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Published on February 26, 2008

Author: Tomasina


Slide1:  Visiting ‘Andy Warhol’: A Teachers’ Guide 8 December 2007 – 30 March 2008 This exhibition has been organised by the Queensland Art Gallery and The Andy Warhol Museum, one of the four Carnegie Museums of Pittsburgh. © QUEENSLAND ART GALLERY 2007 / ALL ANDY WARHOL ART WORKS © THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS INC. THE ‘ANDY WARHOL’ EXHIBITION HAS BEEN ORGANISED BY THE QUEENSLAND ART GALLERY AND THE ANDY WARHOL MUSEUM, ONE OF THE FOUR CARNEGIE MUSEUMS OF PITTSBURGH. FUNDING FOR INSURANCE HAS BEEN PROVIDED THROUGH THE QUEENSLAND GOVERNMENT EXHIBITION INDEMNITY SCHEME, ADMINISTERED BY ARTS QUEENSLAND. PREPARED BY ACCESS, EDUCATION AND REGIONAL SERVICES, QUEENSLAND ART GALLERY / GALLERY OF MODERN ART Slide2:  Contents ‘Andy Warhol’ at the Gallery of Modern Art Exhibition layout Facts about Andy Warhol What is Pop art? Exploring Andy Warhol’s techniques Themes in Andy Warhol’s work Visiting ‘Andy Warhol’ Curriculum information for teachers: a. Early Years b. Years 1–10 c. Senior ‘Andy Warhol’ education resources Timeline: Andy Warhol’s life and art Further information Sponsors Slide3:  ‘Andy Warhol’ at the Gallery of Modern Art Slide4:  ‘Andy Warhol’ is Australia’s first major retrospective of Warhol’s works from the 1950s until his death in 1987. The Gallery of Modern Art (GoMA) is the sole venue for the exhibition. Many of Warhol’s iconic works are on display, including his famous portraits of Marilyn Monroe, Elvis Presley and Mao Zedong. Also featured in the exhibition are Warhol’s self-portraits, the Campbell’s soup cans, paintings from his ‘Death and Disaster’ series, time capsules, episodes from his TV show, films and videos, and issues of Interview magazine. Slide5:  Exhibition layout Slide8:  Facts about Andy Warhol Slide9:  Self-Portrait 1966–67 Acrylic and silkscreen ink on linen 55.9 x 55.9cm The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts Inc. Slide10:  Andy Warhol: is considered one of the most influential artists of the late twentieth century, and a figurehead of the 1960s Pop art movement was born Andrew Warhola in 1928 to immigrant parents from north-eastern Slovakia lived in Pittsburgh, United States, until 1949 when he moved to Manhattan, New York was a successful commercial artist and designer in the 1950s with New York’s major fashion magazines and advertising agencies is most well known for his photographic screenprinting method of painting worked across popular imagery, commercial illustration, film, painting, video, television and publishing in his career. Slide11:  What is Pop art? Slide12:  Cow wallpaper 1966 Screenprint on paper Refabricated for The Andy Warhol Museum, 1994 © The Andy Warhol Foundation for the Visual Arts Inc. ‘The Pop artists did images that anybody walking down Broadway could recognize in a split second — comics, picnic tables, men’s trousers, celebrities, shower curtains, refrigerators, Coke bottles — all the great modern things that the Abstract Expressionists tried so hard not to notice at all.’1 ‘Once you “got” Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again.’2 1 Andy Warhol and Pat Hackett, POPism: The Warhol 60s, London, Hutchinson, 1981, p.39–40. 2 Warhol and Hackett, p.50. Slide13:  Pop art (‘popular’ art) was a movement that emerged primarily in Europe and the United States during the 1950s and 1960s. In their work, many pop artists depicted everyday life and common objects as a way of commenting on the longstanding traditions of ‘high art’. Pop art emerged in the period following World War Two, when rising consumerism coincided with the growth of youth and pop music cultures. Pop artists drew on popular culture and blurred the boundaries of what art could and couldn’t be. Some aspects of everyday culture that Pop artists used in their imagery included: advertisements consumer goods celebrities photographs comic strips. Warhol used new technologies, processes and ideas about making art, including: photographic screenprinting repetition mass production collaboration electronic media Slide14:  Exploring Andy Warhol’s techniques Slide15:  Blotting Lips (Stamped) 1950s Ink and Dr Martin’s Aniline dye on Strathmore paper 36.8 