If I ever have to cast an acting role, I want the wrong person for
the part. [...] it's more satisfying to get someone who's perfectly
wrong. Then you know, you've really got something. --Andy Warhol
Perhaps no other artist from the second half of the 20th century is
as familiar to the public as Andy Warhol--and his self-portraits can
hardly be said to have played a lackluster role with regards to the
artist's celebrity. U.S. postage stamp anyone? Occupying a position
of central importance in his oeuvre, Warhol's self-portraits also
occupy a consistent, long-running one. From the first self-images in
gouache painted by 16-year-old Andrew Warhol in the mid-40s to the
fright-wig series completed shortly before his death in February
1987, Andy Warhol continually used self-portraiture to reflect on his
position and social status as an artist, performing a variety of
roles in the process. Yet he never made use of the traditional topos
of the artist's self-portrait; his fascination with transience and
death is constantly present, as in his other works. Although a
seemingly endless number of books have been published on Warhol's
various work groups, this is the first monograph devoted exclusively
to his self-portraits. The accompanying essays discuss different
aspects of the theme and examine Warhol's self-portraits in the light
of an expanded concept of the artist's self-portrait in the 20th
century. Edited by Dietmar Elger.~Essays by Robert Rosenblum and
Roland Wäspe. Hardcover, 10 x 10 in./120 pgs / 60 color and 20 b & w.
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