queer: dancer type, 109; as distinct from gay, 7; erotic economy, 76; fans, 217; group existence, 70; imitation, 17n52; as “immemorial current” (Sedgwick), 8; kinship networks, 226; lives, as damaged by inversion model, 25; Love on queer studies “at its most expansive,” 32; media communities, 49; pantheon, 242; pride (Ahmed), 31; shame, 32n100; singularity, 47; and “slantwise” lines, 46; social spaces, 119–20; Warner, on queer scenes, 31n99
queerness: Ahmed and, 31; and Basquiat’s representation of Warhol, 244–46, 251; and belonging, 70; of Dance Diagrams, 109, 120; as invisible under paranoid optic, 33–34; Muñoz on, 6, 226, 241n319; Sedgwick and, 8, 33; in Since, 49; as utopian, 6, 226; Warhol’s, 7, 15, 30n93, 33, 47, 119, 183, 242
queer theory, 7–8n20
“race,” 182, 207; Mercer on, 220; modern understandings of, 204; and photographic medium, 195–97, 195n44; Warhol’s use of color black and, 213–24; whiteness and, 216, 240
Race Riot paintings, 5, 50n151, 52, 107, 179, 180, 185, 186–210. See also Warhol, Andy, works by
racialization, 181, 184–85n18, 197, 200, 207, 212, 216
racial technology, 182, 195, 205
racism, 93, 181, 184, 185n18, 191, 193, 196–97n49, 204–6, 208, 220; Jim Crow, 179, 205, 208, 249; Warhol’s, 184
Ragona, Melissa, 67n45
Raiford, Leigh, 185n20, 190–92, 190n29, 191n33, 191n36, 208n73
Ramone, Joey, 19
Raunig, Gerald, 121n94
Rauschenberg, Robert, 23–24, 30–32, 53
Reed, Lou, 80
reification, 93, 148, 152, 156–58, 177
Reinhardt, Ad, 22–23
reparative practice: camp as, 70; and drag queens, 230, 239, 242; in the Factory, 29; and identity games, 33; Warhol criticism as, 34n106; Warhol’s, 32, 49, 51, 70, 183, 238–39, 242
repetition: and affect, 97n31, 177; and cognitive mapping, 131; and consumption, 12; and liking, 12; in mass culture, 104; and mechanical reproduction, 20–23, 96; and trauma, 50n151, 207n69; in Warhol’s work, 4, 21–23, 50n154, 96n28, 101, 114n74, 159, 191n30, 198, 200, 206, 209
resemblance: capacity for perceiving, 11; and collecting, 57–58; Lin on, 123; and race, 212, 215, 238; Screen Tests, 88; Warhol and, 6, 8, 13, 13n38, 14, 17, 21, 24; Warhol and Basquiat, 247, 251; Warhol and Judd, 177
Reynolds, Ann, 214n83
Rhode Island School of Design Museum of Art, 61
Rice, Tamir, 204
Richards, I. A., 94
Richards, Keith, 237
Richardson, Brenda, 31n98
Richter, Gerhard, 13, 13n38
Riesman, David, 12n36, 139
Rodrigues, Laurie A., 244n142
romanticism, 89, 129
Rose, Jaqueline, 217n95
Rosenquist, James, 23
Ross, Diana, 181, 239
Ross, Wilhelmina, Warhol’s portrait of, 228, 230–31
Roth, Lorna, 197n49
Sartre, Jean-Paul, 83
Scherman, Tony, 12n35, 14n41, 17n52, 33n102, 72n38
Schoenberg, Arnold, 22n69
Schor, Naomi, 215n86
Scull, Ethel, 62, 64. See also Warhol, Andy, works by
Sedgwick, Edie, 26, 32, 109n58, 117–19, 242, 246
Sedgwick, Eve: on affect theory, 43n135; on Basquiat, 246; on queerness, 7n20, 8, 24, 32n100, 33; on sameness and difference, 5, 5n14; on Tomkins and mood, 43; on Warhol’s queerness, 246n146; on Warhol’s skin, 183n14, 242, 246
Seltzer, Mark, 30n97, 97, 97n31, 99n39
semblable, 5–6, 14, 40n122, 79
Senchyne, Jonathan, 196
seriality, 21–23, 22n69, 31n97, 61, 83, 96, 134, 151
