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.~.
Culture
YA
Fo Patr Patric ic
Contents
Ples Pleskun kunas as
in memoria memoria
Copyright
Preface
1996 1996 byThomas byThomas Crow Crow
Allright reserv reserved. ed. This This book book ma no be repr reprod oduc uced ed in h o o r i n p ar ar t i n a n f or or m (bey (beyon on that that copy copyin in perm permit itte te by Sect Sectio ions ns 10 an 10 of th U.S.Co U.S.Copy pyri righ gh La an excep excep by revi review ewer er fo th publ public ic pres press) s) withou withou writte writte permi permissi ssion on fro the publis publisher hers. s.
PART
CIP cata catalo logu gu reco record rd fo this this book book is availa available ble fro The Britis Britis Librar Librar rt ab ab l Annett Annett Lemieu Lemieux, x, o rt Phot Phot cour courte tesy sy of th arti artist st
o rl rl d
Early Early Warh Warhol ol
49
Dat
1948~ Crow. Crow. Thomas Thomas E. 1948~ Mode Modern rn ar in th comm common on cult cultur ure: e: essa essays ys/T /Tho homa ma Crow Crow Includ Includes es biblio bibliogra graphi phical cal refere reference nce and index. index. ISBN 0-300-06438-1 (he) 1. r t o de de m l v c e t ur ur y 2 . A rt rt , o de de rn rn -2 -2 0t 0t h c en en t r y l. Title. N 64 64 5 . C7 C7 6 99
Frontispiece:
KITSCH
Arts
Design Designed ed by Gillia Gillia Malpas Malpas Se in Lin? Lin?tr tron on Saba Saba by Best Best-s -set et Type Typese sett tter er Ltd. Ltd. Hong Hong Kong Kong Printed II Hong Hong Kong Kong thro throug ug Worl Worl Prin Prin Lt Librar Librar of Congr Congress ess Catalo Catalogin ging-i g-in-P n-Publ ublica icatio tio
Vll
1 98 98 6
PART
MARKETS
tr
th
Artforum PART
Representation
PHOTOGRAPHS
97
PART
CITIES
cA Prof Profan an Il umin uminat at ons: ons: Jeff Wall PART
10
11
NATURA NATURA
cial cial Hist Hist ry 151
Preface
HISTOR HISTOR
Th Simp Simple le Life Life Past Pastor oral alis is an th Pers Persis iste tenc nc of Genr Genr in Rece Recent nt Ar
173
Unwr Unwrit itte te Hist Histor orie ie of Conc Concep eptu tual al Art: Art: Agains Agains Visual Visual Cultur Cultur Notes
Prac Practi titi tion oner er of adva advanc nced ed ar no must must walk walk deli delica cate te line line Disp Disput utes es over over cult cultur ural al dist distin inct ctio ions ns high high vers versus us low, low, elit elit vers versus us popu popula la have have hard harden ened ed '243
resp respon onse se ma
Acknowledgem Acknowledgements ents Photograph Photograph Acknowledgem Acknowledgements ents
26
Index
268
hist hist rian rian of ar es
ed radi raditi ti ally ally ders ders oo rade rade utlo utlook ok ca af or excl excl si
av aban abando do ed thei thei
outh outhfu fu
el ef in
elit elitis is resu resump mpti tion ons; s; os mo er he Ho lywo lywood od film films, s, elev elev sion sion propro-
co enti entici cing ng visu visual al prod produc ucts ts of th age. age. Like Likewi wise se th ance ancest stor or of thes thes arti artifa fact ct in th emer emer in pula pula me ia of prev previo io ce turi turies es must must iven iven eq al stan standi ding ng to an rece receiv ived ed curr curric icul ulum um of mast master erwo work rks. s. ar er ev mi ce ar ab an ag ce ed el en um er ot ap roac roac th se ci em lock lock us er runa runawa wa es sell seller er Such Such peop people le evid eviden entl tl find find sust susten enan ance ce with within in th boun bounda dari ries es of fine fine ar ha is avai availa la le wher wher else else an they they woul woul btle btless ss dism dismay ayed ed ep ca whos whos otio otio "t op lar" lar" is fa more more es rict ricted ed an co ve ti al No as awar awaren enes es th tens tens on be ween ween clas classe se au ie ce an le el of addr addres es ever ever been been abse absent nt from from seri seriou ou arti artist stic ic prac practi tice ce Th avan avantt-ga gard rd ar with with th
ay in whic whic
thei thei co temp temp rari raries es co sume sume
an
tran transf sf rmed rmed
ther thereb eb legi legibi bili lity ty were were imag imagin ined ed fo him. him. Ifone is puzz puzzle le abou abou th mean meanin in of Rena Renais issa sanc nc pain painti ting ng on turn turn to
t r i gh gh tf tf or or wa wa r
in it
o gi gi c
r oc oc ee ee d
f ro ro m t h
s pe pe ci ci f e d
interpretation, a t r ia ia l
Mural, o n k no no w h e x a t e a gr gr ee ee me me n e t e n r titi s n d a t o n t he he r i s u rt rt h ic bo o f o m n ta ta r b y th i dd dd le le m r ou ou gh gh t i t i nt nt o e in in g c tu tu a o de de r c ou ou nt nt er er pa pa r to th shad shadow ow "hum "human anis is advi advise sers rs so ofte ofte conj conjur ured ed up in icon iconog ogra raph phic ical al inte interp rpre reta tati tion on of Rena Renais issa sanc nc art. art. Fa from from bein bein intr intrin insi sica call ll an expr expres es si p -t -t o d at at e o n i ti ti o of e ri ri ca ca n c ap ap itit a i s t h a rg rg e c an an va va s
