*
Portions of chapter 2 first appeared in the essay “Art Machine,” in Nicholas Baume, ed., Sol LeWitt: Incomplete Open Cubes, exhibition catalog, Wadsworth Atheneum (Cambridge, MA: MIT Press, 2001).
Portions of chapter 3 first appeared in the essay “Allegories of Boredom,” in Ann Goldstein, ed., A Minimal Future: Art as Object 1958–1968, exhibition catalog, Los Angeles Museum of Contemporary Art (Cambridge, MA: MIT Press, 2004).
Portions of chapter 1 first appeared in the essay “Like: Collecting and Collectivity,” October, no. 132 (Spring 2010).
Portions of chapter 4 first appeared in the essay “Just Alike,” Social Text, no. 121 (Fall 2014), a special issue for José Esteban Muñoz.
Abbreviations
CR1
The Andy Warhol Catalogue Raisonné, vol. 1, Paintings and Sculpture 1961–1963, ed. Georg Frei and Neil Printz (New York: Phaidon, 2002)
CR2A
The Andy Warhol Catalogue Raisonné, book A of vol. 2, Paintings and Sculpture 1964-1969, ed. George Frei and Neil Printz (New York: Phaidon, 2004)
CR3
The Andy Warhol Catalogue Raisonné, vol. 3, Paintings and Sculpture, 1970–1974, ed. Neil Printz and Sally King-Nero (New York: Phaidon, 2010)
CR4
The Andy Warhol Catalogue Raisonné, vol. 4, Paintings and Sculpture [1976–1987], ed. Neil Printz and Sally King-Nero (New York: Phaidon, 2014)
Diaries
The Andy Warhol Diaries, ed. Pat Hackett (New York: Time Warner, 1989)
IBYM
I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Carrol and Graf, 2004)
POP
Andy Warhol and Pat Hackett, POPism: The Warhol Sixties (New York: Harcourt, Brace Jovanovich, 1980)
Phil
The Philosophy of Andy Warhol: From A to B and Back Again (New York: Harcourt Brace Jovanovich, 1975)
SW2
Walter Benjamin: Selected Writings, vol. 2, ed. Michael W. Jennings, Howard Eiland, and Gary Smith, trans. Rodney Livingstone et al. (Cambridge, MA: Harvard University Press, 1999)
SW4
Walter Benjamin: Selected Writings, vol. 4, ed. Howard Eiland and Michael W. Jennings, trans. Edmund Jephcott et al. (Cambridge, MA: Harvard University Press, 2003)
Index
abstract expressionism: James Meyer on, 138; Pop Art in relation to, 30, 89, 122n97, 140; rejection of, 14; Swenson on, 96
Adorno, Theodor: on art and feelings, 135, 139; on beauty, 151–52; on commodity form, 156; on interest/disinterest, 122–23; on “language of things,” 148; on liking, 35–36n112; on nominalism, 134; on similarity and dissimilarity, 11. See also Adorno, Theodor, and Max Horkheimer
Adorno, Theodor, and Max Horkheimer, 121; compared to Warhol on mass culture, 109; on entertainment as prolongation of work, 104; on housewives at the movies, 159–60; on mass culture, 132–33, 144; on mimesis, 100
affect: and arousal, 43–44, 46, 119–20, 129n106, 167–68; and compassion, 200n52, 208; drugs and, 17, 85, 98, 161, 165–66, 175; vs. emotion, 39–40n122; and ethos of gay liberation, 46; as event, 39–41; and face, 80–81; and the machine/mechanical, 20, 97, 100; manipulability of, 98; and mood/Stimmung, 36n114, 41–43, 47, 51, 65–66, 88, 91, 94, 119–20, 141, 159, 161, 163–65, 167, 170–71, 176, 207, 255; and its objects, 65; and Screen Tests, 80; shared, 208; Spinoza and Deleuze on, 39–41, 47; theories of, 43–47, 43n135, 49, 51, 97–98, 145
