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"goodwin jordan warhol" Discussed on The Art Newspaper Weekly

The Art Newspaper Weekly

13:12 min | 1 year ago

"goodwin jordan warhol" Discussed on The Art Newspaper Weekly

"Now. In Nineteen ninety-six the year before hall died. He had an exhibition the Anthony d'affaires Gallery in London a twenty year old student of the cool towed Institute of London met him the private view and was later invited by Warhol will halt to New York to visit the factory. That student was Jeremy Della the British artist he's continued to reflect some of the key elements of Warhol's work in his own practice indeed in two thousand fourteen della expert the connections between Warhol and another of his Heroes William Morris an an exhibition at Modena Oxford Della came to a studio at so radio in London in November last year to talk to me about meeting Whoa Ho and about his enduring significance Jeremy if we could begin with your first experiences of Andy Warhol how we whistle teenager looking at work somewhere it would definitely been probably through the Maryland through maybe seeing that tate yeah as it was then and <hes> just being aware of him through the velvet underground photographs of him just threw him being dominant character really and <hes> hearing stories about him and being retrieved by dressed as a bit the Gulf so as of sixteen year old so he adequate goth look at the head wasn't black obviously but just the whole look joint black but he you know he did wear black but he was just a very appealing character we use of re I certainly my first experiences of warhorse of reading about him by musical artists talking about him in music magazines and stuff like that. Do you sort of art conscious as a young man. I was conscious in that respect yes and so I did I knew about him. I I think it's probably really photographs of him which were more intriguing him Italy's funny looking people and doing stuff and looking very blank and with the wig and in these situations and sewn so I think he's very appealing. Heating vessel dressing up aspect of him was very painting and also his identity creating this identity for himself. If you're not lesson you quite interested in that aspect of people when they do that and the five he looked like he was having a really good time though you'd never didn't really small that much but it just like he was misbehaving in public when he was out everything he did was form of rebellion ready and his whole life was was essentially the rebellion against humanity and I think that fat I think is something that we have really that's a really important part of him ready and so when you were studying history at the cool told we you already very contemporary art focused Acoust- that stage no I wasn't I mean I has the court old was not contemporary art absolutely was the APP so upset so as an interest I had anyway right so of aware contemporary the wherever characters like Goodwin Jordan Warhol and you know these big people men mainly and they were intriguing characters and in a way Goodwin George took a lot from Mojo I would argue attempts to that sinus famous not exactly robotic ticked me this blank demeanor and just watching and so on and will so just work looked will hold in I would argue with the colors and the techniques so yes I was interested in artists the two characters as well and so you went to the Anthony d'affaires exhibition in one thousand nine hundred six and actually met Warhol there while he saw he was doing sign. He'll signing things that have on rushed to the table and go thing signed and I did few things signed and then afterwards one of his entourage said Oh come come comp- though tell on Thursday night selena cheese day and just hang out concoct replaced it with oil a will do that. Actually I'm I'm. I'm just going to go and do that. took a friendly me and we had this funny couple of hours with Whoa Ho and his own sororities people sitting around. Can you set the scene. That's in the Ritz Right. It's in the Ritz. It's a we dressed up a little bit. Mike Chris in suits and of funny hats took bag of props with us like hat's a weeks and all sorts of things we didn't know what to expect both a bit nervous and we went to the sweet the ritzy hat and we coq ten and they'll just a bunch of middle aged men sitting around watching Benny Hill with a sound turn down and Roxy Music Great tits type playing in Ghetto blaster which if you think about is pretty good so of installation and it's I'm right and there he was with these men who look a bit board really strange and just sitting around waiting to happen when we were what was with the entertainment vice me we went Emma chatting pitcher tight can so capone funny. He's funny hats and just mucks about relief street as mocked about and then there's a funny fighter. You're actually view with wore her and you've got a New York Yankees based Black New York. There's another one that's another smother photographs vessels missiles or like puzzle blogs like on around each like wearing funny clothes and it was quite innocent really and <hes> thankfully and so we just then he said Oh come out to the factory. I'm doing a T._v.. Show just come out and whatever I mean just again. I just thought well. I'M GONNA turn down. I will regret this not doing this happens. I'M GONNA regret not doing it so we went out that some of and spent two weeks hanging around the factory working on this M._t._v. show he he's doing being filmed for just really hanging around so we saw him the and he would just wonder around the factory. That's how I seemed when he was actually working very hard I think but he was he was just wondering about in these paints spattered black jeans gains in black powder neck Chang to people in one. Oh we can't just of the sort of myth of factory or the all the stories about the factory that the factory as an idea and people in it is just how as a teenager you wanna live your life basically in this room always funny people and rock and roll as glamorous women and whatnot and it just seemed like that how you won't live to be it just looked amazing and so the factory wasn't like that in one thousand eight six but it's still super exciting to be there. Can you describe some of the spaces because it was it was by that stays there was