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... se pojavio ranih pedesetih godina prošlog vijeka u Velikoj Britaniji. Posleratne prilike navele su grupu umjetnika i kritičara, takozvanu nezavisnu grupu (independent group), da opišu, takoreći opjevaju, američki način života. Njihovi radovi inspirisani sa slikama masovne kulture - reklame, koja je u ovom periodu doživjela ekspanziju kroz film, muziku, masovnu potrošnju proizvoda i njihove ambalaže.

Warhol, naime, pravi korak više - njegov prvi nezvanični umjetnički rad predstavlja konzerva Campbell supe, ostvarena u 32 slike, prikazanih na prvoj samostalnoj izložbi, čime je skrenuo pažnju na svakodnevicu jednog Amerikanca, njegove navike i potrebe. Svakodnevni objekti, ponekad namjerno deformisani, pozivaju publiku da zauzme kritički pogled na društvo, njegove vrijednosti i navike.

Kolaž pod nazivom “Šta to današnje domaćinstvo čini tako različitim, a tako dopadljivim”, objavio je britanski umjetnik Richard Hamilton 1956. godine, i smatra se prvim radom pop arta.

Umjetnici pop arta bili su inspirisani svakodnevnim životom i trivijalne stvari podizali na nivo umjetnosti, dajući mu umjetničku formu. Izmijenili su tragične sudbine pop i rok američkih zvijezda, strip junaka, metalni život konzerve, skulpture od odbačenih mašina, uvećane slike ratnih aviona, čak i “prazne” slike, svrstavaju u ikone, koje postaju vječne.

Krajem pedesetih pop art uzima potpuni zamah u Americi, gdje su umjetnici prikazali pop kulturu, da bi naglasili sveobuhvatno i izrazito interesovanje potrošačkog društva, njegov mentalitet i potrebe. Počeci pop arta u Americi, prikazani su u radovima Roberta Rauchenberga i Jaspera Jonesa. Kasnije oslikane dvije bronzane konzerve piva, iz 1960. godine, potvrđuju komentar Kooning-a, koji je rekao da art dileri mogu prodati bilo šta, pa čak i dvije konzerve piva. Zbog samog materijala ipak su te dvije konzerve bliže umjetničkom nego potrošačkom artiklu.

Nosioci ovog pravca su Roj Lihtenštajn (Roy Lichtenstein), Robert Raušenberg (Robert Rauchenberg), Džon Čemberlen (John Chamberlain), Endi Vorhol (Andy Warhol), Tom Veselman (Tom Wesselmann), Džejms Rozenkvist (James Rosenquist), Džasper Džons (Jasper Jones)...

Pop Art... ...emerged in the early Fifties of the last century in Great Britain.

Postwar circumstances abetted a group of artists and critics, so-called independent group, to describe, or rather, to besing the American way of life. Their works are inspired by images of mass culture – advertisement, which experienced expansion in this period through film, music, mass consumption of products and their packages. A collage called “Just what is it that makes today’s homes so different, so appealing?” was brought out in 1956 by a British artist Richard Hamilton, and it is referred to as the first work of Pop Art. In the late Fifties, Pop Art picked up momentum in America, where artists showed pop culture to emphasize comprehensive and emphatic interest of consumer society, its mentality and needs. The beginnings of Pop Art in America are shown in the works of Robert Rauchenberg and Jasper Jones. Two bronze beer cans from the 1960s, subsequently painted, assert Kooning’s comment who said that art dealers are able to sell everything, even

Petra Mrakič

two cans of beer. Due to material itself, these two cans are still closer to artistic than to consumer article. Warhol, namely, made a step forward – his first unofficial work of art represented a Campbell’s Soup Can, realized in 32 paintings and shown in his first solo exhibition, thus drawing attention to everyday life of an American, his habits and needs. Enlarged everyday objects, sometimes deliberately deformed, call upon the audience to take a critical stand towards society, its values and habits. The artists of Pop Art were inspired by everyday life and they brought trivial things to the level of art, giving it the artistic form. They changed tragic destinies of American pop and rock stars, strip heroes, metal life of a can, sculptures made of abandoned machines, enlarged pictures of war planes; even “empty“ images are grouped into icons which become eternal. The forerunners of this line of art are Roy Lichtenstein, Robert Rauchenberg, John Chamberlain, Andy Warhol, Tom Wesselmann, James Rosenquist, Jasper Jones... Petra Mrakic


