Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Before I was shot, I always thought that I was more half-there than all-there-I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television-you don't feel anything." Andy Warhol, as quoted in Andy Warhol: Supernova, Walker Art Center.
Featuring artwork from The Museum of Modern Art’s unparalleled collection, each volume in the MoMA Artist Series guides readers through one artist’s most memorable achievements, explaining their significance and placing them in context among the groundbreaking innovations of their time. This series is an invaluable resource for exploring and interpreting some of the most beloved artworks by key artists who shaped the trajectory of modern art.
Hbk, 9 x 10.5 in. / 56 pgs / 39 color. | 10/24/2017 | In stock $19.95
Edited by Nina Schleif. Text by Marianne Dobner, Burcu Dogramaci, Simone Förster, Birgitta Heid, Lucy Mulroney, Susan M. Rossi-Wilcox, Anna Rühl, Nina Schleif, Jordan Troeller, Reva Wolf, Matt Wrbican.
Warhol as publisher, author, book artist and illustrator
Hbk, 8.75 x 11.25 in. / 304 pgs / 300 color. | 2/28/2014 | In stock $60.00
Published by Silvana Editoriale. Edited by Achille Bonito Oliva, Eduardo Falcioni.
This catalog revisits the various historical eras in which Warhol left his mark on fashion, music and entrepreneurship. The works reproduced include paintings, historical serigraphs, drawings, Polaroids, photographs and memorabilia such as covers designed and autographed by Warhol. The content spans from the 1950s, a decade that consecrated him as a highly respected designer; to the 1960s, when Warhol became a true social commentator, portraying icons (Campbell's soup), fame (Liz Taylor and Marilyn Monroe) and disasters (the faces of Jackie Kennedy before and after her husband's assassination); to the 1970s, when he became a kind of “society artist”; to the 1980s, when Warhol positioned himself as the spiritual father of a new generation of artists such as Jean-Michel Basquiat and Keith Haring and created new forms of commerce and tributes to the past.
Published by The Andy Warhol Museum. Edited by Jessica Beck. Text by Angie Cruz, Jeffrey Deitch, Eleanor Friedberger, Jennifer Josten, Franklin Sirmans.
This book charts the emergence of Marisol Escobar (1930–2016) and Andy Warhol (1928–87) in New York during the dawn of Pop art in the early 1960s. Through essays, interviews and prose, the book explores the artists’ parallel rise to success, the formation of their artistic personas, their savvy navigation of gallery relationships and the blossoming of their early artistic practices from 1960 to 1968. The exhibition features key loans of Marisol’s work from major global collections, along with iconic works and rarely seen films and archival materials from the Andy Warhol Museum’s collection. By situating Marisol's work in dialogue with Warhol’s, this new collection of writing seeks to reclaim the importance of her art; reframe the strength, originality and daring nature of her work; and reconsider her as one of the leading figures of the Pop era.
Published by Walther König, Köln. Edited with text by Marianne Dobner. Text by Naoko Kaltschmidt, Natalie Musteata, Neil Printz, Nina Schleif, Jenniger Sichel. Interview with Gene Swenson.
Exhibition artist, installation artist or curator? Andy Warhol: Exhibits accomplishes a rich and original take on an oeuvre that has not lacked for critical scrutiny. It looks at rarely shown works that look behind the facade of the world-famous pop-art icon to rediscover Warhol’s innovations as an exhibition and installation artist, from the perspective of all that he has subsequently influenced in installation art and beyond.
The book includes Warhol’s famous 1963 ARTNEWS interview with Gene Swenson, which became a primary text of the pop-art movement. Encompassing both early and late works, and traversing all of the mediums in which he worked, Andy Warhol: Exhibits shows how the artist’s modes of presentation can be understood as an essential part of his oeuvre.
Published by Lévy Gorvy. Text by Blake Gopnik, Lynne Tillman, Alison M. Gingeras. Interview with Corice Arman by Brett Gorvy. Poetry by John Giorno.
Dedicated to Andy Warhol's (1928–87) portraits of women from the early 1960s through the 1980s, and featuring five trifolds and a tipped-on cover, Warhol Women explores the artist's female subjects and his complex relationship to myths and ideals of femininity, beauty and power.
Here, Blake Gopnik discusses the women essential to Warhol during his emergence as an artist, while Lynne Tillman examines his relationship with his mother. Brett Gorvy's interview with Corice Arman relays her experience sitting for two portraits by Warhol, and John Giorno (the subject of Warhol's film Sleep) contributes the poem "La saggezza delle streghe/Wisdom of the Witches." Alison M. Gingeras writes on women that played vital roles throughout his career, from Ethel Scull and Edie Sedgwick to Brigid Berlin, Pat Hackett and others.
Also included are source images and Polaroids of the women in Warhol's portraits.
Published by Silvana Editoriale. Edited by Maurizio Vanni.
It is difficult to overstate the influence that American artist and provocateur Andy Warhol (1928–87) has had on art and culture worldwide since he first premiered the 32 Campbell’s Soup Cans in 1962 at the Ferus Gallery in Los Angeles. As part of a burgeoning pop-art scene in New York in the early 1960s, Warhol painted the things and images of the ordinary world—“images that anybody walking down Broadway could recognize in a split second,” as he explained it. “Comics, picnic tables, men's trousers, celebrities, shower curtains, refrigerators, Coke bottles—all the great modern things.”
Warhol took these “great modern things” into the painter’s studio and, copying and painting them through the photo-silkscreen process, turned them into Warhols. Like an alchemist, Warhol transformed the base materials of reality into something new: into pop art, into transfigured commodities and into art historical icons.
Andy Warhol: The Alchemist of the Sixties focuses on this transformative power of Warhol’s work. The publication brings together more than 140 works by Warhol, including examples of some of his most well-known series, like the Jackies and the Marilyns. With a particular focus on Warhol’s engagement with consumerism, mythmaking, music and the sexual revolution of the 1960s, this volume retraces the creative universe of pop art’s most famous figure.