x 28.6cm The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts Inc. Slide16:  What is blotting? Blotting is a type of line drawing that results in broken and hesitant lines. Warhol used the technique in his early commercial works. Warhol often coloured his blotted line drawings with watercolour dyes or gold leaf. The process: Make a pencil line drawing on non-absorbent paper Hinge the drawing to a second sheet of more absorbent paper With a fountain pen, ink over the pencil lines on the original drawing Fold the second sheet of paper along the hinge and transfer the freshly inked lines by pressing the sheets of paper together. Slide17:  Screenprinting Campbell's Soup 1 1968 Colour screenprint Ten sheets: 91.8 x 61.3cm (each), ed. 156/250 Kerry Stokes Collection, Perth © The Andy Warhol Foundation for the Visual Arts Inc. Slide18:  What is screenprinting? Screenprinting is a technique traditionally used in the mass production of commercial products. Screenprinting with photographic images came to be Warhol’s most well-known style. Warhol began screenprinting in 1962. Screenprinting enabled Warhol to appropriate and manipulate photography from a variety of sources and to apply this imagery over painted surfaces as single or multiple images. The process: Black-and-white or high contrast colour photographs are projected onto a screen. The screen is coated with a light-sensitive emulsion that hardens in the areas which have been exposed to light. Coloured paint can be applied to the canvas surface (known as ‘underpainting’); for example, swipes of multi-coloured brush strokes or defined shapes are often seen in Warhol’s works. Discuss and explore: Can you identify the under-painted areas and the printed areas in Warhol’s paintings? How does the artist make each of his screenprinted works different? Slide19:  Reproduction and repetition ‘The reason I’m painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do.’ Andy Warhol, Interview with Gene Swenson, ‘What is Pop Art?’, Art News, November 1963, p.26. Coca-Cola [2] 1961 Casein and crayon on linen 176.5 x 132.7cm The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution Dia Center for the Arts © The Andy Warhol Foundation for the Visual Arts Inc. Slide20:  Many of Warhol’s drawings were copied or traced directly from photographs and magazine reproductions. A projector, or epidioscope, was used to project the images onto canvas, which were then painted. Discuss and explore: How did Warhol adapt traditional techniques in new and inventive ways and why did he do this? What was the result or desired effect? In your everyday life (i.e. in your home or local shopping centre), where do you find repeated images and patterns? Slide21:  Warhol’s film and television Empire (still) 1964 16mm film, black and white, silent, 8 hours and 5 minutes at 16fps © 2007 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Film still courtesy of The Andy Warhol Museum © The Andy Warhol Foundation for the Visual Arts Inc. ‘In the future everybody will be world famous for fifteen minutes.’ Andy Warhol, Giant Size, Phaidon Press, New York, 2006, p.456. Slide22:  Warhol became well known for his experimental filmmaking, which did not follow traditional storytelling formats with a beginning, middle and end. Warhol’s films often captured events already in progress (for example, Sleep 1963 is a five-and-a-half-hour film of poet John Giorno sleeping). Very few of the people who appeared in Warhol’s films were professional actors. Warhol used minimal editing — his trademark technique of ‘strobe cutting’ was a form of in-camera editing in which the camera was rapidly turned off and on again. After his near-fatal shooting by Valerie Solanas in 1968, Warhol compared life with TV. He thought the events on TV were often more real than the events in life. Discuss and explore: How was Warhol’s approach to filmmaking different to Hollywood films of the same era? What kinds of events did Warhol depict in his films? How do these relate to the images he depicted in his paintings? Andy Warhol's ‘Fifteen Minutes’ television program on MTV (1985–87) Warhol’s ‘Fifteen Minutes’ was based on his successful Interview magazine, which included interviews with artists, fashion designers, actors and celebrities, such