This book explores Andy Warhol's creative engagement with social
class. During the 1960s, as neoliberalism perpetuated the idea that
fixed classes were a mirage and status an individual achievement,
Warhol's work appropriated images, techniques, and technologies
that have long been described as generically "American" or "middle
class." Drawing on archival and theoretical research into Warhol's
contemporary cultural milieu, Grudin demonstrates that these
features of Warhol's work were in fact closely associated with the
American working class. The emergent technologies which Warhol
conspicuously employed to make his work home projectors, tape
recorders, film and still cameras were advertised directly to the
working class as new opportunities for cultural participation.
What's more, some of Warhol's most iconic subjects Campbell's soup,
Brillo pads, Coca-Cola were similarly targeted, since working-class
Americans, under threat from a variety of directions, were thought
to desire the security and confidence offered by national brands.
Having propelled himself from an impoverished childhood in
Pittsburgh to the heights of Madison Avenue, Warhol knew both sides
of this equation: the intense appeal that popular culture held for
working-class audiences and the ways in which the advertising
industry hoped to harness this appeal in the face of growing
middle-class skepticism regarding manipulative marketing. Warhol
was fascinated by these promises of egalitarian individualism and
mobility, which could be profound and deceptive, generative and
paralyzing, charged with strange forms of desire. By tracing its
intersections with various forms of popular culture, including
film, music, and television, Grudin shows us how Warhol's work
disseminated these promises, while also providing us with a record
of their intricate tensions and transformations.
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