affect attunement, Stern on, 112
affecting and being affected, capacity for: and collecting, 57; and dancing, 108; and liking, 4, 37, 50; and machines, 96, 122; in relation to boredom, 141, 158, 176–77; Spinoza/Deleuze/Massumi on, 39–40, 107; and Warhol, 43, 94, 104, 108, 116, 119, 164, 167, 172
affection, 5, 7, 37, 44, 47, 97
affective labor, 4, 42, 43n133, 47
affective map, 122, 132, 143
affectless: Lewitt’s art as, 122; Warhol and Judd’s work as, 138–39, 140, 176; Warhol as, 96
affect theory: Tomkins on, 43–44; Warhol’s, 34–51
Agamben, Giorgio, 141n19
agency: and affect, 177; and cognitive mapping, 131–32; Lenin on, 84n79; and liking, 41, 98, 118n86; and mood, 42; political, 19, 140
Ahmed, Sara, 31
Albers, Josef, 22–23
Alberti, Leon Battista, 172
Alexander, Elizabeth, 192, 206n66
Ali, Muhammed, 181, 192
alienation: and mode of labor, 89, 129; from others, 38; and polarity, 147; and productive self-estrangement, 147–48; reparation of, 32, 44, 135; self-, 117–18, 147, 217; of senses, 19–21, 51, 131, 140, 204; and skin, 184, 204, 217
allegory, 124, 137
Als, Hilton, 27n82
Althusser, Louis, 131
Amaya, Mario, 71n55, 72n58
anaesthetization, 18–20, 50–51, 138
analogy, 8, 13, 23, 29n92
Angell, Callie: on Empire, 173–74; on Montez, 181, 181n8; on Outer and Inner Space, 117; on Screen Tests, 77, 79n70, 80, 80n72, 113n72, 114n75, 212n79; on Sleep, 161–62, 162–63n70, 169n82; on Thirteen Most Wanted, 77n65, 77n67; on Warhol’s transposition of idioms from one medium to another, 34n106, 113, 162n68, 172n91
Anselmino, Luciano, 220
Aristotle, 11, 11n32, 171
Arman, 22, 53
art market, 22–23, 63, 158, 177
attachment: capacity for, 11; and dance, 109; and drag, 219, 222, 242; and everyday life, 13, 49, 52, 108–9, 137; to Factory, 29; to fantasy, 10; Freud on, 97n31; mode of, 6; and mood, 42; sexual, 5, 24, 43, 70, 119; shared, 110; and similarity and difference, 5, 11; Warhol and, 5, 8, 10
attunement: and anaesthetization, 18; and boredom, 141, 164; and child development, 86–87, 112, 112n70; Kant, 129n106; to market, 15n47; Merleau-Ponty on, 87; and mimetic centers, 40, 112; shared, 17; and skin, 184; and spectator, 164, 169, 175; Stern on affect attunement, 112; suspicious mode of, 33; as translation of Stimmung, 41–42, 141
Auerbach, Jonathan, 118n86
autonomous art, 93–94
Bacall, Lauren, 219
Baker, Josephine, 205
Baldwin, James, 217
Baldwin, Kate, 244n144
Banks, Dick, 72n58
Barthes, Roland, 35–37, 35n111
Basquiat, Jean-Michel, 242–51; affection for Warhol, 246, 251; and celebrity, 246; collaborations with Warhol, 52, 180–82, 242, 242n142, 246, 249–50, 249n152; and color line, 242, 247; and liking, 246, 251; and misfitting, 251; Muñoz on, 215; as producing likenesses, 246, 251; and queerness, 244, 246, 251; and race/racism, 246, 248–49, 251; silkscreening, 247
Basquiat, Jean-Michel, works by: Arm and Hammer II, 250; Brown Spots, 246; Dos Cabezas, 246–47; “Mixed Marriges, POW!,” 244–46, 249; “Warhol as a banana,” 246
Batchelor, David, 113n74, 203
Baudelaire, Charles, 139–41, 147
Baudrillard, Jean, 21n65
Bauhaus, 90
Baume, Nicholas, 127
Beatty, Warren, 22, 24, 101, 210, 214. See also Warhol, Andy, works by
Beckman, Karen, 49