as artist Georgia O’Keefe, film director Steven Spielberg and model Jerry Hall. There are a small number of works featured in the ‘Andy Warhol’ exhibition that contain adult content or mature themes. Parents, teachers and carers are advised to check for further signage at the exhibition entry and in gallery spaces. Slide23:  Sculpture Brillo Soap Pads Box 1964 Silkscreen ink and house paint on plywood 43.2 x 43.2 x 35.6cm The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts Inc. Slide24:  To create the sculptures, the mechanical reproduction processes of similar objects produced in factories were imitated. Carpenters were commissioned to construct the boxes from plywood, which were then painted and screenprinted with the logos of various consumer products such as Brillo, Heinz, Campbell’s and Del Monte. The sculptures built on some of Warhol’s early paintings of mass-produced products such as his Campbell’s Soup Can paintings of the early 1960s. When installed, the stacked arrangement and uniform surfaces of Warhol’s sculptures reflected the work of the American minimalist artists of the time. Warhol’s installations often mimicked the arrangement of commodities on supermarket shelves, and therefore offered different ways of thinking about contemporary art. Discuss and explore: Why did Warhol select commonly available objects such as canned food boxes and labels as his subject matter? What influence do you think this had on the understanding of art at the time? What products do you think Warhol might have chosen if he created these works today and why? From 1963–64, Warhol began making sculptures based on widely available commodities such as canned peaches, tomato juice and steel wool. Slide25:  Themes in Andy Warhol’s work Slide26:  Portraits ‘I am a deeply superficial person.’1 ‘If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.’2 1 Andy Warhol, Giant Size, Phaidon Press, New York, 2006, p.260. 2 Andy Warhol, in David Moos, ‘Andy Warhol, Painter’, Supernova: Stars, Deaths, and Disasters, 1962–1964, Walker Art Center, Minneapolis, 2005, p.29. Self-Portrait No.9 1986 Acrylic and screenprint on canvas 203.5 x 203.7cm National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of the National Gallery Women's Association, Governor, 1987 © The Andy Warhol Foundation for the Visual Arts Inc. Slide27:  Warhol’s self-portraits Warhol became a celebrity after spending most of his career in the public eye. Few other American artists of Warhol’s era achieved his level of celebrity status. From an early age, Warhol was self-conscious about his appearance. It was rumoured he underwent nose surgery, had collagen injections and wore wigs and toupees to try to hide his imperfections and attain a desirable ‘look’. Warhol’s self-portraits are like masks — they conceal and disguise his appearance. Discuss and explore: Find the self-portraits or photographs in the exhibition where Warhol is playing the following ‘roles’: cool rock star (The Velvet Underground and Nico 1966) celebrity (Self-Portrait 1966–67) drag queen (Altered Image: Five Photographs of Andy Warhol 1982) monster (Tom Savini, Andy Warhol ca.1984) What aspects of Warhol’s portraits could be considered ‘real’ or ‘constructed’? Slide28:  1950s Pop portraits "Billie Holiday Volume 3" 1950s Ink, ballpoint ink, gouache and Dr Martin's Aniline dye on paper collage 26 x 25.7cm The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts Inc. Slide29:  Warhol’s celebrity portraits used common methods of mass production, such as screenprinting. Warhol’s images of famous Hollywood figures such as Elvis Presley and Marilyn Monroe implied that these film stars were ‘mass produced’, similar to his art works — through the millions of pictures, album covers, movie screens, newspapers and magazines that their faces adorned. Warhol used clippings and photographs from fan magazines as the source material for some of his most important celebrity portraits. Discuss and explore: What is the effect of Warhol’s use of repetition in some of his celebrity portraits? How are the faces similar to magazine images? How do they compare to the covers of Interview magazine? How are the faces different from magazine images that we see every day? Slide30:  1970s–80s commissioned portraits Debbie Harry 1980 Acrylic and silkscreen ink on linen Two panels: 106.7 x 106.7cm (each) The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts Inc. ‘But being famous isn’t all that important. If I weren’t famous, I wouldn’t have been shot for being Andy Warhol. Maybe I would have been shot for being in the Army. Or maybe I would be a fat schoolteacher. How do you ever know?’ Andy Warhol, From A to B and Back Again: The Philosophy of Andy Warhol, Harcourt Brace Jovanovich, New York, 1975, p.75. Slide31:  ‘Many of Warhol’s celebrity portraits of the 1970s and 1980s were commissioned. Major figures such as Truman Capote, Mick Jagger, Sylvester Stallone and Liza Minnelli commissioned Warhol to create portraits in his signature ‘pop’ style. The American writer Tom Wolfe called this period the ‘me’ generation, suggesting that the idea of achieving fame and recognition was accessible to ordinary people at this time.’ Tom Wolfe, ‘The 'Me' Decade and the Third Great Awakening’, in New York, 23 August 1976, pp.26–40. Discuss and explore: What is the definition of ‘famous’? Name someone you think is famous. What makes this person famous? How do we judge if one person is more famous than another? For example, you could compare Britney Spears with Christina Aguilera. Name a famous star who is featured regularly in media coverage. How many times have you seen the star’s picture this year? Are these flattering or unflattering images? Discuss the statement, ‘any publicity is good publicity’ and how this applies to celebrities today. Slide32:  Commodities Dollar Sign 1981 Acrylic and silkscreen ink on linen 228.6 x 177.8cm The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts Inc. ‘I used to drink [Campbell’s soup]. I used to have the same lunch every day, for twenty years, I guess, the same thing over and over again. Someone said my life has dominated me; I like the idea.’ Andy Warhol, Giant Size, Phaidon Press, New York, 2006, p.155. Slide33:  In the 1960s Campbell’s soup was one of the most common and easily recognisable brands — its packaging and price had remained largely unchanged for over 50 years. Through repetition and simplification, Warhol’s Campbell’s soup cans reflect and satirise the commercialism and standardisation of American culture. Discuss and explore: What does the Campbell’s soup can tell us about life in America in the 1960s? ‘If it’s not about Campbell’s soup, what was Warhol doing that made him reproduce Campbell’s soup the way he did?’ (Jessica Gogan, The Andy Warhol Museum’s Assistant Director for Education and Interpretation) How do you think painting a soup can, or another everyday object, can become art? If you were to make an art work about an everyday object, what would you choose and why? ‘What’s great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you can know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A coke is a coke and no amount of money can get you a better Coke that the one bum on the corner is drinking.’ Andy Warhol, From A to B and Back Again: The Philosophy of Andy Warhol, Harcourt Brace Jovanovich, New York, 1975, p.100. Slide34:  ‘I guess it was the big plane crash picture, the front page of a newspaper: 129 DIE. I was also painting the Marilyns. I realized that everything I was doing must have been Death. It was Christmas or Labor Day — a holiday — and every time you turned on the radio they said something like “Four million are going to die.” That started it.’ Andy Warhol, Supernova: Stars, Deaths, and Disasters, 1962–1964, Walker Art Center, Minneapolis, 2005, p.12. Electric Chair 1967 Acrylic screenprinted onto canvas 137.2 x 185.1cm National Gallery of Australia, Canberra Purchased 1977 © The Andy Warhol Foundation for the Visual Arts Inc. Slide35:  Warhol’s ‘Death and Disaster’ series, created 1962–64, is considered one of the most important periods of the artist’s career. Art critic Henry Geldzahler first drew Warhol’s attention to a press headline of an aircraft crash in June 1962, which provided inspiration for the series. Warhol began to source imagery from newspaper stories of incidents such as car crashes, race riots, suicides and state executions, which used the electric chair. Warhol presented the images as they appeared in newspapers, abstracting the images