Portrait af Andl llTarltol

12

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losusl^ xPuv Io solt!^lsspd Pus suollltedelsllocruo8 Jo lrNludl

firmly in the grip of their owl1 rcpeat-ings; the movic shows that for them lifehai been one long tehearsal, and thercan bc dcpendcd upon, when placed be-fore thc jaded eye of the cameta, to yieldthefu down-at-heel univers^Lity, thetthand-me-down timelessness. The peopleemcrgc not as sinners, but as fepeaters:as paiient martyrs to repetitiofl: trim-miig hatr,rvashing dishes, complaining'torturing, failing. Appropriately enoughthe movie oPens with a mock HolsFamily (mother, child, and man trho istoo short to bc the husband, and rtht-'doesn't seem to be the father), and closest,ith a mock confession to a Pope lrhosays so beautifully that it isn't easy bein-eu iop", but that it isn't hatd either, itls

]ust iomething you are. The efficacy otconfession, evefl to PoPe Ondine'<lepends upon the promise that the sirwill not be repeated. Clcarly no one i:thc movies is in a position to makc sucha promise. Their punishment for reped-tion of theit sins seems to be in th'repetitiofl itself, horvcver. Sinning turn'ort to b" another fotm of Penance, anilWarhol repeats the pattern of the irr'-motalist who butns through to his orr::hard-core motalitY.

\fi/athol has announced his ambido::to bc a machinc: 'The teason I'm paior-ing this .*,ay is because I want to be .:

machine. \ilhatever I do, and d

machine-like, is bccause it is u'hat I s'a:-:to do.' Since a machine is capable of eni-less and perfect rcpetitions (see llasterand Johnson, Haman S exaal kesponse, l'-':descriptions of machines no one couiihope io emulatc), and since \ilathol r:.roi, *. can say that he can only succceJin failing to fu1fil this ambition, succe'cin showing that when repetition is a:ideal, it is unattainable. But this faileimachine is destined to succeed as iflorver, as Dcnnis Hopper's phorograp'-on the covet of Decembet t961 '1r-forum sttggests. The eatly paint-br-.tr-b"r fl-owcr paintings, and thc silt-scrcened flo-*'-ets from a magazine pho: -graph, preseflt flov/ers as an obiect ttfr""glri or feeling by means of flos-t:-like methods of thought: passisi--repetition. This identity of method r'cobiect gives the. flou'et paintings th;:

Lea Cattelli Galkry, New York

tq

Sleep ry66 Moanted filnstriP zz" x tz

spccial authority: petal rcpeats petal,blossom repeats blossom, picture rc-pcals picturc. Varhol sro()d onc d^v inthc gallery, languidly sr:rroundcd bysilvcr pilloris drifting around thc reom:ttttl colourlcsslv rcflcctirrg coloul< 26a1lights. Occasionally somcone trans-planted him to another spot, and as heturncd in the lights hc sccmed not somuch photogenic as phototropic. At theopcning, a guard madc pcoplc waitdorv_nstairs, and Warhol waitcd patientlyuntil somcone pushcd him forrvard. Up_stairs, x gallcry director explaincd th;tAndy rvas supposcd to tcll thc papcr_hangcr horv to hang thc room full ofcou,s, but u,hcn hc frrunci thc man s()capabic,hc toldhinr tocio it hisu,av,ancllcft. 'I'hc papcrhangcr covcrccl cvcn rhclieht s$'itchcs s,ith thosc palc purplccorvs rvlrosc rcpetitivcncss and passivity,horvcvcr bucolic, arc an claboration ofathcmc cvidcnt in thc catliir clcctricchairs. It is as if l{aric Antoincttc atPctite'I'r.ianon, and l\,[aric Antoincttc inthc Placc clc la Concorde, wcrc thc sarrcth ing.

'['lrcsc u,orl<s of Andy Warhol scemto omit happincss or joy,'cvcn plcasurc,as out of thc qucstion, pcrhaps bccauscsuch cmotions clo not lcnd thcmsclvcsto rcpctition, and do n()t f()llow frompassir.ity. [Jut thc mclancholy in thcscu,orl<s is offset by thc daylight to bcfour-rd in thc pcrfcct cxprcssion of a fcel-ing: thcrc's a jc>y in sccing sadness pcr-fcctly p()rtravcd. Vhcn Varhol shorvsrcpctiti()n as an icical of mir-rdlcssncss,lii<c an idcal it rcccclcs from thc grasp ofnran, r,,,ho is condcmltcd to varicty,rrovcltv, and prccarious margir.rs. Butcvcr'l 21s \\,'arhol shorvs that rcpctitioncannot be achicr,cd, hc shours that itcannot bc avoidcd. Hc shows rcpctitionas a glory, as a iest, and as a riddle, andhc shou,s thc sufferance in suffering. Non,ondcr that in thr- Exploding plasticIneuitahlc, that epiphenomenon, he hasNico sing, 'Let me bc your mirrorl Letmc bc your mirrorl Lct me bc yourmirror!'

. \Y/II-LIATf \X/ILSON

y'u exltibi/ir,tt oJ Andy lVarlLol,t n,ork.r i.eiltrrenll) al tlLe Rayan Ca/lert.

l5

Green Disastir No. z 1963 SilA-yreen ofl ca,tlal ro6,, x 79,, Leo Castelli Galhry, Nul york