o de de llll e o n t ra ra di di t o na na l u ro ro pe pe a o nc nc ep ep titi on on s n lili g t en en e n d e lf lf flat flatte teri ring ng patr patron onag age. e. No wa it seem seemin ingl gly, y, on that that coul coul rema remain in tran transsplan plante te in th Ne Worl Worl fo long long as Gugg Guggen enhe heim im perm perman anen entl tl remo remove ve to
adva advanc ncem emen en of Poll Polloc oc ha been been th prin princi cipa pa gest gestur ur of acco accomm mmod odat atio io by cour courtl tl cult cultur ur towa toward rd it temp tempor orar ary, y, demo democr crat atic ic surr surrou ound ndin ings gs a vi vi n e e b or or n f r s uc uc h t er er m o f e xc xc h n ge ge , h e i g c a v a w o l d
u se se rs rs . T h a t h e i t a titi o or he rt st h o d o t e t h f or or m t ha ha t h e o ul ul d o t a f o r to ackn acknow owle ledg dg such such orig origin inar ar mean meanin ings gs in t h i r o w p ra ra ct ct ic ic e ha p lili c c on on fl fl i e d t o r e o lu lu t o r o f d en en ia ia l a n e rh rh a t o c er er ta ta i c t o f r ot ot es es t R or or hk hk o f a o u a nx nx ie ie t a bo bo u h e l i h titi ng ng , i so so l t io io n n d u sh sh ed ed , e ve ve re re n a t o sp sp he he r ca t ak ak e i n t an an c t h o rm rm er er . o llll o a y a v e gi gi st st e e d a n n t r na na l r ot ot e thro throug ug phys physic ical ally ly viol violat atin in th inte integr grit it of th canv canvas as Pegg Pegg Gugg Guggen enhe heim im Mural; Poll Polloc oc gave gave th expr expres es io c ki ki ng ng l l i e ra ra l t wi wi s i n ut Ou o f 1 9 8 . B u h es es e f fo fo rt rt s w er er e rela relati tive vely ly smal smal an ines inesca capa pabl bl read read as peri periph pher eral al comm commen enta tary ry in rela relati tion on to th comm comman andi ding ng pres presen ence ce of th larg larg canv canvas ases es Th auto automa mati ti impr impres es i v n es es s o f t h r an an d f or or m as a dd dd ic ic t o n f ro ro m ic on am ng t hi hi s g en en er er at at io io n o ul ul d r ea ea k f re re e e at at o w a h er er e t o r ec ec or or d t h c r barg bargai ai enta entail iled ed in that that depe depend nden ence ce
48
ra
bl
An
Saturd Saturday ay Disast Disasters ers an Re eren erence ce in arly arly
r ho ho l w a
ne
prod produc uc of hi famo famous us pron pronou ounc ncem emen ents ts
t,
arho arho
i ni ni m
h re re e p er er so so ns ns .
an of th allo allowe we repr repres esen enta tati tion on
se ti nt k ilil l a m i t o ns ns , a n p as as si si o c t a llll y i gu gu re re d in on canv canvas as or on film film Th thir thir wa hi pers person on as it sanc sancti tion oned ed expe experi rime ment nt n o - e i t c ul ul t r e f a e yo yo n h e rl of rt h es es e t h e e h e a tttt e tw ar of fa grea greate te impo import rtan ance ce than than th firs first, t, thou though gh they they were were norm normal ally ly o ve ve rs rs ha ha do do w th ai nt to ik a ch ch in in e t ha ha t noth nothin in
bu surf surfac ace. e. Th seco second nd Warh Warhol ol is norm normal ally ly equa equate te
with with th firs first; t;
ignored.' This This essa essa is prim primar aril il conc concer erne ne with with th seco second nd Warh Warhol ol thou though gh this this will will nece necess ssar aril il enta entail il atte attent ntio io to th firs first. t. Th conv conven enti tion onal al read readin in of hi imag imag choi choice ce an thei thei pres presen enta tati tion on hi pass passiv ivit it in th face face of medi mediaasatu satura rate te real realit ity, y, th susp suspen ensi sion on in hi work work of an clea clea auth author oria ia voic voice. e. Hi subj subjec ectt-ma matt tter er choi choice ce ar rega regard rded ed as esse essent ntia iall ll indi indisc scri rimi mina nate te Litt Little le inte intere rest st is disp displa laye ye in them them beyo beyond nd th obse observ rvat atio io that that in thei thei tota totali lity ty comm common only ly avai availa labl bl comm commer erci cial al cult cultur ure. e. Th deba debate te over over Warh Warhol ol cent center er arou around nd th thre thre riva riva verd verdic icts ts on hi art: art: (1 it fost foster er crit critic ical al or subv subver ersi sive ve p r e ns ns i ss lt re an th ow t h i ma ma g co o di di t (2 it succ succum umbs bs in an inno innoce cent nt bu tell tellin in wa to that that numb numbin in powe power; r; (3 it cyni cynica call ll an mere meretr tric icio ious usly ly expl exploi oits ts an ende endemi mi conf confus usio io betw betwee ee ar and marketin marketing.? g.? 49
t ra ra t
in
it
in
t o g en en er er al al iz iz e f ro ro m t hi hi s i n o rd rd e
t o i mp mp ut ut e s o
i nt nt i
ta
"I thin thin
e a i ng ng s n or or ma ma llll y
g iv iv e
an
iv
it
s pe pe ci ci fi fi ca ca llll y p ar ar titi sa sa n
tl
ever everyb ybod od
al it
to
is
an
ic
c ou ou rs rs e
i nt nt e
ad
iv
le
ll
ly
Marilyns stand in
tu
li
is
th
art."
