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<\/a>\nSur cette photo par Billy Name, Viva (Janet Susan Mary Hoffmann) et Piero Gilardi (voir : http:\/\/jlggb.net\/blog\/?p=5658<\/a> et https:\/\/jlggb.net\/blog2\/?p=2595<\/a>)<\/p>\n
Andy Warhol<\/em>, ouvrage con\u00e7u par by Andy Warhol, Kasper Konig, Pontus Hulten et Olle Granath (conservateur du mus\u00e9e \u2014 Billy Kl\u00fcver a aussi contribu\u00e9 \u00e0 l’exposition), Moderna Museet, Stockholm, f\u00e9vrier-mars 1968, 21 x 27 cm, environ 500 pages (elles ne sont pas num\u00e9rot\u00e9es) dont 15 pages de texte. \u00c9dition originale, imprim\u00e9e \u00e0 Malm\u00f6 en 1968. Malheureusement, l’embo\u00eetage en carton a \u00e9t\u00e9 perdu dans un d\u00e9m\u00e9nagement. Comme dans tous les exemplaires connus, la reliure (pages coll\u00e9es sans couture) est en train de c\u00e9der : certaines pages sont d\u00e9tach\u00e9es (depuis, une nouvelle technique de colle permet les livres<\/a> \u00e0 la fois tr\u00e8s \u00e9pais et tr\u00e8s souples, comme dans les collections \u00ab Bouquins \u00bb ou \u00ab Quarto \u00bb). Mais c’est une raret\u00e9, malgr\u00e9 son tirage massif (on l’annonce de 800 \u00e0 1600 euros dans les librairies de livres<\/a> d’artistes). Plusieurs des aphorismes pr\u00eat\u00e9s \u00e0 Warhol proviennent de ce catalogue, dans ce beau caract\u00e8re (Falstaff de Monotype, 1931). Le livre<\/a> entier est imprim\u00e9 en typographie sur rotative, ce qui donne aux photographies un rendu et un toucher \u00e9tonnants, sur un papier frictionn\u00e9 tr\u00e8s fin de magazine. Ce livre<\/a> est rest\u00e9 pour moi la r\u00e9f\u00e9rence absolue d’un \u00ab\u00a0album\u00a0\u00bb, o\u00f9 les photos s’encha\u00eenent sans l\u00e9gendes, une par page.<\/p>\n Ce catalogue a \u00e9t\u00e9 r\u00e9\u00e9dit\u00e9 en 2008 \u00e0 l’occasion de l’exposition du quarantenaire \u00e0 Stockholm :<\/em><\/p>\n Andy Warhol<\/em> Willem de Rooij on Andy Warhol Andy Warhol\u2019s first European museum solo show took place at the Moderna Museet in Stockholm from February through March 1968. Pontus Hult\u00e9n curated the exhibition together with Olle Granath. The exhibition came with a catalogue that was, like the show, named \u2018Andy Warhol\u2019.<\/p>\n Kasper K\u00f6nig, who worked for the Moderna Museet as an intern of sorts in New York, developed a basic concept for the book. Reading Warhol\u2019s work in the context of On Kawara and other conceptual contemporaries, K\u00f6nig had produced a radical grid that consisted of four groups of images: one group documenting Warhol\u2019s artworks, two groups documenting Warhol\u2019s social and professional milieu, and one group documenting a selection of particularly outraged Warhol reviews clipped from provincial American newspapers. After Warhol had given his approval to this first proposal, K\u00f6nig proceeded to create a dummy. Ivan Karp, who worked with Warhol\u2019s dealer Leo Castelli, gave K\u00f6nig access to their documentation archive. K\u00f6nig produced a sequence of pages on the gallery\u2019s Xerox machine that mimicked as well as documented Warhol\u2019s work: many of the available images were photocopied by K\u00f6nig several times, and ended up in the book as self-elaborations. Thus a repetitive structure was created that expands beyond Warhol\u2019s (serial) artworks. Here is where the book started to become a piece (a multiple) rather than a catalogue, because the mode of production as well as the formal outcome mirrored procedures and politics that were at work at the Factory at the time. In the final version of the book, only Karp\u2019s original documentation images are titled; K\u00f6nig\u2019s photocopies are not. Most of the works documented in this first image section were not shown in Stockholm; they merely served as source material.<\/p>\n For the second and third sections of the book K\u00f6nig commissioned Billy Name, chronicler and inhabitant of the Factory, and Stephen Eric Shore, a teenage Warhol groupie at the time. Both Name and Shore composed rhythms of their own sequences, and neither of them added any captions: they felt the images should speak for themselves. This absence of text contributed to the object-status of the book.<\/p>\n Name\u2019s sequence consists of 274 images, each bleeding off an entire page. The sequence functions as a record of how Warhol and his collaborators lived, worked and celebrated, in – and outside the Factory. Most of the images have an informal character, like snapshots. Many are overexposed, unfocused or tilted, making for a visual dynamic that derails into a delirious storyboard. This series too, can be seen as an autonomous (time-based?) piece, more than a documentary exercise.<\/p>\n Shore\u2019s sequence consists of 170 images, one per page. His images are more formal in their framing than Name\u2019s. In comparison his approach seems detached, his images of the Factory uncharacteristically quiet and concentrated. Each image is reproduced in its entirety, the edges of the negative emphasized by white borders. Shore\u2019s se-quence thus reads like an exhibition, not like a single piece.