.. ly he got out of the subways and started showing his work. Also like Basquait, there are certain things that remain prevalent in all of his work. For example, the radiant baby and barking dog are repeated and perfected. Keith Haring’s style, like so many others from the Pop era, has been copied over and over.
The most recent duplication was perhaps by the automobile conglomerate Honda for a commercial promoting one of their vehicles. Regardless, Keith Haring had a uniqueness and productivity that eventually became planted in the world psyche. Another artist that frequented the Factory was Kenny Scharf. Kenny Scharf was also briefly a graffiti artist. He, however, grew tired of this and moved on to create whole environments.
These environments were largely influenced by popular culture television; they were filled with modified electronic gear and other appliances. Everything in these environments was influenced by television science fiction, in that they closely resembled the quasi-futuristic backdrops of shows such as Buck Rogers and The Jetsons. At first Kenny Scharf worked in closet sized spaces, but he moved on to do whole installations in galleries. One of his more famous involved these mechanical and electronic objects painted uniformly with kitsch items glued to them. For example, Kenny Scharf would glue plastic dinosaur toys and robots and so on to the tops of the televisions and so on. While Kenny Scharf was a rather regular visitor at the Factory, he and Warhol did not have entirely too much in common with each other.
Perhaps the artist most similar in appearance to Andy Warhol was David Hockney. Much like Warhol, Hockney’s appearance brought him a great deal of notoriety and press coverage. David Hockney also emerged at the same time as the Beatles and rode, perhaps, on Page 5 their shock value. The early nineteen sixty’s was a time of artists coming into their own, the beginning of the explosion of the artistic counterculture, with which Andy Warhol fit right in. Hockney wore granny glasses, gold lame, and peroxided his hair. He was perhaps destined for stardom; he in fact already had notoriety before even emerging from college. This was mostly due to his amazing productivity. His work had a unique photographic quality, due, of course, mostly to the fact the he worked largely from photos.
He and Warhol were not exactly close friends but nonetheless they had a bond, as can be seen in their personal style. The next few artists had little really in common with Andy Warhol both stylistically and personally. They did however frequent the Factory, which makes them worthwhile to mention. It is not beyond speculation that the mere socializing at Warhol’s personal studio influenced them in some form or another. Richard Serra had a very simple and very unique form of sculpture. He would balance large sheets of lead or steal.
These sheets were very rough both texturally and visually. Richard Serra purposely left them this way; he did not feel that they needed to be molested in any way. Rather, the beauty in his pieces was that he would balance them in various ways. In one piece, entitled One ton Prop, he balanced four five hundred-pound sheets of lead on each other. The idea here was that they resembled a stack of cards.
They completely belied their weight; they appeared to be very light and easy to balance. Part of what made his pieces so interesting is that they easily could have killed a man if they were to be somehow knocked over. Bizarre as it is, this is apparently a great appeal in art. Another strange idea for art belonged to Christo. This Bulgarian-born artist escaped the Iron Curtain, went to Paris, and started wrapping things in cloth.
These wrapped objects varied greatly from a woman to a chair, to nothing. In due time, his ideas expanded, and Christo moved on to wrapping whole buildings. This couldn’t last forever, as Christo’s attention again wavered, this time to nature. In southern California Christo and his wife got permission to string together an amazingly long fence made of billowy fabric. This fence stretched across flowing, rolling hilltops and valleys and eventually terminated in the Pacific Ocean.
But it doesn’t end there, for Christo’s ambitious undertakings continue today. Another artist in this vein is Marisol. The full name is Marisol Escobar, but this is not really of any consequence. Marisol is a Paris-born Venezuelan artist who worked out of New York. This rather amazing worldliness gave her a unique perspective. Her art mostly consisted of making mixed media assemblages.