is
Kurfiirstendam
e- it
te te
in
ce
in 50
ci ef ct ir it lf l m Niagara
la
eg ac
in
il li ty
ic 51
il
th
on of th best best-k -kno nown wn imag images es of ek youn youn
actr actres ess, s, bu Warh Warhol ol pref prefer erre re
shoulders to defi define ne soli soli rect rectan angl gle, e, self self-c -con onta tain ined ed unit unit at odds odds with with th illu illusi sion on of enti entici cing ng anim animat atio io norm normal ally ly proj projec ecte te by he phot photog ogra raph phs. s. It shap shap alre alread ad pref prefig igur ures es th seri serial al grid grid into into whic whic he inse insert rted ed this this an th rest rest of hi borr borrow owed ed imag imager ery. y.
unre unrema mark rked ed in th lite litera ratu ture re:' :' Some Some of th arti artist st's 's form formal al choi choice ce refe refe to memo memori rial al or fune funera ra func functi tion on dire direct ctly ly most most of all, all, th sing single le impr impres essi sion on of e r a c g ai ai ns ns t t h o l b ac ac kg kg ro ro un un d a n i co co n h e t r i ti ti on on a i g an t er er na na l t he he r rl nc n de de rt rt ak ak en en , o we we ve ve r t h s er er i ai ed ss es that that went went beyo beyond nd th arti artist st's 's pers person onal al inve invest stme ment nt in th subj subjec ect. t. Ho does does n e h an an dl dl e t h f a e l b ri ri t d ea ea t h er er e d o n e u t t h c ur ur i u sl sl y i nt nt im im at at e k no no wl wl ed ed g n e o ss ss es es s o f n kn kn o f i u re re , c o to te i t h e s e s e o f l o s , h e b se se nc nc e ri ly a gi gi n d pr pr es es en en c t ha ha t e ve ve r r e l l h er er e f o s o i t i gh gh t b e n ro ro e f o t he he r J a e s e an an , u dd dd y ll e nn nn ed ed y h e r o l e th sa e. er i a l c oi oi nc nc i e d w itit h r ho ho l Marilyn s er o m i t n t t o t h p h t o s i k sc sc re re e t e h ni ni qu qu e n d l os os e l in in k e xi xi s e d betw betwee ee tech techni niqu qu an func functi tion on." ." Th scre screen ened ed imag image, e, repr reprod oduc uced ed whol whole, e, ha th char charac acte te of an invo involu lunt ntar ar impr imprin int. t. is e m r i i n h e s en en s that that it rese resemb mble le memo memory ry some someti time me vivi vividl dl pres presen ent, t, some someti time me elus elusiv ive, e, Marilyn
Diptychs,
en o re re ma ma n p u l ic ic itit y s titi l a ri ri l M on on ro ro e f o f ilil mNiagara, th Esta Estate te an Foun Founda dati tion on of Andy Andy Warh Warhol ol
1953. 1953. Courte Courtesy sy
also also pain painte te
in 1962 1962 lays lays ou
star star an unre unreso solv lved ed dial dialec ecti ti of
monu monume ment nt colo colo an life life ar rest restor ored ed bu as seco second ndar ar an unch unchan angi ging ng s k a dd dd e s o e th th i fa o r f ug ug i i ve ve . ai st th u as as i o ff ff i i a regu regula lari rity ty an unif unifor ormi mity ty of th left left pane panel, l, th righ righ conc conced edes es th abse absenc nc of it subj subjec ect, t, open openly ly disp displa layi ying ng th elus elusiv iv an unin uninfo form rmat ativ iv trac trac unde underrneat neath. h. Th righ righ pane pane neve nevert rthe hele less ss mana manage ge subt subtle le shad shadin ings gs of mean meanin in i th th i i t l i i te te d t e h ni ni ca ca l c op op e T he he r i s e fe fe re re nc nc e t o t h a te te ri ri a o f filmth filmthat at goes goes beyo beyond nd th repe repeti titi tion on of fram frames es He memo memory ry ismos vivi vividl dl carr carrie ie in th flic flicke keri ring ng pass passag ag of film film expo exposu sure res, s, no on of whic whic is ever ever o l p re re s t o p er er ce ce pt pt i n . T h e av av y i nk nk i in on e rt rt i a l r eg eg is is t u nd nd er er sc sc or or e h i h e t ra ra ns ns i i o f ro ro m i f d ea ea t e ve ve r e s i ts ts el el f h e i s most most pres presen en wher wher he imag imag is leas leas perm perman anen ent. t. In this this way, way, th Diptych
ds as om en an pl at of ba ed qu slig slight htly ly repel repelle lent nt stas stasis is of th Gold Gold Maril Marilyn yn H av av in in g t ak ak e u p t h c on on di di titi o o f t h c e e b i t a s r ac ac e a n i gn gn , i t i s n o pr ho ul oo af ve ge Eliz Elizab abet et Tayl Taylor or They They were were near nearly ly equa equa an unch unchal alle leng nged ed as Holl Hollyw ywoo oo d iv iv a w i l a g er er -t -t ha ha n l if if e p er er so so na na l m yt yt hs hs . E ac ac h w a m a n ta ta in in e i n h e resp respec ecti tive ve posi positi tion on by kind kind of nega negati tive ve symm symmet etry ry by repr repres esen enti ting ng what what
Y AN K C UR B C AR D
4>:1.""