Shafrazi, Tony, 242
shame, 31–32, 40n122, 100n44, 183–85, 206, 223, 246n146
Short, Bobby, 181
Siegel, Marc, 2n6, 181, 181n8
Silverman, Kaja, 5, 5n14, 13, 13n38, 207n70
similarity: and affect, 9; Benjamin on, 4, 19–20, 174; and civil rights movement, 15; and collecting, 57–68, 60, 76, 79; and consumption, 15; as discrete concept, 5; distorted, 130, 174; and emotional tie, 12; and minimalism, 147; Nancy on, 5; and nonidentity, 177; perception of, 11–12, 52, 79, 112, 147; as produced, 13, 52; and reification, 157; and singularity, 28; in Warhol’s work, 8, 20–23, 61, 80, 101, 212, 230
Simmel, Georg, 18n56
Simpson, O. J., 181
Singerman, Howard, 90n3
sitters (for portraits): celebrity status of, 64; drag and drag queens, 221–22, 224; and exclusivity, 77; as purchaser, 62–63; and Screen Tests, 80–82; skin of, 184, 211, 230–34
skin: in Basquiat’s Dos Cabezas, 246; and racialization, 181–82, 195, 203–5; representation of, in Race Riot source image, 195–96; as represented in photographs, 196–97; Warhol’s, 7, 179, 183–84, 222; in Warhol’s work, 52, 182, 184, 204, 210–12, 217–18, 222, 230, 232, 236, 240
Slate, Lane, 4n8, 9n24, 68
sleep, 170–72, 171n86
Smith, Bruce, 9, 9n23
Smith, Jack, 181, 214, 219
Smith, John, 3–4n7, 6n15, 55n8, 59n24, 69n50
Smith, Patrick, 1n1, 14n41, 22n68, 167n77
Smith, Rupert, 58
Smithson, Robert, 91, 152, 156
Snediker, Michael, 7–8n20
Solanas, Valerie, 29
Somerville, Siobhan, 246n148
Sonnabend Gallery, 190
Sorokin, Vladimir, 83
spectatorship: and boredom, 164, 169; and collectivity, 241; and “disidentification,” 214–15; as doing, 49; and drag, 182, 219; film, 214; and Race Riot paintings, 185, 194–95, 205–6, 208–10; and repetition, 104, 122
Spinoza, 39, 47, 51, 107, 176
Spivak, Gayatri, 84n80
Stadler, Gustavus, 67–68, 67n45, 70n53, 114, 115n79
Stanton, Suzy, 15, 15n46
star/stardom: desire to be, 63–64; drag and, 219, 222–23, 228, 236, 238–42; imitation of, 28–29, 108–10; Jackie Kennedy as, 48; Monroe as, 216–18; “of the out-take,” 24, 29, 32, 83; as possessed by spectators, 215–17; Warhol’s attraction to and interest in, 55n8, 63–64, 181; in Warhol’s films, 168; in Warhol’s paintings, 210, 214, 216–19, 250. See also celebrity
Steele, Shelby, 192
Stein, Gertrude, 150
Stein, Jean, 26n82
Stella, Frank, 91, 203
Stern, Daniel, 85, 85n87, 112, 112n70
Stewart, Michael, 58n22, 180
stigma: and drag and drag queens, 223; and invert, 25–26, 30; and racialization, 193; reparative role of Pop Art in relation to, 183; the stigmatized person, 7, 116; Warhol’s own, 7, 32, 183–84. See also shame
Stimmung. See mood
Stimson, Blake, 14n41, 26n82
Stonewall, 27, 44, 224
Street Transvestite Action Revolutionaries (STAR), 220, 224–26, 239–42
structures of feeling, 15, 160
Stryker, Susan, 226
stuplime, 129
Suárez, Juan, 17n51, 162, 165
sublimity, 91n7, 128–29, 137
suicide, 5, 50, 56, 187n24, 207
surrealism, 93, 123n97, 220n101
Swenson, Gene: on Warhol’s repetition, 50n154, 179; “What Is Pop Art?,” 1, 1n1, 8, 13, 17, 96, 207
Szczesniak, Magda, 31n98
taste: and class, 38; for defects, 60; and drag queens, 219; Franzen on, 36n114; habits, 99–100; judgment of, 34, 139; and labor, 129; liking and aesthetic, 6, 35; and mood, 42
