Blake Gopnik's definitive 'Warhol' gathers up all the receipts on the blank icon who stormed the barricades of art, only to serve it up to commerce.
— solved this problem by becoming landscape painters. The American landscape, however, was no longer made up of trees and cows lowing plangently at dusk. It was Dick Tracy, roadside billboards and packaged goods.can paintings, exhibited in Los Angeles in 1962, Warhol was not pioneering anything new. He was merely upping the ante.
There is Julia Warhola, Andy’s mother, crafting peach tins into the shape of flowers and selling them door to door; actor, among the first to “get” Warhol, jumping up and down upon seeing his first soup can; Andy himself, older, mellowed, in a Santa beard, ringing the bell for the Salvation Army. In this textured portrait of an artist of annihilating smoothness, Gopnik has finely rendered many of Warhol’s milieus.
Affect lies in the cadence of our speech, the arrangement of our features, the quality of our laughter. The absence in Warhol is startling; it’s what gives everything he did and touched its radical aura. With his new personal style, Warhol was breaking down any distinction between affect and affectation.
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