fema female le cele celebr brit it fo th earl earl Sixt Sixtie ie with with pict pictur ur of Jacq Jacque ueli line ne Kenn Kenned edy, y, i n t h a m b as as i f o m a a s t h u ll ll -f -f ac ac e p o t ra ra it it s o f M on on ro ro e a n T ay ay lo lo r T h P re re si si de de n ' s w i d i n o s ha ha r i l s ta ta rd rd o w it it h M on on ro ro e b u h e d i shar shar th Kenned Kennedys ys She also also posse possess ssed ed th dist distin inct ctio io of havin havin esta establ blis ished hed t an an da da r o f b ea ea ut ut y h a m ad ad e M on on ro ro e s ty ty le le , a n t hu hu s p ow ow e a s s ym ym bo bo l e e o u o f d at at e e ve ve n b e o r h e d ea ea th th . ( Th Th a n e t an an da da r w a m im im ic ic ke ke d c om om pa pa ni ni o
an
e em em in in g a l e r e g d ur ur in in g t h p e i od od . T h p ho ho to to gr gr ap ap h o f
choi choice ce he meas measur ured ed hist histor oric ical al dist distan ance ce betw betwee ee he life life an he symb symbol olic ic func functi tion on whil whil avoi avoidi ding ng th sign sign of agei ageing ng an ment mental al coll collap apse se Th semi semiot otic ic of styl styl that that lock locked ed toge togeth ther er Warh Warhol ol's 's imag images es of th thre thre o me me n e p e se se n ev on nd be em o th th e d e i ve ve d f ro ro m h e t h e a o r a ct ct ua ua li li t o f d ea ea th th . T h u ll ll -f -f ac ac e p o t ra ra it it s ho n e a te te d b y an Liz Marilyn pict pictur ures es in fact fact ha an earl earlie ie orig origin in Tayl Taylor or's 's famo famous us cata catast stro roph phic ic illn illnes es had Cleo Cleopa patr tr foun foun it wa into into on of Warh Warhol ol's 's earl earl tabl tabloi oi pain painti ting ngs, s, Daily Daily News News of 19 11 ur ye h e y th th m he ot
il
[I
11 nd a rh rh ol ol , Daily News, 1962 1962 Acry Acryli li on canv canvas as 183. 183. Museum fur Modern Modern Kunst. Kunst.
25 em Fran Frankf kfur urt, t,
grai grainy ny news news stil stills ls Ou of th myri myriad ad repr repres esen enta tati tion on avai availa labl bl to him. him. Thes Thes he shuf shuffl fles es an rear rearra rang nges es to orga organi nize ze hi stra straig ight htfo forw rwar ar expr expres essi sion on of feel feelin in (pl. (pl. 12). 12). Th emot emotio iona na calc calcul ulus us is simp simple le th sent sentim imen en dire direct ct an uncom uncompl plic icat ated ed Th pict pictur ures es never neverth thel eles es recog recogni nize, ze, by thei thei impov impover eris ished hed
a s w e l ) I n a cq cq ue ue li li n K en en ne ne dy dy ' c a e , h e g no no re re d o r u nd nd e s ta ta nd nd ab ab l reas reason ons, s, th wide wide publ public ic symp sympat athy hy over over he fail failed ed preg pregna nanc ncy; y; bu when when th t ra ra um um at at i t ri ri an an gl gl e w a c om om p e te te d w itit h v en en ge ge an an c N ov ov em em be be r 1 96 96 3 hi resp respon onse se wa imme immedi diat ate. e. Th Kenn Kenned ed assa assass ssin inat atio io pict pictur ures es ar ofte ofte seen seen as an exce except ptio io in th u tp tp u xc al ei pe ot nd ce ut c on on t n ui ui t h e r ep ep re re se se n w it it h h e b e o f h i p re re vi vi ou ou s w o s ee ee m u s a s ea l K en en ne ne d r ef ef e e n Marilyns, t h o s o f h e r ea compelling.f galv galvan aniz izes es Warh Warhol ol into into sust sustai aine ne ac of reme rememb mbra ranc nce. e. Here Here howe howeve ver, r, he
prin princi cipa pals ls in th dram drama. a. Ou of hi deli delibe bera rate tely ly limi limite te reso resour urce ces, s, th arti artist st crea create te nuan nuance ce an subt subtle lety ty of resp respon onse se that that ishi alon alone. e.ip ipre reci cise sely ly beca becaus us he ha no soug sought ht tech techni nica call ll to surp surpas as hi ra mate materi rial al is .difficult not ha t hi hi s h ow ow ev ev e c yn yn ic ic a o n m a h av av e b ec ec o a bo bo u h e K en en ne ne d pres presid iden ency cy or th Kenn Kenned ed marr marria iage ge In hi part partic icul ular ar dram dramat atiz izat atio io of th news newspr prin in medi medium um Warh Warhol ol foun foun room roomfo fo adra adrama mati tiza zati tion on.o .off ffee eeli ling ng an even even kind kind of hist histor or pain painti ting ng
cele celebr brit it typo typolo logy. gy. Agai Again, n, he limi limits ts hims himsel el to fragm fragment entar ar
b et et we we e
56
mater materia ials ls eigh eigh
W ar ar ho ho l
e a l y p o t ra ra it it s
T ha ha t i n o f i nt nt e p re re ta ta ti ti o
ca al
be
canv canvas as 20
[ackies, 1 9 4 . y nt nt he he ti ti c 162. 162. cm Priv Privat at coll collec ecti tion on
o ly ly me me r p ai ai n a n
i lk lk sc sc re re e
in
on
Tunafi Tunafish sh Disast Disaster, er, 1963 1963 Synt Synthe heti ti poly polyme me pain pain an silk silksc scre reen en in on canv canvas as 10 55.9 55.9cm cm Priv Privat at coll collec ecti tion on
ti en
ig
ju
it
th
li
er
ai
Tunafish Disaster
if
ll
l. th
at
t, in
et
t-
t, ca
s el el f c on on sc sc i u s
a ss ss -p -p ro ro du du ce ce d
i nc nc er er itit y f o t he he i
co
o di di t
n ap ap sh sh ot ot s
t h l oo oo k o f t he he i c lo lo th th e
i nt nt o a ny ny th th in in g b u
la se
e ut ut ra ra l a b t ra ra ct ct i n .
paintings.
