Art Essay Example with the Analysis of Andy Warhol and His Works

Published: 2022-06-01
Art Essay Example with the Analysis of Andy Warhol and His Works
Type of paper:  Essay
Categories:  Art
Pages: 7
Wordcount: 1770 words
15 min read


Andy Warhol was the best and generously compensated professional artist in New York even before he started to brand art bound for displays. As an adolescent, he was able to involve the social position of someone who has his impact and makes his commitment by acing the creation of and fanatically expending, visual entertainment. His illustrations were frequently funny, embellishing, and capricious, and their tone is altogether different from the frosty and unoriginal state of mind of his Pop art. Much level-headed discussion still encompasses the iconic screen-printed pictures with which Warhol built up his notoriety for being a Pop artist in the mid-1960s. Rather than discovering similarly invested shared trait and organization together inside this new gathering, he indeed got himself or made himself, remarkable. His most distinguished achievement was the rise of his own persona to the level of a popular icon, speaking to a new sort of acclaim and a big name for a fine artist. Many people including experts, fans, enthusiasts, aficionados, and critics have tried to establish the work of Warhol creating a wealth of speculation and knowledge. In relation to Warhol's artistic world, the paper seeks to analyze the works of three scholars Anthony E. Grudin, Blake Stimson and Hall Foster. This essay will analyze the arguments of the scholars separately and succinctly describing what type of evidence the scholars have used to answer their statement and support their main argument. Basically, this paper will look at the scholar's interpretation of Warhol work, interpret the representation of their intentions and the understanding between Warhol and his social, political, cultural and economic conditions. This article will also compare their counter-arguments identifying their similarities and differences highlighting their interpretative positions.

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Blake Stimpson

Based on Warhol's work, Stimson described him as an enigma (527). Warhol became a leading figure in the pop art movement where he created performance arts, films, paintings and his famous studio. Since Walton has limited knowledge of history, he was able to position his work similarity between worldliness and innocence. In his childhood, he was obsessed with the child star Shirley Temple which was a result of his fond of making art that was inspired by mass-cultural sources. Though most of his art was associated and influenced by Beardsley, Warhol accepted criticism that challenged his art sorting out new influences. From his religious-infused childhood and adolescence to his educational career for his tertiary level at Carnegie Institute of Technology where he was influenced by the institution theory of art. Stimson describes Warhol's brief yet developmental dalliance with the blame perplexed sensibility and wanton way of life of Aubrey Beardsley, an English artist whose drawings stress the twisted and the sexual (527).

Stimson looks at the influence of Warhol's life and work form a creative and philosophical perspective. Stimson portrays how the Byzantine-impacted religious customs of Warhol's childhood influenced his associations with the figures who featured in his movies and staffed the Factory, and additionally relating the lessons he gained from his triumphs as a professional artist working in a world still obliged to the Red Decade goals of the 1930s. Stimson shows Warhol uniqueness compared to other artists where Warhol speaks to the uncertain inconsistency between the certainty of the resident and that of the customer, an ambiguity people keep on struggling with today.

Warhol was likewise affected by his Byzantine-ceremony religiosity and its relationship to the entourage of Roman Catholics that featured in his films and staffed his studio, his art preparing in an institutional pot ruled by Andrew Carnegie's Gilded Age hypothesis of art. Warhol art was likewise an effective identified with Shirley Temple's skip in the grown-up world under the front of childhood, his developmental dalliance with the blame ridden sensibility of curve debauched and Catholic change over Aubrey Beardsley (Stimson 545). He additionally his triumphed as a professional artist working in a professional world still under obligation to the Red Decade beliefs of the 1930s as a 'less expensive Ben Shahn', the main Social Realist artist. These overlooked influences were key to the life and inheritance of Warhol, an artist best comprehended as the Leonardo of our age who, more than some other, has given developmental beautiful articulation to the age of the global customer.

It is through his work that Warhol was able to bring a competing set of enthusiasms with political and social ideals. For instance, in his fictional interpretation 'All the King's Men,' Warhol has a grander ambition on the troubled intellectual life of Huey Long. This was a dramatic tension between political cynicism and political idealism (540).

What emerged from Warhol's work was his political persuasion and tendencies which has been repeatedly been interpreted. Most of his time in the 1960s he was able to deal the social and political iconography dealing with the death penalty, race riots, political assassinations, criminal cases among other cases. For instance, cases that were loaded with political iconography included the cases for John F. Kennedy, Castro, Lenin, Mao and Jackie, Goldwater (Stimson 543). This brought about a contradiction that could be termed as explicitly political content and political tone of Warhol's work which posed critics that lead to interpretations that focused on the interpretation of his feelings and thinking as a political and social commentator.

