Warhol
Andy Warhol
1964
Warhol
Fullscreen
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Throughout the 1950s, long before becoming known as the Pope of Pop, Andy Warhol collaborated with his mother, Julia Warhola, on a series of small, limited-edition illustrated books, including 25 Cats Name Sam and One ...
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Warhol
Andy Warhol
1964
Paris: Galerie Ileana Sonnabend
Unpaginated [20 pages]
26.6 × 18 cm

Throughout the 1950s, long before becoming known as the Pope of Pop, Andy Warhol collaborated with his mother, Julia Warhola, on a series of small, limited-edition illustrated books, including 25 Cats Name Sam and One Blue Pussy (1954), A Gold Book (1957), and Wild Raspberries (1959). Often hand-coloured, these early editorial projects already featured his distinctive blotted-line technique.


 


As his style crystallised in the 1960s, Warhol’s artists’ books adopted a more commercial aesthetics.  In 1963–64, while filming poet John Giorno asleep for what would become Sleep, his five-hour-and-twenty-one-minute experimental film, Warhol was also developing his iconic Death and Disaster series. Fascinated by the ways in which death is mediated and consumed by the public, Warhol repeatedly screen-printed newspaper photographs and headlines depicting death, transforming them into anodyne facts – and, ultimately, into objects – through sheer repetition and multiplicity. In Warhol’s logic, the more present and reproducible an image or idea becomes, the more it is flattened: repetition dulls its emotional charge and distances us from its original meaning.


 


Featuring texts by Jean-Jacques Lebel, Alain Jouffroy, and John Ashbery, this booklet accompanied Warhol’s solo exhibition at the Ileana Sonnabend Gallery in 1964, where the artist presented this morbid and remarkable series of silkscreens.

Paris: Galerie Ileana Sonnabend
Unpaginated [20 pages]
26.6 × 18 cm

Throughout the 1950s, long before becoming known as the Pope of Pop, Andy Warhol collaborated with his mother, Julia Warhola, on a series of small, limited-edition illustrated books, including 25 Cats Name Sam and One Blue Pussy (1954), A Gold Book (1957), and Wild Raspberries (1959). Often hand-coloured, these early editorial projects already featured his distinctive blotted-line technique.

 

As his style crystallised in the 1960s, Warhol’s artists’ books adopted a more commercial aesthetics.  In 1963–64, while filming poet John Giorno asleep for what would become Sleep, his five-hour-and-twenty-one-minute experimental film, Warhol was also developing his iconic Death and Disaster series. Fascinated by the ways in which death is mediated and consumed by the public, Warhol repeatedly screen-printed newspaper photographs and headlines depicting death, transforming them into anodyne facts – and, ultimately, into objects – through sheer repetition and multiplicity. In Warhol’s logic, the more present and reproducible an image or idea becomes, the more it is flattened: repetition dulls its emotional charge and distances us from its original meaning.

 

Featuring texts by Jean-Jacques Lebel, Alain Jouffroy, and John Ashbery, this booklet accompanied Warhol’s solo exhibition at the Ileana Sonnabend Gallery in 1964, where the artist presented this morbid and remarkable series of silkscreens.

DESCRIPTION

Throughout the 1950s, long before becoming known as the Pope of Pop, Andy Warhol collaborated with his mother, Julia Warhola, on a series of small, limited-edition illustrated books, including 25 Cats Name Sam and One Blue Pussy (1954), A Gold Book (1957), and Wild Raspberries (1959). Often hand-coloured, these early editorial projects already featured his distinctive blotted-line technique.

 

As his style crystallised in the 1960s, Warhol’s artists’ books adopted a more commercial aesthetics.  In 1963–64, while filming poet John Giorno asleep for what would become Sleep, his five-hour-and-twenty-one-minute experimental film, Warhol was also developing his iconic Death and Disaster series. Fascinated by the ways in which death is mediated and consumed by the public, Warhol repeatedly screen-printed newspaper photographs and headlines depicting death, transforming them into anodyne facts – and, ultimately, into objects – through sheer repetition and multiplicity. In Warhol’s logic, the more present and reproducible an image or idea becomes, the more it is flattened: repetition dulls its emotional charge and distances us from its original meaning.

 

Featuring texts by Jean-Jacques Lebel, Alain Jouffroy, and John Ashbery, this booklet accompanied Warhol’s solo exhibition at the Ileana Sonnabend Gallery in 1964, where the artist presented this morbid and remarkable series of silkscreens.

Paris: Galerie Ileana Sonnabend
Unpaginated [20 pages]
26.6 × 18 cm

Throughout the 1950s, long before becoming known as the Pope of Pop, Andy Warhol collaborated with his mother, Julia Warhola, on a series of small, limited-edition illustrated books, including 25 Cats Name Sam and One Blue Pussy (1954), A Gold Book (1957), and Wild Raspberries (1959). Often hand-coloured, these early editorial projects already featured his distinctive blotted-line technique.

 

As his style crystallised in the 1960s, Warhol’s artists’ books adopted a more commercial aesthetics.  In 1963–64, while filming poet John Giorno asleep for what would become Sleep, his five-hour-and-twenty-one-minute experimental film, Warhol was also developing his iconic Death and Disaster series. Fascinated by the ways in which death is mediated and consumed by the public, Warhol repeatedly screen-printed newspaper photographs and headlines depicting death, transforming them into anodyne facts – and, ultimately, into objects – through sheer repetition and multiplicity. In Warhol’s logic, the more present and reproducible an image or idea becomes, the more it is flattened: repetition dulls its emotional charge and distances us from its original meaning.

 

Featuring texts by Jean-Jacques Lebel, Alain Jouffroy, and John Ashbery, this booklet accompanied Warhol’s solo exhibition at the Ileana Sonnabend Gallery in 1964, where the artist presented this morbid and remarkable series of silkscreens.

MORE BOOKS

Throughout the 1950s, long before becoming known as the Pope of Pop, Andy Warhol collaborated with his mother, Julia Warhola, on a series of small, limited-edition illustrated books, including 25 Cats Name Sam and One Blue Pussy (1954), A Gold Book (1957), and Wild Raspberries (1959). Often hand-coloured, these early editorial projects already featured his distinctive blotted-line technique.

 

As his style crystallised in the 1960s, Warhol’s artists’ books adopted a more commercial aesthetics.  In 1963–64, while filming poet John Giorno asleep for what would become Sleep, his five-hour-and-twenty-one-minute experimental film, Warhol was also developing his iconic Death and Disaster series. Fascinated by the ways in which death is mediated and consumed by the public, Warhol repeatedly screen-printed newspaper photographs and headlines depicting death, transforming them into anodyne facts – and, ultimately, into objects – through sheer repetition and multiplicity. In Warhol’s logic, the more present and reproducible an image or idea becomes, the more it is flattened: repetition dulls its emotional charge and distances us from its original meaning.

 

Featuring texts by Jean-Jacques Lebel, Alain Jouffroy, and John Ashbery, this booklet accompanied Warhol’s solo exhibition at the Ileana Sonnabend Gallery in 1964, where the artist presented this morbid and remarkable series of silkscreens.

MORE BOOKS