"[Juan] Hamilton became the handyman, assistant and friend of [Georgia] O’Keeffe when he was 27 and she was 85."

"He worked and travelled with her for the next 14 years, helping her to paint again as her eyesight was failing, to mount exhibitions and to publish an acclaimed book about her life and work. But it was also noted by neighbours in New Mexico that he was tall, dark and handsome. O’Keeffe’s former agent, Doris Bry, noticed that he was invited to accompany O’Keeffe on a trip to Morocco, apparently in her stead and later filed a lawsuit alleging that he was interfering in her business relationship with the artist. And after O’Keeffe died in 1986, without children, her surviving relatives noticed that he had been made the sole beneficiary of her $70 million estate and filed a suit, later settled out of court...."

From "Juan Hamilton, Georgia O’Keeffe’s caretaker and friend, dies aged 79/The artist’s assistant inherited her entire estate when she died in 1986, but her relatives sued him and they settled out of court" (London Times).

"'Many, many of the other artists who saw it really hated it,' Mr. Pettibone told Art in America magazine in 2011."

"'They were pounding the tables with anger, screaming, "This is not art!" I told them, "This may be the worst art you’ve ever seen, but it’s art. It’s not sports!"' Warhol’s appropriation of the soup can — and Lichtenstein’s use of existing comic-book imagery — inspired Mr. Pettibone’s career. 'He said, "I was told in school to be original, but you guys aren’t inventing anything,"' said Barbara Bertozzi Castelli, who runs the Castelli gallery in Manhattan.... 'He said, "I’m going to copy you."'"

From "Richard Pettibone, Master of the Artistic Miniature, Dies at 86/He painted tiny reproductions of works by Warhol, Lichtenstein, Duchamp and many others, raising questions about originality and creativity" (NYT).

You can see reproductions of Pettibone's works at the Castelli website, here. Sample:

I'm using the "plagiarism" tag, because it's my established tag on the subject of copying someone else's work, not out of any desire to accuse Pettibone of doing anything wrong. As with Pettibone and Andy's soup cans, when it comes to tags, I prefer another one of the same thing. Creating something new is to be avoided.

On the occasion of Nikki Haley's calling Vivek Ramaswamy "scum," I look into the history of "scum" in my archive.

1. October 23, 2019 — blogged here — Trump called his antagonists "human scum":

The Never Trumper Republicans, though on respirators with not many left, are in certain ways worse and more dangerous for our Country than the Do Nothing Democrats. Watch out for them, they are human scum!

— Donald J. Trump (@realDonaldTrump) October 23, 2019

2. On October 24, 2019, I wrote "Troubled by Trump's use of the phrase 'human scum,' I decided to trace its usage, over the years..." This post traces the use of the phrase "human scum" in the NYT archive, beginning in 1897. I note: "The epithet rarely appeared until 2003, when it began coming up repeatedly in statements from the North Korean government. The first person called 'human scum' by the North Koreans was John Bolton."

2. In December 2017, according to The Daily Beast, Facebook was banning women who call men "scum" (because it, supposedly, "classifies white men as a protected group"). I wrote: "I don't support what Facebook is doing, but I do think the use of the word 'scum' warrants a historical note on 'SCUM' — The Society for Cutting Up Men. The author of 'The SCUM Manifesto,' Valerie Solanas, wasn't joking....'The Manifesto argues that SCUM [a revolutionary vanguard of women] should employ sabotage and direct action tactics... "If SCUM ever marches, it will be over the President's stupid, sickening face; if SCUM ever strikes, it will be in the dark with a six-inch blade."'" Solanas became famous for shooting Andy Warhol.

3. On December 11, 2020, I blogged about a Wisconsin State Journal headline "Sen. Ron Johnson called 'delusional scum' for considering challenge to election." I asked "why is the fact that somebody hurled one particular epithet the subject of a headline? If the insult-hurler isn't important enough to name in the headline, why put one nasty insult in a headline?"