Anthony E. Grudin

Anthony Grudin explores the work of Andy Warhol as being influenced by creative engagement with the social class manifestation of iconographic and stylistic art (139). During the 1960s, as neoliberalism propagated the possibility that settled classes were a hallucination and status an individual accomplishment, Warhol's work appropriated pictures, systems, and innovations that have for quite some time been depicted as nonexclusively American class. Drawing on documented and hypothetical research into Warhol's contemporary cultural milieu, Grudin exhibits that these highlights of Warhol's work were in certainty intently connected with the American working class (146). The new advancements Warhol prominently utilized to make his work home projectors, recording devices, movie and still, cameras were promoted to the working class as new open doors for cultural participation. Additionally, a portion of Warhol's most notable subjects was likewise focused, since working-class Americans, under risk from an assortment of bearings, were thought to want the security and certainty offered by national brands (Grudin 146).

Having moved himself from a devastated childhood in Pittsburgh to the statures of Madison Avenue, Warhol knew the two sides of this condition: the extraordinary interest that mainstream culture held for working-class groups of onlookers and the manners by which the promoting business would have liked to bridle this interest notwithstanding developing white collar class suspicion with respect to manipulative showcasing. Warhol was entranced by these guarantees of populist independence and portability, which could be profound and beguiling, generative and incapacitating, accused of weird types of want. By following its crossing points with different types of pop culture, including film, music, and TV, Grudin demonstrates to us how Warhol's work scattered these guarantees, while likewise giving a record of their many-sided strains and changes (146).

The artistic work of Warhol was not fundamentally about ontology but rather about the likelihood of mass-cultural involvement within capitalism. The work of Warhol in terms of class appealed from two directions where it infused technique, motifs, and style of execution. The popular culture perceived by the working class was a key element in Warhol's contemporary scene which is continually unified into his person and work. The apt of Warhol's working style is described as an amateur cultural participation which from 1960 and beyond was steered and reproduced by technological integration like polaroid's, silkscreens and video cameras which contributed to a common culture. Even though this is the case, Warhol's persona and work were additionally educated by a countertendency, irreducible and less immediate indications of working-class suspicion. Warhol's proliferation of well-known pictures continually transmitted their own inadequacy and inconceivability the accurately pinpointed blemish that gives Warhol's work its impressive precision.

Hal Foster

Foster indicates that Andy Warhol was porous in a new, strange and new total way in his life art of mass-cultural images. Warhol used media technologies as shields because of its possibility of being deployed aggressively. The work of Hall Foster looks at the complexity of Warhol work rather than superficiality. Foster investigated Warhol's work which indicated that his work investigated and revealed a new period which began in the early 1960s which were one of the histories of capitalist culture. During this period reshaping the growing image fetishism of modernity raised another degree of the transformation condition of human identity which Foster refers to as the pop age (Foster 32). It is through pop culture that we are able to capture the historical effects and shifts which represented a new glossy world. Falling together and falling apart, taking out and putting shows that Warhol was vexed by his own image. He failed to work on his camera coherent look (Foster 35). Warhol was able to produce a public image but he was able to accomplish this through his glasses and baffles of wigs meaning that in this position iconicity is in tension with its opposite. Having difficulty in his own image made him keen on the same difficulty in others, becoming appreciative, self-fashioned, fascinated by movies with accomplished transvestites.

Even though the innovation of automation and mechanization was introduced, Warhol did not simply celebrate but rather pointed out the effects of these operations indirectly through the result he was able to obtain from using them. Warhol treatment on mug shots, publicity images, and photo-booth pictures was that different natures speak to different camera setups and photographic genres. This ideology is evident in his films in both the technical training of the modern subject and psychological vicissitudes of self-imaging (Foster 39).


When looking at the articles by the three scholars, the similarity is that Warhol's art can be interpreted in terms of his subject matters which reveals that Warhol is able to exploit an iconographic tradition which he uses to enforce the iconic status of cultural images and objects. There is a fact that the arts of Warhol have developmental consistency showing originality in his work on aesthetic objects and that his practice and work have to be analyzed and read in relation to previous work and history. Similarity from the articles is that he shows developmental consistency in his conceived model of modern artists making him an original creator by being unique and glamorous. He culturally and politically problematizes traditional commencements of the implication of iconography by constantly bestowing modern representations as meaningless. Since iconography is Warhol's primary feature of art, it is read in relative to his glamourous persona but more importantly, his artistic practice is shown to be deliberate and thoughtful.

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