Andy Warhol's index (book) | Collections | The Huntington

Andy Warhol's index (book) | Collections | The Huntington

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Andy Warhol pop box : fame, the factory & the father of American pop art
Rare Books
"Andy Warhold has been called the pope of twentieth-century pop culture, a one-man show who dazzled American with his innovative infuence on not only modern art but film, music, fashion, and even the idea of celebrity. At the center of this was the work he made and the life he led in the 1960s, in a New York loft called the Factory. There is where everything seemed to happen. This is where everyone wanted to be. Inside you'll get a unique peek at that life. Just like the endless boxes of 'stuff' Warhol himself collected, there's a little bit of everything in here: more than twenty exact reproductions of invitations, letters from celebrities, photos, astrological charts, and various artifacts of his unconventional creative processes, plus a book explaining it all. In true Warhol form, you'll also find some suprises - including a ring-shaped Factory stamp, a Campbell's Soup button, and your own complimentary pass to The Andy Warhol Museum."
637060
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Intransit
Rare Books
Publisher: Toad Press (Eugene, Or.) Related Content: "that's where they came from" ; "it is very good to know when you are done" ; "poem for Brigitte Bardot" (p. 191, poems) Note: On cover p. [1]: "The Andy Warhol-Gerard Malanga monster issue". "NID ; (1968)" written in ms. in upper right corner of cover p. [1]. Related Content Author: Charles Bukowski
602815
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Butler, Octavia E. Photo album: Andy Starret
Manuscripts
1 photograph: color; 13x9cm. Tambopata National Reserve, Peru. Note: folio 8 verso, upper. "Biologist Andy Starret." Note: "On the big Cocha - Cocococha - a large ox-bow 5 to 7 miles from Explorers Inn Camp. This was a long, muddy, up/down muggy walk over trails, fallen logs, rivers with log bridges, etc."
OEB 7770
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America's favorite food : the story of Campbell Soup Company
Rare Books
Campbell's origins go back to 1869, when Joseph Campbell and Abraham Anderson created a business in preserved foods. Jams, jellies, fruits, and vegetables in cans were the staples of the company until 1897, when Dr. John T. Dorrance, a nephew of one of the company's executives then working for $7.50 a week, invented condensed soup. Trained as a chemist, Dorrance had also studied cooking with gourmet chefs in Europe and his combined skills proved the key to success. Within twenty years he not only owned the company, but also demonstrated a marketing genius that nearly eclipsed his other talents; selling soup at ten cents a can he was taking in some fifteen million dollars a year by 1915. Douglas Collins narrates the history with gusto, weaving into the company's development interesting facts about the origins of soup itself and about how America's working women (who also remained homemakers) came to rely on convenience foods. Here, too, are insights into the skillful advertising and marketing decisions that have made Campbell Soup Company a model of successful business practice: the adoption of the red and white label (1898), the creation of the Campbell Kids (1904) - who remain fixtures of the company's visual presentation - and the diversification into other products: Pepperidge Farm baked goods, Prego spaghetti sauces, Vlasic pickles, Godiva chocolates and more. By 1962, the Campbell soup can was such an icon of American life that Pop artist Andy Warhol memorialized it in not one but several dozen works of art. And, Collins tells us, Warhol did so at least partly because he had grown up on Campbell's Tomato Soup, which remained a favorite of his. In addition to a special portfolio of Warhol artworks are historical images from the Campbell archives, photographs made for Fortune magazine in 1935 and 1955 by the great photojournalists Margaret Bourke-White and Dan Weiner, and a gallery of newspaper and magazine advertisements, posters, and related products - including two generations of Campbell kid dolls.
641972
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Changing New York
Rare Books
Berenice Abbott "was one of the most important American advocates of modernist-documentary photography, both in her writings and in her photography. ... To her the poetic and historical aspects of the documentary mode were its most important, although she was not opposed to its reformist role. She demonstrated this in her contribution to the bibliography of the 1930s documentary--Changing New York. Changing New York is clearly inspired by Abbott's understanding of Atget. Her theme is one firmly in the Atget mould--the constant regeneration and renewal of the modern city, the old squeezed out by the new, the small trader squeezed out by big business. She demonstrates that she absorbed the iconography of Atget and [Walker] Evans, the shopfronts and signs, the street traders and furniture, the contrast between ancient and modern. And yet, despite its splendid New Vision-style cover, and the individual excellence of Abbott's images, Changing New York falls a little short in reflecting the city's dynamism. ... [this is both a comprehensive and personal view of New York in the 1930s when, despite the Depression, some of the most enduring twentieth-century monuments were being developed, and old neighborhoods cleared away for new skyscrapers. Changing New York not only fulfils Abbott's criterion for the historical importance of the documentary mode, but also demonstrates its power of personal expression."--The Photobook : A History Volume I / Martin Parr and Gerry Badger. London : Phaidon, 2004.
645627
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The decisive moment
Rare Books
"Strictly speaking, The Decisive Moment is a monograph of Cartier-Bresson's best work, but it has overriding unifying factors that elevate it into a great photobook. The first is the concept of the 'decisive moment' itself, which defines the elegance of Cartier-Bresson's imagery: the instant when all the elements in the picture-frame come together to make the perfect image--not the peak of action necessarily, but the formal peak ... No one achieved it more often or better, but allied with it was Cartier-Bresson's thoroughly clear-eyed view of the world--astute, non-sentimental, beautiful, profound. Crucially, for all their formal grace, his pictures are distinguished by his humanist view of life."--The Photobook : A History Volume I / Martin Parr and Gerry Badger. London : Phaidon, 2004.
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