|Published online: September 12, 2014||$US5.00|
Through the lens of the critical semiotic and post-structuralist perspectives, this article analyzes Andy Warhol’s work “Twenty Marilyns.” Based upon the theoretical–critical framing of aesthetics and contemporary culture, this paper aims to understand the meanings behind this work. Many art sociologists consider Andy Warhol to be one of the main representatives of the aesthetic school who broke away from the perspective that viewed art as a space for social critique, bringing it closer to consumer culture. Thus, this article offers aesthetic and poetic inputs, allowing for a reflection on the current crisis of values in contemporary society. What is the role of Warhol’s work in the context of the social and cultural transformations of the ‘60s? What is the relationship between representational technologies and social movements? Using an exploratory method, we aim to analyze this artist’s work, identifying the social and power codes underlying his language, forms, and contents, and seek to determine whether they are explicit or evoked. We also aim to analyze the processes of sociocultural signification. As a result of this investigation, we expect to contribute questions about the role of aesthetics in works of art and the drifting of contemporary culture.
|Keywords:||Andy Warhol, Pop Art, Contemporary Culture|
The International Journal of New Media, Technology and the Arts, Volume 8, Issue 1, October 2014, pp.33-40. Article: Print (Spiral Bound). Published online: September 12, 2014 (Article: Electronic (PDF File; 658.238KB)).
Auxiliary of Research, Program of Cooperation Networks, Universidade do Vale do Rio dos Sinos, Porto Alegre, Rio Grande do Sul, Brazil
Professor, Design Research, Unisinos, Porto Alegre, Rio Grande do Sul, Brazil