Warhol's Working Class: Pop Art and Egalitarianism PDF
Preview Warhol's Working Class: Pop Art and Egalitarianism
Warhol’s Working Class W A R H O L ’ S W O R K I N G C L A S S Pop Art and Egalitarianism Anthony E. Grudin THE UNIVERSITY OF CHICAGO PRESS Chicago and London W A R H O L ’ S W O R K I N G C L A S S Pop Art and Egalitarianism Anthony E. Grudin THE UNIVERSITY OF CHICAGO PRESS Chicago and London The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2017 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2017 Printed in the United States of America 26 25 24 23 22 21 20 19 18 17 1 2 3 4 5 ISBN- 13: 978- 0- 226- 34777- 6 (cloth) ISBN- 13: 978- 0- 226- 34780- 6 (e- book) DOI: 10.7208/chicago/9780226347806.001.0001 Library of Congress CataLoging-in-PubLiCation Data Names: Grudin, Anthony E., author. Title: Warhol's working class : pop art and egalitarianism / Anthony E. Grudin. Description: Chicago ; London : The University of Chicago Press, 2017. | Includes bibli- ographical references and index. Identifiers: LCCN 2017015347 | ISBN 9780226347776 (cloth : alk. paper) | ISBN 9780226347806 (e-book) Subjects: LCSH: Warhol, Andy, 1928–1987. | Pop art—United States. | Art and society. Classification: LCC N6537.W28 G78 2017 | DDC 700.92—dc23 LC record available at https://lccn.loc.gov/2017015347 This paper meets the requirements of ANSI/NISO Z39.48- 1992 (Permanence of Paper). CONTENTS Acknowledgments vii Introduction: Warhol and Class 1 1 Varieties of Pop 17 2 Warhol’s Participatory Culture 40 3 Warhol’s Brand Images 75 4 Warhol, Modernism, Egalitarianism 110 Conclusion: Warhol’s Neoliberalism 146 Notes 159 Index 195 ACKNOWLEDGMENTS T his book’s second chapter grew out of material published in “‘Except Like a Tracing’: Defectiveness, Accuracy, and Class in Early Warhol,” October, no. 140 (Spring 2012), and “Myth and Class in Warhol’s Early Newsprint Paintings,” in Warhol: Headlines, ed. Molly Don- ovan (Washington, DC: National Gallery of Art, 2011). Portions of Chapter 3 appeared in “‘A Sign of Good Taste’: Andy Warhol and the Rise of Brand Image Advertising,” Oxford Art Journal 33, no. 2 (June 2010). Comments from audiences at Middlebury College, Colgate University, Whitman College, the Florida Institute of Technology, Tufts University, the ASAP conferences of 2011 and 2015, and the College Art Association conferences of 2011 and 2012 helped me to sort out the book’s claims. This book benefited immensely from time I spent working at the Univer- sity of California, Berkeley and California College of the Arts. I am grateful to Elise Archias, Binta Ayofemi, John Beebe, Sylvan Brackett, Molly Brunson, Anthony Cascardi, Kevin Chua, Neil Cox, Zach Davis, Kate Fowle, Darcy Grigsby, Emily Gumper, Jason Hanasik, Al and Maria Huezo, Matt Hunter, Jessen Kelly, Jonathan King, Kim Kono, Charlie Koven, Namiko Kunimoto, Leigh Marko- poulos, Tara McDowell, Jeremy Melius, Doris and Charles Muscatine, Julian Myers- Szupinska, Mike Shin, Aimee Sisco, Andrew Stewart, Sam Teplitzky, Jess Theroux, Michael Thompson, Jenny Wapner, Alice Waters, Tim Webster, Sarah Weiner, Robert Wetle, Johanna Wright, Justin Underhill, Greg Youmans, Josephine Zarkovich, and Sebastian Zeidler for setting such fine examples of engagement and conviviality. Friends, colleagues, and collaborators during my time in Vermont have contributed to this book at every stage. I particularly want to thank Mildred Beltre, Jessica and Josh Bongard, Lynne Bond, Silas Branson, Thomas Bren- nan, Jake Brochhagen, Tam Bryfogle, Steve Budington, Janie Cohen, Bradford Collins, Penny Cray, Wright Cronin, Cami Davis, Sona Desai, Paul Deslandes, Kelley Di Dio, Maggie Donin, Molly Donovan, Nancy Dwyer, Bill Falls, Kat Ford, Pamela Fraser, Chelsea Frisbee, Andy Frost, Larissa Harris, Michael Hermann, Susie and Dave Hurley, Adrian Ivakhiv, Jane Kent, Andy Kolovos, Felicia Korn- bluh, Ellen Kraft, Louise Lawler, Eric Lindstrom, Jess and Will Louisos, Ted Lyman, Hilary Martin, Hilary Maslow, Jason McCune, Bill McDowell, Abby McGowan, William Mierse, Thomas Morgan- Evans, Ilyse Morgenstein Fuerst, Frank Owen, Peter Parshall, Breanna Pendleton, John Penoyar, Abby Portman, Neil Printz, Bill Racolin, Jordan Rose, Julie Rubaud, Kristina Samulewski, Uli Schygulla, John Seyller, John Smith, Michael Sundue, Randall Szott, Britta and Jeff Tonn, Mark Usher, Sally Wales, Kelley Walsh, Laurel and Morgan Waters, Rebecca Weisman, Erika White, Alison Williams, Gilda Williams, Tom Wil- liams, Matt Wrbican, and Frank Zelko. viii Whitney Davis, Jonathan Flatley, Hal Foster, Kaja Silverman, and Anne Wagner deserve special thanks for having been particularly generous in their attention to this project. I will forever be grateful to Tim Clark for his guidance as the book developed. Support from the Warhol Foundation, the Lichten- stein Foundation, the Oldenburg van Bruggen Studio, and the University of Vermont’s Humanities Center and Lattie F. Coor Endowment was crucial to its completion. Finally, I am tremendously grateful to my family— Bethanne, Jeff, Joyce, and Jasmine Cellars, Amelia and Scott Siegel, and Cristina, Michaela, Max, Mateo, Nick, Ted, Micha, and Robert Grudin— for their love and support, and to Susan Bielstein, Joel Score, James Whitman Toftness, and the anonymous readers at the University of Chicago Press for all the care they devoted to this process. This book is dedicated to Joyce and Jasmine Cellars. aCknowLeDgments As an American, Warhol dealt particularly with the “hidden injuries of class,” and for that he is still hated. sCott burton, “anDy warhoL: 1928– 1987,” Art in AmericA But I shouldn’t say class, because we don’t live in a nation of classes. heLen Peters, in stuDs terkeL, Division street: AmericA
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