WARHOL, ANDY. 1928-1987. Portraits of the 70s. New York: Random House / Whitney Museum of American Art, 1979. Square 4to. Publisher's black cloth, gilt stamped on spine, lithographed paper-covered slipcase. Wear to edges of slipcase. DELUXE EDITION number 40 of 200 copies, SIGNED by Warhol on the limitation page. WITH: Another, trade edition. Publisher's quarter black cloth and gold colored boards, pictorial dust jacket. Wear to edges of boards and dust jacket, a few minor fingermarks. TRADE EDITION, SIGNED by Warhol on the half title. Portraits of the 70s, Warhol's second major Whitney exhibition of the decade, features Warhol's electric portraits of celebrities such as Liza Minnelli, Halston, Mick Jagger, Dennis Hopper David Hockney and Truman Capote. "By accepting the photograph directly into the domain of pictorial art, not as an external memory prop for the handmade re-creation of reality but as the actual base for the image on canvas, Warhol was able to grasp instantly a whole new visual and moral network of modern life that tells us not only about the way we can switch from artificial color to artificial black-and-white on our TV sets but also about the way we could switch just as quickly from a movie commercial to footage of the Vietnam war" (From the introductory essay by Robert Rosenblum).
WARHOL, ANDY. 1928-1987. Portraits of the 70s. New York: Random House / Whitney Museum of American Art, 1979. Square 4to. Publisher's black cloth, gilt stamped on spine, lithographed paper-covered slipcase. Wear to edges of slipcase. DELUXE EDITION number 40 of 200 copies, SIGNED by Warhol on the limitation page. WITH: Another, trade edition. Publisher's quarter black cloth and gold colored boards, pictorial dust jacket. Wear to edges of boards and dust jacket, a few minor fingermarks. TRADE EDITION, SIGNED by Warhol on the half title. Portraits of the 70s, Warhol's second major Whitney exhibition of the decade, features Warhol's electric portraits of celebrities such as Liza Minnelli, Halston, Mick Jagger, Dennis Hopper David Hockney and Truman Capote. "By accepting the photograph directly into the domain of pictorial art, not as an external memory prop for the handmade re-creation of reality but as the actual base for the image on canvas, Warhol was able to grasp instantly a whole new visual and moral network of modern life that tells us not only about the way we can switch from artificial color to artificial black-and-white on our TV sets but also about the way we could switch just as quickly from a movie commercial to footage of the Vietnam war" (From the introductory essay by Robert Rosenblum).
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