Be
ie
to
ue t.
li io
it
jaded jaded consum consumers ers.) .)
th
M a ri ri ly ly n
tw
ti
D ip ip ty ty ch ch ;
th
Tunafish
is
l,
ta
ta
Disasters Suicide es ap
to
Cars, F i v D e at at h s or S a tu tu rd rd a y D i sa sa s te te r
id
em
ta
period,
te io
th
is
lm
ti
14).
is
intensity.Y'
at
canv canvas as 55.9 55.9
L i tttt l E l ec ec tr tr i C h a ir ir , 1963 1963 Synt Synthe heti ti poly polyme me pain pain an silk silksc scre reen en in on 71.1 71.1 em Priv Privat at coll collec ecti tion on
ad
ed
Ra
i fftt e
Suicide, 1962 1962 Synt Synthe heti ti poly polyme me pain pain an silk silksc scre reen en in on canv canvas as
Privat collection. collection.
colle collect ctiv iv
th
ti ar
al
t ha ha t i n
as
t ra ra c
th id ts e ri ri c
ly
ir
n oi oi r
f ilil m n o es
title title Disaster,
R io io t
in es
ei nt nt ur ur e of p ei
to
ea
ab
G a ng ng st st e ic 63
es
F u ne ne ra ra l
F lo lo w wee rs rs , C o
W a l p ap ap e tr
to
ll
tu
It e nt nt l
l , Gangst Gangster er Funera Funeral, l, 1963 1963 Synt Synthe heti ti poly polyme me pain pain canv canvas as 266. 266. 192. 192. ern. ern. Ne York York Di Ar Foun Founda dati tion on
an
silk silksc scre reen en in
f)
ta en
t he he r
tr le
is
ll le
in
N OT OT E
N OT OT E
T O P AG AG E 4 22- 4
el a de de r ze en al a rl rl y Abst Abstra ract ct Expr Expres essi sion onis is in Amer America ica," ," Arts, LVI, w ee ee ne ne y a t t hi hi s p oi oi n a s t ec ec hn hn ic ic al al l e mb mb e o f t h M us us eu eu ~ o f M o e r Art' Art' Juni Junior or Advi Adviso sory ry Comm Commit itte tee. e. He dire direct cted ed numb number er of exhi exhibi biti tion on ~e£: ~e£:)r )r assu assumi ming ng th form formal al staf staf posi positi tion on of Dire Direct ctor or of th Dep~ Dep~rt rtme me~t ~t of Pain Painti ting ng se u o f o de de r A rt rt ; T h i st st or or y a n t h an Scul Sculpt ptur ur in 1945 1945 se h e u se Collection, .2 Se Ange Angeli lica ca Zand Zander er Rude Rudens nsti tine ne The Peggy Peggy Guggen Guggenhei hei Collect CollectIOn IOn,.Vemce ,.Vemce Ne York York Abra Abrams ms 1985 1985 p. 775. 775. On Swee Sweene ney' y' role role se Step Stephe he Naif Naifeh eh a~ Jackso so Poll Polloc ock: k: An Amer Americ ican an Saga Saga Lond Greg Gregor or Whit Whit Smith Smith Jack London on Barr Barrie ie an Jenk Jenkin ins, s, 1989 1989 p. 442; 442; on Putz Putzel el se belo below. w. Peggy, 11 Ibid Ibid., ., quot quotin in Gree Greenb nber erg: g: "The "The cont contra ract ct (Wit (Wit Gugg Guggen enhe heHl Hl_! _!an l~te l~te With With B et et t P ar ar so so n e r u tttt e l y u ni ni qu qu e o r t ha ha t g en en er er at at i o f a rt rt i t s . . or th terms terms of th cont contra ract, ct, se Rude Rudens nstin tine, e, Guggen Guggenhei hei Col!ec Col!ectio tion, n, p. 641. 641. 12 "Int "Intro rodu duct ctio ion, n, Jackso Jackso Pollock Pollock N e o rk rk : A r t hi hi s C en en tu tu ry ry , 1 94 94 3 n .p .p . Repr Reprod oduc uced ed in facs facsim imil il in O'Conn C onnor or an Thaw Thaw IV., 1 3 " Fi Fi v A me me ri ri ca ca n a i t er er s, s, " Harp Harper er's 's Baza Bazaar ar A pr pr i 1 94 94 4 q uo uo te te d 1D B.H. Jackso so Pollo Pollock: ck: Ener Energy gy Made Made Visi Visibl ble, e, e w o rk Friedman, Jack rk : M c r a I llll , 14
o llll oc oc k' k' s a nn nn oy oy an an c i n 1 94 94 3 e e N ai ai fe fe h a n
i th th , Pollock,
O'Conn C onnor or an Thaw Thaw Pollock, IV, p. 230. 230. Peggy, p. 306. 306. 16 Se Gugg Guggen enhe heim im Ou of This This Cent Centur ury, y, . ~ at el Co no an Thaw, Pollock, IV, p. 238. 238. 1 8 S e o llll oc oc k' k' s l et et te te r t o h i b r t he he r C ha ha rl rl e ( J l y 1 94 94 3 i n O 'C on on n an ha Pollock, IV, p . 2 8 h e v ar ar io io u a cc cc ou ou nt nt s o f w itit ne ne s e s t o t h a ki ki n o f ~ h pain painti ting ng ar usef useful ully ly summ summed ed up in Naif Naifeh eh an Smit Smit~, ~, Pollock, p. ~6.6.~arl ~6.6.