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Entertainment The Rattler 12 www.stmurattlernews.com February 22, 2012 Were Andy Warhol alive today, he would be throwing dinner parties with Perez Hilton and declare himself a proud member of the Kardashian posse. He is the creator of the admiration for reality stars, after all. This complicated opposition of actions and thoughts is only the beginning of the story of Andrew Warhol—a man who took the traditional to mainstream and the significant to superficial. His art, like his life, juxtaposed reality and fantasy, and the McNay Art Museum’s “Andy Warhol: Fame and Misfortune” exhibition gives visitors and Warhol fans a groovy inside look at that life. The collection is drawn from the Andy Warhol Museum in Pittsburgh and is exclusive to the McNay. It is set up akin to the Warhol exhibitions of his time, and one cannot help walking through it without the awareness that these were the works presented in the same manner that the celebrities and icons of the 1960s and 70s were admiring with brand new curiosity. The walls are painted with a few of Warhol’s famous quotes in the signature yellow font that have made their way onto every piece of commercial merchandise. The entrance of the exhibit showcases Warhol’s early self-portraits, as well as a large screen print of the infamous Campbell’s soup can. Sitting in the middle of the gallery floor are the equally notorious partners of the Campbell’s cans—the Brillo Boxes made with home paint. While comical in appearance, these simple pieces were another one of Warhol’s tools in his attempt to bring the commercially mundane to the attention of high culture. A true rags to riches story himself, Warhol constantly used this archetype to bring the conventional to the prestige and fame of museums. The iconic Marilyn Monroe and Jackie Kennedy portraits are revealed in the first part of the gallery, and every replica that has ever been produced of these famous images does no justice to the vivid, electrifying colors of the real works. While the portraits are made to look whimsical because of the color choices, Warhol’s contradictory motives are apparent. His fascination with stars like Marilyn, Jackie, Elvis Presley and Elizabeth Taylor, among others, revealed his obsession with tragic American success stories. Under the superficial facade, each of these celebrities suffered with their own private issues—abuse, health problems and drugs—that were brought to light by the media. Consecutive portraits of Jackie on one wall show her expressions disintegrating from happy to mournful and anothe part of the gallery displays numerous brigh portraits of Mao Tse-Tung, the sinister and feared Communist leader made to look mischievous and harmless. The magic of Warhol’s creations is seen in his ability to transform the macabre into something playful. The other half of the works demonstrates his passion for the tragic, with neon and paste- colored screen prints of skulls, car accidents violence, death and the electric chair. “FLASH” displays screen prints and a manuscript following John F. Kennedy’s assassination, a tribute to the four days that the world lived in fear. A devout Catholic who frequently volunteered a soup kitchens, Warhol spent his last years creating collages, screen prints and acrylic paintings o biblical images, such as “The Last Supper,” and recreating Renaissance masterpieces to his liking “Raphael Madonna-$6.99” is a towering sketch with childish colors, and another work displays a modern sketch of Jesus glowing under black lights His “Factory” manufactured pieces opposed the solitary genius of the Renaissance and Baroque periods, and his unique reproductions symbolized the lost significance of these important works through repetition. Throughout the gallery, his black-and-white films play, some silently, while the background noise of others adds to the eerie feel of the exhibit. His unsigned works are left to linger in the minds o viewers, creepily posing as cheerful emblems o hope or providing nostalgia for good days gone by. In reality, they stand as a challenge to the high culture position of art and a shield that hides distress. Warhol lived fascinated by the unrea apparitions that movie stars and art represented and exposed that superficiality for the world to see in the Pop Art Movement. “I always thought I’d like my own tombstone to be blank. No epitaph, and no name. Well actually, I’d like it to say ‘figment,’” revealed the artist. Viewers and fans cannot ignore his art o existence, but most have managed to remain ignorant to the significance behind it, transforming the iconic images into cartoonish figments of thei imagination, molded to their own beliefs. It seems that once again, Andy Warhol has gotten his way. By Dania Pulido Staff Writer Andy Warhol, Self-Portrait, 1964. Acrylic, metallic paint, and screen-printing ink on linen, 201⁄8 × 161⁄8 in. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts, 2002.4.20. © 2012 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York A review of the Andy Warhol exhibit at the McNay Art Museum Andy Warhol, Liza Minnelli, 1979. Acrylic and screen-printing ink on linen, 40 × 40 in. The Andy Warhol Muse- um, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts, 1997.1.10a. © 2012 The Andy Warho Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York Andy Warhol, Skull, 1976. Acrylic and screen-printing ink on linen, 721⁄8 × 801⁄2 in. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts, 2002.4.31. © 2012 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
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EntertainmentThe Rattler12
www.stmurattlernews.com
February 22, 2012
Were Andy Warhol alive today, he would bethrowingdinnerpartieswithPerezHiltonanddeclarehimselfaproudmemberoftheKardashianposse.Heisthecreatoroftheadmirationforrealitystars,after all. This complicated opposition of actionsandthoughts isonlythebeginningofthestoryofAndrewWarhol—amanwhotookthetraditionaltomainstream and the significant to superficial. Hisart,likehislife,juxtaposedrealityandfantasy,andtheMcNayArtMuseum’s“AndyWarhol:FameandMisfortune” exhibition gives visitors and Warholfansagroovyinsidelookatthatlife.