being alike, 4, 5, 8–17, 24, 135; and becoming, 17, 179, 222, 242, 246–47; being in the mood for, 88; capacity for, 115; commodity and promise of, 12; and “disidentification,” 214–15; drugs and, 17; Marsha P. Johnson on, 220; the machine and, 96; and Screen Tests, 87; Warhol on, 1, 8, 9, 10, 30, 134, 182, 219; and Warhol’s sitters, 74
being liked, 6, 64, 73–74, 86
being with, 9, 47, 223
Benjamin, Walter: on affect/object, 65n42; on bias of photographic medium, 196; on boredom, 141–42, 147–48; on collecting, 53, 56–57, 61; on collectivity, 19; on color, 202–3; on dance, 111–12; on memory, 65–68; on mimetic faculty, 4–5, 4n10, 18n55, 95, 98–100, 105, 112; on self-estrangement, 147–48; on similarity and distortion, 174; on suppression of mimetic faculty, 18–20, 38, 50
Benthien, Claudia, 195n45
Berg, Gretchen, 4n9, 9n24
Berger, Martin, 186n20, 186n21, 190,
190n28, 208n73
Berlant, Lauren, 7n20, 14–15, 15n44
Berlant, Tony, 3n7
Berlin, Brigid, 17, 32
Bersani, Leo, 10n29, 27, 27n85, 76n64
Black Panther Party, 226
Bloch, Ernst, 6, 167
Blond, Susan, 2, 3n7
Bochner, Mel, 123, 128
Bockris, Victor, 4n8, 53n4, 54n5, 54n7, 55n8, 244n142
Bois, Yves-Alain, 90n3, 109n57
Borch-Jacobsen, Mikkel, 10n29, 11n31, 25, 25n74
boredom, 137–77; and aesthetic experience, 141–42, 158, 164; Benjamin on, 141–42, 147–48; Fried on, 142; Heidegger on, 141, 164; and interest/liking, 138–39; Judd and, 158, 176; Kracauer on, 140, 176; Lepenies on, 140; mass culture as perpetuating, 139–40; as mode of attunement, 141; Phillips on, 141, 152; and relaxation, 42; in Sleep, 159–72; Warhol and, 6, 101n51, 159, 161, 161n64, 176
Bottomly, Susan, 49
Bourdieu, Pierre, 38, 38n118
Bourdon, David, 61n28, 64, 64n41, 167n77, 216–17, 219
Bowie, David, 182
Brando, Marlon, 202
Brecht, Bertolt, 1, 9, 13
Brick, Howard, 15n47, 139n10
Brooks, Daphne, 193–94
Brown, Michael, 204
Brown, William Wells, 196
Buchanan, Ann, 81, 87, 175. See also Warhol, Andy, works by
Buchloh, Benjamin: on seriality (in interview with Warhol), 22, 22n69; on Warhol in relation to modernism and the avant-garde, 94n20; on Warhol’s portraits, 63; on Warhol’s yarn paintings, 63n33
Buck-Morss, Susan, 13n39, 18–19, 18n54, 18n57
Bürger, Peter, 93n18
Burt, Stephen, 9, 9n23, 15n46, 37
Butler, Judith: on identity, 27–28, 27n87, 28n88; on imitation, 24n72; on melancholic identification, 25–26, 25n74; on queerness, 7n20; on “unviable (un)subject,” 26
Butt, Gavin, 30n93, 109, 120
Cage, John, 22, 162n68
Caillois, Roger, 30, 31n97
Camicia, Jimmy, 223n112, 228n123
camouflage, Warhol’s paintings, 31, 31n98
camp, 70, 240
Campbell’s soup, 2–5, 15–16, 44, 96, 101, 107. See also Warhol, Andy, works by: Campbell’s Soup Can paintings
Carey, Ted, 71–73
Carter, David, 224n113
Castelli, Leo, 23
Catalogue Raisonné: on drag queens, 220, 223; on Race Riot paintings, 186n23, 190n26; as reparative criticism, 34n106; on serial compositions, 61; on Warhol’s formal decision-making, 21. See also Printz, Neil
Cesarino, Cesare, 76n62
Chamberlain, Wynn, 161
Chauncey, George, 25n73, 26n81
Chen, Mel, 7–8n20
Cheng, Anne, 205
Chun, Wendy, 182
celebrity: as constituted by imitations it inspires, 24; imitations of, 223; in Ladies and Gentlemen series, 236, 238; Warhol’s interest in, 181; in Warhol’s paintings, 214–17; Warhol’s works as producing, 64. See also stars/stardom
