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When an artist creates, intention – elementary to the creative process – is paradoxically secondary to the finished work. Once the artwork is on view in the larger world, it must stand on its own, engaging the audience on its aesthetic merits and creating a meaningful dialogue by means of its content and subject matter. The artist’s intention becomes a historical footnote, a peripheral fact that may or may not relate to how and what the artwork has to say. The artist’s job is over now and the artwork takes on a life of its own.
Martin Buber (1980) acrylic and ink on canvas by Andy Warhol – “Ten Portraits of Jews of the Twentieth Century” – Jewish Museum, New York.
Franz Kafka (1980) acrylic and ink on canvas byAndy Warhol – “Ten Portraits of Jews of the Twentieth Century” – Jewish Museum, New York.
His celebration of popular culture, fame and commercialism scandalized much of the art world by attacking modernist icons of originality and self-expression. Many years later, his work would be characterized as an early expression of Postmodernism, an approach to art and culture that delights in deconstructing the normative, reveling in the ironic and, seemingly whimsical, finally refusing to take a principled stand on almost anything.
Gertrude Stein (1980) acrylic and ink on canvas by Andy Warhol – “Ten Portraits of Jews of the Twentieth Century” – Jewish Museum, New York.
Sigmund Freud (1980) acrylic and ink on canvas by Andy Warhol – “Ten Portraits of Jews of the Twentieth Century” – Jewish Museum, New York.
Richard McBee is a painter and writer on Jewish Art. Please feel free to contact him with comments at firstname.lastname@example.org
About the Author: Richard McBee is a painter and writer on Jewish Art. Contact him at email@example.com
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Printed from: http://www.jewishpress.com/sections/warhols-jews/2008/04/02/
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