Published by D.A.P./The Andy Warhol Museum. Edited with text by Geralyn Huxley, Greg Pierce. Foreword by Rajendra Roy. Essay by Gus Van Sant. Contributions by Patrick Moore, Signe Warner Watson.
Andy Warhol’s 1966 movie The Chelsea Girls is the iconic document of the Factory scene and 1960s New York. Filmed in part at the Chelsea Hotel with Factory Superstars like Nico, Ondine, Brigid Berlin, Gerard Malanga and Mary Woronov, The Chelsea Girls was Warhol’s first commercially successful film. “In one film alone,” an early reviewer noted, “[Warhol] has sadism, masochism, whipping, transvestites, homos, prostitutes, a homosexual ‘Pope,’ boredom, stunningly beautiful girls, depravity, humor, ‘psychedelics,’ truth, honesty, liars, poseurs....” In honor of the 24th anniversary of The Andy Warhol Museum, the publication of Andy Warhol’s The Chelsea Girls coincides with a major project undertaken by the museum to digitize hundreds of his well-known and never-before-seen films.
The book is an in-depth, deluxe treatment of the film, featuring stills from the newly digitized film, previously unpublished transcripts and archival materials, and expanded information about each of the individual films that comprise The Chelsea Girls. The film’s alternation of sound between the left and right screens is recalled in the publication’s design in which the transcripts are printed directly beneath the corresponding imagery to evoke an authentic experience of the film. Also included are previously unpublished transcriptions of unheard reels. Andy Warhol’s The Chelsea Girls is a beautifully produced document of a legendary movie and a mythic moment.
From the Collections of Jordan D. Schnitzer and his Family Foundation
Published by Jordan Schnitzer Family Foundation. Edited by Carolyn Vaughn. Foreword by Brian Ferriso. Text by Sara Krajewski, Richard H. Axsom, Jordan D. Schnitzer.
"I’m for mechanical art,” said Andy Warhol (1928–87). “When I took up silkscreening, it was to more fully exploit the preconceived image through commercial techniques of multiple reproduction.”
Printmaking was a vital artistic practice for Warhol. Prints figure prominently throughout his career from his earliest work as a commercial illustrator in the 1950s to the collaborative silkscreens made in the Factory during the 1960s and the commissioned portfolios of his final years. In their fascination with popular culture and provocative subverting of the difference between original and copy, Warhol’s prints are recognized now as a prescient forerunner of today’s hyper-sophisticated, hyper-saturated and hyper-accelerated visual culture.
Andy Warhol: Prints, published to accompany a major exhibition at the Portland Art Museum—the largest of its kind ever to be presented—includes approximately 250 of Warhol’s prints and ephemera from the collection of Jordan D. Schnitzer, including iconic silkscreen prints of Campbell’s soup cans and Marilyn Monroe. Organized chronologically and by series, Andy Warhol: Prints establishes the range of Warhol’s innovative graphic production as it evolved over the course of four decades, with a particular focus on Warhol’s use of different printmaking techniques, beginning with illustrated books and ending with screen printing.
Published by The Museum of Modern Art, New York. By Carolyn Lanchner.
Through his art, ideas and style, Andy Warhol made an indelible mark on the history of modern art and on popular culture. This book features ten paintings by Warhol selected from The Museum of Modern Art’s collection of his work. His famous Gold Marilyn Monroe and Campbell’s Soup Cans are here, along with other equally groundbreaking and iconic silkscreen paintings—from his early work of 1961 to The Last Supper, a painting in progress at the time of his death, in 1987. An insightful essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work, illuminating its significance and placing it in its historical moment in the development of modern art and in the artist's own life.
Published by Queens Museum/The Andy Warhol museum. Edited by Larissa Harris, Media Farzin. Text by Hilary Ballon, Nicholas Chambers, Douglas Crimp, Diane di Prima, Dick Elman, Tom Finkelpearl, Albert Fisher, Brian L. Frye, John Giorno, Anthony Grudin, Larissa Harris, Felicia Kornbluh, Gerard Malanga, Jonas Mekas, Timothy Mennel, Richard Meyer, Billy Name, Brian Purnell, Anastasia Rygle, Eric Shiner, Richard Norton Smith, Lori Walters, Mark Wigley.
This volume brings expert opinion and first-hand testimony to bear upon the events surrounding the creation and destruction of Andy Warhol's Thirteen Most Wanted Men at the 1964 New York World's Fair. The complex constellation of art, politics and gay life surrounding Warhol's mural and its painting-over comes alive in 13 interviews—with historian Hilary Ballon, critic Douglas Crimp, poet Diane di Prima, 1964 World's Fair head of television Albert Fisher, poet John Giorno, art historian Anthony Grudin, civil rights historian Felicia Kornbluh, former Warhol assistant and poet Gerard Malanga, filmmaker Jonas Mekas, art historian Richard Meyer, former Warhol assistant and photographer Billy Name, Rockefeller biographer Richard Norton Smith and architect and critic Mark Wigley. The interviews are introduced by the show's co-curator Larissa Harris, and accompanied by reproductions of all of the Thirteen Most Wanted Men; photographs of Warhol and the Fair by Factory regulars and photojournalists; and rarely seen archival documents from Warhol's Time Capsules.
PUBLISHER Queens Museum/The Andy Warhol museum
BOOK FORMAT Paperback, 7.5 x 9.25 in. / 152 pgs / 13 color / 84 bw.
PUBLISHING STATUS Pub Date 2/24/2015 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 127
PRODUCT DETAILS ISBN 9781929641192TRADE List Price: $35.00 CDN $47.50 GBP £30.00
A 1962 newspaper photograph of a plane crash inspired Andy Warhol (1928–87) to produce a series dealing with catastrophes and horrific accidents. In his grainy silkscreens—some brightly colored, others in black and silver—both the content and form refer to the reportage aesthetics, general appetite for sensation and the confusion of images that dominate modern society, using this as a background against which to explore transience and mortality. In a 1963 interview about the Death and Disaster series, Warhol mentioned the photograph of the plane crash but also referenced his pictures of Marilyn Monroe: "I realized that everything I was doing must have been Death." This catalogue, published to accompany an exhibition at the Kunstsammlungen Chemnitz, goes beyond the Death and Disaster series, and includes Warhol's pictures of Jacqueline Kennedy, skulls, race riots and electric chairs in a survey of this critical theme in Warhol's oeuvre.
