By Gary Indiana
In the summertime of 1962, Andy Warhol unveiled 32 Soup Cans in his first solo exhibition on the Ferus Gallery in Los Angeles—and despatched the artwork international reeling. The responses ran from incredulity to outrage; the poet Taylor Mead defined the exhibition as “a extraordinary slap within the face to America.” The exhibition positioned Warhol at the map—and reworked American tradition eternally. nearly single-handedly, Warhol collapsed the centuries-old contrast among “high” and “low” tradition, and created a brand new and considerably sleek aesthetic.In Andy Warhol and the Can that offered the World, the dazzlingly flexible critic Gary Indiana tells the tale of the genesis and effect of this iconic murals. With power, wit, and super perspicacity, Indiana recovers the excitement and controversy of the Pop paintings Revolution and the intense, tormented, and profoundly narcissistic determine at its forefront.
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The Akh was the 'effective personality' of a man and also the soul, which left the body at death to dwell in the heavens. The Ba was more like a ghost which could move back and forth from the dead body. The presence of these beliefs is felt not only in their sepulchral art, but behind every aspect of culture. its full Nothing more effectively sets ancient Egypt apart from all other civilizations. Their visual arts were largely dedicated to providing suitable dwellings for these spiritual emanations— statues were perpetual bodies some portion of it, to inhabit for ever; for the Ka, or reliefs depicting the pleasures of this life ensured their prolongation in the next, those depicting historical events guaranteed the everlasting power of Egypt; even the portrayal of religious rites was intended to ensure the eternal well-being of the gods.
And, despite periodic mutations and innovations, ancient Egyptian art always retained a strong and immediately recognizable flavour— to a degree unmatched by that of any other civilization, except perhaps the Chinese. Attitudes to life and death peculiar to the ancient Egyptians, and still not fully elucidated, determined the form of almost all their art from well before and until long after the pyramids. The pharaohs were regarded as gods and not, like the rulers of Sumer, merely the stewards or representatives of the gods.
Their visual arts were largely dedicated to providing suitable dwellings for these spiritual emanations— statues were perpetual bodies some portion of it, to inhabit for ever; for the Ka, or reliefs depicting the pleasures of this life ensured their prolongation in the next, those depicting historical events guaranteed the everlasting power of Egypt; even the portrayal of religious rites was intended to ensure the eternal well-being of the gods. 'The Egyptians say that their houses are only temporary lodgings, and their graves their houses', wrote the Greek historian Diodorus Siculus in the first century EC.