Andy Warhol’s iconic portraits of Elizabeth Taylor are images that have lost none of their explosive power in the decades that separate the present from the moment of their making. Frequently hailed as the greatest movie star of all time, Elizabeth Taylor was a friend of Andy Warhol in the 1970s and 1980s. The personification of charisma, whose highly public life was charged with drama, tragedy, and romance, this iconic muse was a perfect vehicle for Warhol’s vivid silk-screen portraiture derived from press clippings, publicity shots, and film stills. Warhol made over fifty portraits of Taylor in all her incarnations—from the ethereally beautiful child actress in National Velvet to the commanding, voluptuous screen goddess of Cleopatra. Andy Warhol: Liz sheds light on the relationship between Warhol and one of his most notorious muses.

A critical study of the use of language and the proliferation of text in 1960s art and experimental music, with close examinations of works by Vito Acconci, Carl Andre, John Cage, Douglas Huebler, Andy Warhol, Lawrence Weiner, La Monte Young, and others. Language has been a primary element in visual art since the 1960s—in the form of printed texts, painted signs, words on the wall, recorded speech, and more. In Words to Be Looked At, Liz Kotz traces this practice to its beginnings, examining works of visual art, poetry, and experimental music created in and around New York City from 1958 to 1968. In many of these works, language has been reduced to an object nearly emptied of meaning. Robert Smithson described a 1967 exhibition at the Dwan Gallery as consisting of “Language to be Looked at and/or Things to be Read.” Kotz considers the paradox of artists living in a time of social upheaval who use words but chose not to make statements with them. Kotz traces the proliferation of text in 1960s art to the use of words in musical notation and short performance scores. She makes two works the “bookends” of her study: the “text score” for John Cage's legendary 1952 work 4'33”—written instructions directing a performer to remain silent during three arbitrarily determined time brackets—and Andy Warhol's notorious a: a novel—twenty-four hours of endless talk, taped and transcribed—published by Grove Press in 1968. Examining works by artists and poets including Vito Acconci, Carl Andre, George Brecht, Douglas Huebler, Joseph Kosuth, Jackson Mac Low, and Lawrence Weiner, Kotz argues that the turn to language in 1960s art was a reaction to the development of new recording and transmission media: words took on a new materiality and urgency in the face of magnetic sound, videotape, and other emerging electronic technologies. Words to Be Looked At is generously illustrated, with images of many important and influential but little-known works.

In the 1960s, Andy Warhol’s paintings redefined modern art. His films provoked heated controversy, and his Factory was a hangout for the avant-garde. In the 1970s, after Valerie Solanas’s attempt on his life, Warhol become more entrepreneurial, aligning himself with the rich and famous. Bob Colacello, the editor of Warhol’s Interview magazine, spent that decade by Andy’s side as employee, collaborator, wingman, and confidante. In these pages, Colacello takes us there with Andy: into the Factory office, into Studio 54, into wild celebrity-studded parties, and into the early-morning phone calls where the mysterious artist was at his most honest and vulnerable. Colacello gives us, as no one else can, a riveting portrait of this extraordinary man: brilliant, controlling, shy, insecure, and immeasurably influential. When Holy Terror was first published in 1990, it was hailed as the best of the Warhol accounts. Now, some two decades later, this portrayal retains its hold on readers—as does Andy’s timeless power to fascinate, galvanize, and move us.

As a young man, photographer Zahedi became friends with Elizabeth Taylor, and the relationship changed his life. Now he shares his unforgettable photographs of Taylor, collected for the first time. Text explores her facets, and document her playful, carefree side away from movie sets and crowds.

A unique 360‐degree view of an incomparable 20th-century American artist One of the most emulated and significant figures in modern art, Andy Warhol (1928-1987) rose to fame in the 1960s with his iconic Pop pieces. Warhol expanded the boundaries by which art is defined and created groundbreaking work in a diverse array of media that includes paintings, sculptures, prints, photographs, films, and installations. This ambitious book is the first to examine Warhol's work in its entirety. It builds on a wealth of new research and materials that have come to light in recent decades and offers a rare and much-needed comprehensive look at the full scope of Warhol's production--from his commercial illustrations of the 1950s through his monumental paintings of the 1980s. Donna De Salvo explores how Warhol's work engages with notions of public and private, the redefinition of media, and the role of abstraction, while a series of incisive and eye-opening essays by eminent scholars and contemporary artists touch on a broad range of topics, such as Warhol's response to the AIDS epidemic, his international influence, and how his work relates to constructs of self-image seen in social media today.

Warhol offers his observations of love, beauty, fame, work, and art and discusses the continuous play and display of his many fetishes.

A tale of two Pop artists in 1960s New York This book charts the emergence of Marisol Escobar (1930-2016) and Andy Warhol (1928-87) in New York during the dawn of Pop art in the early 1960s. Through essays, interviews and prose, the book explores the artists' parallel rise to success, the formation of their artistic personas, their savvy navigation of gallery relationships and the blossoming of their early artistic practices from 1960 to 1968. The exhibition features key loans of Marisol's work from major global collections, along with iconic works and rarely seen films and archival materials from the Andy Warhol Museum's collection. By situating Marisol's work in dialogue with Warhol's, this new collection of writing seeks to reclaim the importance of her art; reframe the strength, originality and daring nature of her work; and reconsider her as one of the leading figures of the Pop era.