Published by Hatje Cantz. Text by Jörg Schellmann.
Andy Warhol’s concept of art expressly included the reproduction, the multiple. Yet the unique work of art did not lose its value, even in Warhol’s Factory. Ever since he began making his famous portrait prints in the 1980s--most of which were commissioned--his prints were carefully limited and signed for his wealthy buyers. For 40 years Jörg Schellmann has been collecting multiples and editions. His portfolios of Warhol works are now sought-after collector’s items. This publication presents the more than 100 trial proofs that were produced under the aegis of the Edition Schellmann und Klüser from 1980 to 1987. Printed on rag paper, and as veritable individual works of art, they are particularly valuable today. Characteristic of these unique pieces of art are the outlines hand-drawn by Warhol, which elevate the print out of the territory of the halftone and color planes and into the realm of "painting."
Published by Hatje Cantz. Edited by Nina Schleif. Text by Marianne Dobner, Burcu Dogramaci, Simone Förster, Birgitta Heid, Lucy Mulroney, Susan M. Rossi-Wilcox, Anna Rühl, Nina Schleif, Jordan Troeller, Reva Wolf, Matt Wrbican.
Was Andy Warhol (1928-87) an intellectual or a comics reader? In any case, he loved books. From his student days onward, he was fascinated by the medium of print. Starting out with illustrations for famous novels by the likes of Truman Capote and Katherine Anne Porter, he became a successful graphic designer who then also created playful thematic booklets that he would hand out to New York's fashion scene as promotional gifts. He designed covers for large publishing companies and made silkscreens and lithographs for the covers of poetry books written by author friends. In his own books he documented the film and photographic work done at his Factory. Warhol also blasted apart the usual genres of literature by having sound recordings transcribed and published. Including a complete bibliography, this fascinating and fresh volume is the first substantial presentation of Warhol's important innovations in printed books.
Published by Silvana Editoriale. Edited by Achille Bonito Oliva. Introduction by Francesca Franco.
The selection of Andy Warhol’s works featured in this volume chronicles the evolution of the American dream from the 1960s to the mid-1980s. In this period, American culture underwent enormous changes: commercial brands were elevated to a totemic status and the tenets of the free-market credo came to pervade every aspect of political, social and cultural life. The founder of Pop art turned his gaze on this system and through the relentless repetition of subjects--an approach borrowed directly from advertising--he transformed products into artistic icons. Commentary by noted Italian art critic Achille Bonito Oliva provides social and artistic context for Warhol’s treatment of this topic. In a stylish homage to the Warhol palette, the first 20 pages of this book are printed on silver paper, and on various subsequent pages the four-color printed process is embellished with silver.
BOOK FORMAT Paperback, 9.5 x 11 in. / 284 pgs / 150 color.
PUBLISHING STATUS Pub Date 6/30/2014 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 110
PRODUCT DETAILS ISBN 9788836626762TRADE List Price: $50.00 CDN $60.00
Published by Hatje Cantz. Edited by Henriette Dedichen.
Warhol’s Queens combines the artist’s portraits of actual female royalty with images of drag queens. For Warhol (1928–1987), both these genuine and fake queens epitomized idealized femininity, devoting their lives to presenting an unattainably glittering pageantry to the public for (not all too) close inspection. This volume juxtaposes Warhol’s Polaroids of Princess Caroline of Monaco, Farah Diba Pahlavi and the then-Crown Princess Sonja, of Norway, with drag queens, whom Warhol characterized as “living testimony to the way women used to want to be, the way some people still want them to be and the way some women still actually want to be.” The intense faces with their exceptionally colored lips, eyes and hair are both aloof and strangely intimate. With its in-depth scholarly essays, this book is essential for fans of Warhol’s portraiture and camp culture. With text by Hubertus Butin, Clément Chéroux, Henriette Dedichen, Dietmar Elger, and Matt Wrbican.
Published by The American-Scandinavian Foundation. Edited by Pari Stave. Text by Patricia G. Berman. Foreword by Edward P. Gallagher.
Edvard Munch (1863–1944) and Andy Warhol (1928–1987), two of the most prolific and inventive printmakers of the twentieth century, are brought together in this volume, which examines four lithographic series Munch produced at the turn of the century--“The Scream,” “Madonna,” “The Brooch. Eva Mudocci” and “Self-Portrait with Skeleton Arm”--and a little-known but extraordinary series of unpublished silkscreens created by Warhol in 1984 that appropriate and re-envision Munch’s motifs. The comparison reveals remarkable affinities between the two artists: both Munch and Warhol were preoccupied with themes of anxiety and alienation, ideal beauty, sex and mortality, and both skillfully mined the iconic power of the image, crafting their myths in self-portraits and in life. Published to coincide with an exhibition at Scandinavia House: The Nordic Center in America in New York, Munch/Warhol includes 75 color reproductions, and marks the sesquicentennial of Edvard Munch’s birth.
PUBLISHER The American-Scandinavian Foundation
BOOK FORMAT Hardcover, 11 x 10 in. / 88 pgs / 75 color / 5 bw.
PUBLISHING STATUS Pub Date 5/31/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 124
PRODUCT DETAILS ISBN 9780971949386TRADE List Price: $45.00 CDN $55.00
Published by Skarsdedt. Text by Trevor Fairbrother.
After Andy Warhol was shot in 1968, some critics accused him of softening the intensity of his art in favor of pursuing a more superficial, jet-setting social agenda. And it is true that during the 1970s, Warhol focused much of his energy on less solitary activities--filmmaking, his “superstars” and supporting Interview, his adventurous underground magazine. However, Warhol’s art practice of the 1970s underwent huge changes and forged into vital realms that have proved as influential as his earlier work. During this decade he produced such iconic series as the abstract Oxidation paintings, which combined urine on metallic copper; the classic Ladies and Gentlemen portraits depicting New York’s drag community; his screen prints of the actor and Native American political activist Russell Means, and of the Chinese Communist leader, Mao Zedong; as well as the Shadow, Skulls and Hammer & Sickle series. This volume collects works from each of these series, alongside an essay by curator-scholar Trevor Fairbrother.
