabe's images were in the end never used by Warhol, and they constitute an astonishing documentation of his life. Warhol is known for always playing a role in front of cameras, to a point where it was difficult to say whether he was posing or not. However ambiguous the limit between the public and private Andy is, McCabe's images somehow go beyond this ambiguity, and McCabe's camera was like an accessory that Warhol became used to carrying with and around him. These images are not only a valuable documentation of one of the most important artist of the postwar period, they are also an insight into the world and people that surrounded Warhol, into the New York art world when Pop Art was at its peak. McCabe selected 450 of the most significant 2500 pictures, organized here in chronological order. David Dalton, who took part in many of the events organized at the Factory at that time and became an insider to Warhol's world, wrote the captions and short stories that accompany McCabe's pictures. These writings reveal unique facts, stories, and anecdotes about Warhol and the community of cellebrities that surrounded him.
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