And I cannot stress this enough: bury their bones in an unmarked ditch.

Those are original Warhol boxes. Two Brillos, a Motts and a Campbells tomato soup. Multiple millions worth of original art, set on the floor by the front door.

Theres a regular customer whom i do plumbing work for, for the last 3 or 4 years. These belong to her. She also has Cherub Riding a Stag, and a couple other Warhols that i cannot identify, along with other originals by other artists that i also cannot identify. I have to go back to her house this coming Monday, i might get photos of the rest of her art, just so i can figure out what it is.

Even though i dont have an artistic bone in my entire body, i can appreciate art. I have negative feelings on private art like this that im too dumb to elucidate on.

eat the fucking rich. they are good for nothing.

  • macerated_baby_presidents [he/him]@hexbear.netEnglish
    0·
    1 year ago

    Is me asking that the point

    yes

    so that rich people and art snobs can look down on the people asking

    not really

    Warhol’s stuff was “controversial” (and eventually famous and stuff) because of this sort of thumbing-your-nose aspect. I mean the original Brillo box is art - an artist designed it to look appealing to consumers, tell you what’s in it, make you feel a certain way, etc etc. The Warhol Brillo box is a silkscreened wooden crate. Is that art? Is it Art? Warhol is the champion of pop art, which (if you’re being charitable) is one angle to look at lowbrow functional art that’s everywhere in our society. To approach from a different angle: I like socialist realism, it’s good for schmucks like me who like a simple story: Lenin or the People or whatever are great because they’re 9 heads tall and depicted in a cool dynamic pose, and it’s pretty, but it is usually not “great” art that makes you think. I see pop art as trying to make us think about whatever intrinsic, lowbrow appeal might be found in consumer art.

    Of course Warhol was super good at the art market. Part of the thumbing-your-nose part is that he was making a whole run of these things, they didn’t take that much effort. Everything is silkscreened. Critic and buyer alike were aware that these were not that much more special than the version in stores, and yet somehow rich people were (and still are) paying through the nose for a Brillo box. I have a kind of grudging respect for that at least. I think that at some point, the art market is rich buyers paying to be let into the club - by becoming the butt of the joke they are let in on the joke.

    Or as Roger Ebert put it,

    Andy Warhol comes along with a genuinely new way of looking at things: pop art. He also has a sense of humor and a certain feel for the mood of our times. He was right. We were ready for pop art.

    Then a lot of people, mostly from New York, invest large sums of money in Warhol. Once they’ve done that, they have a vested interest in keeping his stock up. Their interest is all the more frantic since most of them, I suspect, secretly believe Warhol’s soup cans are worthless. They lack the wit to see that Warhol’s art really is amusing and pertinent.

    So they overpromote Andy, who overextends himself

      • macerated_baby_presidents [he/him]@hexbear.netEnglish
        1·
        1 year ago

        Pretty much. I think the bored apes have a less interesting artistic merit at the core - I think they’re just designed to be intentionally ugly/tacky, which is less interesting to me than a new emphasis on existing commodity art - but both are historically interesting primarily because of the way they socially manipulate rich people.

        (Also bored apes have the cryptofascist stuff going on)