Wednesday, July 05, 2006

Andy Warhol celebrates the death of us all at the AGO



Andy Warhol,
Triple Elvis, 1964,
aluminum paint and silkscreened ink on canvas.


America is a hybrid nation, stuck between the physical rendition of nationality as buildings, presidents, and a sizeable military, and an internalized ethical identity on the part of its population interpellated as citizens. Importantly, this is a trans-border phenomenon. American business interests, which have proliferated across the globe over the past century, are themselves means of conferring the American form of citizenship upon a foreign (host) population. Citizenship may only be conferred for a moment or two, perhaps the duration of an electronic financial transaction at the point of purchase, but yet the effects of inclusion in this manner are persistent.

The American system has many problems, the first of which is its unmatched economic success. Politically, dominance within the world marketplace has created a series of aggressive, arrogant governments which have guided American foreign policy to its current trends of unilateralism and military conquest.

And yet the philosophical tradition of the nation promises both freedom and opportunity, and to some extent these goals are indeed realized. However, the country experiences a drastically uneven distribution of wealth, most obviously in the uneven distribution of municipal, education, and healthcare infrastructure. Without social support structures, there exists a serious political vacuum manifesting as poverty and criminality unmatched in the developed world. In both cases many rights and guarantees that normally are provisional with citizenship such disappear.

On the other side of the coin lies American Celebrity, which perhaps best demonstrates the cultural supremacy of the American political and economic system. Individuals such as Bill Gates, Paris Hilton, and Dick Cheney enjoy a degree of wealth and social opportunity unimaginable when viewed against the reality that 3 billion people worldwide live on less than two American dollars per day. Celebrities themselves are in many ways dead before their time, as media representations of their persons and lifestyles render them in- and trans-human.

Andy Warhol understood the extent to which America could invent itself as a mighty and surreal transnational entity. His was not an analytic process, but rather by reproducing and manipulating images of household products, car crashes, and various celebrities he came to understand modern citizenship in the guise of a juxtaposition and simultaneity of the sacred and the profane. Citizenship was inclusive (everyone can afford to buy the same products, and consequently consumers become a relatively homogenous group), finite in time (witness Warhol’s fascination with instruments of death, such as those used by the State to terminate the lives of its undesireables) and yet infinite in magnitude (Warhol’s infamous statement to the effect that everyone will enjoy fifteen minutes of fame is rendered inverse by the repetition of Jackie Os and Elvises in many of his silkscreen pieces).

It seems quite fitting that David Cronenberg curated a new Warhol exhibition at the Art Gallery of Ontario, opening July 9 and extending to October 22. I have a feeling that the auteur of some of modern cinema’s most intellectual and disturbing films might have something to say about Warhol and his creative process. Check out Andy Warhol -- Supernova: Stars, Death, and Disasters 1962-1964 for yourself.

CBC has an interview with Cronenberg posted on its website.