15 minuta slave


Endi Vorhol

Endi Vorhol ili pravim imenom Endru Varhola rođen je 6. avgusta 1927. godine u Pitsburgu. Njegovi roditelji su bili slovački emigranti koji su u Ameriku stigli početkom dvadesetog vijeka. Još od malih nogu, Vorhol dolazi do saznanja da je umjetnost i njegova budućnost. Kreće na studije komercijalne umjetnosti na Karnegi institutu za tehnologiju u Pitsburgu, koje završava 1949. godine nakon čega se nastanjuje u Njujorku. U Njujorku započinje veoma uspješnu karijeru radeći reklame i ilustracije za časopise: “Vogue, “Harper’s Bazaar”, “New Yorker” i “Glamour”. Ubrzo postaje poznat po svojim hirovitim crtežima cipela. Tako nastaju i njegovi, za ondašnje vrijeme, modeli cipela koje su bile ukrašene zlatnim listićima u obliku cvijeća. Do početka 1960. je bio uspješni reklamni ilustrator. Toliko uspješan da ga niko nije prihvatao kao umjetnika. Uzaludno je pokušavao da dođe do galerija koje su ga uporno odbijale. Tako je i počeo da analizira odnos između komercijalne umjetnosti i umjetnosti i umjesto da ih doživi kao suprotne, kao većina umjetnika, počeo je da ih spaja stvarajući pop art. Šezdesetih otkriva limenku sa supom Campbell, za koju kaže da je zadivljujuća u svojoj banalnosti, a koja će vrlo brzo, pored limenke koka-kole, postati inspiracija njegove umjetnosti. Počinje često da je crta i slika, a potom i štampa uz pomoć sito štampe u više primjeraka. Tvrdio je da ne postoji samo jedan medij kojim se može izraziti. Čvrsto je vjerovao da je baš sve dozvoljeno i da baš to sve treba iskoristiti do maksimuma. Vorhol će svjesno ili nesvjesno postati vođa jedne neurotične, ali ipak senzibilne, urbane i kosmopolitske generacije kojoj je sve, pa čak i više od toga, bilo dopušteno. Godine 1963. Endi nabavlja 16-milimetarsku kameru koja će doprinijeti njegovoj filmskoj karijeri. Tako su nastali čuveni filmovi “Chelsea Girl” i “Empire and Blow Job”. Iako su ta filmska djela prikazivana malobrojnoj, odabranoj publici, stekla su itekako veliku slavu zbog medijske pažnje koju su privlačili njihovi protagonisti. Vorholov centar umjetnosti, mjesto gdje je pravio kreacije, a zvao ih “rekreacije” bio je njegov studio za