citizenship, Berlant and Warner on, 14–15
civil rights movement: as context for Warhol’s Pop, 15, 179–80; and police violence, 225–26; and political action, 51, 140; and publicity of violence, 180, 185n20, 190–91, 192n36, 205–6; Raiford on photography of, 190–92; in relation to Warhol on liking and being alike, 15, 17; role of photography in, 190–93
Clement, Jennifer, 244n142, 248n150
cognitive mapping, 131–32
Cohen, Cathy, 7n20, 32n101
Cohen, Stephan L., 224n113, 224n114, 224n116, 226n117, 226n119
Coke, 5, 14, 16, 64, 38n118
Colacello, Bob: on drag queens and Ladies and Gentlemen series, 220n102, 221, 221n104; on mixed marriage, 245n145; on portrait practice, 184n17; on Torsos and Sex Parts, 44n137, 71n56; on Warhol’s collecting, 63n34Cold War, 17
Coleman, Beth, 182
collecting/collection: Benjamin on, 53, 56–58, 98–99n38; and mood, 42; as a practice, 58, 68–69; Screen Tests as, 80; serial paintings as, 21, 62; sound recordings as, 67–69; Warhol’s, 2, 3–4, 6, 21, 44, 53–88. See also Warhol, Andy: as collector
collectivity: Benjamin and, 19; and collecting, 7, 53–88; and common failure, 83; constitution of, 5, 62; of drag queens, 219–20, 223, 240; drugs and, 17, 170–71; Factory, 17, 51, 78; and mimesis, 48–49, 110; queer, 47, 120; in Race Riots, 208–10; as represented by Screen Tests, 84; as represented in Ladies and Gentlemen series, 222–26; as represented in LeWitt’s Incomplete Open Cubes, 134–35; and response to images of violence, 208–9; spectatorship and, 51, 241; STAR (Street Transvestite Action Revolutionaries), 226, 239–40
Collins, Rufus, 87, 180–81
color: black and white as opposing, 184, 195–97, 205, 212–16; black as, 195, 197, 200, 202–4, 210–12; in Judd’s work, 149–51, 157; magic marker, Basquiat’s use of, 244–46; and representation of skin in photography, 196–97; and skin, 182–86, 224–25; of Warhol’s skin, 182–83; Warhol’s use of, 31, 50, 63n34, 113–14, 184, 200, 202–5, 206–7, 210, 213, 216, 218, 222, 229–33, 236. See also racialization; racism; skin
color line, 52, 180–82, 186, 195, 214, 236, 238, 242, 247
comics, 14, 16, 22–23, 249
commodity: Adorno and Horkheimer on, 104, 134; artist as producer of, 158; fetishism of, 58, 95, 156, 159; LeWitt and, 130, 134–35; 1960s and, 90, 143; Warhol and, 5, 37, 50n150
“commonism”: of dance diagrams, 108; Warhol’s, 13n40, 14–15, 14n41, 14n43, 32
communism, 1, 13–14
conceptual art, 23, 51–52, 89, 122–23, 129–31
Connor, Eugene “Bull,” 179, 205–7, 209
consumption: and affect, 132, 176; and collecting, 56; and consumer culture, 33, 35–37, 50, 64, 96–97, 132, 144, 144n27, 156n57, 214; and industrial modernity, 13–14; likeness and, 12, 15; as melancholic incorporation, 24; and race, 192, 200, 208; and Taylorization, 92
Coplans, John, 148n23, 150n47, 202–4
Coviello, Peter, 7n18
Craft, Christopher, 24n73
Crary, Jonathan, 171
Crawford, Joan, 215
Cresap, Kelly, 33n104
Crimp, Douglas: on Chelsea Girls, 7n19; on Empire, 173–75; on ethos of gay liberation, 46, 76; on I Like Dance, 109; on Mario Banana, 246, 246n147; on Montez, 181n8, 218n95; on queerness, 7n20; on queer performers, 181; and sexuality, 76; on spatial logic of Outer and Inner Space, 117n84; on Warhol and sexual identity, 27; on Warhol’s filmic practices, 34n106, 193n40