BOOK FORMAT Clth, 9 x 10 in. / 60 pgs / 35 color / 3 bw.
PUBLISHING STATUS Pub Date 8/31/2012 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 104
PRODUCT DETAILS ISBN 9781616237233TRADE List Price: $30.00 CDN $35.00
Published by McNay Art Museum. Introduction by René Paul Barilleaux. Text by Justin Spring.
Drawn from the rich collection of the Andy Warhol Museum in Pittsburgh, Warhol: Fame and Misfortune approaches Warhol’s career through the artist’s abiding obsession with fame and celebrity, and, by extension, with disaster and tragedy. These key themes resurface throughout Warhol’s paintings, works on paper, photographs, and film and video works, beginning with his iconic paintings and prints of the 1960s up until the last pictures created just before his untimely death in 1987. Warhol spent most of his life observing the famous even as he acquired fame for himself, and as a result, his visual meditations on fame (and fortune, and misfortune) are in many ways like a trip through a house of mirrors: as much reflections of the artist’s identity as they are trip through American culture of the 1960s, 70s and 80s.
Published by Galerie Thaddaeus Ropac. Edited by Alessandra Bellavita, Bénédicte Burrus, Jill van Coenegrachts.
When Andy Warhol first arrived in New York, he spent a great deal of time within the dance community, and this milieu became the first "scene" he recorded. In addition to Warhol's ink-on-Manila drawings, this catalogue features black-and-white photographs of the dancers and critics that were his subjects.
Similar in style to the Pop maestro's Love series, if wildly different in subject matter, Vanishing Animals gives the Warhol treatment not to sexy young things or movie stars, but to even scarcer subjects: endangered animals like the okapi and Galápagos tortoise. (A little known fact about Warhol is that he was deeply concerned about the plight of endangered species.) These animals, rendered in his sketchy but sure line drawings, are silkscreened on brilliantly colored torn paper collages.
PUBLISHER Lococo Fine Art Publisher
BOOK FORMAT Paperback, 8 x 12 in. / 52 pgs / 37 color / 1 bw.
PUBLISHING STATUS Pub Date 3/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 76
PRODUCT DETAILS ISBN 9780971069220TRADE List Price: $20.00 CDN $25.00
Published by Lococo Fine Art Publisher. Interview with Vincent Freemont.
Andy Warhol: Love presents a rarely-seen series Warhol produced in 1983, just four years before his death. These silkscreens on vividly colored torn and collaged Color-aid paper depict a nude couple embracing; the same images are repeated again and again over varied backgrounds, the brilliant scraps of paper popping off the page.
PUBLISHER Lococo Fine Art Publisher
BOOK FORMAT Paperback, 9 x 12 in. / 66 pgs / 18 color / 6 bw.
PUBLISHING STATUS Pub Date 3/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 76
PRODUCT DETAILS ISBN 9780971069251TRADE List Price: $25.00 CDN $30.00
Published by Lococo Fine Art Publisher. Text by Vincent Freemont.
Andy Warhol: Man's Best Friend collects works from a less familiar Warhol. Here are surprisingly sweet and intimate sketches of dogs, including portraits of Warhol's own best friend, the dachshund Archie. A short essay by former Vice-President of Andy Warhol Enterprises Vincent Fremont tells the story of how Archie came into Warhol's life.
PUBLISHER Lococo Fine Art Publisher
BOOK FORMAT Paperback, 8 x 10 in. / 60 pgs / 8 color / 5 bw.
PUBLISHING STATUS Pub Date 3/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 76
PRODUCT DETAILS ISBN 9780971069237TRADE List Price: $20.00 CDN $25.00
Published by Hatje Cantz. Edited by Renate Wiehager.
“I think that cars today are almost the exact equivalent of the great Gothic cathedrals,” Roland Barthes famously said. “I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object.” For evidence of this dictum, one need look no further than Cars, the 1986–87 series of silkscreen prints and paintings that Andy Warhol (1928–1987) executed at the behest of Mercedes-Benz in honor of the esteemed German automaker’s centenary. This volume of the same name collects Warhol’s silkscreens together with the work of three other artists featuring Mercedes-Benz automobiles: drawings and airbrush paintings by Robert Longo (born 1953), videos by Sylvie Fleury (born 1961) and Vincent Szarek (born 1973), who takes design elements from the Mercedes-Benz SLR as the starting point for the sculptures depicted here.
Published by Hatje Cantz. Edited by Bernhard Mendes Bürgi, Nina Zimmer. Text by Sebastian Egenhofer, Georg Frei.
After a successful career in advertising design, Andy Warhol (1928-1987) change course to pursue a career in art. His concerns, however, did not change, remaining centered on the world of consumerism and mass production. This publication illuminates Warhol's early years as a painter and producer of drawings, from 1961 to 1964. During this period, Warhol gradually replaced his somewhat individualized visual language with purely media-derived (and therefore collective) subject matter, and developed the mechanical painting process of silkscreening on canvas for which he became so well known. This fascinating process--in essence the gestation of Pop art--is examined here through several series, such as the Campbell's soup can paintings and the Dollar Bills, the star series of Elvis and Liz, the Death and Disaster pictures and the Flowers series from 1964. By concentrating on Warhol's early years, this publication makes it possible to comprehend the scope of his impact.
Published by Hatje Cantz. Text by Thomas Crow, Vincent Fremont, Sarah Green, Allison Unruh.