4. Back in January 2015, I blogged the immortal words of John McCain: "Get outta here you lowlife scum!"

5. On May 24, 2022, I happened to revisit Hunter S. Thompson’s 1994 obituary of Richard Nixon. Thompson wrote: "Some people will say that words like scum and rotten are wrong for Objective journalism — which is true, but they miss the point. It was the built-in blind spots of the Objective rules and dogma that allowed Nixon to slither into the White House in the first place. … You had to get Subjective to see Nixon clearly, and the shock of recognition was often painful."

Vulnerable, uncomfortable, transformative blog post.

We watched "Weird: The Al Yankovic Story."

Just watch the trailer and you'll easily see if this movie is for you:

We laughed a lot. I especially liked the big scene early on that had a lot of celebrities — including Andy Warhol (played by Conan O'Brien) and Salvador Dalí. Rainn Wilson plays Dr. Demento, and Jack Black plays Wolfman Jack. Madonna is an important character — played by Evan Rachel Wood. Al is played by Daniel Radcliffe, and Weird Al himself plays a stern record executive. 

We streamed it on the Roku Channel, and it was interrupted by commercials — as you might expect, a ton of political commercials. I don't know how I put up with it, because I normally watch zero commercials — other than in front of YouTube videos, like that embedded clip itself. I saw an absurd number of commercials related to Mandela Barnes... and don't remember a damned thing about them. Why would I vote based on commercials?

"Justice Kagan wondered if the Warhol case benefited from a 'certain kind of hindsight,' since 'now we know who Andy Warhol was and what he was doing and what his works have been taken to mean'...."

"At the same time, other Justices seemed more comfortable interpreting Warhol’s works. Justice Sotomayor took it for granted that Warhol’s works commented on Prince’s 'superstar status' and 'his consumer sort of life.' The idea that Warhol’s art depicted the flattening of celebrity was repeated so many times over the course of the morning that it flattened out, too. Justice Kagan recognized that Warhol 'took a bunch of photographs and he made them mean something completely different.' Even Chief Justice Roberts repeated, rather uncritically, the foundation’s view that Warhol sent a 'message about the depersonalization of modern culture and celebrity status and the iconic' and showed 'a particular perspective on the Pop era.'"

From "Controversy/In a case litigating Andy Warhol’s use of a photograph of Prince, the Supreme Court wades into the uncomfortable territory where art criticism and copyright law collide" by Liza Batkin (NYRB).

"Justice Clarence Thomas let it be known from the bench—to ribbing from Justice Elena Kagan and laughter from the audience—that he was a Prince fan in the nineteen-eighties."

"Chief Justice John Roberts name-dropped the artists Piet Mondrian and Josef Albers. But the contrast between the case, in which Warhol is accused of changing too little of Goldsmith’s [photograph of Prince], and the Court itself, which is lately accused of changing far too much, created a tense sort of levity.... The Warhol Foundation wants the Court to stick closely to those words. It asserts that Goldsmith’s naturalistic black-and-white photo depicts Prince as 'fragile and vulnerable,' and seeks to 'humanize' him. By contrast, the Foundation argues, Warhol’s silkscreen process created 'a flat, impersonal, disembodied, mask-like appearance' that comments on the dehumanizing nature of celebrity. In other words, Goldsmith depicts Prince intimately but Warhol conveys an image of an icon.... The legal narrative... is an unwitting commentary on what happens when courts decide what things mean: a flattening of human reality and experience.... Alito mused that 'maybe it’s not so simple' to determine the meaning of a work—months after eliminating abortion rights.... The question hanging over this term is how the Court, which wants to appear as unoriginal as possible, will be affected by enacting so many transformations."

From "The Supreme Court’s Self-Conscious Take on Andy Warhol/In a copyright case, the Justices revealed their own anxieties about interpreting precedents" by Jeannie Suk Gersen (The New Yorker). 

