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346 / CULTURE AS NATURE Rauschtubcrgs view f his landscape of media was both affectionate and ironic. He like cxcavating whole histories within an image histories of the media themselves. A perfect champac is the red patch at the bottom right corner of Retroactive I (plate 229), It is a silkscreen enlargement ofa photo by Go Mili, which he found in Li Je magazine. Milis photograph was a carefully set-up parody, with the aid of a stroboscopic flash, of Duchamps Nu le Degree li 7 g a Staircase, I 9 I 2 (plate 30).
Duchamps painting was in turn based on Makes photos of a moving body. So the image goes back through seventy years of technological time, through allusion after allusion; and a further irony is that, in its Rauschenbergian form, it ends up looking precisely like the figures of Adam and Eve expelled from Eden in Masaccios fresco for the Carmine in Florence. This in turn converts the image of John Kennedy, who was dead by then and rapidly approaching apotheosis as the centre of a mawkish cult, into a sort of vengeful get Wit]l a pointing finger, so fulfilling the prophecy Edmond de Goncourt confided to his journal in I 861: Ihe that Will come when all the modern nations will adore a sort of American god, about whom much will haN e been w rotten in the popular press; and images of this god vill be set up in the church, not as the imag inaction of each individual painter maV find-N: him, but fixed, once and for all h! - pllotograpllN- On that das civil 7. ation will have reached its peak, and there u-ill be star-propelled gondolas in Venice. From television, film, and photography we receive a stream of images every day. There is no wa! - of paying equal attention to all that surplus, so we skim.
The image we r en ember is the one that most r ensemble a sign: simple, clear, repetitious. Everything the camera gives us is slightly interesting. Not for long; just for now. The extension, on the human level, of this glut of images is celebrity, which replaces the Renaissance idea off: ame. Fame was the reward for manifest deeds. It stood for a social agreement about what was worth doing; hence the traditional pairing of fa a and what the Renaissance called zits, prowess or accomplishment.
The celebrity, as Daniel Boorstin pointed out, is famous for being famous nothing else; hence his gratuitousness and tlisposabilit! -. The artist will understood this best and became best known for understanding it was Andy Warhol (b. I 930). In him, the culture of packaging produced its characteristic painter, and Warhol filled this role brilliantly from I 962, when he cmcrgctl, to g (, o, when his powers of invention appear to have fizzled out.
No seriously taken artist of the twentieth century, with the possible exception of Salvador Dali, have dcvotctl so much time and skill to the cultivation of publicity. Instead of lapis has, '! his 1 claimed to transform everything it touched, Warhol projected an ironic and affectless cool, which let everything be itself. Warhols insight was that you do not haN e to act crazy; you can let others do that for you.
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Research essay sample on Han E Image Warhol