umjetničku produkciju “The Factory”. U tom studiju Vorhol je zapošljavao i nadgledao “umjetničke radnike” koji su izrađivali grafike, cipele, filmove, knjige... Ono zbog čega je Vorhol zaista bio jedinstven je to što je običnost uzdizao na tron vrhunske umjetnosti. Bila je to neka vrsta moći iz koje je crpio snagu čitavog života. Tako je i anonimne pojedince u svojim filmovima pretvarao u prave zvijezde. Poznata je njegova “rekreacija” čuvene Da Vinčijeve “Posljednje večere”. Tokom čitavog života izrađivao je autoportrete slikane jednako jarkim i agresivnim bojama i čuvene portreti poznatih ličnosti koje su se naprosto utrkivale da postanu predmet Vorholove pažnje i umjetnosti. Tako se dobila hronika najtalentovanijih, najpoznatijih i najbogatijih ljudi tog perioda. Veličina Vorholovih portreta je u tome da on ne samo da bira zvijezde svog vremena već i da je, portretišući ih, doprinio u velikoj mjeri njihovoj popularnosti i statusu ikona pop kulture. Među njegovim muzama bile su mnoge poznate ličnosti: ispred svih američka diva Merlin Monro (Marylin Monroe), uz koju su rame uz rame stajale i druge pop - ikone kao što su Elvis, Mik Džeger (Mick Jagger), Elizabet Tejlor (Elizabeth Taylor), Džeki Kenedi (Jackie Kennedy), Muhamed Ali (Muhammad Ali), britanska kraljica Elizabeta, ali i nezaboravna Idi Sedžvik (Edie Sedgwick). Pored slikarstva i filmova, Endi Vorhol bavio se i pisanjem. Poznate njegove knjige su “Roman A” (u kojem se nalaze greške u pisanju i fonetički zapisi zvukova iz pozadine, kao i audio zapisa Endija i njegovih prijatelja iz “Fabrike”), “Filozofija Endija Vorhola”, “Od A do B i nazad” (za koju se tvrdi da su je napisali njegovi prijatelji iz “Fabrike”, a koji opisuje Vorholovu pop filozofiju kroz zvuk i razgovore), “Popizam: Vorholove šezdesete” i “Dnevnici Endija Vorhola”. Endi Vorhol umro je u bolnici u Njujorku 22. februara 1987. godine, ali ne pod svojim imenom, jer nije želio da se zna da je bolestan. Ostaće upamćen kao “princ pop-umetnosti”, umjetnik koji je u potpunosti proživio “američki san”. Vjerovao je da svako ima svojih 15 minuta slave, što je bio njegov moto. Poznat je i po tome što je rekao da sve što treba da se zna o njemu i njegovom radu je već tu. Bez želje da odgovara na pitanja, njegov rad postaje interesantniji ostvljajući publici da ga proživi kako ona želi.


Marilyn Monroe, 1967, deset serigrafija (ed. 250), drugo izdanje Sunday B. morning, sa pečatom na poleđini —————————————— Marilyn Monroe, 1967, ten serigraphs (ed. 250), second edition Sunday B. Morning, sealed on the back


Marilyn Monroe, 1967, deset serigrafija (ed. 250), drugo izdanje Sunday B. morning, sa pečatom na poleđini —————————————— Marilyn Monroe, 1967, ten serigraphs (ed. 250), second edition Sunday B. Morning, sealed on the back


Marilyn Monroe, 1967, deset serigrafija (ed. 250), drugo izdanje Sunday B. morning, sa pečatom na poleđini —————————————— Marilyn Monroe, 1967, ten serigraphs (ed. 250), second edition Sunday B. Morning, sealed on the back


Marilyn Monroe, 1967, deset serigrafija (ed. 250), drugo izdanje Sunday B. morning, sa pečatom na poleđini —————————————— Marilyn Monroe, 1967, ten serigraphs (ed. 250), second edition Sunday B. Morning, sealed on the back


Marilyn Monroe, 1967, deset serigrafija (ed. 250), drugo izdanje Sunday B. morning, sa pečatom na poleđini —————————————— Marilyn Monroe, 1967, ten serigraphs (ed. 250), second edition Sunday B. Morning, sealed on the back


Flowers, 1970, deset serigrafija (ed. 250), drugo izdanje Sunday B. morning, sa pečatom na poleđini —————————————— Flowers, 1970, ten serigraphs (ed. 250), Second Edition Sunday B. Morning, sealed on the back


Flowers, 1970, deset serigrafija (ed. 250), drugo izdanje Sunday B. morning, sa pečatom na poleđini —————————————— Flowers, 1970, ten serigraphs (ed. 250), Second Edition Sunday B. Morning, sealed on the back


Flowers, 1970, deset serigrafija (ed. 250), drugo izdanje Sunday B. morning, sa pečatom na poleđini —————————————— Flowers, 1970, ten serigraphs (ed. 250), Second Edition Sunday B. Morning, sealed on the back


Flowers, 1970, deset serigrafija (ed. 250), drugo izdanje Sunday B. morning, sa pečatom na poleđini —————————————— Flowers, 1970, ten serigraphs (ed. 250), Second Edition Sunday B. Morning, sealed on the back


Flowers, 1970, deset serigrafija (ed. 250), drugo izdanje Sunday B. morning, sa pečatom na poleđini —————————————— Flowers, 1970, ten serigraphs (ed. 250), Second Edition Sunday B. Morning, sealed on the back