Justice Thomas wasn't randomly showing off his pop culture savvy. He had a good question. 

From the transcript:

The NYT has a few excerpts from Bob Dylan's forthcoming book “The Philosophy of Modern Song."

The first paragraph of the NYT article is: 

The title of Bob Dylan’s latest book, “The Philosophy of Modern Song,” is, in a sense, misleading. A collection of brief essays on 65 songs (and one poem), it is less a rigorous study of craft than a series of rhapsodic observations on what gives great songs their power to fascinate us.

Who's writing that? The article has the byline Bob Dylan, so you might be deceived into thinking that's Bob using the third person for fun and calling his own title "misleading." But after the first 6 paragraphs, you'll see the named of the NYT writer Ben Sisario. 

Only after that point are we reading Bob Dylan, in what are excerpts from the book, which is, apparently, what he wants to say about this and that song and not a treatise on "philosophy." 

"Given to drama in his personal style (he favored capes, gloves and regal headpieces), his pronouncements ('My eyes are starving for beauty') and the work he adored, he cultivated an air of hauteur...."

"Mr. Talley was a fixture at the Abyssinian Baptist Church in Harlem, where, according to the church’s pastor, the Rev. Dr. Calvin O. Butts III.... Mr. Talley, who was openly gay, lived alone and had little semblance of a romantic life... It was through [Vogue editor Diana] Vreeland... that he entered the magazine world, and... met [Andy] Warhol. 'He was constantly trying to grab my crotch,' Mr. Talley later told The New York Times. 'It was not a Harvey Weinstein moment. Andy was a charming person because he saw the world through the kaleidoscope of a child. Everything was 'gee golly wow."'... For [Talley], fashion was both inspiration and disguise, camouflage against the racist barbs he experienced, such as being referred to as 'Queen Kong.'... There were 'many in that industry who really did love André for his talent,' Mr. Butts said. It was also the case, he added, that 'there were others who exploited his talent and used it to their advantage,' who 'never really gave him respect as a man and were condescending.'"

From "André Leon Talley, Editor and Fashion Industry Force, Dies at 73/Called 'a creative genius,' he was the rare Black editor at the top of a field that was mostly white and notoriously elitist" (NYT).

"Throughout most of the ’60s and ’70s, [Brigid Berlin] dragged her Polaroid 360 and a bulky cassette recorder everywhere, though she once said, 'No picture ever mattered, it was the clicking and pulling out that I loved.'"

"Running out of film, she insisted, was worse than running out of speed. Warhol became equally addicted to documentation and, though his pictures became more well known, hers are arguably as revelatory, often the product of double exposures and lighting both flat and vivid, and featuring such friends as Lou Reed, Roy Lichtenstein, Dennis Hopper and Cy Twombly.... Her recordings — there are more than 1,000 hours of tape... — range from the mundane (chatter about her near-constant doctors’ appointments) to the historic (Rauschenberg ranting at the Cedar Tavern). The original cassettes, with Berlin’s typed and handwritten labels affixed to each plastic case, are stored in a black flip-top handled case in her walk-in closet. 'Brigid wanted to melt them down and turn them into a sort of audio John Chamberlain piece.... but I convinced her that was insane.' It was her 1970 recording of the Velvet Underground, scratchy background noises and all, that was remastered into the band’s first live album, 'Live at Max’s Kansas City.'"

From "Brigid Berlin, Andy Warhol’s Most Enduring Friend/Berlin, who died last year, was a great artist in her own right, and her New York apartment, which is being sold, is a window into a bygone era in the city’s history" (NYT). Worth clicking for cool photographs of the idiosyncratic apartment.

Years ago, John Chamberlain was a reference everyone understood. He was a sculptor best known for welding together parts of banged up automobiles. In the 1960s, "modern art" was a hot topic and his name came up a lot. I doubt if younger people know or care about him.

