Andy Warhol. Edited by Andy Warhol, Kasper Konig, Pontus Hulten, and Olle Granath. Moderna Museet, Stockholm, 1968. 644 pp. Thick quarto. First edition. Illustrated wrappers. Black-and-white reproductions.
Cited in "Book as Artwork 1960 / 1972" by Germano Celant. London, United Kingdom : Nigel Greenwood Inc. Ltd., 1972, pp. 71.
Willem de Rooij on Andy Warhol:
" Kasper König, who worked for the Moderna Museet as an intern of sorts in New York, developed a basic concept for the book. Reading Warhol’s work in the context of On Kawara and other conceptual contemporaries, König had produced a radical grid that consisted of four groups of images: one group documenting Warhol’s artworks, two groups documenting Warhol’s social and professional milieu, and one group documenting a selection of particularly outraged Warhol reviews clipped from provincial American newspapers... Most of the works documented in this first image section were not shown in Stockholm; they merely served as source material.
For the second and third sections of the book König commissioned Billy Name, chronicler and inhabitant of the Factory, and Stephen Eric Shore, a teenage Warhol groupie at the time. Both Name and Shore composed rhythms of their own sequences, and neither of them added any captions: they felt the images should speak for themselves. This absence of text contributed to the object-status of the book.
Name’s sequence consists of 274 images, each bleeding off an entire page. The sequence functions as a record of how Warhol and his collaborators lived, worked and celebrated, in- and outside the Factory. Most of the images have an informal character, like snapshots. Many are overexposed, unfocused or tilted, making for a visual dynamic that derails into a delirious storyboard. This series too, can be seen as an autonomous (time-based?) piece, more than a documentary exercise.
Shore’s sequence consists of 170 images, one per page. His images are more formal in their framing than Name’s. In comparison his approach seems detached, his images of the Factory uncharacteristically quiet and concentrated. Each image is reproduced in its entirety, the edges of the negative emphasized by white borders. Shore’s se-quence thus reads like an exhibition, not like a single piece.
"The book was an important part of the exhibition. I was aided by the brilliant team of John Melin and Gösta Svensson who quickly realized that it was a project for a newspaper printer and booked the printer of the daily Värnamo Nyheter. The photographers Billy Name and Stephen Eric Shore had edited their series of images of life with and around Warhol, so we just used their material as it was. The images of Warhol’s works were to comprise the theme of repetition as well as the retrospective element that was not present in the exhibition. The image material was abundant, so it was an easy task... the book primarily reminds me of one of the perhaps strangest exhibition productions I have ever been part of. After Stockholm, the exhibition traveled to, among other places, the Stedelijk Museum in Amsterdam and the Kunstnerernes Hus in Oslo. It turned out to be a landmark in Warhol’s career and a roundup of what had passed. After the shooting in Union Square he was to take a somewhat different path."
Very Good+; glued binding typically fragile binding; slight spine crease; several center pages loose with page edges sprung; bright wraps with moderate edge wear; tiny chips base of spine; one corner creased with layers slightly separated.