Andy Warhol, Roy Lichtenstein, ‘At Roon’s Health Club’

Andy Warhol, Roy Lichtenstein, ‘At Roon’s Health Club’

Regular price £3,700.00

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© David McCabe
New York, U.S.A. 1965
Silver gelatin archival print hand signed by the photographer

Accompanied by a Certificate of Authenticity

The two masters of Pop Art Andy Warhol and Roy Lichtenstein had a tenuous and sometimes competitive friendship throughout their careers. Both artists' work became definitive of the Pop Art movement, with aesthetics, processes, and subjects that were distinct, while maintaining a common patina of commercial production.

'Whatever dissension there was among fictions of the art world, everybody showed up, as if by royal fiat, at everybody else's openings and the inevitable loft parties that followed (with cheap wine and loud Motown blasting.) And there you find bohemians, beatniks, art students, scenesters, critics, painters, art-history profs, and a good chunk of the New York 'hipoisie' doing the Frug, the Monkey and the Watusi. As a gallery owner Annina Nosei remembers: ‘Even people who did different kinds of art got together and socialised all the time with each other, at parties and openings. There were great conversations going on, amazing conversations. There was an art world then; there isn't anymore.’ David Dalton

'In 1964, David McCabe landed the commission of a lifetime, he just didn’t know it yet. A then-relatively unknown artist and illustrator named Andy Warhol was looking for a photographer he felt comfortable with to follow him for a year. The job fell to 24-year-old McCabe, an ex-arts student and photographer from Leicester, England. McCabe had recently moved to New York City at the encouragement – and funding – of his employer back home. McCabe’s own studio was a short walk from the now-infamous Silver Factory at 231 E 47th Street. Warhol, who had possibly seen the amateur’s images in magazines such as LIFE and Mademoiselle, liked his style – but McCabe was asking: ‘Who is Andy Warhol?’ Ashleigh Kane for Dazed

The Upcoming
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An Other’s
The Guardian

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