The collection is drawn from the AndyWarholMuseum in Pittsburgh and is exclusive to theMcNay. It issetupakin to theWarholexhibitionsofhis time,andonecannothelpwalking throughitwithouttheawarenessthattheseweretheworkspresentedinthesamemannerthatthecelebritiesandiconsofthe1960sand70swereadmiringwithbrandnewcuriosity.
The walls are painted with a few of Warhol’sfamousquotesinthesignatureyellowfontthathavemade their way onto every piece of commercialmerchandise. The entrance of the exhibitshowcases Warhol’s early self-portraits, as wellasalargescreenprintoftheinfamousCampbell’ssoupcan.Sitting inthemiddleofthegalleryflooraretheequallynotoriouspartnersoftheCampbell’scans—the Brillo Boxes made with home paint.Whilecomicalinappearance,thesesimplepieceswereanotheroneofWarhol’s tools inhisattempttobringthecommerciallymundanetotheattentionofhighculture.Atrueragstorichesstoryhimself,Warholconstantlyusedthisarchetypetobringtheconventionaltotheprestigeandfameofmuseums.
TheiconicMarilynMonroeandJackieKennedyportraitsarerevealedinthefirstpartofthegallery,andeveryreplica thathaseverbeenproducedofthesefamousimagesdoesnojusticetothevivid,electrifying colors of the real works. While theportraits are made to look whimsical because ofthe color choices,Warhol’s contradictorymotivesareapparent.HisfascinationwithstarslikeMarilyn,Jackie, Elvis Presley and Elizabeth Taylor, amongothers,revealedhisobsessionwithtragicAmericansuccessstories.Underthesuperficialfacade,eachofthesecelebritiessufferedwiththeirownprivateissues—abuse, health problems and drugs—that
were brought to light by the media. ConsecutiveportraitsofJackieononewallshowherexpressionsdisintegratingfromhappytomournfulandanotherpart of the gallery displays numerous brightportraitsofMaoTse-Tung, thesinisterand fearedCommunist leadermadeto lookmischievousandharmless.
Themagic ofWarhol’s creations is seen in hisability to transform the macabre into somethingplayful.Theotherhalfof theworksdemonstrateshis passion for the tragic, with neon and paste-colored screen prints of skulls, car accidents,violence, death and the electric chair. “FLASH”displaysscreenprintsandamanuscript followingJohn F. Kennedy’s assassination, a tribute to thefourdaysthattheworldlivedinfear.
AdevoutCatholicwhofrequentlyvolunteeredatsoupkitchens,Warholspenthislastyearscreatingcollages, screen prints and acrylic paintings ofbiblical images, such as “The Last Supper,” andrecreatingRenaissancemasterpiecestohis liking.“Raphael Madonna-$6.99” is a towering sketchwith childish colors, and anotherwork displays amodernsketchofJesusglowingunderblacklights.His “Factory” manufactured pieces opposed thesolitary genius of the Renaissance and Baroqueperiods,andhisuniquereproductionssymbolizedthe lost significance of these important worksthroughrepetition.
Throughoutthegallery,hisblack-and-whitefilmsplay, some silently, while the background noiseofothersaddstotheeerie feelof theexhibit.Hisunsignedworks are left to linger in theminds ofviewers, creepily posing as cheerful emblems ofhope or providing nostalgia for good days goneby. In reality, they stand as a challenge to thehighculturepositionofartandashieldthathidesdistress. Warhol lived fascinated by the unrealapparitions thatmovie stars and art represented,andexposedthatsuperficialityfortheworldtoseeinthePopArtMovement.
“I always thought I’d like my own tombstoneto be blank. No epitaph, and no name. Well,actually, I’d like it to say ‘figment,’” revealed theartist. Viewers and fans cannot ignore his art orexistence, but most have managed to remainignoranttothesignificancebehindit,transformingtheiconicimagesintocartoonishfigmentsoftheirimagination,moldedtotheirownbeliefs.Itseemsthatonceagain,AndyWarholhasgottenhisway.
By Dania PulidoStaff Writer
Andy Warhol, Self-Portrait, 1964. Acrylic, metallic paint, and screen-printing ink on linen, 201⁄8 × 161⁄8 in. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts, 2002.4.20. © 2012 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
A review of the Andy Warhol exhibit at the McNay Art Museum
Andy Warhol, Liza Minnelli, 1979. Acrylic and screen-printing ink on linen, 40 × 40 in. The Andy Warhol Muse-um, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts, 1997.1.10a. © 2012 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
Andy Warhol, Skull, 1976. Acrylic and screen-printing ink on linen, 721⁄8 × 801⁄2 in. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts, 2002.4.31. © 2012 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
The Rattler12
www.stmurattlernews.com
October 19, 2011
Proceed with caution if you dare! �ese gory scenes are not for the faint of heart, beating or not beating.