~arlna na Dask Daskal alov ov (unp (unpub ublis lishe he pape paper, r, Univ Univer ersi sity ty of Califo Caliform rma, a, Berk Berkel eley ey IS Ju~tlfiably q ui ui ck ck ly ly . G ue ue st st s a t t h o pe pe ni ni n P ol ol lo lo ck ck ' 1 9 o ne ne - a n s h a t r t o f t hi hi s Mura in situ situ Cent Centur ur were were invi invited ted to insp inspec ec Mura 61st 61st Stre Street et firs firs floo floor, r, read read th invi invita tati tion on se repr reprod oduc ucti tion on in O'Conn C onnor or an Thaw, IV, 19 h e h or or iz iz o t a r ec ec ta ta n l e u s e nd nd e i n t h i dd dd l o f Guar Guardi dian an of th Secr Secret et whic whic he show showed ed in 1943 1943 serv served ed in retr retros ospe pect ct as stag stagin in in mini miniat atur ur of th abst abstra ract ct orde orde he then then appl applie ie to 2 0 C le le me me n r ee ee nb nb er er g Th Coll Collec ecte te Essa Essays ys an Crit Critic icis ism, m, ed John John O'Bria B rian, n, Chic Chicag ago: o: Univ Univer ersi sity ty of Chica Chicago go Pres Press, s, 1986 1986 p. 65 p.125. Bewl Bewley ey in Virg Virgin inia ia Dort Dortch ch P eg eg g Bere Bereni nice ce 1994 1994 p. 115. 115. 2 4 A me me ri ri ca ca n F a h io io n T h ew So pp.156-9.
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e ri ri ca ca n Vogue,
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T O P AG AG E 4 77- 5
at
26
co ac ts th a re re nc nc i t ha ha n il Soth Sotheb eby' y' an Davi Davi Mello Mello fo thei thei assi assist stan ance ce This Cent Centur ury, y, p . 2 96 Se Gugg Guggen enhe heim im Ou of This 96 ; a vi vi d p. 326) 326) that that he assi assist sted ed Duch Ducham am at th inst instal alla lati tion on
lo es a r t ol ol d
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Chap Chapte te et ts th prel prelim imin inar ar comm commen ent, t, se lain lain Cham Chambe bers rs U rb rb a R hy hy th th ms ms : P o M us us i a n Popula Popula Cultur Culture, e, Lond London on 1985 1985 pp 130f 130ff. f. Andy Andy Warh Warhol ol tran trans. s. l.W. l.W. G ab ab ri ri el el , o nd nd o T ha ha me me s a n u ds ds on on , 1 9 0 , passim. ec Andy Warh Warhol ol Ne York Carter Carter Ratclif Ratcliff, f, Andy York Abbe Abbevi vill lle, e, 1983 1983 passim. Andreas German an Crit Critiq ique ue IV, Wir:ter Huys Huysse sen, n, "The "The Cult Cultur ural al Poli Politi tics cs of Pop, Pop, Ne Germ i ve ve s il in ie e r a ny ny . o r t h t hi hi rd rd , e e o be be r u gh gh e he Ri of nd a rh rh ol ol , i n B. Wall Wallis is (ed. (ed.), ), Art after after Modern Modernism ism Ne York York Godi Godine ne 1984 1984 pp 45-5 45-57. 7. Ar News News LXII, ls ta clos closes es assi assist stan an at that that time time Gera Gerard rd Mala Malang nga, a, in Patr Patric ic Smit Smit (ed. (ed.), ),Warhol: Warhol: Conv Conver ersa sati tion on abou abou th Artis Artist, t, A n A rb rb or or : M I 1 98 98 8 p . 1 63 63 : ... ea ew e n S we we ns ns o i n 6 3 i n Ar News News wher wher Andy Andy talk talk abou abou capi capita tali lism sm an co u ni ni s a s b ei ei n t h s a t hi hi n a n s o e da da y e ve ve ry ry bo bo d w ilil l t hi hi n alik alik well well that's very very poli politi tica ca stat statem emen en to make make even even thou though gh hesound hesound v er er y a po po lili ti ti ca ca l S o t hi hi nk nk , t he he r as al ay p ol ol it it ic ic a u n e rc rc ur ur re re n o f Andy Andy's 's unco uncons nsci ciou ou conc concer erns ns fo poli politi tics cs or of soci societ et fo that that matt matter er Woman an a il il er er ' f as as ci ci na na titi o w itit h t h a ct ct re re s i s r eh eh ea ea rs rs e a t l en en gt gt h i n h i Mari Marily lyn, n, Biography, Lond London on Hodd Hodder er 1973 1973 Th esse essent ntia ia disc discus ussi sion on of that that grid grid alon alon with with othe othe ke conc concep eptu tual al issu issues es is Benj Benjam amin in H.D. H.D. Buch Buchlo loh, h, "And "And Warh Warhol ol's 's OneOne-Di Dime mens nsio iona na Art," Art," in Kyna Kynast ston on McSh McShin in (ed. (ed.), ), A nd nd y a rh rh ol ol : R et et ro ro sp sp ec ec titi ve ve , betw betwee ee Warh Warhol ol's 's neut neutra rali liza zati tion on of that that mann manner ered ed form form of self self-p -pre rese sent ntat atio io a n R o e nq nq ui ui st st ' M o r o p ai ai nt nt in in g 1 96 96 2 f o a l t h f ra ra g e nt nt at at io io n a n inte interf rfer eren ence ce that that th latt latter er arti artist st impo