Crow, Thomas, 50n150
Curley, John J., 13n40, 197n51
Curtis, Jackie, 221
Cutrone, Ronnie, 228
Cvetkovich, Ann, 7–9n20
cybernetics, 97, 120n91
Dada, 93, 123n97
Dalton, David, 12n35, 14n41, 17n52, 33n102, 72n38
Dance Guild, 102. See also Warhol, Andy, works by: Dance Diagrams
Darling, Candy, 221–22
Dean, Dorothy, 181
Dean, James, 8, 10, 11, 16, 24, 109
de Antonio, Emile, 26n82, 30, 30n94
de Kooning, Willem, 203
Delany, Samuel, 46n141
Deleuze, Gilles: on affect, 39–41, 42; on affecting and being affected, 39, 39n119, 107, 176; on “affection images,” 175; on the body, 39n120; on boredom, 176; on desire, 40n123; on docility of the sad, 47
Deleuze, Gilles, and Felix Guattari, 89, 90, 175; on faciality, 184, 184n18
de Man, Paul, 185n19, 218
Derenthal, Ludger, 69n49
Derrida, Jacques, 11, 11n30, 218n99
de Villiers, Nicholas, 9n24, 33, 203n60
“differentiation of society,” 92–94. See also “functional differentiation”
Dine, Jim, 23
disidentification, 214–17, 236, 239–41, 249–51. See also Muñoz, José Esteban: on “disidentification”
di Suvero, Mark, 150
Divine, 242, 243
divinity, Moon and Sedgwick on, 242
Donahue, Troy, 16, 22, 24, 101, 210, 214, 250
Donovan, Molly, 180n5
Doyle, Jennifer, 44n136, 63n25, 232n131
drag: Anselmino and, 220; as collage work, 236, 238; “drag queen theory of art” (Lanigan-Schmidt), 223; Newton on, 218n98, 219; photos of Warhol in, 26n82; Rolling Stones and, 236; and spectatorship, 219; temporal, 49
drag queens: African-American and Latino, 182, 219–24, 226, 236, 238, 242; and Coke, 64; and collectivity, 239–42; at Gilded Grape, 221, 232; Jagger and, 238–39; and transvestites, 220–21; Warhol’s fascination with, 5–6; Warhol’s understanding of, 219. See also Warhol, Andy, works by: Ladies and Gentlemen
drugs: hallucinatory effects of, 98, 165–66, 174; Screen Tests and, 80, 85, 175; trade of, 18–19; Warhol and, 17, 32, 161, 170–71. See also affect: drugs and
Du Bois, W. E. B., 180, 195
Duchamp, Marcel, 53, 90
Dufresne, Isabelle. See Ultra Violet; Warhol, Andy, works by
Dworkin, Craig, 119n89
Dyer, Richard, 195–96, 197n49, 216, 217n95
Edelman, Lee, 8n22
Edwards, Jason, 25n76
Eliot, T. S., 58, 122n97, 147, 147n40
Ellison, Ralph, 195, 216
emotional tie, 10, 11n31, 12, 12n33, 25n74, 25n75
English, Darby, 200n54, 202n57, 203n61
ennui, in Baudelaire, 139–41
Facebook, 36–38, 171
faciality, 175, 184, 184–85n18
Factory, 29n92, 71, 79, 83, 84n83, 223; attacks on, 29; the collectivity gathered in, 17, 29; drag and drag queens in, 221, 223; homophobia directed at, 83n78; photography in, 71; representations of, 78–79; Screen Tests as representations of people in, 80, 83–84; and stars, 29
Fagan, Philip, 82n75, 212
failure: the flawed or broken object, 60–61; to imitate, 10, 28–29, 64, 110; and mistakes, 101, 108n56, 110, 119, 120, 198, 204; in relation to drag and drag queens, 222, 240; in Screen Tests, 79, 81–84; shared, 83; Warhol’s “taste for defects,” 60–61, 113–14
Fairbrother, Trevor, 30n93
fandom, 108–10, 236; multiracial, 219
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