slightly through repetition or colour, and his screenprinting method. The ‘Death and Disaster’ series was produced at the same time as Warhol’s portraits of Marilyn Monroe (shortly after her death in August 1962), and Jackie Kennedy (following the assassination of her husband, the United States President John F Kennedy in November 1963). Discuss and explore: Compare the ‘celebrity deaths’ to the images of ordinary people’s demise. Do they have anything in common? Why would Warhol choose to make the deaths of ordinary people’s deaths public? What ideas about religion and morality do these images raise? Why do you think Warhol chose not to represent a person in the electric chair? What images are used by the media to shock people now? Are only those events which receive media coverage worthy of our consideration? Why are some tragic world events given exposure in the media and not others? There are a small number of works featured in the ‘Andy Warhol’ exhibition that contain adult content or mature themes. Parents, teachers and carers are advised to check for further signage at the exhibition entry and in gallery spaces. Slide36:  Warhol’s Silver Factory Steve Shapiro Edie Sedgwick, Andy Warhol and Entourage, New York 1965 Gelatin silver print 35.5 x 28cm Image courtesy: Fahey/Klein Gallery Slide37:  Fascinated by the assembly line production of factories, Warhol created his own Silver Factory studio space in New York in 1964. Warhol created many films in this space, using actors such as Edie Sedgwick. He also collaborated with his assistants, poets, musicians, dancers and writers, such as Baby Jane Holzer, Taylor Mead and Ondine (Robert Olivo). From 1965 to 1974, American film director Paul Morrissey arranged screen tests which involved taking still pictures of new faces among the Factory crowd. Warhol then used the images in his films. The Factory became an infamous meeting place for the fashionable social and artistic scene that surrounded Warhol. Discuss and explore: Describe the Silver Factory — what was the studio like inside? What silver items can you find in the exhibition? How are each of the screen tests different? How are they the same? Do the people in these films seem comfortable? Can you identify some of the people who frequented the Factory: Edie Sedgwick: An American actress, socialite, and heiress who starred in many of Andy Warhol's films in the 1960s. Taylor Mead: A writer and performer who starred in Andy Warhol's Tarzan and Jane Regained . . . Sort Of 1964. Christopher Makos: An American photographer who collaborated with Andy Warhol and who was an apprentice in Paris for the American photographer Man Ray. Slide38:  Time Capsules Time Capsule 21 (selected contents) 1928–74 The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts Inc. Slide39:  In 1974, Warhol began his Time Capsules series — an archive of materials from his everyday life, including mail, photos, art, clothing and collectibles, all stored in cardboard boxes. The TC’s (as Warhol referred to them) were a loose filing system, a way to forget, but importantly not discard, anything from his life. When full, the boxes were sealed and marked with a date and occasionally a title, and sent to storage. Warhol had amassed 612 Time Capsules during his career, however, they were almost completely unknown until his death in 1987. Many items found in the Time Capsules have since been identified as source materials for the artist’s work. The Time Capsules show many sides to Warhol — as artist, businessman, music producer and collaborator, magazine editor, film producer, collector and celebrity. Discuss and explore: See if you can identify any objects from Warhol’s Time Capsules that might have been used to create his art works. What can you learn about Warhol’s personality, interests and his era through the objects he collected? Do you think Warhol intended for his Time Capsules to be viewed? Why or why not? Why is it often so hard to let go of the things we own or have acquired over time? There are a small number of works featured in the ‘Andy Warhol’ exhibition that contain adult content or mature themes. Parents, teachers and carers are advised to check for further signage at the exhibition entry and in gallery spaces. Slide40:  Visiting ‘Andy Warhol’ Slide41:  Ticketing: Entry to the exhibition is free for students 12 years and under $10 per student for 13–17 years and tertiary groups All supervisors accompanying student groups are free To make a booking: Groups with more than 10 students are required to make a school booking to visit ‘Andy Warhol’ All pre-booked groups will receive priority entry to the exhibition Contact the Education Bookings Office, Monday to Friday, 8.30am – 4.00pm, via phone: (07) 3840 7255 or email: On the day of your visit: All groups are requested to wait outside the main entrance of the Gallery of Modern Art (Stanley Place). One adult representative is to proceed to the Group Booking Desk in the Gallery of Modern Art foyer to arrange payment. Payments are required to be made on the day (by cheque) or the Gallery can arrange for an invoice to be sent to the school. The adult can then escort their group into the exhibition. If possible, students should refrain from bringing schoolbags as storage space is limited. Please note: When considering booking times, please keep in mind that large numbers are expected to visit the exhibition, and some flexibility may be required with entry into the exhibition space. All school groups visiting the Gallery are to be self-guided. A range of ‘Ready to Go’ tours and other education resources are available to assist teachers in planning their school group visit to ‘Andy Warhol’. Visit for more information. Slide42:  Curriculum information for teachers Slide43:  Early Years and Primary teachers For the duration of the ‘Andy Warhol’ exhibition, the Gallery is presenting ‘The Silver Factory: Andy Warhol for Kids’, a curated program especially for children in the Children’s Art Centre spaces at the Gallery of Modern Art. ‘The Silver Factory: Andy Warhol for Kids’ features some of Warhol’s art works that will particularly appeal to kids — a large-scale installation of Silver Clouds 1966, a selection of toy paintings displayed on Fish wallpaper and a group of early drawings. Free interactives for children are also available in the Children’s Art Centre spaces and on the Gallery’s website. Slide45:  Years 1–10 teachers Primary teachers can access the ‘Andy Warhol’ ‘Ready to Go’ online tours, or use the following table for ways to extend some of ‘The Silver Factory: Andy Warhol for Kids’ interactives into the classroom. Visit for more information. Slide46:  Studies of society and the environment Time, continuity and change Culture and Identity Students will: investigate how identity is constructed in society across cultural and historical contexts discuss how contemporary art can raise awareness of cultural issues explore ways in which personal and public identities are constructed and reflected in Warhol’s work (for example, through self-portraiture and images of celebrities and objects from popular culture). Media Students will: analyse various media languages and technologies used to construct representations, including still and moving images, sounds and words analyse how media texts are constructed by comparing media representations with personal experiences encounter works in the exhibition that illustrate the ways in which audiences are targeted through media techniques such as marketing (magazines and television), sponsorship (representations of consumer products), censorship (Warhol’s ‘Death and Disaster’ series) and fan culture (Interview magazine) analyse how audiences are active producers of meaning. Slide48:  Teachers of senior students Investigate the following ideas and issues in the classroom: the history of celebrity, beauty and glamour stemming from Warhol’s work of the 1950s and his celebrity portraits of the 1960s and 1970s the use of photography in Warhol’s works historical and contemporary issues relating to the practices of collecting, such as the development and role of museum collections versus personal collections the representation of historical or political events by contemporary media historical and contemporary views on commercial and fine art practices. Teachers of senior students can access the ‘Andy Warhol’ ‘Ready to Go’ online tours for ways to extend some of the exhibition themes into their classrooms. Visit for more information. Slide49:  Visual Arts Students will: examine the