As for "Live at Max’s Kansas City," I've still got my half-century old copy of the thing. How about you? From the 1972 Rolling Stone review: 

"Mr. Midgette, his hair painted and powdered silver-white and his face covered with pale makeup, passed himself off as Warhol at several colleges with Warhol’s blessing..."

"... fielding questions after showings of Warhol films.... Mr. Midgette pulled off his impersonation at a time when Warhol’s reputation had begun to spread beyond New York City but when, to most of America, he was still more of a vague concept than a recognizable personality.... 'The one thing I knew about Andy was, you could answer any question any way you liked and it would be fine,' he said... 'It might not have been the same thing he would say, but it would make as much sense... It made me realize how, in life, people just presume a lot of things.... Just because you’ve met Andy twice, does it mean you remember exactly how he looked, and how he would look under different circumstances? If you’re being told it’s Andy and everyone else is accepting it, you’ll go along with that. It shows you how people just aren’t very curious about what’s in front of them.'"

From "Allen Midgette, an Ersatz Andy Warhol, Dies at 82/In a prank, or perhaps a piece of performance art, Mr. Midgette pretended to be the famed artist on a lecture tour in 1967" (NYT).

Andy Warhol said, "He was better than I am.... He was what the people expected. They liked him better than they would have me."

When are you such a thing that a fake you would be more you than you? We have one solid answer: Andy Warhol.

"Are teens watching Pretend It's a City?" — asks Raphael Bob-Waksberg about the Martin Scorsese series — on Netflix — with Fran Lebowitz.

Are teens watching Pretend It's a City? Have the alternative teens discovered Fran Lebowitz? I feel like for a particular sort of high schooler this show could be It Exactly - a key into a different kind of being: "Oh, I'm That." If you are a teen or know a teen, please report.

— Raphael Bob-Waksberg (@RaphaelBW) January 19, 2021

Raphael Bob-Waksberg is the comic writer associated with the animated Netflix show "Bojack Horseman." I have read and enjoyed his story collection "Someone Who Will Love You in All Your Damaged Glory." I follow him on Twitter, and I loved his question. I've watched the Fran Lebowitz series, and I'm the same age as she is (and lived in the NYC in the 70s and 80s), so I liked it, but what about these kids today?

Bob-Waksberg hasn't gotten too many answers. A couple teens say they've watched it, but give no report on whether they found it to be any kind of "key into a different kind of being." 

But here's the most striking answer:

alternative teens discovered her a'ight pic.twitter.com/cJ7lUd9v3G

— ☹☹⌛⌛⚰⚰♻♻ (@zaws) January 19, 2021

I clicked around and found this: 

I love Fran Lebowitz too... & I would love to be simply excited for this new netflix thing but I have some awfully depressing news... Fran Lebowitz is a TERF! I know this because in this 2010 documentary about Candy Darling, Beautiful Darling, Lebowitz articulates the TERF position just about as explicitly as you can--that Candy isn't a woman, but a man tragically and fetishistically fixated on womanhood.... I suppose I am bringing it up because, as usual, it's that thing where an older cis lesbian has been just about as explicitly hateful towards trans people as you can be, but because she's an elder or whatever we're all pretending that never happened....

TERF = trans-exclusionary radical feminist. 

You can watch the entire documentary "Beautiful Darling" here, but I'll just embed the trailer, which begins with Lebowitz talking about Darling:

 

Lebowitz expresses the opinion that you cannot be a woman if you didn't begin life as "a little girl." The power behind Candy Darling was Andy Warhol, and Lebowitz knew Warhol — she wrote for his magazine — and did not like him, as you can see in this clip from a Scorsese domentary that was HBO in 2011:

 

"This is what happens when an inside joke gets into the water supply."

ADDED: I wrote "Lebowitz expresses the opinion..." but these are not "opinions" in the non-artist sense of the word. I like to quote Oscar Wilde: "Views are held by those who are not artists."

