NAKED CITY [Ex-Libris Ralph Ingersoll, Founder of PM Newspaper]
FUCK YOU: A Magazine of the Arts - Number 5, Vol. 4
KULCHUR - Vol. 2 No. 5 - Spring 1962
JADE PRESENTS ... IGGY POP [Concert Flyer]
EAU DE COLOGNE [First Two Issues]

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ANDY WARHOL [Exhibition Catalogue]

[WARHOL, Andy]. GREEN, Sam (Curator, Introduction by)

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Price: $3,000.00

Philadelphia: Philadelphia Institute of Contemporary Art, (1965). First Edition. 8vo. Publisher's Campbell's Soup-printed wraps with black cloth tape backing, as issued. Interior printed recto only on green, white and metallic silver card stock. Wraps lightly toned with minor wear at edges, corners. Single leaf cleanly loose from binding. Else tight and sound with interior fresh and bright. About near fine. (Item ID: 16837)

Exhibition catalog from an infamous event: Warhol's first retrospective at Philadelphia's ICA in October 1965. Curator Sam Green issued so many invitations that the venue was mobbed. Arthur Danto, in his recent biography of Warhol, described the scene: "There was a crowd of at least two thousand rapturous persons [...] No one had expected a crowd that large, and the curator, Sam Green, to be prudent, removed most of the paintings from the walls, leaving the gallery all but bare. But the crowd had not come so much to look at the art as to see Warhol and his consort. Chants of 'Andy and Edie [Sedgwick]! Andy and Edie!' went up. People were jostled and trampled. It became a problem of crowd control much like what was happening at rock concerts. Andy, Edie, and their party found safety on an iron staircase, where [...] they waved at the crowds below. Finally a hole was axed in the ceiling, and [they] were able to escape to the floor above. Crowd behavior like that [...] was unheard of at art events [...] The change did not escape Warhol's notice. 'To think of it happening at an art opening,' he said. 'Even a Pop Art opening. But then, we weren't just at the art exhibit ó we were the exhibit.'" (5). The catalogue itself from this landmark event is as much an anomaly as the event itself. Designed by Warhol with Ben Birillo, it was assembled from images of Warholís recent work (taken from series such as his Death and Disasters, Elvis, Jackie, Flowers, and Marilyn Monroe paintings) reproduced full-bleed and printed on heavy multi-colored stock that resulted in combinations often unique to particular copies and with an effect that is as much artist's book as traditional catalogue. Indeed, it is this rather elaborate but fragile design that can make finding a copy in collectible condition difficult. An exceptionally well-preserved catalog featuring some of Warhol's most iconic work ó from an event that cemented his reputation as one of the most exciting artists of the 1960s. Though widely held institutionally, it is increasingly uncommon in trade, and scarce in this condition.

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