Business art is the step that comes after Art, Andy Warhol once observed, of his career trajectory; "I started as a commercial artist, and I want to finish as a business artist." In all of his work as an artist, filmmaker, director of the Factory, band manager, magazine publisher and television entrepreneur, Warhol willfully disrupted and dismantled the line between art and commerce, terminally collapsing the values of art at the midcentury by brazenly asserting that "Good business is the best art." Warhol began his career as a commercial designer, achieving commendations from the Art Director's Club and the American Institute of Graphic Arts, and first published his art in popular magazines such as Vogue, Harper's Bazaar and the New Yorker; his naming of the his workplace as a "Factory" was an overt declaration of the new American art as a continuation of (Henry) Fordist assembly-line production. Andy Warhol Enterprises examines Warhol's complex and multifarious relationship to commerce in both his work and life, from his highly successful career as a commercial artist to his reign as a cultural tastemaker in the 1980s. The catalogue features a new essay by renowned scholar Thomas Crow and an interview with Vincent Fremont, one of Warhol's close associates, which further illuminate aspects of Warhol's critical engagement with the commercial market.
Published by Trela Media. By John Wilcock. Edited by Christopher Trela. Photographs by Shunk-Kender.
Village Voice and Interview cofounder John Wilcock was first drawn into the milieu of Andy Warhol through filmmaker Jonas Mekas, assisting on some of Warhol's early films, hanging out at his parties and quickly becoming a regular at the Factory. “About six months after I started hanging out at the old, silvery Factory on West 47th Street,” he recalls, “[Gerard] Malanga came up to me and asked, ‘When are you going to write something about us?'” Already fascinated by Warhol's persona, Wilcock went to work, interviewing the artist's closest associates, supporters and superstars. Among these were Malanga, Naomi Levine, Taylor Mead and Ultra Violet, all of whom had been in the earliest films; scriptwriter Ronnie Tavel, and photographer Gretchen Berg; art dealers Sam Green, Ivan Karp, Eleanor Ward and Leo Castelli, and the Metropolitan Museum of Art's Henry Geldzahler; the poets Charles Henri Ford and Taylor Mead, and the artist Marisol; and the musicians Lou Reed and Nico. Paul Morrissey supplied the title: The Autobiography and Sex Life of Andy Warhol is the first oral biography of the artist. First published in 1971, and pitched against the colorful backdrop of the 1960s, it assembles a prismatic portrait of one of modern art's least knowable artists during the early years of his fame. The Autobiography and Sex Life is likely the most revealing portrait of Warhol, being composite instead of singular; each of its interviewees offers a piece of the puzzle that was Andy Warhol. This new edition corrects the many errors of the first, and is beautifully designed in a bright, Warholian palette with numerous illustrations.The British-born writer John Wilcock cofounded The Village Voice in 1955, and went on to edit seminal publications such as The East Village Other, Los Angeles Free Press, Other Scenes and (in 1970) Interview, with Andy Warhol.
PUBLISHER Trela Media
BOOK FORMAT Hardcover, 9.75 x 9.75 in. / 256 pgs / 22 color / 84 duotone.
PUBLISHING STATUS Pub Date 6/30/2010 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2010 p. 171
PRODUCT DETAILS ISBN 9780970612618TRADE List Price: $45.00 CDN $55.00
From his student days in late 1940s Pittsburgh, right up until the weeks before his death in 1987, Andy Warhol drew prolifically. In his studies of the human form, he returned time and time again to portraits of shoes and feet. Executed with ballpoint pen in sketchbooks, these elegant, minimal drawings alternately depict bare feet, or feet in shoes, socks and slippers, and feet posed with various props--paint brushes, wooden blocks, books and of course a Campbell’s soup can. As in his other drawings, Warhol’s line conveys a Cocteau-like delicacy and fragility that seems far from his more familiar screenprints. Accompanying a January 2010 show at Paul Kasmin Gallery in New York, Still Lifes and Feet 1956–1961 presents 58 of Warhol’s foot and shoe drawings, all of which are reproduced here for the first time. The volume makes for an intimate record of Warhol’s well-known pecadillos and his dexterous draughtsmanship.
PUBLISHER Paul Kasmin Gallery
BOOK FORMAT Paperback, 8 x 10 in. / 72 pgs / 58 color.
PUBLISHING STATUS Pub Date 4/30/2010 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2010 p. 92
PRODUCT DETAILS ISBN 9780979416484TRADE List Price: $25.00 CDN $30.00
Published by Skarsdedt. Text by Pier Paolo Pasolini.
In 1975, Andy Warhol undertook a series of portraits of New York City transvestites, most of whom were recruited by Bob Colacello from a club called The Gilded Grape. The method for making these portraits followed Warhol’s customary formula: a Polaroid portrait of the sitter was silkscreened onto a canvas, which was then embellished with synthetic polymer paint in a bright array of red, pinks, yellows and pastels. Warhol’s transvestites are portrayed in a fairly classical fashion, neck-up, often at a three-quarter angle, and beckon at the viewer with a variety of expressions, from the plaintive to the coquettish to the triumphant. This beautifully produced monograph features 40 spot-varnished color reproductions of the Ladies and Gentlemen series, and reprints the Italian film-maker and poet Pier Paolo Pasolini’s fascinating and unusual take on Warhol and on the series.
BOOK FORMAT Hardcover, 8.5 x 11 in. / 80 pgs / 40 color / 3 bw.
PUBLISHING STATUS Pub Date 5/31/2010 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2010 p. 92
PRODUCT DETAILS ISBN 9781616237172TRADE List Price: $30.00 CDN $35.00
Published by Louisiana Museum of Modern Art. 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.
Published by Paul Kasmin Gallery. Text by Todd Alden.
Warhol's early drawings are characterized by a stylized reductivism or mannered simplicity that manages, like the artist's infrequent but affected speech, to say more in its special manner of saying less. In addition to their spare, magical, frequently uncanny otherworldliness, the one characteristic that most distinguished Warhol's early drawings from his peers' was the use of the blotted line technique, writes Todd Alden in his introduction to this focused volume. Strange World: Drawings 1948-1959 includes an eclectic collection of Warhol's blotted-line drawings, created between 1948 and 1959. These works illustrate Warhol's preference for the deliberately incomplete or unresolved image and often feature unpredictable trajectories of color. A familiar cast from Warhol's commercial art and illustrated books--friends, lovers, small children and the anonymous faces of office workers--are presented in concert with charged paper surfaces.
