Installation view of 'Love Is Enough: William Morris & Andy Warhol', currently on show at Modern Art Oxford. © Modern Art Oxford. Photography: Andy Keate

想象一下老威廉莫里斯，庄重和胡须，戴着安迪沃霍尔的软白色假发，或他的商标米尔岑太阳镜。这是一幅可能出自沃霍尔工厂的照片，这是一个神话般的曼哈顿空间，在那里他与他的一群艺术家和名人缪斯合作，在那里他制作了他的传奇丝绸屏风。

当然，这一形象并不存在，但它象征着另一位艺术恶作剧者杰里米·戴勒(Jeremy Deller)希望在“爱就够了”(Love is充足)一书中突出展示他在现代艺术牛津举办的新展览。

在摘录莫里斯和沃霍尔鲜为人知的作品时，戴勒对这两位杰出人物进行了比较，尽管他们的职业生涯之间有近100年的差距。两人都领导了重要的艺术运动，在此期间，他们与紧密联系的艺术家团体合作，长期生活在社区中(他们都拒绝了当时的资本主义风格)。这两个人在他们的时代都取得了巨大的成功，被一些人广泛模仿，却被其他人误解了。

Deller是一位杰出的合作者，特纳奖获得者，他在工厂开始了暑期实习，并在牛津的专用空间里进行了平行设计。莫里斯的版画、壁纸和小册子、艺术家在印刷和发行方面的创新产品在大规模生产的早期——以及将艺术纳入中产阶级手中的举措。

另一面是沃霍尔的照片，从他著名的玛丽莲系列丝织物上拿着一颗巨大的醋酸酯，同时还有一个1985琼斯柯林斯，在她的王朝声誉的高度——对二十世纪大规模制造文化的批判。沃霍尔的1970“花”丝网印刷，尽管与Morris的花式重复织物紧密相连，但仍然是艺术家对花卉绘画悠久传统的承诺。

在一个房间里，莫里斯挂毯的片段，包括亚瑟王骑士加拉哈德先生，博尔斯和珀西瓦尔监视圣杯，显示了他对传统工艺和细节的关注。它看上去是一件罕见的1968年沃霍尔挂毯的玛丽莲梦露，精心手工制作的艺术家在查尔斯E斯拉特金画廊，并首次展示在这里的公共博物馆。这意味着沃霍尔的品牌(仍然强大)是莫里斯在19世纪末创立的品牌的自然延续。

Deller曾说过：‘我不制造事情，我制造事情。’然而，为了庆祝“爱就足够了”的推出，他对粉丝们做得很好。在我们12月份的一期(见W*189)中，他用弗雷德里克·霍勒1884年拍摄的威廉·莫里斯(William Morris)的照片与沃霍尔(Warhol)设计的迷彩结合起来，设计了我们的限量版封面-用户可以看到-弗雷泽·马格里奇(Fraser Maggeridge)。他还制作了限量版的艺术品，手工印刷在莫里斯著名的凯姆斯科特出版社的四种不同的霓虹灯纸上。截止到2014年12月31日，“墙纸”*将向读者提供50份，折扣价为75英镑。要获得打印，请联系现代艺术牛津。

Curated by artist Jeremy Deller, the show brings together the work of William Morris and Andy Warhol. In plucking rarely-seen works by Morris and Warhol, Deller has drawn comparisons between the two luminaries, despite the nearly 100-year gap between their careers. © Modern Art Oxford. Photography: Andy Keate

One of the strangest objects in the exhibition is the signed photo of a young Shirley Temple (left), sent to a rather sickly Warhol in 1941. It hangs juxtaposed with a rare 1968 Warhol tapestry of Marilyn Monroe, meticulously hand-produced by artists at the Charles E Slatkin Galleries, and displayed here for the first time in a public museum. © Modern Art Oxford. Photography: Andy Keate

Warhol in 1964 holding the 'Marilyn' acetate used to make his famous 40” paintings, known as the 'Shot Marilyns', at the doorway of the fire escape at the Factory on East 47th Street. © William John Kennedy. Courtesy of KIWI Arts Group and DACS, London

There are Morris' engravings, wallpapers and booklets, products of the artist's innovations in printing and distribution in the early years of mass production - and initiatives to get art into the hands of the middle classes. © Modern Art Oxford. Photography: Andy Keate

‘How I Became a Socialist’ (K599), by William Morris, published by the 20th Century Press, bound copy, undated. © William Morris Gallery, London Borough of Waltham Forest

'Brass rubbing from Great Coxwell Church (KM305)', by William Morris, undated. © Society of Antiquaries of London: Kelmscott Manor

Morris & Co's 'Stand Book' from its Hanover Square showroom. Courtesy of Morris & Co. © Modern Art Oxford. Photography: Andy Keate

Warhol's 1970 'Flowers' screen print, albeit tenuously linked to Morris's floral-repeat textiles, is evidence of the artist's commitment to the long tradition of floral painting. © Anthony D’Offay, London and DACS, London

'The Story of Tristram and Isoude', by Morris, Marshall, Faulkner & Co, 1862. Panel 13, named 'King Arthur and Lancelot', designed by William Morris. © Collection of Bradford Museums & Galleries

In one room, segments of Morris tapestry featuring the Arthurian knights Sirs Galahad, Bors and Percival spying the Holy Grail demonstrates his attention to traditional craft and detail. © Modern Art Oxford. Photography: Andy Keate

On the other side is a 1985 Joan Collins (left), at the height of her Dynasty fame, paired with a portrait of Dame Elizabeth Taylor - critiques of the 20th-century culture of mass manufacturing. © Modern Art Oxford. Photography: Andy Keate

'Joan Collins', by Andy Warhol, 1985. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc / Artists Rights Society (ARS), New York and DACS, London

For our December issue (see W*189), Deller designed our limited edition cover - available to subscribers - with Fraser Muggeridge studio, combining Holler's 1884 photograph of Morris with a Warhol-inspired camouflage (its strapline, 'Get mumbo-jumbo out of the world', is based on Morris' dying words)

3925608265001 Deller's also produced a limited edition artwork, hand printed on four different neon papers at Morris' famous Kelmscott Press. Watch our film to take a peek behind the scenes of the production process

'Love is Enough' pattern, by Jeremy Deller and Fraser Muggeridge studio, 2014. © Modern Art Oxford, 2014

keywords:art, art exhibition, Jeremy Deller, Andy Warhol, William Morris, Modern Art Oxford, pop art

关键词：艺术，艺术展览，杰里米·戴勒，安迪·沃霍尔，威廉·莫里斯，现代艺术牛津，流行艺术