sort of multiple rooms big big how <hes> big office building basically a nice building but it was it was an office building about four flaws the roof roof you'd walk through the factory and you'd get you into another building which was interview so those that as well. which is the magazine Yes juice so you know he had his magazine? They had film production. He had his office this yet his office <hes> which was full of boxes and books and magazines which wasn't even a chair in his full. You know he had no he. Didn't you know his office unusable basically but it was it was office of a relaxed ext office environment. I would say that makes sense some stuffed animals around pretty pollens on the desk but you know you were that you you in. That place is very exciting. D Did that mark that moment when he he made that shift from you'll studying history and you make that shift into thinking there's a possibility of being an artist. The possibility is a good word because it's just showed what was possible war what was actually possible in the world as an artist. You basically did whatever you wanted. Unheated Savory wanted that's why they seemed like it. Complete freedom it wasn't actually the case need the diaries and find out about what was going on at that time his quite frustrated but's. It's just like he could do he wounded and <hes> yes dismayed the world of Baroque altarpieces much I love them just not particularly become really compete with that with with contemporary life and so I think about to college finish my degree. Nobody knew what to do with the experience of being the really didn't know what it took some time to process in a way but I just knew I'd been ruined by <hes> in terms of an history my life in history had just been destroyed by going to see him and one of the striking connections I think between your work and Andy Warhol's life work is is this connection with with music and particularly comportment Warhol's famous cavs for the velvet underground. Yes and rolling is known sticky fingered etc so yes yes but also just that sort of spiritual connection between art and music and it seems to me that's right of the hard what you do yes yes it. Is that existed before. Really you know the the music connection to music and pop music was about four or five so that was what he but then seeing an artist was seemed to be part that was well was interested in it was quite influential so you always happy to know that and but Yes for music and all thing for me was always huge. Huge instill is I mean maybe less so now so lost touch with pop music but I still have opinions but but yes that. was you know that not having any boundaries. I think it was the interesting thing with him. Film magazine Music Arts a performance in a way you know his life was performance as for me as is a great influence in that respect and the spicer say the fact that he so to corralled people together into interesting situations and you think about the films <hes> very many of them warhawks setting up a situation and seeing what happens in and you see that to a certain degree in your work as well yes little bit. I mean a very different situation yet but he is yes. He was of wire. He's clearly was of wire of people. He wasn't really you take part in things and I had a little bit about me as well very good at taking part and things. I like the papers to take part in. It's a bit of a contradiction in a way that's yes I def- vest uh-huh is definitely a a connection respect. All obviously was an artist who had a very object based practice as well as the sort of more federal Bouma tive in film based works and stuff like that am I don't think of you as somebody who PAJIC's objects. I'm not done so that's a huge difference. I mean his his in ways where it was quite a lot is quite traditional was painting was net and <hes> and I think no. We don't have that much Komen really in. I mean I wouldn't compare myself anyway but I just think yes. I mean the way he's responsible for law problems in the cards. I think you know this concentration money the love of money and the way people work and talk about us I mean he he is one of the fest people to talk in those times about <hes> and and the ways prices have just been inflated as well. I mean that's nothing doesn't know his problem and the idea of office wants to be famous and all that kind of stuff about unleashed many Damon's in the art world he's second right artists who think they can be like him. Yes he he. He did open a can of worms and then as left us of workout to do that kind of worms dot o._R._G.. I agree with that and I think one of the things about Warhol was that he's he's understanding of those mechanisms and the this sort of infrastructures of those sort of power all structures if you like we was much more sophisticated than he's often given credit for absolutely I mean he saw if a whole of America from top to bottom you know he loved hanging out with rich people but he despised them as well and <hes> if you when you see doesn't have much good to say about the mm-hmm when you read the diaries and he thought he was I think he was very aware of social issues and famously. I still enough it's true and all he did do the soup kitchen thing on Friday evenings toward and I just done if that's true or yeah well don't have to salvo the curator. The Whitney suggested it is true if that's the case and he was going to the top on the bottom of America so he's very wear hats and he came from a very poor background. That's why I might an exhibition about William Morrison Warhol a few years ago and they both of them Morris to in Morris had clients who with some of the richest people in the world but also he would travel round Britain giving lectures and talks and an meeting people who are some of the poorest people in the country and they both with super super aware of that and we're Kinda quite angry buyers well Morris sent Morris Insane and I think it probably did that with wool hose where he probably quite angry by these wealthy people just thought not worthy of it of as riches..

Andy Warhol William Morris Goodwin Jordan Warhol New York Jeremy Della London William Morrison Warhol Italy Gulf Maryland Anthony d'affaires Gallery Modena Oxford Della selena cool towed Institute of London America Mike Chris tate Music Arts Benny Hill