PUBLISHER Paul Kasmin Gallery
BOOK FORMAT Paperback, 9.5 x 11.5 in. / 78 pgs / 68 color.
PUBLISHING STATUS Pub Date 2/1/2009 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 103
PRODUCT DETAILS ISBN 9780979416439TRADE List Price: $40.00 CDN $54.00 GBP £35.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by The Museum of Modern Art, New York. Text by Carolyn Lanchner.
Henri Matisse, Pablo Picasso, Joan Miró and Andy Warhol each significantly shaped the development of art in the twentieth century. These Modern masters are the subjects of four small books, the first volumes in a series featuring important artists in the collection of The Museum of Modern Art. Each book presents a single artist and guides readers through a dozen of his most memorable achievements. Works are reproduced in color and accompanied by informative and accessible short essays that provide background on the artworks and on the artist himself, illuminating technique, style, subject matter and significance. Written by Carolyn Lanchner, former Curator of Painting and Sculpture at the Museum, these books are excellent resources for readers interested in the stories behind masterpieces of the Modern canon and for those who wish to understand the contributions of individual artists to the history of Modern art. This volume focuses on Warhol.
Published by Walther König, Köln. Text by Benjamin H.D. Buchloh.
On the occasion of what would have been Andy Warhol's eightieth birthday, in 2008, this exquisitely produced volume examines one essential but miraculously under-studied element of the artist's work: The shadow. Beginning with photographic still lifes of skulls and taxidermied animals, then moving on to male nudes, tabletops and table settings, celebrity portraits, gems, fruits and many amazing still lifes of hammers, sickles, shoes and other ordinary objects that presage Fischli & Weiss' Equilibres by several years, Shadows and Other Signs of Life concludes with Warhol's photographs of actual shadows and an outstanding selection of abstract silkscreens, stenciled works and piss paintings. Published to accompany the eponymous exhibition at Paris' Galerie Chantal Crousel, this volume contains illuminating short texts--Anniversary Notes for Andy Warhol--by Benjamin H.D. Buchloh.
Published by nai010 publishers. Edited by Eva Meyer-Hermann. Text by Eva Meyer-Hermann, Matt Wrbican, Geralyn Huxley, Greg Pierce, Hal Foster.
Beyond the familiar Campbell’s Soup cans, Brillo boxes, silkscreened Marilyn Monroes and floating silver mylar pillows, 20 years after Pop icon Andy Warhol’s death, we are still picking through his incredibly prolific output to understand what his artistic legacy actually is. Andy Warhol: Other Voices, Other Rooms, published on the occasion of the major exhibition by the same name at Amsterdam’s Stedelijk Museum, provides some new insight, digging into Warhol’s lesser-known film, video and audio tape works. Important--and just a little scandalous--films like Blow Job and Kiss, audio tapes of celebrities, friends and anonymous hangers-on talking and other marginalia are considered alongside a selection of key photographs, drawings, screen prints and spatial installations, such as the spectacular “Silver Clouds,” originally shown in 1966. Edited by Eva Meyer-Hermann and with contributions by Geralyn Huxley, Greg Pierce and Warhol Museum Archivist, Matt Wrbican, who is currently unpacking hundreds of never-before-seen Warhol Time Capsules in Pittsburgh, this volume brings readers up to date with the most recent developments in the way we see the late artist’s oeuvre.
Published by Contemporary Art Museum St. Louis. Foreword by Paul Ha. Edited and with an introduction by Susan Cahan. Text by Susan Cahan, José Muñoz.
I Remember Heaven explores shared affinities in the work of the Pop art superstar Andy Warhol, and contemporary artist Jim Hodges. This cross-generational study looks at both artists' work within a continuum of art production that finds history in everyday artifacts and uses aesthetic representation as a means to understand visibility and invisibility, sexuality, selfhood, love and death. Essayist Jose Esteban Muñoz discusses the artists' work in relation to queer aesthetics before and after Stonewall. Susan E. Cahan examines the personal and social aspects of collective grief, a subject which preoccupied both artists. I Remember Heaven captures a sense of the America of the 60s as not so different from today: Once again, the American public is fiercely divided over social issues; once again, an unpopular war enters American homes via television; and once again, American culture is experiencing an explosion of information--this time spawned by the Internet.
Published by Walker Art Center. Edited by Douglas Fogle. Essays by Francesco Bonami, Douglas Fogle and David Moos.
In the age of mass media, American culture has displayed an unequaled fascination with both celebrities and disasters. Andy Warhol was one of the first artists to investigate these twin obsessions, beginning in the mid-1960s, as he shifted his practice from hand-painting to the mechanical photo silkscreen process. Andy Warhol/Supernova brings together more than 50 examples of the artist's early silkscreen work, juxtaposing his iconic serial images of Marilyn Monroe, Elizabeth Taylor and Elvis Presley with his evocative and often disturbing appropriations of car crashes, electric chairs, and other "disasters," appropriated from photojournalism and made side by side. The combination provides a glimpse into a prevailing condition of American modernity--this dual fascination with fame and tragedy--that remains a key component of our national identity. Looking back at this body of masterworks, now some 40 years old, it becomes clear that if some things have changed, more have stayed the same.
Published by KW Institute for Contemporary Art. Essays by Callie Angel, Mary Lea Bandy, Klaus Biesenbach, Laurence Kardish and Wayne Koestenbaum. Forewords by Glenn D. Lowry and Tom Sokolowski.
