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In January 1964 Warhol moved his studio to East Forty-seventh
Street and began to produce works in series, allowing him to create
open-ended aggregations of boxes or canvases that could be
combined, recombined, or left as single units. This volume of the
catalogue raisonne reproduces the series Thirteen Most Wanted Men;
seven distinct series of box sculptures, including Brillo, Heinz
Ketchup, and Del Monte Peach Halves, among others; the Jackie
Paintings, based on press coverage of the assassination of John F.
Kennedy in 1963; a series of portraits, including 11
self-portraits; Marilyn and Jackie paintings of mid-1964, with
which Warhol introduced a new procedure in the studio - painting in
areas of local colour by hand; and the 1964 Flowers series,
probably Warhol's earliest allusion to abstract painting. Linich's
rare photographs of works and people inside The Factory, as well as
archival photos of gallery and museum installations showing
original combinations of these serial works, and original newspaper
clippings and silkscreen mechanicals. Whenever possible, catalogue
entries attempt to record how and when a multi-canvas work came to
be assembled in its present format. for readers to find their way
through the catalogue entries. These list for each work the
standard data (dimensions, date, present owner, inscriptions and
special notes), provenance, exhibitions and literature. Volumes are
organized according to catalogue number, with works reproduced in
numerical order, followed by the corresponding texts. this volume
includes appendices documenting each of Warhol's solo museum
exhibitions of the period, with a list of every work included in
each exhibition. Additional reference material includes notes to
the catalogue texts; a title index; and a comprehensive general
index. Indexes cross-reference works with their catalogue numbers
and page numbers as they appear in the book. editors Georg Frei and
Neil Printz began primary research in 1993, advised by the
distinguished curators and art historians Kynaston McShine and
Robert Rosenblum. Experts from the Andy Warhol Foundation reviewed
archival materials, personally examined nearly each work of art,
analyzed works in museums in their conservation facilities and
discussed them with conservators, submitted works for review by the
Andy Warhol Art Authentication Board, and interviewed Warhol's
assistants and colleagues to assemble a customized database of
works unparalleled in Warhol scholarship. Warhol's method of
working in serial compositions, silkscreen, and repeating units
challenges traditional art connoisseurship and begs the question
not only of what is and what is not Warhol, but which Warhol is it?
For each work, the catalogue answers, among other things, two
central questions: When was it made? and How was it executed?
The 607 paintings and one sculpture documented in Volume 4 of The
Andy Warhol Catalogue Raisonne were produced during a period of
less than three years, from late 1974 through early 1977. In
September 1974, Warhol changed studios, moving across Union Square
from the sixth floor of 33 Union Square West to the third floor of
860 West Broadway. Like Volumes 2 and 3, Volume 4 is identified
with a new studio, where Warhol continued to work for a decade,
until he moved into his last studio at 22 East 33rd Street on
December 3, 1984. Volume 4 may be seen as the first in a series of
books associated with one studio that will document an enormously
productive ten-year period in Warhol's oeuvre from the mid
seventies to the mid eighties.
"This third volume of the catalogue dedicated to publishing the
complete paintings, sculptures and drawings of Andy Warhol
(1928-87) focuses on the years 1970 to 1974. With the authoritative
writing and fascinating attention to detail of the first two
volumes, Warhol's works of these four years are comprehensively
catalogued and illustrated, with the exception of the drawings to
be included in a subsequent volume.
At the time this volume begins Warhol had been working at his
second factory, his studio at 33 Union Square West, since 1968 and
his painting activity had not resumed since his recovery from
having been shot that same year. He did not have a painting studio
at this building until late 1971 or early 1972 and was instead
concentrating on film and sculpture, including the ""Rain
Machine,"" as discussed in Chapter One. It was the acquiring of his
first Big Shot polaroid camera that shifted his momentum back to
painting again and he began to photograph his sitters, taking
25-100 shots, to capture a personality before beginning a painting.
Portraits of key figures of the time demonstrate his development of
his new painterly style, mature by late 1972. The ""Mao Series""
was the first painting series since 1968, consisting of at least
199 paintings made between March 1972 and August 1973. His Mao
paintings premiered in a grand exhibition in Paris in early 1974,
and his portrait subjects included many of the most socially
prominent and fashionable members of Parisian society, such as Yves
Saint Laurent, Helene Rochas, and Sylvie de Waldner, as well as
members of the international art world such as David Hockney, the
dealer Alexandre Iolas, Henry Geldzahler. His painting style at
this time was summed up by Warhol himself as 'sloppy and fast',
painting wet-on-wet paint on top of the photographic image and
screen prints, sometimes with fingers rather than brush. His style
would change again in 1974 but in this volume we see several series
and numerous commissioned portraits with this painterly style. He
worked on series alongside commissions, and that of the Dada and
Surrealist artist Man Ray, the subject of Chapter 5, was a series
of some sixty works that developed from a commissioned portrait.
Including transcriptions, the diaries Warhol kept in 1972 and 1973,
and the Polaroids he took on his travels through Europe and of his
subjects, this volume has a strong narrative that presents the
artist at a time of great change in his work. The 1970s have been
often neglected in studies of Warhol's career and this volume,
highlighting his extraordinary engagement with the culture and
society of the time, brings to deserved attention the work of the
first four years of the decade."
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