These assemblages were usually portraits of famous people, for instance Andy Warhol. Others she immortalized include Linden Johnson and John Page 6 Wayne. Her work usually consisted of wood, plaster, paint and whatever objects she happened to find and like. The last artist of the type discussed above is Julian Schnabel. Julian is Brooklyn born and yet raised in Texas. She in a way ignited the Nineteen-Eighties.
When she burst onto the scene art was rather static, rather boring. She started showing with her epically scaled works. The sheer size and the iconographic imagery shocked artist of the time, as did her cultural archetypes. She came along at the end of Warhol’s career; he didn’t really have time to be influenced by her. But her electric style certainly influenced the people she would have seen when being around Andy Warhol and the people he saw at the time. The last visual artist to be talked about is Roy Lichtenstein.
Roy Lichtenstein is easily the artist most like Andy Warhol stylistically. They basically broke onto the art scene at the same time. They each had an amazing simplistic approach. The difference between the two was perhaps Lichtenstein’s more detailed approach. While Andy Warhol loved the silk screen and the repeatedly printed picture, Lichtenstein preferred to majestically blow up single pictures. He grossly enlarged comic strip panels from the time, including detail down to the dots used by newspaper printing presses.
This approach of the colored dots is called Ben Day, named after the pioneer of the process. Roy Lichtenstein’s most famous example is Whaam. This amazing work of art is approximately fourteen feet across. The scale and skill of this work is what set it apart. Also the use of limited, flat colors helped to perfect the theme.
It could be said also that Lichtenstein mildly parodied these images so familiar to the American pop culture. In addition to these painting, Roy Lichtenstein made both large adaptations of Pablo Picasso paintings and sculpture. His sculpture echoed his love of the pure, solid line. One could say that his sculptures were far more graphically oriented than three-dimensionally oriented. These two amazing artists were no doubt friends, if for nothing more than the common bond they shared in their bold artistic statements, their establishment of a movement.
The Beatniks were also seen frequently around The Factory in the early days. The Factory must have been the absolute best place to se and be seen, as can be judged from the scope of people present there. The most important and popular Beatniks, Allen Ginsburg, Jack Kerouac, and Ken Kesey all frequented the Factory. These men quite possibly influenced each other through their individual sense of freedom. Each, however, had their own desires.
Kerouac, for instance, did not really know how to deal with celebrity, he simply wanted to be and do. Page 7 When he wrote On the Road he simply wanted to chronicle the adventures that he had travelling. He did not exactly want to shock anyone, as Andy Warhol and Allen Ginsburg did. The fame that came with On the Road was never very comfortable for Jack Kerouac. Allen Ginsburg, on the other hand, had not problem with his celebrity.
When he first publicly read Howl he got exactly the response he was after. His book was banned in several places, which gave him immediate notoriety. In this way he and Andy Warhol were alike. They were both thoroughly open and frank in public; in fact it could be said that both men enjoyed shocking the general public. Both led exceedingly abnormal lives, enjoying the shock value of it all.
The main difference was that Ginsburg communicated with writing, while Warhol stuck mainly to his art. Ken Kesey was also a Beatnik regular. Perhaps crazier than the rest, he still managed to write arguably the most sensible book. When chronicled in On the Road, Ken Kesey was the insane Dean Moriarty. Given this character, he most likely would have fit right in at the hectic, hedonistic scene of the Factory in the early Nineteen-Sixties.
Each of the artists mentioned here met Andy Warhol at different phases of his career. While the majority of them were seen at the infamous Factory, some came both before and after. Regardless of where they met and knew Warhol, they each had their own individual lessons and impacts. Jean-Michel Basquait was perhaps the last artist to come around and really know Andy Warhol. Julia Warhol was certainly the first.
In between were very many amazing artists, almost too many artists to talk about. The most important, of course, have been mentioned in this paper. Andy Warhol is a man still impacting art long after his death. His visionary style changed forever the face of both commercial art and gallery art. Hopefully this paper communicated a bit of that genius.
ANDY WARHOL, THE FACTORY, AND THE IMPRINT MADE IN ART Arts Essays.