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Andy Warhol's Exploding Plastic Inevitable (EPI) was a drug-fueled rock concert-cum-multimedia art event where layers of mediation mixed with immediate experience: The Velvet Underground performed their innovative music in front of films of themselves performing, Factory Superstars danced and performed poetry, various Warhol films projected on the walls, flashing lights flickered on mirrored surfaces, and a crowd of spectators – both famous and unknown – packed in to see and be seen, to dance and trip into the early hours of the morning. The experience of the EPI was a potent combination of alienation, mediation, and commercialization. The EPI was a promotional vehicle for Warhol, Warhol's Factory crew, and the Velvet Underground, but is also a complex example of spectacle that has been under-analyzed in recent scholarship. The EPI's unabashed emphasis on marketing, packaging, consumer goods, and empty celebrity are all manifestations of fears of late capitalist excess, but beneath the veneer of vapidity was an undercurrent of counterculture political activism and social awareness. Original contributions include cultural analysis, interpretation of contemporary reviews and reports, examination of the event's lack of art historical presence, and incorporation of music scholarship into the Warhol historical canon.

En 1965, Andy Warhol, déjà célèbre pour ses tableaux, décide de s’aventurer dans le domaine de la musique pop. Il devient alors gérant du Velvet Underground, un groupe rock newyorkais. Ce mémoire vise à rendre compte de l’influence de Warhol sur l’évolution musicale de cette formation entre 1965 et 1967. Dans un premier temps, une description du contexte socio-historique de l’époque et du milieu étudié est présentée, ainsi qu’un résumé des réalisations respectives de l’artiste et du groupe. Deux chansons du Velvet Underground sont ensuite analysées, soit « I’m Waiting for the Man » et « Ail Tomorrow’s Parties », toutes deux enregistrées à deux reprises soit avant et après la collaboration du groupe avec Warhol. Les éléments nouveaux ou transformés apparus dans les secondes versions sont alors répertoriés et comparés aux procédés utilisés par Warhol, ce qui permet d’évaluer l’influence de ce dernier sur l’évolution musicale du groupe. / Québec Université Laval, Bibliothèque 2019

Pavla Šedinová: Minimal art and minimal music Abstract: This thesis focuses on the theoretical description of minimalism in the fine arts and music. It follows the progression of minimisation in art in the first half of the twentieth century, which culminates in minimal art and minimal music, and compares its principles with multiplication in the work of Andy Warhol and Velvet Underground. At the same time the paper discusses the difference between American minimalism and its European and Czech parallels. The aim of this thesis is describing main concepts of minimalism that could be relevant for teaching purposes. The pedagogical part of the thesis focuses on the manner in which the obtained information about the fine arts and music could be utilised in teaching, particularly in Elementary Art Schools. The practical part demonstrates my own approach to minimalist principles.

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