The art of Andy Warhol, the biggest figure in Pop Art, has been showcased and put on exhibit millions of times. He has been critiqued, praised, analyzed, and documented by many others before me. The pieces that he is most recognized for are the ones of American stars such as Marilyn Monroe and Elvis Presley. Considering these facts, in some ways, Warhol could be considered overexposed. Even so, Ronald Feldman Fine Arts Gallery’s exhibition of Warhol’s self portraits proves that it’s still possible to shed new light on this artistic icon.
The modest gallery, simple in its design with open white walls and worn hardwood floors, gave no implication to the complexity of the legendary work that was in store. The exhibition, entitled "Warhol's Andys", greets visitors with a 19-inch flat screen television mounted on the wall displaying Gerard Malanga's video, Andy Warhol Portraits of the Artist as a Young Man (1964-1965). It is a black and white film consisting of a camera zooming in and out, in a close up to a medium shot of Warhol's shadowed silhouette, reminiscent of the depiction of the silhouette of detectives behind backlit glass doors in class film noirs.
The first notable artwork, a self-portrait, from Warhol’s “Retrospective Series” (1978), is a screen print diptych on curtis rag. The top half depicts Andy closing the top of his trench coat, while in the bottom his hand is not visible. He is wearing a dark pair of sunglasses that completely cover his eyes. Because he is hiding behind his glasses and the coat, one could conjecture that the work is about his desire to hide his true identity.
Nearby were three self-portraits in profile, all titled “Self-Portrait” (1967). Each one is an identical screen print portrait. In the first one, his profile is in black superimposed on a green background, in the second, his face is in black on a red background, and in the third, his face is red on a white background. His use of so many colors demonstrates the various aspects of his personality. Following these colorful, vibrant works is a more pensive portrait entitled “Self- Portrait’ (1966). In it, Warhol looks deep in thought with two fingers across his mouth. Yet, even in this seemingly vulnerable print, half of Warhol’s face is shadowed; his eyes are still masked.
The next installation in the gallery is a series of screen-printed self-portraits from 1977, all also titled “Self Portrait”. These bright images capture Warhol from numerous angles, from profiles to overhead shots. Some include double images of Warhol overlapping each other. The two that stuck out in particular depict Warhol seemingly straining his neck to look right at the viewer, one in black and one duplicated in red. These images are eerie in the way they depict Warhol as if he were almost searching for help, especially considering that they are followed by two chilling self-portraits from 1978 in which a pair of hands is wrapped around his throat. The first depicts one hand creeping around the side of his neck, while the next shows two hands wrapped around his neck, his eyes bulging, as if he is being choked. The choking could symbolize the suffocation he may have felt by his overwhelming need to disguise himself.
Following are two more profile screen prints on lenox museum board, entitled “Self-Portrait” from 1977. They are in black, and Warhol is looking off to the right. The left side of his face displays a gaping white spot, as if the image has been partially erased, as if the true Andy, whoever that may be, is beginning to disappear. The last room displays six pieces from the “Myths” portfolio including “The Shadow” and “The Shadow (with glasses)” (1981). They are also screen prints on lenox museum board, but they stand out because of the diamond dust he uses, giving them an illuminating glow. Here, Warhol reverts back to playing with shadows and featuring glasses. They are different from the earlier work, not just because of the diamond dust, but also because they look sketched, almost as if they came out of a graphic novel, while the others look more like snapshots he took at random. His use of color here— the way it masks the underlying darkness of his work—is exquisite and beautiful.
One particularly notable work is entitled “Myths” (1981). It is on a large lenox museum board made with synthetic polymer paint and silkscreen ink, and features all of the characters from the “Myths” portfolio vertically replicated in pastel pinks, greens, blues, and yellows. From left to right, the personas he depicts include: Superman, Santa, Howdy Doody, Mickey Mouse, Uncle Sam, Aunt Jemima, Dracula, the Wicked Witch, and lastly, one of Andy Warhol’s personal alter egos, “The Shadow”. By juxtaposing these figures it seems as though Warhol is implying that like these other characters, his own public persona is also a “myth”. This idea fits well with the theme of the show, but its light pastel colors seem out of place with the dark ambience of the other works.
The other works on view are by photographer, Christopher Makos, whom Warhol called the "most modern photographer in America.”[1] The first is “Andy Warhol Modeling Composite” (2002). It is an iris print of a composite of images of Warhol modeling for the camera. As in his other work, the images exude the sense that he is not fully exposed. The last piece in the gallery is Makos’ series, “Altered Image” (1982). Inspired by Duchamp’s work “Rrose Sélavy” (1921), in which he cross-dressed and performed a female alter ego for the character, Warhol dresses in drag and is captured by Makos’ camera. Warhol wears four different wigs throughout the series, though there are also a few that capture him just in makeup, with no wig. Warhol looks as vulnerable as ever, but is literally hiding behind a mask of makeup. The spectacular thing about this installation is that it also features a 19-inch flat screen TV that plays “Factory Diary: Andy Warhol Being Made Up in Drag” (1981). As the photos are viewed, the process of Warhol being made-up in drag is being screened, adding Warhol’s voice and thoughts to the experience.
Ultimately, by presenting Warhol’s lesser-known self-portraits, the Feldman Gallery has presented a compelling show that forces the viewer to explore Andy Warhol, the man. Yet, as the exhibition title suggests, these are Warhol’s depictions of himself. The viewer only sees what Warhol wants them to see: the shadows, shades, and shards of Warhol the icon, but never the fully exposed Andy, the human being. In most of the work, his eyes are either covered or shadowed, and when they are shown, he just gives us his blank stare, revealing no vulnerability. The exception to this is the piece where he is being choked, but even there, he is not looking directly at the viewer. It is also no coincidence that Warhol featured himself as “the Shadow” in the “Myth” series. Every character in the series is iconic, but nonetheless fictional. The same could be said for this alter ego as well. Despite spending much time in the presence of his image, at the end I still wondered, “Who is Andy?”
[1] Chris Makos Studio Website <http://www.makostudio.com/print.php> (accessed 12/20/10)
"Warhol's Andys" was on view at Ronald Feldman Gallery in New York from Nov. 5 - Dec. 23, 2010.
No comments:
Post a Comment