techniques of Warhol’s practice throughout his oeuvre investigate the way Warhol commented on cultural life in the United States against the backdrop of the mid twentieth century explore the ways in which pop artists, such as Warhol, redefined traditional views on art — such as its parameters, subjects, the relationship between art and the viewer, and the role of the artist in making work develop their own definitions of what constitutes contemporary art relate events and ideas presented in Warhol’s art to contemporary situations. Film, television and new media Students will: critique techniques used in Warhol’s film and TV works encounter the use of various film and new media technologies in Warhol’s work to understand the role of viewers as consumers of visual culture broaden their knowledge and understanding of the history, evolution and practices of rapidly expanding moving-image media industries. Slide50:  English Cultural: Making meanings in contexts Students will: interpret the ways in which public awareness of particular social and political issues was an effect of Warhol’s appropriation of images from the media consider the relevance of the issues presented in relation to contemporary political, cultural and social contexts investigate the role of contemporary media in documenting issues of importance. Operational: Operating language systems Students will: discuss the ways in which visual and multimodal texts are used today in print media, television and film. Critical: Evaluating and reconstructing meanings in texts Students will: encounter ways in which artists’ works can effect our understanding of texts and images consider the effects of the use of text and language in other media such as advertising. Slide51:  ‘Andy Warhol’ education resources Slide52:  Education resources are available for teachers and students at the Gallery or online at Online tours Self-guide your school group through ‘Andy Warhol’ with the aid of three dynamic online tours. Suitable for primary and secondary teaching levels, the ‘Ready to Go’ tours include teacher notes and curriculum information. My Warhol Through online interviews and specially-developed activities for students, see how artists represented in the Queensland Art Gallery Collection respond to aspects of Andy Warhol’s practice — available from 2008. Warhol’s World This specially developed computer activity enables children to explore a series of time capsules, each focusing on a chapter of Warhol’s life. Constructed as a quiz, the game uncovers interesting facts about the artist’s life and work, and his diverse roles as graphic designer, artist, band manager and filmmaker. Activity book This free children’s activity book developed for ‘The Silver Factory: Andy Warhol for Kids’ display is available at the Gallery and online. Visit the Children’s Art Centre on Level 1 and the Park Gallery at the Gallery of Modern Art for copies. Slide53:  Timeline: Andy Warhol’s life and art Slide54:  1920s–1950s 1928 Andy Warhol is born Andrew Warhola on 6 August in Pittsburgh, Pennsylvania, USA 1936 Andy suffers involuntary spasms ('St Vitus Dance'). For eight weeks, his mother nurses him at home. 1939 Begins collecting photographs of movie stars in scrapbooks 1945 Graduates from high school and accepted to study at the Department of Painting and Design, Carnegie Institute of Technology, Pittsburgh 1947–48 Experiments with the blotted line printing technique, a prominent feature of his commercial work of the 1950s 1949 Moves to New York City and works as a commercial artist for magazines such as Glamour, Vogue and Harper’s Bazaar), and begins using the surname Warhol instead of Warhola 1952 First solo exhibition, ‘Fifteen Drawings Based on the Writings of Truman Capote’, held at Hugo Gallery, New York 1955 Illustrations for I Miller Shoe Company advertisements appear weekly in the New York Times 1956 Meets photographer Edward Wallowitch (1933–81), who provides the artist with photographs of Campbell’s soup cans Slide55:  1960s 1960–61 Begins Campbell’s Soup Can series 1962 Begins screenprinted portraits of teen idols, including Natalie Wood and Warren Beatty, and Marilyn Monroe following her death. Starts the ‘Death and Disaster’ series 1963 Makes Elvis Presley and Elizabeth Taylor