Andy Warhol finds a friend in 1985: The Amiga

Andy Warhol finds a friend in 1985: The Amiga

Commodore International planned a theatrical performance for the 1985 introduction of the Amiga 1000 home computer. The July 1985 event at Lincoln Center included Warhol and Debbie Harry, the rock ‘n’ roll legend and lead vocalist of the band Blondie. In front of a big crowd, Andy Warhol “painted” a portrait of Debbie Harry with the new program ProPaint. He became a Commodore brand ambassador. Later, he used the Amiga to make a series of digital drawings, including a crude Campbell’s Soup Can, Botticelli’s The Birth of Venus with a third eye, and some very red flowers. Warhol wished to print and distribute these images as artworks, but this dream never cam true. The data was retrieved from a floppy disk by reverse engineering the original software in 2014. Warhol’s creative embrace of modern technology is exemplified by a film of his launch performance and his computer-based artworks. The film is available online as well as in the Andy Warhol Museum in Pittsburgh.

Does the “Great Wave off Kanagawa” represent the forces of nature threatening humanity today?​

Does the “Great Wave off Kanagawa” represent the forces of nature threatening humanity today?​

The woodblock print is the first in Hokusai’s series Thirty-six Views of Mount Fuji, first published 1831. Over almost 200 years it inspired many Western artists and designers. This includes contemporaries Birgit Schössow, who did the cover design of the November 28, 2022 issue of The New Yorker. Also John Gall while creating the book cover for Gabrielle Zevin’s Tomorrow, Tomorrow and Tomorrow.  The image has recently become a sign of our collective fears of weather extremes. The wave is the product of a Tsunami, a Prussian blue monster threatening everything below it and in its center with its claw-like hands of foam.

Deutsch:

Der Farbholzschnitt ist der erste aus Hokusais Serie Sechsunddreißig Ansichten des Berges Fuji, die erstmals 1831 veröffentlicht wurde. Im Laufe von fast 200 Jahren inspirierten diese Drucke viele westliche Künstler und Designer. Darunter die Zeitgenossin Birgit Schössow, die das Titelbild der Ausgabe von The New Yorker vom 28. November 2022 gestaltete. Auch John Gall wurde von der Welle für das Buchcover für Gabrielle Zevins Tomorrow, Tomorrow and Tomorrow angeregt.
Das Bild ist in letzter Zeit zu einem Zeichen unserer kollektiven Ängste vor Wetterextremen geworden. Die Welle ist das Produkt eines Tsunamis, ein preußisch-blauen Monster, das mit seinen krallen-artigen Händen aus Schaum alles unter sich und in seiner Mitte bedroht.

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