You've got to understand that Lebowitz is a humorist. She's releasing her inside jokes into the water supply. 

In financial stress from the pandemic, "Museums Sell Picasso and Warhol, Embrace Diversity to Survive."

Bloomberg reports.

Museums are not only selling works long off the market but acquiring pieces by female, Black and Latino artists, and -- they hope -- gaining new visitors who will see themselves reflected in the hushed halls.... 

This week at Christie’s, Everson Museum of Art in Syracuse, New York, sold its sole Jackson Pollock painting for $13 million and Springfield Museums in Massachusetts offloaded a Picasso for $4.4 million.... 

“Museums have amazing power,” [said Adam Levine, the new leader of the Toledo Museum of Art] “When we put something on the wall, it becomes unimpeachably great.” It also becomes unimpeachably valuable, and museums are under pressure to give power and value to those who’ve been underrepresented. Levine’s first acquisition was Black artist Bisa Butler’s large-scale quilted portrait of Frederick Douglass, whose title alludes to his speech to abolish slavery.

Oddly, Bloomberg fails to tell us the title, but let it be known that it refers to his "speech to abolish slavery." (By the way,  "speech to abolish slavery" is also bad writing.) I looked it up. It's called "The Storm, the Whirlwind, and the Earthquake" and it was made just this year. But once it's on a wall in the Toledo Museum of Art it's "unimpeachably great," so what an admirable acquisition by the museum!

Indeed, every acquisition of the museum is "unimpeachably great," at least in the amazing power of the mind of Adam Levine.

In Baltimore, the city’s encyclopedic museum is selling three signature works -- by Clyfford Still, Brice Marden and Warhol -- to raise $65 million.

These are all white men made unimpeachably great by the hanging of their painted rectangles on the walls of museums. Take them off the wall... and then what?! Dump them on the market — while all the other erstwhile great junk floods the market — and use the proceeds not to keep museum workers on the payroll — these people are losing their jobs like mad — but to heed the call of an "imperative" wafting through the cultural air:

A key Abstract Expressionist who spent the final decades of his life on a Maryland farm, Still gave his “157-G” painting to Baltimore as a gift. It’s estimated to sell for $12 million to $18 million and some funds are to be used to buy works by women and people of color. “The imperative to act and address decades of inaction around equality in the museum is enormously important,” said Christopher Bedford, museum director. He says the emphasis on diversity will “ensure that the story we are narrating is the full and true story.”

Yes, ensure, please, ensure. Here, Andy, quick, paint this: 

Ah! The fullness! The trueness! 

ADDED: I've replaced the link at the top of the post with one that shows various artworks, including the painting Clyfford Still gave to the Baltimore museum, presumably to establish his unimpeachable greatness:

Is the museum somehow ethically obligated to hang onto that, when it can be converted into a 4296-foot-tall stack of one dollar bills? That's my conceptual art: a 4296-foot-tall stack of one dollar bills — representing the low-end estimate of the sale price of that Clyfford Still — 12 million dollars.

"Andy Warhol obviously just scribbled on a photograph. He spent, like, 1 minute."

I said after investigating this strange image we saw in the background as the author of a book about Jimmy Carter gabbed on "Morning Joe" just now.



Meade called my attention to the TV screen. I'm trying to write a blog over here, but he thought it thought it was very funny. It's so awful — that "Warholized" photograph. What idea of Carter is that supposed to convey? That he's arty? Criminal?

I said, "I think that is Warhol," because the only explanation for using such a bad, inappropriate image would be that it's actually a Warhol.

