Tag Archive: Andy Warhol


If a biography is judged solely by its length and detail, then Blake Gopnik’s 900-page doorstopper about Andy Warhol can be safely adjudged to be definitive. But while I have no doubt that the book covers the key facts of the artist’s life, there still seems to be something missing.

Time and again, Gopnik tells us about Warhol’s shyness and social awkwardness but it is not made sufficiently clear how he still evolved to become such a charismatic and influential figure. In other words, we never get to the root of the magnetism that drew such a devoted following, particularly among life’s misfits, mavericks and outsiders. Continue reading

November 2020 was the first month since I began this blog in which I wrote precisely ZERO posts. A symbol of a dismal year. Despite this writer’s block I got more views since January 2019. Perhaps this is what Andy Warhol meant by “the synthesis of nothingness” .

(n.b. “Selecting a featured image is recommended for an optimal user experience” say the WordPress advisors but in the same Warholian spirit, I’ll pass.)

The Lonely City: Adventures in the Art of Being Alone by Olivia Laing (Picador, 2016).

lonelycity“When you have no-one, no-one can hurt you”. The bleak lyrics by Will Oldham from ‘You Will Miss Me When I Burn’ by Palace Brothers are hardly life affirming. Olivia Laing takes a more positive line from Dennis Wilson’s ‘Thoughts of You’ in which the Beach Boy sings how “Loneliness is a very special place”.

However, I doubt that many people equate loneliness with specialness. Most of the time it’s a condition that generates feelings of shame, self loathing and depression. The invisible cloak we wear is a burden rather than a protection.

The ‘adventures’ of Olivia Laing’s compassionate and insightful book nevertheless show how being alone can be, and has been,  the stimulus to greater self knowledge and the impetus towards personal creativity. Continue reading

Nico: a faded femme fatale

NICO, 1988 directed by Susanna Nicchiarelli (Italy/Belgium, 2017)

Nico-1988By common consensus, the career high of Nico (Christa Päffgen b. 16th October 1938 d. 18th July 1988) came in the late 1960s as a Warhol superstar in Chelsea Girls and as the singer of three songs on the The Velvet Underground’s groundbreaking debut album.

While a conventional biopic would have centred on this heady, decadent period, Susanna Nicchiarelli chooses instead to focus on the last three years of Nico’s life. At this point, the artist’s striking looks had declined to the point that she openly conceded that she’d become “a fat junky”.

As the film shows, Nico never stopped being feisty and firey but makes no bones about the fact that the looks which brought her fame had suffered through a life of excess. She is no longer the stunning blonde model whose long list of lovers included cult celebrities like Alain Delon, Brian Jones, John Cale and Jim Morrison. Continue reading

WARHOL – Palazzo Cipolla, Rome 

FRIDA KAHLO – Scuderie del Quirinale, Rome 

Andy Warhol Self-Portrait 1986

Andy Warhol Self-Portrait 1986

Frida Kahlo - Self Portrairt With Thorn Necklace And Hummingbird  (1940)

Frida Kahlo – Self portrait With Thorn Necklace And Hummingbird (1940)

 

 

 

 

 

 

 

 

 

 

 

 

 

On the face of it these two artists have little in common but after seeing the exhibitions of their works  in Rome back to back I got to thinking about the similarities in their distinctive styles.

Neither are what you would call classically good-looking but both are immediately recognisable through their self portraits, most of which feature them staring, straight-faced at the viewer.

“I am the subject I know best”, said Frida Kahlo while Andy Warhol brazenly presented himself on a par with the other celebrities he idolised.

They made no attempt to airbrush out the flaws in their appearance. Kahlo’s amazing eyebrows and visible moustache challenge conventional notions of female beauty while by donning silver wig and maintaining an impassive expression Warhol seems to be saying ‘Yes, I’m a freak – what of it?’

Kahlo and Warhol both created their own realities and , at the same time, each cultivated an enigmatic air of mystery. They anticipated what anyone who craves their 15 minutes of fame now takes for granted,  ie. the fine line between success and failure depends on how well you are able to control and manipulate your public image.

In their lifetimes Magdalena Carmen Frida Kahlo y Calderón and Andrew Warhola achieved a cult following.

In death, exhibitions like these in Rome ensure they respectively maintain the kind of iconic status you suspect they individually knew was theirs by birthright.