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A bold, compelling, and original study of nonhuman life in Warhol.
Like a Little Dog examines a dimension of Andy Warhol that has
never received critical attention: his lifelong personal and
artistic interest in nonhuman life. With this book, Anthony E.
Grudin offers an engaging new overview of the iconic artist through
the lens of animal and plant studies, showing that Warhol and his
collaborators wondered over the same questions that absorb these
fields: What qualities do humans share with other life forms? How
might the vulnerability of life and the unpredictability of desire
link them together? Why has the human/animal/plant hierarchy been
so rigidly, violently enforced? Nonhuman life impassioned every
area of Warhol's practice, beginning with his juvenilia and an
unusually close creative collaboration with his mother, Julia
Warhola. The pair codeveloped a transgressive animality that
permeated Warhol's prolific career, from his commercial
illustration and erotica to his writing and, of course, his
painting, installation, photography, and film. Grudin shows that
Warhol disputed the traditional claim that culture and creativity
distinguish the human from the merely animal and vegetal, instead
exploring the possibility of art as an earthy and organic force,
imbued with appetite and desire at every node. Ultimately, by
arguing that nonhuman life is central to Warhol's work in ways that
mirror and anticipate influential texts by Toni Morrison and Ocean
Vuong, Like a Little Dog opens an entirely unexplored field in
Warhol scholarship.
Headline-making in every sense, the myriad works of art in which
Andy Warhol used or referenced tabloids throughout his career are
explored in this book as a coherent body for the first time.
Obsessed with contemporary culture, Warhol celebrated the
sensational as well as the mundane in every facet of society. His
headline works, which were realized in a range of formats--from
two-dimensional to time-based media such as film, video, and
television--chart in real time the great shift in the technological
means employed to deliver the news from the 1950s until the
artist's death in 1987. This companion volume to a riveting
exhibition brings together more than 80 works, from Warhol's
earliest drawings and paintings of newspaper headlines, to his
screen-printed canvases, photographs, and electronic media, and
concluding with collaborative works he produced with Keith Haring
and Jean-Michel Basquiat. Featuring illuminating essays and
abundant reproductions of the headline works, as well as source
materials and examples of Warhol's private scrapbooks of clippings,
this unique and powerful volume demonstrates the rich intersection
of mainstream media and fine art.
The Present Prospects of Social Art History represents a major
reconsideration of how art historians analyze works of art and the
role that historical factors, both those at the moment when the
work was created and when the historian addresses the objects at
hand, play in informing their interpretations. Featuring the work
of some of the discipline's leading scholars, the volume contains a
collection of essays that consider the advantages, limitations, and
specific challenges of seeing works of art primarily through a
historical perspective. The assembled texts, along with an
introduction by the co-editors, demonstrate an array of possible
methodological approaches that acknowledge the crucial role of
history in the creation, reception, and exhibition of works of art.
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.
The Present Prospects of Social Art History represents a major
reconsideration of how art historians analyze works of art and the
role that historical factors, both those at the moment when the
work was created and when the historian addresses the objects at
hand, play in informing their interpretations. Featuring the work
of some of the discipline's leading scholars, the volume contains a
collection of essays that consider the advantages, limitations, and
specific challenges of seeing works of art primarily through a
historical perspective. The assembled texts, along with an
introduction by the co-editors, demonstrate an array of possible
methodological approaches that acknowledge the crucial role of
history in the creation, reception, and exhibition of works of art.
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