Page 23 - Studio International - February 1971
P. 23


          4   But Warhol returned to the environmental quality of   enigmatic yet sensual surface. Warhol's fascination   York, Outerbridge & Dienstfrey, 1970).
          a repeated image in the Cow wallpaper of 1966. At the   for silver extended to his studio (the first Factory)   9  See Rainer Crone, Andy Warhol (New York,
          basis of Warhol's approach there is an apparent   wherein the furniture, floor and ceiling were   Praeger, 197o), p 21.
          diffidence as to what happens to his work, once it has   extensively covered in either aluminium paint or foil.   10Donahue is a special case. Because he represents
          been made. It is purely by chance or an accident of   In 1966 Warhol made his Silver Clouds—floating   the sensual male image, it may well be thought that
          fate, rather than by any design on his part, that his 32   pillow-shaped objects of silver plastic filled with   there is some equivalence between his image and
          Campbell's Soup Cans images have survived as one unit.   helium gas. When exhibited within gallery space,   those of Marilyn Monroe and Elizabeth Taylor. But
          5   A silver ground is used in some later works : in the   they responded with unpredictable movement to the   the problem of Warhol's Donahue portrait is that the
          several Tunafish Disasters, the self-portrait print and   slightest draught or current of air.   head he portrays represents nothing more than an
          in at least one painting of the same subject matter, as   7   See Eldridge Cleaver, Soul on Ice (New York,   image of masculine sexuality, whereas behind the
          well as two electric chair images.        McGraw-Hill, 1967) and Jerry Rubin, Do It ! (New   faces portrayed in the Marilyn and Liz paintings is
          6There invariably is a detectable painterly logic at the   York, Simon and Schuster, 1970).   our knowledge of their painful and difficult lives.
          basis of every step Warhol makes : for instance, the   8   Very important to the history of Rock has been the   The viewer cannot help being aware that Donahue is
          delicately fragmented silkscreen inkdots delineating   refusal of the younger audience to accept substitutes,   only a commercial product, and for this reason his
          the flesh of the faces in Six Marilyn (Marilyn   or commercial popularizations, in place of the   portrait fails. It has no life of its own.
          Six-Pack), 1962, mingle with the white ground of the   genuine article. Independent recording companies   11  Dennis Hopper, who directed and played a leading
          canvas to produce a pronounced optical silver-grey.   rapidly sprang into existence, very often owned and   role in Easy Rider, is one of the few younger actors in
          Thus though the subject matter iconographically   run by young people, to supply the market. Thus Rock   Hollywood (if not the only one) who is intimately
          suggests the use of silver, it may well have been   and Roll is an instance of a consumer audience actively   involved with the contemporary American art world.
          prompted in the first instance by the painterly process   intervening to reject commercial kitsch. See two   He knows Warhol well and has been a strong admirer
          itself. Frank Stella's aluminium shaped canvases of   excellent books for a detailed history of Rock and Roll :   of his since 1963, when he visited the Factory.
          196o predate Warhol's usage of silver by at least two   Carl Belz, The Story of Rock (New York, Oxford   12Michael Chanin, 'Genre and Style in Recent
          years. As with Stella, the use of this metallic colour   University Press, 1969) and Charlie Gillett, The   Movies', Art International, Vol. 13, No. to,
          formally provides Warhol with a highly indeterminate,    Sound of the City: The Rise of Rock and Roll (New    Christmas 1969, pp 54-57.
   18   19   20   21   22   23   24   25   26   27   28