I looked it up. Yeah, it's Warhol. Here's a closeup fragment, to justify my quote up there in the post title, which is what I said when I saw it:

From the link (which goes to the Smithsonian National Portrait Gallery):

Created in 1976 and jointly signed by Andy Warhol and Jimmy Carter, this portrait, commissioned by the Democratic National Committee, served as a fundraiser for the presidential campaign. Based on photographs Warhol took of Carter for the cover portrait of the New York Times Magazine two months before Carter's election in November 1976, the candidate appears solemn and pensive. Rectangular planes of juxtaposed colors intensify the tense expression. Carter would later explain that his "frowning and scowling" reflected financial stress and other concerns.... Carter greatly appreciated the print, noting that Warhol and other artists helped "turn the tide" in his campaign with their fundraising efforts.

Ha ha. Intensifying the tension. Carter liked it! None of that toothy smiling he'd used to steal his way into our squishy 1970s heart. Or maybe Carter didn't like it, but what are you going to say? It was Andy Warhol! Warhol! Making the obscure peanut farmer cool! Or making him ridiculous. Who could know??

Here's Jonathan Alter's book at Amazon:

ADDED: Following my practice of reading the 1-star reviews at Amazon, I encountered this gem: "Who knows how book reads as it was ruined with liquid calcium. Cant return items as post office wont let me ship the liquid sloshing around in the packing bag the bottle came in."

"Everything I do is political," says Representative Ayanna Pressley, about revealing that she is, in fact, completely bald.

There's no explanation of why she lost all her hair — was it traction alopecia from wearing tight braids? — but she does explain why she's choosing to reveal that she is bald, rather than simply hiding it by continuing to wear wigs. The explanation is that everything she does is political, and that, she says, pushed her to talk about it and actually to show it (which you can see at 6:00 in the video).

I think she looks fine being out-and-proud bald (other than that she's projecting sadness and loss). I wish more people who go bald would be openly bald. If you're bald and you choose to wear wigs, it may be a good idea to wear a perfectly wiggy wig — like they say in the old song, a "wig-hat" — so that there's no expression of hiding or shame.

I think of Andy Warhol. He wore wigs from 1955 on, and they were very wiggy-looking wigs. From "The Andy Warhol Diaries":

"The picture of a plastic box containing a joint is a nice bit of stoner fun, but it also evokes the glass-cube sculptures of Larry Bell, another of the artists whose work Hopper..."

"... and Hayward collected (and whom Hopper photographed). A neon Motel Alaska sign, with a glowing index finger illuminating a nocturnal streetscape, echoes a Duchampian credo that Hopper was fond of, that the artist of the future will 'point his finger at something and say it’s art.' Pointing fingers recur in the tender image of two hands—one an adult’s, one a toddler’s—hovering over a mud puddle, a moving study of Hayward and Marin."

From "Dennis Hopper's Quiet Vision of Nineteen-Sixties Hollywood" in The New Yorker.

"Hayward" is Brooke Hayward, Dennis Hopper's first wife. "Marin" is the daughter of Hayward and Hopper, and she is the "energetic steward of [Hopper's] photographic legacy." I'll say! Getting a New Yorker article with sentences like those quoted above is kickass stewardship.

I looked up Brooke Hayward in Wikipedia. Oddly (and speaking of photographs), the only photograph of her there includes Groucho Marx:



It's a really nice photograph of Groucho too. He and Hayward starred in "The Hold Out" on General Electric Theater (on TV in 1961). It was a serious dramatic role for Groucho, and the look on his face is not Groucho being Groucho (and thinking the serious thought, this is a seriously beautiful woman) but playing the part of a man who (according to the caption) "disapproves of his teenage daughter's (Hayward) marriage." She's quite beautiful, but nothing about her says "teenager." In fact, the actress was 24. Today, you could be 54 and look like that.

