The Warhol as One Giant Pocket of Weirdness

The Economist magazine this week features a long review of Andy Warhol's impact on the art world (as part of a review of the contemporary art scene), and reading it prompted the thought that the center of gravity in Pittsburgh's cultural scene may really lie a block away from PNC Park, at the Warhol Museum, rather than in Oakland or in the Cultural District. Sure, the latter may have history and breadth on their side, but the Warhol has mass.

From the magazine:
Warhol’s importance as a symbol is immense. He is not just famous; he has been a dominant influence on many of the most successful artists today, including Jeff Koons (see article), Damien Hirst, Takashi Murakami and Richard Prince. He redefined the role of the artist as a “creative director”—more of an architect than a craftsman—who is acutely aware of the media resonance of his art. “In future Warhol will be much more important than Picasso,” says Gerard Faggionato, a London dealer, “because he is more relevant to the younger generation.”
Is this right? Pittsburgh may have a pocket of weirdness at the Warhol that beats all pockets of weirdness anywhere.


1 Response to "The Warhol as One Giant Pocket of Weirdness"

Anonymous said... 12/01/2009 10:54 AM

starf#@kery is not weird, imo. too much effort - too much affectation.

speaking of affectation, i'll suggest the weirdest thing about pittsburgh comes from the mouths of hardcore yinzers. it's not just weird, it's ugly-weird and a sort of quasi-socioeconomic verbal secret handshake.

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Pittsblog 2.0 is written by Mike Madison, a law professor at the University of Pittsburgh. Send email to michael.j.madison[at] Mike also blogs at, on law and technology. Chris Briem of Null Space drops by from time to time.

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