Ladies and Gentleman, 1975, deset serigrafija (ed. 125) —————————————— Ladies and Gentleman, 1975, ten serigraphs (ed. 125)


Ladies and Gentleman, 1975, deset serigrafija (ed. 125) —————————————— Ladies and Gentleman, 1975, ten serigraphs (ed. 125)


Ladies and Gentleman, 1975, deset serigrafija (ed. 125) —————————————— Ladies and Gentleman, 1975, ten serigraphs (ed. 125)


Ladies and Gentleman, 1975, deset serigrafija (ed. 125) —————————————— Ladies and Gentleman, 1975, ten serigraphs (ed. 125)


Ladies and Gentleman, 1975, deset serigrafija (ed. 125) —————————————— Ladies and Gentleman, 1975, ten serigraphs (ed. 125)


Ladies and Gentleman, 1975, deset serigrafija (ed. 125) —————————————— Ladies and Gentleman, 1975, ten serigraphs (ed. 125)


Ladies and Gentleman, 1975, deset serigrafija (ed. 125) —————————————— Ladies and Gentleman, 1975, ten serigraphs (ed. 125)


Speedskater, 1984, serigrafija, za ZOI Sarajevo, Viskonti edicija, Lazar Vujić (ed. 150) —————————————— Speedskater, 1984, serigraph, for ZOI Sarajevo, Viskonti Edition, Lazar Vujic (ed. 150)


Martha Graham, 1986, 91x91cm, serigrafija (ed. 100) —————————————— Martha Graham, 1986, 91x91cm, serigraph (ed. 100)


Cvijeće, 1974, 110x80cm, akvarel, vodene boje, unikat —————————————— Flowers, 1974, 110x80cm, acquarello, watercolour, unic


Cvijeće, 1974, 110x80cm, akvarel, vodene boje, unikat —————————————— Flowers, 1974, 110x80cm, acquarello, watercolour, unic


Andy Warhol

Andy Warhol, or by his real name Andrew Warhola, was born on August 6, 1927 in Pittsburgh. His parents were Slovakian immigrants who arrived in America in the early twentieth century. From an early age, Warhol had realized that art was his future. He began to study commercial art at Carnegie Institute of Technology in Pittsburgh, finishing his studies in 1949, after which he settled in New York. He began a very successful career in New York creating advertisements and illustrations for magazines: “Vogue, “Harper’s Bazaar”, “New Yorker” and “Glamour”. He soon became famous by his whimsical drawings of shoes. Hence, his models of shoes appeared which, for the time, were decorated with gold flower-shaped leaves. By the beginning of the 1960s, Warhol had become a very successful advertising illustrator; so successful that nobody accepted him as an artist. He was trying in vain to reach the galleries turning him down constantly. This is how he started to analyse the relationship between commercial art and art, and instead of understanding them as opposite, as most artists did, he started to combine them creating pop art. In the Sixties, he discovered Campbell’s Soup Can about which he said that it is astonishing in its banality, and which, apart from Coca-Cola can, will very soon become inspiration for his art. Fascinated, he started drawing and painting it, and then printing it in many copies using silkscreen printing. He asserted that there was no only one media in which he could express himself. He strongly believed that everything was allowed and that all should be used to the maximum. Accidentally or deliberately, Warhol will become a leader of the neurotic but still sensible, urban and cosmopolitan generation that was allowed everything, even more than that. In 1963, Andy obtained 16mm camera which would contribute to his film career. This is how his famous films “Chelsea Girl” and “Empire and Blow Job” came into existence. Although these film-works were presented to a few and selected audience members, they still attained fame due to media attention drawn by their protagonists. Warhol’s art center, a place where he made creations, and he called them “recreations“, was his studio for art production “The Factory“. In the studio, Warhol employed and supervised “art workers” who

