MulÂtiÂcolÂored MarÂiÂlyn MonÂroes, a can of CampÂbelÂl’s soup, that silÂver wig, some vague but imporÂtant role in the forÂmaÂtion of the VelÂvet UnderÂground — how much, apart from a scatÂterÂing of culÂturÂal scraps such as these, does any of us realÂly know about Andy Warhol, one of the definÂers of art in the secÂond half of the twenÂtiÂeth cenÂtuÂry? EarÂliÂer this year, we feaÂtured a video from John Green and Sarah Urist Green’s The Art AssignÂment that made the case for Andy Warhol in three minÂutes. AssumÂing you accept its arguÂment, where to look next to culÂtiÂvate a deepÂer appreÂciÂaÂtion of the man who proÂduced those MarÂiÂlyns and CampÂbelÂl’s soup cans, wore that silÂver wig, and presided over the enviÂronÂment in which the likes of the VelÂvet UnderÂground could take shape?
Alain de BotÂton’s School of Life, not just an instiÂtuÂtion but a proÂlifÂic makÂer of eduÂcaÂtionÂal videos, has douÂbled down on the case for Andy Warhol with a six-minute video of their own, which comes as the first in their series of short primers on figÂures from art and archiÂtecÂture. (See a comÂplete playlist of those videos below.) “Andy Warhol was the most glamÂorous figÂure of 20th-cenÂtuÂry AmerÂiÂcan art,” de BotÂton unequivÂoÂcalÂly states, adding that his “great achieveÂment was to develÂop a genÂerÂous and helpÂful view of two major forces in modÂern sociÂety: comÂmerce and celebriÂty.”
WithÂin this frameÂwork, the lesÂson finds “four big ideas behind Andy Warhol’s work, which can teach us a more inspired way of lookÂing at the world and prompt us to build a betÂter sociÂety” — and which, in this techÂnoÂlogÂiÂcal age of which Warhol himÂself could only dream, have become more easÂiÂly impleÂmentable than ever.
These ideas, on which the video elabÂoÂrates verÂbalÂly and visuÂalÂly, have to do with (1) appreÂciÂatÂing life by examÂinÂing the stuff of it — such as a humÂble soup can — more closeÂly, (2) improvÂing the workÂings of sociÂety by disÂtribÂutÂing glamÂor difÂferÂentÂly, grantÂiÂng highÂer staÂtus to maids and showÂing the nation the PresÂiÂdent cleanÂing a toiÂlet once in a while, (3) approachÂing busiÂness as a parÂticÂuÂlarÂly fasÂciÂnatÂing form of art while disÂtribÂutÂing art more wideÂly by approachÂing it as a busiÂness, and (4) using an open and non-vinÂdicÂtive perÂsonÂalÂiÂty as a kind of “brand” to unite seemÂingÂly disÂparate artisÂtic and comÂmerÂcial venÂtures into a coherÂent whole. Will any of this get you shopÂping for a MarÂiÂlyn print of your own? It may or may not, but you won’t come away withÂout a bit of inspiÂraÂtion for how to take your own purÂsuits to a new, more WarhoÂlian levÂel.
RelatÂed ConÂtent:
The Case for Andy Warhol in Three MinÂutes
Watch the UncenÂsored Andy Warhol-DirectÂed Video for The Cars’ Hit “HelÂlo Again” (NSFW)
Andy Warhol Shoots “Screen Tests” of Nico, Bob Dylan & SalÂvador DalĂ
Andy Warhol’s 1965 Film, Vinyl, AdaptÂed from AnthoÂny Burgess’ A ClockÂwork Orange
The Odd CouÂple: Jean-Michel Basquiat and Andy Warhol, 1986
ColÂin MarÂshall writes elseÂwhere on cities, lanÂguage, Asia, and men’s style. He’s at work on a book about Los AngeÂles, A Los AngeÂles Primer, the video series The City in CinÂeÂma, and the crowdÂfundÂed jourÂnalÂism project Where Is the City of the Future? FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.