paintings from publicity photographs. Buys a 16mm movie camera and makes films Sleep, Kiss and Haircut and more than 500 screen tests 1964 Begins Jackie Kennedy paintings following the assassination of her husband, President John F Kennedy. Relocates his studio The Factory to a building at 231 East 47th Street, and Billy Name decorates it with aluminium foil and silver paint, hence the name The Silver Factory. Makes Brillo, Heinz and other box sculptures, which are exhibited in New York 1965 Meets young heiress Edie Sedgwick, who becomes his most prominent film superstar 1966 Exhibition at Leo Castelli Gallery, New York, featuring the walls of one room covered with Cow wallpaper and another filled with Silver Clouds (helium-filled, silver, pillow-shaped balloons). Makes the film The Velvet Underground and Nico and produces the band’s first record 1967 Produces Self-Portrait paintings which are shown in the United States Pavilion at Expo ’67 in Montreal, Canada 1968 Shot by Valerie Solanas (one of the actresses in his films) at The Factory on 3 June, which critically wounded and hospitalised the artist for almost two months Slide56:  1970s–80s 1970 Increases production of commissioned portraits, such as Truman Capote, Mick Jagger, Sylvester Stallone and Liza Minnelli 1972 Begins paintings, drawings and prints of Mao Zedong 1974 Begins assembling the Time Capsules, comprising ephemera, drawings and notes 1976 Begins dictating a detailed diary over the telephone every weekday, which becomes the basis for The Andy Warhol Diaries 1978 Makes Oxidation and Shadow paintings 1980 Begins production of Andy Warhol’s T.V. 1982 Makes Crosses paintings and drawings 1985 Andy Warhol’s Fifteen Minutes first airs on MTV 1986 Makes Camouflage and Last Supper works 1987 Following routine gall bladder surgery, Warhol dies on 22 February from a heart attack. Following the stipulations of Warhol’s will, the Warhol Foundation for the Visual Arts is established. 1994 The Andy Warhol Museum opens in Pittsburgh, Pennsylvania, USA Slide57:  Further information Slide58:  The Andy Warhol Museum: The Andy Warhol Museum website offers a range of interactives and online lessons exploring ideas in Warhol’s work, such as advertising, time capsules, collecting and screenprinting. Resources include: Death and Disasters: Newspaper activity Screen Tests Super size it: Scale in art and advertising Time Capsule 21 Virtual silkscreening The thick and thin of it: Warhol and the blotted line Warhol and collaboration PBS ‘Art 21’ series ‘Consumption and contemporary art’: This series investigates the ways in which contemporary artists represent ideas about consumer culture in their work. Tate, London Andy Warhol exhibition (2002) The Fine Arts Cookbook Screenprinting activity The National Gallery of Art, Washington DC Online lesson: ‘Art since 1950’ Slide59:  Bibliography Angnell, Callie. Andy Warhol Screen Tests: The Films of Andy Warhol: Catalogue Raisonne, Volume 1. HN Abrams, New York, 2006. Bandy, Mary Lea and Biesenbach, Klause. Andy Warhol: Motion Pictures. KW Institute for Contemporary Art, Berlin, 2004. Bolton, Linda. Andy Warhol. Franklin Watts, London, 2002. Dalton, David. A Year in the Life of Andy Warhol. Phaidon, London, 2003. Finkelstein, Nat. Andy Warhol: The Factory Years 1964–1967. Sidgwick and Jackson, London, 1989. Hackett, Pat. Andy Warhol Diaries. Warner Books, New York, 1989. Hackett, Pat and Warhol, Andy. Popism: The Warhol ‘60s. Hutchinson, London, 1981. Makos, Christopher. Warhol Memoir. Charter, Milan, 2003. Makos, Christopher. Andy Warhol. Charter, Milan, 2002. Newsters, Silvia and Soll-Tauchert, Sabine. Andy Warhol: Paintings for Children. Prestel, New York, 2004. Venezia, Mike. Andy Warhol. Children’s Press, United States of America, 2001. Warhol, Andy. A: A Novel. Grove Press, New York, 1968. Warhol, Andy. Giant Size, Phaidon Press, New York, 2006. Warhol, Andy. The Philosophy of Andy Warhol: From A to B and Back Again. Harcourt Brace Jovanovich, New York, 1975. Warhol, Andy. Supernova: Stars, Deaths, and Disasters, 1962–1964, Walker Art Center, Minneapolis, 2005. Wolfe, Tom. ‘The 'Me' Decade and the Third Great Awakening’ in New York, 23 August 1976, pp.26–40. Sponsors:  Sponsors

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