By Emily Scruggs and Jessica VallesWeb Editor and Sta� Writer
A review of SeaWorld San Antonio’s “Howl-O-Scream.”
It is that time of year again when pumpkins are carved, spider webs are hung and anything that is slightly spooky is haunted. While some might constantly look over their shoulder during October, those walking through the parks of SeaWorld San Antonio are definitely being stalked by creatures of another dimension.
During the Halloween season, SeaWorld is transformed into “Howl-O-Scream” after 6 p.m., and all of their seasonal attractions return to life from the dead. The parks’ attractions are themed around its resident pumpkin-head, Jack O’Lantern, and include the Frightmare Forest, Den of the Departed and Jack’s S.O.S. Maze. As guests walk through the park, they must survive different scare zones filled with creatures of the night.
Jack’s S.O.S. Maze—themed like a freak show—is this year’s newest attraction. While guests are waiting to enter the maze, a freak show is taking place outside. Once they enter, guests must find their way through a maze that includes black lights and neon paints, freakish noises and posters, and an unexpectedly long, but fun, vortex.
Frightmare Forest—rated the scariest attraction in the park—begins with a zombie priest giving a sermon that warns guests not to continue any further. Among the frightening path, guests encounter different scenes representing popular phobias many share, such as the fear of rodents and the dark. Before the final scene, guests enter Jack’s hometown, featuring a
breathtaking set-up of a pumpkin patch filled with neon painted jack-o-lanterns. This scene alone is the best part about going to “Howl-o-Scream,” creating the feeling of stepping into “A Nightmare Before Christmas.” The forest is “kid-friendly” before 6 p.m., for those who are not brave enough to enter.
This year, SeaWorld premiered “Monster Stomp”—one of the highest-budgeted shows in a long time. “Monster Stomp” is one of the most exciting experiences of “Howl-O-Scream,” featuring live performances of classic Halloween hits like “Thriller” and “The Time Warp”.
This year, guests have the option of participating in the “Face Your Fears Tour,” which gives them a behind-the-scenes tour of “Frightmare Forest” and “Den of the Departed,” reserved seating at “Shamu’s Rockin’ Creep Show” and “Monster Stomp” and an all-you-can-eat dinner with the resident pumpkin head Jack O’Lantern. Guests can also meet and greet with the animal stars of “Creepy Creatures” and a quick queue pass for front of the line access to all attractions. This tour is the perfect opportunity for those who fear they might be too afraid of
Frightmare Forest—giving them a sneak peek of what is to
come.SeaWorld San Antonio’s “Howl-O-
Scream” is a fun-filled Halloween experience that does not disappoint. The
most daring move to make this season is skip the haunted houses and splurge at SeaWorld. Your wallet will not be haunted by the
nightmares Jack gives you.
FrightmaresShows&
By Amanda CanoManaging Editor
For a web-exclusive review of 13th Floor Haunted House, check us out at: stmurattlernews.com
/ Photo by Leo Reyes.
“Howl-O-Scream” Scare MeterFrightmare Forest
Den of the Departed
Jack’s S.O.S. Maze
Shamu’s Rockin’ Creep Show
NEW: Monster Stomp (Must See)
EntertainmentThe Rattler12
www.stmurattlernews.com
November 22, 2011
Stocking Stuffers
Season Festivities
Compiled by Jessica Valles | Graphic / Illustration by Amanda Cano
• TheCompanyTheatre’s 2011TexasTour is presenting awonderful one-man showat LittleItalyonNov.25and26.Award-winningstageactorJ.DamianGillenwillperformallrolesfromCharlesDickens’“AChristmasCarol.”Completewithcostumesandmusic,thisholidaytreatwillrunfor$40atthedoor,includingdinner.
• TheRiverWalkwillhosttheFordholidayparadeandlightingceremonyonNov.25at7p.m.Over1.4million lightswill transformdowntown intoaChristmaswonderlandandmorethan150,000peopleareestimatedtogatherfortheevent.Ticketsareonsalenowtoseethefloatsthatwillcarrycostumedparticipants,bandsandcitycelebritiestoentertainguests.
• HollyDaze on theRiverWalk is a series of performances fromdifferent acts around town.TheseincludetheAlamotionandAlamotionToodancegroups,theyouthbandTakeNote,andstudentsoftheParksandRecreationDepartmentDanceprograms.ThiseventwilltakeplaceonSaturday,Nov.26at1p.m.
• Theuniversity’smusicdepartment’sensembleispresentingaChristmasconcertattheHolyRosaryChurchnexttocampus.JoinfellowclassmatesinwelcomingtheholidayfestivitiesonThursday,Dec.1at7p.m.
• ARTS San Antonio will present Tchaikovsky’s “The Nutcracker Ballet” performed by theMetropolitanClassicalBalletattheLilaCockrellTheatrefromDec.16through18.Ticketpricesstartat$20fortheclassicholiday-inspiredballet.PetterIllychTchaikovsky’stimelessscorewithPaulMejia’suniquechoreographyissuretocaptivatethewholefamily.
/ Photos courtesy of thesanantonioriverwalk.com. Courtesy of pingblog.com