Speaking of artist-name-dropping sentences in The New Yorker and wives named Brooke, I was continuing to read "The Art of Dying/I always said that when my time came I’d want to go fast. But where’s the fun in that?" by Peter Schjeldahl, and I came across what I will declare the best really long sentence I have read in the 16-year history of writing this blog:

I went back to college in Minnesota for a year, dropped out for good, returned to the Jersey City job for three months, unwisely married, spent an impoverished and largely useless year in Paris, had a life-changing encounter with a painting by Piero della Francesca in Italy, another with works by Andy Warhol in Paris, returned to New York, freelanced, stumbled into the art world, got a divorce, which, while uncontested, entailed a solo trip to a dusty courthouse in Juárez, Mexico, past a kid saying, “Hey, hippie, wanna screw my sister?,” to receive a spectacular document with a gold seal and a red ribbon from a judge as rotund and taciturn as an Olmec idol.

The unwise marriage was not to the wife named Brooke. She arrived later. Like Hopper's Brooke, Schjeldahl's Brooke was an actress. We're told she quit acting after her best line in a movie was edited out, perhaps because Sean Connery thought it was stealing the scene from him. The line was about how nonsmokers were "in the hospital dying of nothing."

"There's only one 'Tom Terrific,' and that's Tom Seaver."

Said Congressman Peter King, complaining about Tom Brady's application for a trademark on the name "Tom Terrific," BBC reports.

All honor and respect to Tom Seaver, but if you want to say there's only one Tom Terrific, it's this guy:



That was part of the "Captain Kangaroo" TV show in the late 50s and early 60s. Wikipedia:

Drawn in a simple black-and white style reminiscent of children's drawings, it featured a gee-whiz boy hero, Tom Terrific, who lived in a treehouse and could transform himself into anything he wanted thanks to his magic, funnel-shaped "thinking cap," which also enhanced his intelligence. He had a comic lazybones of a sidekick, Mighty Manfred the Wonder Dog, and an arch-foe named Crabby Appleton, whose motto was, "I'm rotten to the core!" Other foes included Mr. Instant the Instant Thing King; Captain Kidney Bean; Sweet Tooth Sam the Candy Bandit; and Isotope Feeney the Meany....

"Terrific" is an old-fashioned word of praise. It felt old-fashioned when it was used for Tom Seaver half a century ago, and Brady doesn't really want to be called that. He says he doesn't like it, and I believe him. I presume he's simply trying to prevent other people from profiting off of his brand.

By the way, "terrific" originally meant causing terror. In "Paradise Lost," there's "The Serpent... with brazen Eyes And hairie Main terrific." "Terrific" became "an enthusiastic term of commendation" in the late 19th century. (I'm quoting the unlinkable OED.)

I almost never use the word. I associate it with FDR, whose last words were, "I have a terrific headache." I can't say I've never used the word. I once said a cartoonist had "a terrific drawing style," and I've blogged about other people using the word, notably: 1. the woman who was thrown clear of the car wreck that killed Jackson Pollock, who wrote that she and Andy Warhol had "a terrific crush on each other," and 2. the WaPo columnist who wrote in 2013, "Barack Obama has what it takes to be a terrific law student. It’s less clear those are the ingredients of a successful president."

"Several household employees also made allegations of neglect, including that Ms. [Peter] Max withheld food from her husband and sometimes put 'large Brazil nuts' in his smoothies, on which he might choke."

"Not everyone agreed with the portrayal of an abusive marriage. One court-appointed lawyer testified that Mr. Max 'stated several times, without prompting, how much he loved his wife' and that removing him from their home could be 'highly detrimental' to Mr. Max’s mental well-being... Mr. Max continued to travel to the studio... and sign works of art, even as his condition steadily worsened....  The artist’s dementia, [a gallery employee said], made Mr. Max even more creative and prolific... Luke Nikas, a top art lawyer in New York... did not dispute that Mr. Max suffered from dementia, and noted that the 20th-century Dutch-American artist Willem de Kooning also had the ailment and remained productive. He compared Mr. Max to Warhol and conceptual artists like Jeff Koons and Damien Hirst, who exert creative control but typically rely on others to paint or construct the art. 'Not a single work goes out the door without being hand signed by Peter Max,' Mr. Nikas said... One Wednesday evening in April, I showed up at Peter Max’s apartment.... I told Mr. Max that I was a Times reporter... He just shrugged, asked me several times what year it was and then told me that he had spent his childhood in Shanghai.... I wanted to ask him directly about his career and the drama of recent years, but now that I saw his confusion for myself, I didn’t attempt an interview. So I thanked him and turned to leave...."