made graphic, shoes, films, books… What made Warhol really unique was the fact that he elevated plainness to the throne of top art. It was a kind of power from which he drew strength all his life. In the same way, he transformed anonymous individuals in his films into real stars. His “recreation” of Da Vinci’s “Last Supper” is well-known. During all his life he created self-portraits painted in both vibrant and aggressive colors, as well as famous portraits of celebrities who simply competed to become the object of Warhol’s attention and art. That is how the chronicle of the most talented, most famous and the richest people of the time was created. The value of Warhol’s portraits is that he did not only choose the stars of his time but, portraying them, he also contributed greatly to their popularity and the status of pop culture icons. Many famous persons were among his muses: first of all, the American diva Marilyn Monroe, along with other pop-icons like Elvis, Mick Jagger, Elizabeth Taylor, Jackie Kennedy, Muhammad Ali, Britain’s Queen Elizabeth, and also unforgettable Edie Sedgwick. Apart from painting and films, he was also occupied with writing. His famous books are “A Novel” (containing spelling errors and phonetically written background of noise – audio recordings of Andy and his friends from the Factory), “The Philosophy of Andy Warhol”, “From A to B & Back Again” (believed to be written by his friends from the “Factory”, which describes Warhol’s pop philosophy through sound and conversations), “Popism: The Warhol 1960s”, and “The Andy Warhol Diaries”. Andy Warhol died in a hospital in New York on February 22, 1987, but under another name, because he did not want anyone to know he was ill. He will be remembered as the “Prince of Pop-Art”, the artist who completely lived the “American dream”. He believed that everybody has 15 minutes of fame, which was his own motto. He is also known for his statement that everything that should be known about him and his work is already here. Unwilling to answer the questions, his work becomes more interesting being left to the audience to experience it in its own way.


Andy Warhol 07 - 11 Marilyn Monroe (Marilyn), 1967, serija deset serigrafija, drugo izdanje Sunday B. Morning, s pečatom na poleđini / a series of ten silkscreens, second edition Sunday B. Morning, with imprint on the back, ed. 250 12 - 16 Flowers, 1970, serija deset serigrafija, drugo izdanje Sunday B. Morning, s pečatom na poleđini / a series of ten silkscreens, second edition Sunday B. Morning, with imprint on the back, ed. 250 17 - 23 Ladies and Gentlemen, 1975, serija deset serigrafija / from the ten silkscreens series, ed. 125 24 Speedskater, 1984, serigrafija, sa zimskih olimpijskih igara u Sarajevu 1984, edicija Visconti / Lazar Vujić / silkscreen, for the Sarajevo Winter Olympics, Visconti editions / LazarVujić, ed. 150 25

Martha Graham, 1986, 91 cm x 91 cm, serigrafija / silkscreen, ed. 100 69.-78.

26 - 27 Flowers, 1974, 110 cm x 80 cm, akvareli / watercolour, unic 68


O izložbi... Izložba “15 minuta slave” realizovana je u saradnji sa galerijom „Visconti Fine Art“ iz Ljubljane, čiji su osnivači Živa Škodlar - Vujić i Lazar Vujić. Postavku čine prepoznatljivi radovi Endija Vorhola, nastali u periodu 60-ih godina prošlog vijeka, kada je pop art dostigao vrhunac umjetničkog izražavanja. Sito štampa kao prepoznatljiva tehnika pop arta zastupljena je u većini radova. Kontraverzni i uvijek zanimljivi Vorhol predstavljen je ikonografijom simbola pop arta Marilyn Monroe, Flowers, Marta Graham, Ladies and Gentleman i Speedskater, rad koji je produkt saradnje osnivača galerije Lazara Vujića i samog Vorhola, a povodom edicije za potrebe ZOI u Sarajevu (1984). Riječ je o prepoznatljivim motivima pop arta.

About the exhibition... In cooperation with the gallery Visconti Fine Art from Ljubljana, founded by Ziva Skodlar-Vujic and Lazar Vujic. The exhibit consists of Andy Warhol’s recognizable works originated in the 1960’s of the last century, when pop art reached the top of artistic expression. Silkscreen printing, as recognizable technique of pop art, is represented in most of the works. Controversial and always interesting Warhol is introduced by pop art iconography symbols Marilyn Monroe, Flowers, Marta Graham, Ladies and Gentleman, and Speedskater, the work which is the product of cooperation between Lazar Vujic, the founder of the gallery, and Warhol himself, for the edition of ZOI needs in Sarajevo (1984). All works were made in a serigraph technique. These are recognizable motives of pop art.


Andy Warhol, 15 minuta slave  

Pizana galerija / Porto Montenegro, 2012

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