Prolific, mercurial, thought-provoking, charming, engaging, dynamic, confusing--just like the artist himself, Andy Warhol's films explore the gamut of human emotion. From the time he obtained his first film camera in 1963, up until his death in 1987, Warhol explored and created moving images ranging from epic films, to personal portraits, to programs for cable television, to music videos. In fact, in a mere five years (1963-1968) he produced nearly 650 films including hundreds of silent screen tests--portrait films--and dozens of full-length movies, in styles ranging from minimalist avant-garde to commercial “sexploitation.” His films and videos capture the rich and raw texture of the fertile cultural milieu in which he lived and worked, and are crucial to the understanding of Warhol's work in other media. Andy Warhol: Motion Pictures focuses on the artist's screen tests and non-narrative films from 1963-73. Within it we see sequences of his “most beautiful women”--screen tests featuring “Baby” Jane Holzer, Ivy Nicholson, Edie Sedgwick--and other works that showcase a parade of friends, actors, and models--Dennis Hopper, Gerard Malanga and Walter Burn to name just a few. This collection of tests is followed by the artist's non-narrative films including Eat, Sleep, Kiss and Blow Job. All of the artist's film works are enhanced by texts from Mary Lea Bandy, Klaus Biesenbach and others. The worlds of art, photography, film, criticism, lifestyle and fashion unite in Andy Warhol: Motion Pictures, as 200 fascinating, full-bleed, remarkably clear, black and white stills provide access into territories both familiar and unexplored.
Published by DuMont. Essays by John W. Smith, Mario Kramer and Matt Wrbican. Introduction by Thomas Sokolowski and Udo Kittelmann.
Beginning in the 1970s, Andy Warhol collected and stored the remains of his most unusual life in 612 brown cardboard boxes, the so-called Time Capsules. To date, only 100 of these boxes have been opened and examined. Everything Warhol deemed interesting and worth keeping--from precious objects to the most quotidian of souvenirs--was gathered together in these prosaic containers. The collecting strategy was straightforward enough: Warhol would keep an open box beside his desk, dropping in the daily flood of correspondence, magazines and newspapers, gifts, photographs, business records, collectibles, and ephemera that passed through his hands. This Time Capsule in progress would be taped shut and dated by an assistant when Warhol deemed it complete. Today, Warhol's leftovers provide us with the possibility for entering the atmosphere and curious cosmos of a life whose 15 minutes of fame may never really end, despite its physical end having long since passed. This first publication of Warhol's most personal diary will help the careful reader to reconstruct the artist's personality. Each and every item contained in Time Capsule 21 is meticulously revealed. This particular box was chosen because it contains a phenomenal amount of Warhol's art from the 1950s and 1960s, as well as common documents that have turned out to reveal facts about Warhol's life and work--that have, for instance, led to the dating of the drawing Dead Stop (1954) and the establishment of an approximate date for Warhol's first meeting with Leo Castelli. Also included are many images that Warhol used for source material. Leafing through Time Capsule 21, the reader has only to let each object take him or her on a journey into the murky past of The Factory, Studio 54, and Warhol's other haunts.
Published by Hatje Cantz. Edited by Dietmar Elger. Essays by Robert Rosenblum and Roland Wäspe.
Perhaps no other artist from the second half of the 20th century is as familiar to the public as Andy Warhol--and his self-portraits can hardly be said to have played a lackluster role with regards to the artist's celebrity. U.S. postage stamp anyone? Occupying a position of central importance in his oeuvre, Warhol's self-portraits also occupy a consistent, long-running one. From the first self-images in gouache painted by 16-year-old Andrew Warhol in the mid-40s to the fright-wig series completed shortly before his death in February 1987, Andy Warhol continually used self-portraiture to reflect on his position and social status as an artist, performing a variety of roles in the process. Yet he never made use of the traditional topos of the artist's self-portrait; his fascination with transience and death is constantly present, as in his other works. Although a seemingly endless number of books have been published on Warhol's various work groups, this is the first monograph devoted exclusively to his self-portraits. The accompanying essays discuss different aspects of the theme and examine Warhol's self-portraits in the light of an expanded concept of the artist's self-portrait in the 20th century.
Published by Stellan Holm Gallery. Introduction by Gerard Malanga. Conversation with Jeff Koons.
“When we were making the 5 Deaths paintings, with the car upside down and the people underneath, Andy asked, 'Are they still alive?' as if the accident had actually occurred in front of us.” --Gerard Malanga
Within Warhol's Death and Disaster series, the so-called Car Crashes comprise the most numerous and diverse set of images. As Gerard Malanga writes in his accompanying essay, “We would return to this silkscreen again and again for several months; in effect, the first painting repeated many times over, this initiating Andy's serial imagery on separate identically shaped canvases, and anticipating the Flower paintings to come.” The book also includes a contemporary interview between Malanga and Jeff Koons as well as a reprint of an interview between Malanga and Warhol from 1963.
PUBLISHER Stellan Holm Gallery
BOOK FORMAT Hardcover, 10 x 10 in. / 61 pgs / 20 color / 10 bw.
PUBLISHING STATUS Pub Date 3/2/2004 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9780971168718TRADE List Price: $45.00 CDN $60.00 GBP £40.00
Published by Galerie Thaddaeus Ropac. Essay by Itzhak Goldberg.
Pracitcally everyone recognizes the Campbell's Tomato Soup Can images by Andy Warhol that have come to define American Pop Art. Less well known, but equally intriguing, is another part of Warhol's Campbell's oeuvre: the Campbell's soup boxes, which he made during the mid-1980s using paint, silkscreen, and drawing to render these boxes in his inimitable style. Warhol, whose fascination with advertising and consumerism was born of his early career as a commercial artist, took as his inspiration the endlessly replicated images of modern branding, and thus helped to create and define the major art movement of recent decades. This volume, with an essay tracing Warhol's history with Campbell's, reproduces more than 60 of Warhol's Campbell's Soup Box pieces, and as such, adds to the growing documentation of this towering presence in 20th-century art.
Andy Warhol: Prints, in its fourth edition, with corrections, is the definitive scholarly reference source for collectors, auction houses, libraries, curators, academics and art dealers. Andy Warhol spent his career working so prodigiously as to assure long-lasting renown. In the printmaking field alone, his output was prolific, and his appropriation of silkscreen as a fine-art medium forever altered the way prints look. This thoroughly revised and expanded fourth edition of Andy Warhol Prints: A Catalogue Raisonne 1962–1987 traces Warhol's complete graphic oeuvre from his first unique works on paper in 1962 through his final published portfolio in 1987.