From "Dementia Stopped a Major Artist From Painting. For Some, That Spelled a Lucrative Opportunity/Now Peter Max’s associates are trading lurid allegations of kidnapping, hired goons, attempted murder by Brazil nut and art fraud on the high seas" by Amy Chozick (NYT).

Did you know that paintings with the Peter Max signature are sold on all of the major cruise lines, including Royal Caribbean, Carnival and Norwegian, and Norwegian has a Peter Max-themed ship?

Didn't you love Peter Max 50 years ago? If you were around back then. If so, now you are old, and maybe you go on cruises and it would feel nice to go on a cruise on ship painted with Peter-Max-style art and to buy a painting that was signed "Max," and you'd hate to learn that not only was the painting done by someone else but that the signature was accomplished because the demented Mr. Max was "instructed to hold out his hand, and for hours, he would sign the art as if it were his own, grasping a brush and scrawling Max."

Oh, the happy cheerful bright colors! Peter Max was the picture of our youth. His art epitomized youthful optimism and energy. There's no going back, and now it seems he's the epitome of age. How old we all are! His decline reminds us. What year is it? We spent our childhood in Maxland.

ADDED: Here's CBS touting Max 4 years ago....



You do see him painting and hear him talking there. Do you detect dementia? There's something horribly phony about the "CBS This Morning" presentation. The pinchedly smiling face of Michelle Miller made me queasy.

"I read the stuff Lester Bangs wrote about me and thought: 'Oh no, I’m a buffoon! But wait: I am a salient blowtorch of nihilism.'"

"'Cool! Wait, am I cool or not? I’m not sure!' I have one of his books in hardback. I’ve had it for a long, long time. It’s sitting on the shelf along with 'The Andy Warhol Diaries,' the collected works of Allen Ginsburg and a few other books. I look at their spines and think: 'O.K., this is what’s important!'"

Said Iggy Pop, interviewed in "Iggy Pop Is Fine With Being the Godfather of Punk" (NYT).

#EATLIKEANDY.

Another Super Bowl ad. This is risky...



Apparently, that really is Andy Warhol, not (as I originally thought) an actor trying to look and act like Andy Warhol. Not everyone recognizes Andy Warhol, and I suspect that a Venn diagram of people who recognize (and like) Andy Warhol and people who will eat a simple fast-food burger doesn't show a lot of overlap. But I appreciate the daring of this ad. It shows so much about the fast-food burger experience. It really is rather stark and lonely. Simple. Food. It is.

As Meade said, it's like Review Brah:



Unlike Pepsi, Burger King has chosen to accept and love the enervated, wan white man. In the Pepsi Super Bowl ad, critiqued in the previous post, a young white man is targeted for abuse for his meek, bloodless manner. Black entertainers are brought in to demonstrate a preferable vigor and zesty enthusiasm. By contrast, Burger King seems to be saying, you know, it can be cool to be a quiet, gentle white male. Andy was cool. That's a certified historical fact. You don't have to wish you had the style of Lil Jon, and it wouldn't be cool for you to emulate him. Just be like Andy.

Or be like Review Brah.

If it's possible to embrace whiteness without risking accusations that you are flirting with white supremacy, think of Andy.

ADDED: Lest you question whether that's really Andy Warhol, here's AdWeek, "How Burger King Turned Documentary Footage of Andy Warhol Eating a Whopper Into Its Super Bowl Ad/CMO Fernando Machado on how the fast-food brand made the spot":