Flaming Star Poster.jpg
Suspicious Minds wrote:image.jpeg
When Andy Warhol chose to re-create a postcard publicity photo from the 1960 Elvis Presley western, Flaming Star, he managed to instill in it a duality that represents both the character and the man: The macho cowboy commands, “Stay away!” while the sexy heartthrob subliminally beckons, “Come get me.”
That double message shoots from those eyes, their straight-on stare so intense that they appear to X-ray your very soul. It jumps from the implied swagger of that I-dare-you-to-mess-with-me stance, gun aimed and ready to fire, and the suggestiveness of that partly unbuttoned shirt, strong jaw, and plump bottom lip.
Then it multiplies until it becomes Elvis Eleven Times, one of the most dramatic, imposing, and popular pieces in The Andy Warhol Museum’s collection. There’s a playful irony in Warhol’s decision to turn a silver-screen image into a silver-screened, larger-than-life portrait, but the bigger irony is that he never planned for it to appear the way it does at all.
According to The Warhol Museum Director Thomas Sokolowski, the whole is the sum of several parts. Warhol made his silk-screened images in assembly-line fashion, Sokolowski explains. “He would paint multiple images on fabric, then cut it into sections, like buying fabric by the yard.”
When the works were brought to the museum from the estate, Fred Hughes, Warhol’s business manager and executor of his estate, told the museum to leave the canvas untouched.
“There’s really no evidence that Warhol would have chosen to do it that way, but it works,” Sokolowski says, adding that Warhol just might have decided he approved of Elvis Eleven Times, given his propensity to place replicated images together. After all, he did once declare, “I like things to be the same over and over again.” (He prefaced that by saying, “I like boring things,” but that hardly applies in this case.)
Warhol produced many Elvis canvases in color and in silver, but there’s no evidence that the real Elvis had any knowledge of them. If he did, there’s no record of his opinion, according to Sokolowski.
Source: http://www.carnegiemuseums.org/cmp/cmag ... c/awm.html
Considering that the 1 and the 2 are on opposite ends of the spectrum and the sum of their combined attributes pretty much overshadows all other attributes assigned to the numbers 3 through 9 you can perhaps imagine a merging of the strongest, most driven and aggressive warrior, an unstoppable masculine energy, with the supremacy of the most intuitive, feminine, and cunning goddess. And even that does not reveal the true essence of the 11 Master number: The 11 symbolizes the potential to push the limitations of the human experience into the stratosphere of the highest spiritual perception; the link between the mortal and the immortal; between man and spirit; between darkness and light; ignorance and enlightenment. This is the ultimate symbolic power of the 11.
Suspicious Minds wrote:Flaming Star US 3-sheet poster
The three-sheet movie poster is eclipsed by the image of a shirtless Elvis, this time on horseback, that dominated most of the marketing pieces promoting the film. None of them, however, have the visual impact of this artifact’s oversized artwork. Framed dimensions are 85 by 45 inches (215.9 x 114.3 cm), and the poster measures 81 by 41 inches (205.74 x 104.14 cm).
Source: http://auction.graceland.com/1960__em_f ... ot823.aspx
Suspicious Minds wrote:An Elvis Presley Flaming Star original movie standee used for promotion of the film. Measures approximately 32.5 x 59.
Source: http://www.gottahaverockandroll.com/mob ... vie_stande
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