PUBLISHER
Louisiana Museum of Modern Art

BOOK FORMAT
Hardcover, 12 x 10.5 in. / 128 pgs / 40 color.

PUBLISHING STATUS
Pub Date
Out of stock indefinitely

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2010 p. 92   

PRODUCT DETAILS
ISBN 9788791607790 TRADE
List Price: $35.00 CDN $47.50

AVAILABILITY
Not available

EXHIBITION SCHEDULE

Humlebaek, Denmark
Louisiana Museum of Modern Art, 06/12/10-09/12/10

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LOUISIANA MUSEUM OF MODERN ART

Warhol After Munch

Text by Siegfried Gohr, Gunnar Danbolt, Henriette Dedichen, Poul Erik Tøjner.

Andy Warhol (1928–1987) famously once declared: “If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There's nothing behind it.” In 1984, the avatar of superficiality took on a potentially surprising new subject: the work of Norwegian Symbolist Edvard Munch (1863–1944). Warhol made an extensive series of prints based on four of Munch’s major subjects--the iconic “The Scream,” “Madonna,” “Self-Portrait” and “The Brooch”--working with dazzling new color tones including silver and gold. Published on the occasion of an exhibition at the Louisiana Museum of Modern Art, and featuring a beautiful silkscreened cover, Warhol after Munch unites Warhol’s unusual series with its source material. With some never-before-reproduced works, along with in-depth scholarly essays, this catalogue is a must for fans of Munch and Warhol alike, and anyone interested in the cross-germination of visual ideas.
Warhol After Munch

STATUS: Out of stock indefinitely.

FROM THE BOOK
"The demasking of the mythological Munch should of course match the critique of the idea of Warhol as postmodern hero. Just as the celebration (or lamentation) of the artist (Warhol) as a mere reproducer beyond any concept of originality trivializes what originality can be, the demonstration that Munch works with a systematic rhetoric for his artistic utterances should not entail that these utterances have suddenly lost altitude in terms of their expressive power. The expressive is not the same as the spontaneous, which becomes clear as soon as one moves out of the gesturally borne arts--painting--and into music for example. An anticipatory conclusion at this point would be that Munch's oeuvre could be seen as bypassing the notion of Expressionism and just being about expressiveness--and this lead or distinction could be followed by saying that Warhol understood his oeuvre as being not superficial but about surface."

Poul Erik Tojner, excerpted from Warhol After Munch in Warhol After Munch.

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