impose se on th star star port portra rait it it fals fals sedu seducctiven tivenes es is prec precis isel el what what he ling linger er over over an pres preser erve ves. s. Warhol, disc discus ussi sion on of silk silksc scre reen en tech techni niqu que, e, with withou ou ment mentio ioni ning ng th deat death. h. Ratc Ratcli liff ff Warhol, at ir ts a pp pp en en de de d t o h i t ex ex t a ls ls o i t o u e nt nt io io ni ni n h e d ea ea t i n t h a m o nt nt h Warhol, p. 24 wh date eCr date Warh Warhol ol's 's comm commit itme ment nt to th tech techni niqu qu to Augu August st 1962 1962 Th firs firs scre screen ened ed port portra rait its, s, he stat states es were were ofTro Dona Donahu hue. e. co ar e,
249
N OT OT E
T O P AG AG E 5 33- 7
McShine, Warhol, in il l' tu silk silksc scre reen en tech techni niqu ques es duri during ng 1962 1962 S ee ee , f o e xa xa mp mp le le , J o Andy Warh Warhol ol e w o rk rk , n .d .d . 52 Coplans, Andy e e M al al an an g i nt nt er er vi vi e i n i th th , Warhol, 10 h i c on on tr tr o o f c ou ou rs rs e c ou ou l t ak ak e t h f or or m o f u n e rs rs ta ta nd nd in in g a n a nn nn ci ci pa pa nn nn g imperfections an dist the characteristic distor ortio tions ns of t h r oc oc es es s t ha ha t is, of to inte in tt interv rven en once once th basi basi arra arrang ngem emen ent, t, c re re e a tt tt er er n a n c ol ol o c h i ce ce s h a b ee ee n e ci ci de de d e e t h illuminating, If some somewh what at self self,con ,contr trad adic icto tory ry inte interv rvie ie with with Mala Malang nga, a, in Smit Smith, h,And And Warhol Warhol's 's il Livi Living ngst ston one' e' rema remark rk ("Do ("Do It Your Yourse self lf," ," p. 72) th . ay ay s, s, ! h ic ic h t h reph rephot otog ogra raph phed ed full full-s -siz iz acet acetat at woul woul be alte altere re by th arti artist st fo exam exampl ple, e, to incr increa ease se th tona tona cont contra rast st by remo removi ving ng area area of half half-t -ton one, e, ther thereb eb flat flatte tennin th imag image" e" befo before re it tran transf sfer er to silkscreen, as well well as on th subs subseq eque uent nt u s o f t h a m a ce ce ta ta t t o l o a n a r t h i nt nt en en de de d p la la ce ce me me n o f t h s cr cr ee ee n i mp mp re re ss ss io io n b ef ef o t h r oc oc es es s o f p ri ri nt nt in in g b eg eg an an . a rh rh ol ol ' r e a rk rk s In conv conver ersa sati tion on with with Mala Malang ng (Print (Print Collect Collector' or' Newsle Newsletter tter January-February 1971 1971 p. 126) 126) indi indica cate te habi habi of care carefu fu prem premed edit itat atio ion; n; he expl expl~l ~lIl Il ho t~e l oc oc at at io io n o f a n i mp mp re re ss ss io io n a s e st st ab ab lili s e d i f c o lo lo r a s t o b e a pp pp li li e u nd nd e I t "Sil "Silho houe uett tt shap shapes es of th actu actual al imag imag were were pain painte te in by isol isolat atin in th rest rest,o ,o a n a re re a t h c an an va va s b y e an an s a s i n t a e . f te te rw rw ar ar ds ds , w he he n t h p ai ai n ie in ta ld il ld plac placed ed on to of th pain painte te silh silhou ouet ette te shap shape, e, some someti time me slightly off reglste~. reglste~. 11 Fo u m a r o f p re re s a cc cc ou ou nt nt s t h a ff ff ai ai r e e R o e r E. Schwed, AbolitIOn and Capital Capital Punish Punishmen ment, t, Ne York York 1983 1983 pp 68-1 68-104 04
N OT OT E
'l
le
T O P AG AG E 7 88- 9
is
Matth Matthew ew Coll Collin ings gs," ," Artscr Artscribe ibe Intern Internati ationa onal, l, Douglas C. McGi McGill ll "The "The Lowe Lowe East East Side Side's 's Ne
/M Arti Artist sts, s, N e
or Ti es
