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kottke.org posts about 'andywarhol'

"Where's Andy Warhol?"

In 1984, Maureen Dowd, now an op-ed columnist, was a reporter on the "Metropolitan staff" of the New York Times. This excerpt (from a 5112-word piece) ran in the Times magazine on November 4, 1984, with the headline "9PM TO 5AM." (It's behind the paywall here.)

On Monday nights, Area offers ''obsession'' nights—with fixations such as sex, pets and body oddities. At a recent ''sex evening,'' nude jugglers and whip dancers moved in and out of the crowd while an ex-nun heard sexual confessions in the ladies' room and an old man played with inflatable dolls in a pool.

This evening, the theme is ''confinement,'' and the club is decorated with dolls in pajamas chained under water, a caged rabbit and go-go dancers armed with guns and dressed in Army fatigues.

''Where's Andy Warhol?'' asks a young punk, dragging on a joint and scanning the crowd. ''I want to get a good look at him.''

''I think he went to Limelight,'' says his friend. At Limelight, a church- turned-club on the Avenue of the Americas at 20th Street, halolike arcs of light stream from stained-glass windows.

''We should go there,'' says someone else.

''We should go there immediately,'' says another.

They scurry off to Limelight, unaware that their quarry, wearing corduroys and a backpack, is standing unobtrusively at the bar.

''This is the best bar in town,'' Andy Warhol says. ''You could take everything out and put it in a gallery.''

Matt Dillon, Vincent Spano and Mickey Rourke, each confident in his role as a teen idol, make their separate ways through the crowd, as young girls reach out to touch their arms, backs, anything. Director Francis Ford Coppola is talking to the actress Diane Lane.

Nearby, Don Marino, an up-and-coming actor, is talking to Brian Jones, an up-and-coming director. ''L.A. is a whole different world,'' the actor says. ''You go to the A party, the B party and you are home in bed by 11 for your 5 o' clock call the next morning. In New York, you've got to be seen at night, you've got to get around.''

The young director scans the room. ''I know people Coppola knows,'' he says. ''I wonder if I could go say hi.''

The Warhol Economy

Two quick reviews of Elizabeth Currid's book, The Warhol Economy, which argues that New York's "vibrant creative social scene" is what makes the city go. First, James Surowiecki in the New Yorker:

Of course, everyone knows that art and culture help make New York a great place to live. But Currid goes much further, showing that the culture industry creates tremendous economic value in its own right. It is the city's fourth-largest employer, and generates billions of dollars a year in revenue. More important, New York has no real global rival for dominance in the culture industry. Using an economic-analysis tool called a "location quotient," Currid calculates that New York matters far more to fashion, art, and culture than to finance. To exaggerate a bit, if New York suddenly disappeared, stock markets could keep functioning, but we would not be able to dress ourselves or find art to put on the wall. Currid suggests that, in the fight among cities for business, being the center of fashion and art constitutes New York's true "competitive advantage."

And from The Economist:

New York's cultural economy has reached a critical juncture, argues Ms Currid, threatened by, of all things, prosperity. The bleak economic conditions of the 1970s allowed artists to flock into dirt-cheap apartments and ushered in the East Village scene of the early 1980s. The boom of the past decade, by contrast, has priced budding Basquiats out of Manhattan, pushing them across the water to Brooklyn and New Jersey. Studio flats meant for artists-in-residence get snapped up by bankers. The closure last year of CBGB, a bar that became a punk and art-rock laboratory in the 1970s (and whose founder, Hilly Kristal, died last month) came to symbolise this squeeze.

Ms Currid sees this expulsion of talent as a serious problem. The solution, she argues, lies in a series of well-aimed public-policy measures: tax incentives, zoning that helps nightlife districts, more subsidised housing and studio space for up-and-coming artists, and more.

The first chapter of the book is available on the Princeton University Press site.

Jessica Lagunas' Return to Puberty, an artwork consisting of a "video close-up of my pubis in a static single shot, in which I depilate most of my pubic hair with a pair of tweezers continuously for one hour". It's like the female version of Empire. NSFW.

Andy Warhol would have loved this round-the-clock webcam view of the Empire State Building...it's like a sequel to Empire that never ends. (via cyn-c)

Upscale retailer Barney's is selling cans of Campbell's Tomato Soup with Andy Warhol labels. 4 cans for $48.

A collection of snapshots by Andy Warhol of his friends from a recently published book, Warhol's World.

A bunch of Andy Warhol videos on YouTube.

On TV tonight: Ric Burns documentary on Andy Warhol. Part 2 tomorrow night.

Update: NY Times piece on the Warhol documentary.

Update: The Nation has some thoughts on the doc as well.

Do rich artists make bad art? "When you become as rich as [Warhol or Dali], being as rich as this becomes your story. If you don't make art about being a multimillionaire, you are being dishonest. If you do, you can hardly claim the universality of great art." (via rw)

Allan Tannenbaum's photos of NYC nightlife in the 1970s. Discos, Studio 54, Andy Warhol, porn stars, etc. NSFW.

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