Deutsch Politik Geschichte Kunst Film Musik Lebensart Reisen
English Politics History Art Film Music Lifestyle Travel
Français Politique Histoire Arts Film Musique Artdevivre Voyages

Index  Advertise  Werbung  Links  Feedback
© Copyright www.cosmopolis.ch  Louis Gerber  All rights reserved.

Andy Warhol Self-Portraits
Article added on July 13, 2004, last update July 15, 2004

  
Andy Warhol's self-portraits occupy a central position in the artist's body of work. Astonishingly, the bilingual (German-English) catalogue accompanying the exhibitions in St. Gallen (Switzerland), Hannover (Germany) and Edinburgh (Scotland) is the first monograph dedicated exclusively to Andy Warhol's self-portraits.
 
Andy Warhol (1928-1987) has worked on self-portraits during his entire artistic life. The exhibition and catalogue present 85 works, ranging from some of his first attempts as a teenager to the Fright Wig series completed shortly before his death in February 1987.

As early as 1948/49, as a twenty-year-old student in Pittsburgh, the young man's originality came to light in two works on paper showing him nose-picking (Upper Torso Boy Picking Nose and Full Figure Boy Picking Nose, cat. 39 & 40, both 1948/49, graphite on paper, 27,9 x 21,6 cm). This universal habit has probably never been chosen before by an artist as a subject for a self-portrait. The two works document not only Andy Warhol's originality, but also his sense of humor as well as his ability and will to shock his audience. In this last regard, in his catalogue essay Robert Rosenblum compares them to Egon Schiele's depictions of himself masturbating. Rosenblum concludes: "From the beginning, Warhol offered a contradictory balance between up-close intimacy and calculated artifice."

Andy Warhol's self-portraits are rarely an exercise of uncompromising honesty, but rather an art of disguise and deception in which - like an actor - he plays roles. However, many works are a mix of both, telling us all and nothing about himself. An exception form some of the polaroid photographs, which "seem to reveal a troubling fragility of the artist as a human being and as a man, in search of his own identity", as I already wrote in my article about some Polaroid self-portraits shown in the Miami Art Museum in the context of the exhibition About Face.

In the bilingual catalogue Andy Warhol Selbstportraits / Self-Portraits, the polaroids Self-Portrait in Drag of 1981, especially cat. 70 & 71, but also Self-Portrait (in Blue Shirt, Eyes Starring) of 1977/1978 enter into this category. Here and in other polaroids, we seem to encounter an undisguised, "naked" Warhol who does not pose for an audience. It is probably no accident that all the troubling polaroids are unique works, which did artist did not use for his different series of prints.

According to Rosenblum, already in his first self-portraits created within the context of the new-born Pop Art, Andy Warhol "sees himself as instant theatre, as a glamorous celebrity hounded by paparazzi." Rosenblum reminds readers: "In 1963, an adventurous collector, Florence Barron, had the brilliant and surprising idea of commissioning Warhol to do his own self-portrait, a reversal of the usual role of patron and artist and one that also challenged the familiar situation of self-portraiture as the artist's own choice as a vehicle for private disclosure. Warhol rose to the occasion with a series of mug shots taken in a photo booth [illustrated on page 28 of the catalogue; the four acrylic and silkscreen ink on canvas self-portraits of 1963/1964 are part of the Collection Guy and Nora Barron], exactly the same kind of mechanical populist image-maker he had used earlier that year for portraits of the collector Ethel Scull and of the cabaret star Bobby Short." Rosenblum concludes that Warhol's series of self-portraits for Florence Barron "are pure theatre. Warhol looks like the kind of celebrity he began to frequent - masking his eyes with sun glasses, affecting poses for the invisible camera man, offering a minor cinematic narrative of undoing his shirt and tie." The colors used can be described as "mint" or "lavender". They contributed to the glamorous style, evoking a Hollywood screen test. The self-portrait series can also be read as "a revelation of Warhol's personal and professional ambitions in 1963 to become a star", as Rosenblum states too.

In 1978, on the occasion of a large exhibition which traveled from the Kunsthaus in Zurich (Switzerland) to the Louisiana Museum in Humlebaek (Denmark), Andy Warhol went one step further and produced a wallpaper using one of his self-portraits, which decorated the walls of the exhibition rooms, further undermining "the traditions of uniqueness and privacy, associated with self-portraiture".

Andy Warhol's lifelong obsession with self-portraiture and mortality, which started with his childhood indoctrination with Catholicism, was enhanced by three dangerous encounters in the 1960s. "In 1964, Dorothy Podber, dressed in a black leather motorcycle jacket, walked into the Factory, removed her white gloves, took out a pistol and shot at a stack of forty-inch-square Marilyn Monroe portraits and then left. The hole in the canvases (which were later referred to as "Shot Marilyns") were repaired, but the human trauma lasted...". In 1967, "a man arrived at the Factory and threatened Warhol and other members of his staff with a gun that he then shot against the wall." The most dangerous and life-threatening encounter came on June 3, 1968 when "the deranged Valerie Solanas entered the Factory and shot not at paintings or at the wall, but at Warhol himself, who was gravely injured and lucky to have survived."

Andy Warhol documented the effects of the attack with Royalton Bonus photographs of Andy Warhol in Columbus Hospital after shooting, 1968 (cat. 49), which show the artist's impressive scars on the upper body as he takes a flash photograph of himself in front of a mirror. The close encounter with death subsequently inspired the artist to numerous self-portraits as well as to several series', including Skulls in 1976 and Guns in 1982, screenprints of the type of the revolver Valerie Solanas had used on her attack on Warhol.

Andy Warhol's ambition of creating celebrity photographs recognized worldwide were more than fulfilled after his death. In 2002, the United States Postal Service used his 1964 self-portrait on a thirty-seven-cent postage stamp in order to commemorate the artist, his fame and legacy. The artist's self-portrait was now sent around the world on millions of envelopes. Therefore, the United States Postal Service managed to create the ultimate Warhol series - one that every collector can afford.
 

Essential for any collector: Andy Warhol Catalogue Raisoné, Vol. 1: Paintings and Sculpture, 1961-1963. Phaidon, March 2002, 512 p. Edited by Georg Frei and Neil Printz. Get it from Amazon.com or Amazon.de.


The catalogue: Andy Warhol Selbstportraits / Self-Portraits. Bilingual catalogue German/English by Hatje Cantz, 2004, 154 p. Get the book from Amazon.de, Amazon.com, Amazon.co.uk.

The exhibition: Andy Warhol Selbstportraits / Self-Portraits:
- Kunstverein St. Gallen Kunstmuseum: June 12 - September 12, 2004.
- Sprengel Museum Hannover: October 3, 2004 - January 16, 2005.
- Scottish National Gallery of Modern Art, Edinburgh: February 12 - May 2, 2005.