More than 1,700 works are illustrated, an increase of 500 from the previous edition of the catalogue raisonné, and complete documentation is provided for each. New additions include a section focusing on Warhol's popular portraits, with documentation of prints that were related to paintings commissioned during the 1970s and 1980s, and a new supplement featuring prints and illustrated books from the 1950s, including the beloved 25 Cats Named Sam and One Blue Pussy.
An essay by Donna De Salvo addresses Warhol's self-published books and portfolios from the same era. An extensive chronology of printmaking activity, a complete exhibition history, a selected bibliography and a greatly expanded appendix to published prints complete the book.
Published by Gagosian Gallery. Essay by Bruce Hainley.
The more familiar elements of Warhol's oeuvre touch on subjects ranging from religion to women's shoes, from celebrity to death, and so here, finally, are sex and bodily fluids. Gathered together are a group of works that include Warhol's rarely exhibited erotic male nude drawings from the 1950s, the Torso and Sex Part paintings and drawings (1977-82), and the conceptual alchemy of the abstract Oxidation and Piss paintings series (1978).
PUBLISHER Gagosian Gallery
BOOK FORMAT Paperback, 9.25 x 10.5 in. / 100 pgs / 92 color
PUBLISHING STATUS Pub Date 3/2/2003 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2003
PRODUCT DETAILS ISBN 9781880154823TRADE List Price: $50.00 CDN $60.00
Published by Hatje Cantz. Artwork by Andy Warhol. Edited by Renate Wiehager. Text by Christian Gögger.
In 1986, on the occasion of the 100th birthday of the automobile, the DaimlerChrysler corporation commissioned pop icon Andy Warhol to do a series about cars. Of the 80 planned pictures, which were to document the history of the automobile using 20 models from 1886 to the present, only 35 pictures and 12 large-format paintings were executed--the last series made by the artist, who died in 1987. This large-format book presents the work in total and, along with other commissioned work, further explores the many-faceted subject of "Business Art." Robert Longo's partnership with DaimlerChrysler yielded a series of black-and-white portraits of Mercedes-Benz models; Simone Westwinter created watercolors of the corporation's persons and products; Mathis Neidhart's ongoing project takes a dialectical approach to conveying the brand-name philosophy of the company through art-specific questions. Interviews with John Armleder, Jeff Koons, Robert Longo, and Sarah Morris serve to expand on the subject matter.
Published by The Andy Warhol Museum. Edited by John W. Smith. Essays by Pamela Allara, Kenneth Arnes, Frederick Brandt, Sascha Chermayeff, Ralph Coe, Jonathan Flatley, Allen Kurzweil, Michael Lobel, Alexandra Rhodes & Stephano Papi, Thomas Sokolowski, Patti Smith Matthew Tinkcom and Pilar Viladas.
So many categories! Andy Warhol would complain, in the course of his daily trawl of antique stores, galleries, auction houses and flea markets. Though best known as an artist, Warhol was also a passionate and informed collector of unlikely antiquities and offbeat Americana. Possession Obsession proposes that collecting was another form of artistic practice for Warhol, certainly one that provides as much insight into his interests, tastes and ideas as his art. Accompanying essays examine the how, why, and what of Warhol's collection, the all-consuming role it played in his life, the aesthetic quality and historical associations of the objects themselves, the psychological and sexual aspects of collecting, other artists' use of collecting and the relationships between collecting and mass culture. Also included are Robert Mapplethorpe's wonderful photographs of Warhol's home, for which Patti Smith provides an introduction.
PUBLISHER The Andy Warhol Museum
BOOK FORMAT Hardcover, 8 x 12 in. / 152 pgs / 100 color / 20 bw.
PUBLISHING STATUS Pub Date 8/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9780971568808TRADE List Price: $39.95 CDN $50.00
Coca-Cola, nose jobs, paint-by-numbers, dance diagrams, dollar bills, Campbell's soup, Marilyn Monroe, Elvis Presley, Elizabeth Taylor, car crashes, flowers, Jackie Kenedy, Brillo boxes, Mao, and Joseph Beuys. From 1961 to 1986, Andy Warhol produced and reproduced each of these images many times over. This volume is a compilation of Warhol's most popular series.
Published by Stellan Holm Gallery. Essays by Peter Halley, Gerard Malanga.
People go by and it doesn't matter that someone was killed. I still care about people, but it would be so much easier not to care, it's too hard to care. --Andy Warhol News and death fascinated Warhol, and nowhere is this more uncomfortably reflected than in his paintings of electric chairs. Part of his "Death and Disaster" series, these works borrow from the eye-catching style of tabloid journalism to reflect on the clash of dreams and violence that suffused 60s America. Using photographs collected from various media sources, imagery often deemed too upsetting for the front page, Warhol compels us to look more closely at our own voyeurism and our response and lack of response to violence, as well as our reactions to the universal experience of death that underlies both high-profile public disasters and everyday violence.
PUBLISHER Stellan Holm Gallery
BOOK FORMAT Hardcover, 9.75 x 10.5 in. / 45 pgs / 26 color / 4 bw
PUBLISHING STATUS Pub Date 2/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9780971168701TRADE List Price: $45.00 CDN $55.00
Published by Louisiana Museum of Modern Art. Edited by Lise Kaiser. Essays by Steingrim Laursen, Katrine Molstrom.
One of the preeminent chroniclers of the society of the spectacle, Andy Warhol perhaps became a spectacle unto himself, hobnobbing with celebrities and spawning an ongoing hipster scene around his image. As his work has continued to grow in popularity, and as critical commentary proliferates, the depth and ambiguity of his oeuvre becomes clearer, and scholars and audiences alike now see Warhol for the prophetic visionary he was. Andy Warhol and His World presents an amazing selection of Warhol's work from throughout his career--from his early Brillo boxes and silkscreens of auto accidents and electric chairs, to his portraits of Elvis, Marilyn, Liz, Mao and Queen Elizabeth II, to film stills and self-portraits--as well as extensive essays on Warhol and the world he reflected and created.