<\/p>\n When K\u00f6nig returned his dummy to the Factory, Warhol scrutinized it carefully but made only a small number of changes. Contrary to what Warhol wanted to be popular belief, those who produced input at the Factory were carefully monitored.<\/p>\n The final edits on the dummy were made in Stockholm by Olle Granath. He compiled a small selection of Warhol quotes and aphorisms from a stack of books and clippings collected by Hult\u00e9n and placed them in the book as an introduction before the image sections. The graphic design was by John Melin and G\u00f6sta Svensson. Melin produced the typography in a style he had previously used for the Moderna Museet\u2019s catalogues and posters. Because the idea was to print a large edition (eventually: 200.000), for a low price (eventually: $1), Andy Warhol was printed like a newspaper on the rotary presses of the Sydsvenska Dagbladets; an additional signed deluxe version with gilded fore-edge was produced in a small edition. The newsprint used was not only cheap, but also gave the book an ephemeral quality that appealed to the editors. All images are rendered in black-and-white, except the cover, on which a flower motif derived from Warhol\u2019s paintings is printed in five colors. The envisaged press-clippings section had to be dropped: the book would have become too heavy to be efficiently stored at the distributors.<\/p>\n The exhibition in Stockholm attracted a relatively small number of visitors, due to the extremely cold winter, but also to the fact that leftist radicalization increasingly drove the Museets public to mistrust anything American or consumerist. There was no space yet for a more complex reading of Warhol\u2019s relation to consumption. The book, however, became very popular: its enormous edition allowed it to be distributed in nightclubs and record stores, not only museums. A timeless update on the latest from New York, it first became a cult object, then a collector\u2019s item.<\/p><\/blockquote>\n Ce texte provient du site du Moderna Museet de Stockholm : Voir aussi : Cat\u00e9gorie \u00ab De la biblioth\u00e8que \u00bb. Dossier N\u00b01 r\u00e9alis\u00e9 le jeudi 23 d\u00e9cembre 2010. Sur cette photo par Billy Name, Viva (Janet Susan Mary Hoffmann) et Piero Gilardi (voir : http:\/\/jlggb.net\/blog\/?p=5658 et https:\/\/jlggb.net\/blog2\/?p=2595) Phrase d’Andy Warhol (avec traduction en su\u00e9dois), page 10. Andy Warhol, ouvrage con\u00e7u par by Andy Warhol, Kasper Konig, Pontus Hulten et Olle … Continuer la lecture de De la biblioth\u00e8que : Andy Warhol, Stockholm, 1968<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[201,519,95,35,11],"tags":[518,515,517,516],"class_list":["post-3558","post","type-post","status-publish","format-standard","hentry","category-collection","category-de-la-bibliotheque","category-exposition","category-langage","category-livre","tag-518","tag-catalogue","tag-stockholm","tag-warhol"],"_links":{"self":[{"href":"https:\/\/jlggb.net\/blog2\/index.php?rest_route=\/wp\/v2\/posts\/3558","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jlggb.net\/blog2\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jlggb.net\/blog2\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jlggb.net\/blog2\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/jlggb.net\/blog2\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3558"}],"version-history":[{"count":1,"href":"https:\/\/jlggb.net\/blog2\/index.php?rest_route=\/wp\/v2\/posts\/3558\/revisions"}],"predecessor-version":[{"id":8504,"href":"https:\/\/jlggb.net\/blog2\/index.php?rest_route=\/wp\/v2\/posts\/3558\/revisions\/8504"}],"wp:attachment":[{"href":"https:\/\/jlggb.net\/blog2\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3558"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jlggb.net\/blog2\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3558"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jlggb.net\/blog2\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3558"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/jlggb.net\/blog2\/wp-content\/uploads\/2010\/12\/look-at-pictures.jpg\" "\\"\\"")
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\nPhrase d’Andy Warhol (avec traduction en su\u00e9dois), page 10.<\/p>\n
\nOther Voices, Other Rooms<\/em>
\n9 february – 4 May 2008<\/p>\n
\nText from the catalogue. Written after telephone conversations with Kasper K\u00f6nig and Olle Granath, 3 and 4 September 2007<\/p>\n
\nhttp:\/\/www.modernamuseet.se\/en\/Stockholm\/Exhibitions\/2008\/Andy-Warhol—Other-Voices-Other-Rooms\/Willem-de-Rooij-on-the-Andy-Wa\/<\/a><\/p>\n
\nhttp:\/\/www.modernamuseet.se\/en\/Stockholm\/Exhibitions\/2008\/Andy-Warhol—Other-Voices-Other-Rooms\/With-Andy-Warhol-1968-text-Ol\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"