Artscribe Artscribe Internationa International, l, June/J June/July uly 1986, 1986, p. 62. S e t h e tr tr os os pe pe ct ct iv iv e r e a rk rk s o f i t e di di t r s i n t he he i i nt nt ro ro du du ct ct io io n t o A nn nn et et t Michel Michelson son (ed.) (ed.) e r a l Octo Octobe ber: r: Th Firs Firs Deca Decade de Cambridge, MA MIT Press, 1987, p. x, 14 Se a rr rr is is o E ss ss ay ay s o n A r a n a ng ng u g e Oxfo Oxford rd Blac Blackw kwel ell, l, 1991 1991 pp 45-6 45-6 fo deve develo lopm pmen en of this this poin point. t. 1 5 R o a li li n r au au s t o e r c re re di di t h a l at at el el y b eg eg u t o a dd dd re re s t h a ct ct ua ua l a b t ra ra c Museum," October, th Matt Matter er On revi revisi sing ng Mini Minima mali lism sm," ," t, 123-41. 16 See, See, fo exam exampl ple, e, Krau Krauss ss's 's rema remark rk on th theo theore reti tica ca writ writin in of Pete Pete Hall Halley ey "The "Theor orie ie of Ar afte afte Mini Minima mali lism sm an Pop: Pop: Disc Discus ussi sion on," ," in Ha Fost Foster er (ed.), Disc Discus ussi sion on in Cont Contem empo pora rary ry Cult Cultur ure, e, Seat Seattl tle: e: Ba Pres Press, s, 1987 1987 pp 76 82 18 19
Se Doug Dougla la Crim Crimp, p, "The "The Phot Photog ogra raph phic ic Activ Activit it of Post Postmo mode dern rnis ism, m, October, o . 1 5 ( Wi Wi nt nt e 1 98 98 0 p . 9 88- 9 o r a n v er er vi vi e t h t i e , s e F os os te te r S ig ig n a ke ke n f o o n e rs rs , America, Ma 1986 1986 pp 83-9 83-91. 1. C on on ve ve r a ti ti o i t t h a rt rt i t , a y 1 98 98 6
Chapter
5
Cheryl Cheryl Bernst Bernstein ein (Le., an as Idea Art, Art, N e Y o k , 1 97 More More," ," in Greg Gregor or Batt Battco cock ck ( e d . ) , Idea 97 3 P I _ J . 41-5. ha late lately ly been been ackn acknow owle ledg dged ed an repu republ blis ishe he by Caro Caro D~nc D~ncan an 10 co~l co~lec ec Camb Cambri ridg dge: e: Ca~~ Ca~~nd ndge ge n iv iv er er si si t r es es s 1 99 99 3 p p 2 16 16 -1 -1 8 e e a l h e d is is cu cu ss ss io io n o f t h o ng ng m th paro parody dy an it fict fictit itio ious us auth author or ibid ibid., ., pp 211211-15 15 "A in th (Re) (Re)Ma Maki king ng," ," Ar News News J u 9 86 86 , p . 9 1 Marzorati, B er er n t ei ei n " Fa Fa ke ke , p p 4 2 4 44- 5 P et et e a ll ll ey ey , h e C ri ri si si s i n G e e tr tr y, y, " Arts, Summ Summer er 1984 1984 p. 115. 115. B h e l it it er er at at ur ur e o n S tu tu rt rt ev ev an an t ( b 1 92 92 6 i s c a d al al ou ou sl sl y p ar ar se se . F o selection of earl earl work work with with comm commen enta tary ry se Euge Eugene ne M. Schw Schwan an an Doug Dougl~ l~ Da:r Da:ris is "A Doub Double le-T -Tak ak on Elain Elain Stur Sturte teva vant nt," ," File, Dece Decemb mber er 1986 1986 n.p. n.p. mterview w itit h e o C a t el el l a n D a a me me ro ro n Flash Flash Art Novemb November/ er/Dec Decemb ember er 1988, 1988, pp.76-7. eeC l d Villag Villag Voice, Voice, 3 0 c t b e 9 84 84 , 1 03 03 . e e C le le me me n r ee ee nb nb er er g " Av Av an an tt- Ga Ga rd rd e a n i t c h, h, " a n o wa wa r4 r4 s . Ne Ne w Laoc Laocoo oon, n, in Collec Collected ted Essays Essays and Critic Criticism ism ed John John O'Bria B rian, n, Univ Univer ersi sity ty of Chic Chicag ag Pres Press, s, 1986 1986 r, pp 5-37 5-37 eeMa at th e)
250
Chapter October," r," Octobe October, r, Th Edit Editor or (sic) (sic) "Abo "About ut Octobe p ri ri n 1 97 97 6 p . 3 . A rt rt fo fo ru ru m O ct ct ob ob e 1 96 96 7 p . 4 : h e c on on cl cl ud ud e " T u pp pp e u rf rf ac ac e i s u pp pp o e d t o b e t hr hr e i nc nc he he s a bo bo v a no no th th e s u f ac ac e f lu lu s w itit h t h r e o f t h o x. x. " 68.
Stephanson,
"Int "Inter ervi view ew with with Crai Crai
Owen Owens, s,
Social Social Text, Text, 2 7 1 99 99 1 p .
IX i n o cu cu rn rn en en t a s e l a n t h P itit ts ts bu bu rg rg h C ar ar ne ne gi gi e I nt nt er er na na titi on on a a r p ro ro mine minent nt exam exampl ples es alon alon with with Doubletake, u nt nt e a t t h o nd nd o ay ar Gall Galler ery, y, disc discus usse se belo belo (all (all held held in 1992 1992). ). B en en ja ja mi mi n H . B uc uc hl hl oh oh , B eu eu y he i li li g o f t h I do do l r el el i i na na r N ot ot e for Critique," Artforum, Janu Januar ar 1980 1980 pp 35-4 35-43. 3.
ti is t e t ua ua l ti Richar Richar Rorry) Rorry)," ," Dissent, p ri ri n 1 99 99 2 2 63 63 . o rt rt y' y' s o b e rv rv at at i i n r ep ep l ( p 6 6 o f t h s ce ce n i n Conan Conan the Barbar Barbarian ian in which which Schwar Schwarzen zenegg egger er snaps snaps th homo homose sexu xual al's 's spin spine, e, or Ic Cube Cube's 's ra abou abou burn burnin in down down Kore Korean an-o -own wned ed
251