Tavel, Ronald, 2, 2n6, 115, 165n74
Taylor, Elizabeth, 16, 24, 28, 202, 211, 219. See also Warhol, Andy, works by
Taylorism, 90–92
Temple, Shirley, 26n82, 55–56n8, 109, 222. See also Warhol, Andy: Shirley Temple, admiration of
theatricality, of minimalism, 144
Third World Gay Revolution, 226
Till, Emmett, 192, 192n36, 206n66
Tomkins, Silvan: on affect/object, 65, 65n42; on affect theory, 43, 97n33; on cognitive activity, 145n33; cybernetic thinking, 97; on face as organ of affect, 80n73; on interest, 145
trans
ference: and collecting, 57; Ferenczi on, 12n33; Freud and, 12, 12n34, 57n16, 141; and Judd’s work, 176; and Warhol’s work, 52, 164, 176
“transitional object,” 37. See also Winnicott, Donald
Tremaine, Emily, 210
Tuchman, Mitch, 26n82
Tucker, Irene, 203–4
Tucker, Maureen, 84n83
Turner, Lana, 215
Turner, Sam, 204n63
Turner, Tina, 238–39
Twombly, Cy, 53
Tyler, Parker, 162, 162n69, 164–65, 165n74, 214, 219
Ultra Violet, 32, 71n55, 76
Uroskie, Andrew, 162, 162n68, 162–63n70, 164, 169n80
utopia, 6, 7n18, 95, 224, 226
Varoufakis, Yanis, 132
Vicki (queen), 228
violence: Arm and Hammer’s, 249; prison conditions, 225; in response to civil rights movement, 179–80, 179n2, 204, 206–7, 209; and Warhol’s work, 5, 113, 176, 198, 200, 204
Virno, Paulo, 17–18n53, 84, 84n81
Viva Superstar, 32, 44
von Stroheim, Erich, 162
Wagner, Anne, 190, 191n30, 212–13
Waldron, Louis, 44
Walker, Kara, 196–97, 200, 207
Wallace, Michele, 215
Warhol, Andy: affection for pornography, 44n136; affect theory of, 34–51, 97; appearing affectless, 138, 176; boredom, 6, 107n51, 159, 161, 161n64, 176; on Brecht, 1, 13; capacity for affecting and being affected of, 57, 94, 122, 176; on celebrity and stardom, 181, 219, 236, 238–39; cock book, 71–75, 80; collaborations with Basquiat, 52, 180–82, 242, 242n142, 246, 249, 250; collections of, 6, 51, 53–55, 59, 68–69, 71, 76; as collector, 3, 4, 5, 6, 7, 44, 51, 53, 57–59, 61, 69, 75–77, 83; use of color, 202–4, 210, 215–16, 232n129, 232n130; and “commonism,” 13n40, 14, 14n41, 14n43, 15; concept of Sleep, 161–62; consumption, 14, 138; and drag and drag queens, 219, 221, 223n112, 228, 238–39, 242; and drugs, 17, 161, 170n85; and forgetting, 13, 67; on hallucinatory effects, 165, 174–76; identity games, 33, 74–75; interest, 4, 17, 52, 137–39, 159; liking, 1–52, 76, 77, 97–98, 116, 134, 137–39, 158, 159, 183, 222; not liking, 2n4; on love, 105–6, 179–80; and machines, 1, 97, 97n30, 161, 207; memory and collecting of, 64; mimetic appropriation of, 138; and minimalism, 159, 161, 174; misfitting, 7; and mood, 161, 170, 176; Norelco Carry-Corder, 67–68, 70, 114, 119; as “people collector,” 71; perfumes, 61–66; and plot in films, 160–61; problems, 69–70; producing boredom, 159; as producing likenesses, 5, 17, 20–23, 94, 101, 212, 215, 249; promotion of liking, 6, 49, 51, 109, 169–70, 179–80; queerness of, 7, 15, 30–33, 30n93, 183, 244–46; reception of his films, 2n6, 79n71, 160, 162–63, 165; reification, 177; in relation to abstract expressionism, 89; relaxation, 160; repetition in, 1, 20–23, 96, 110n63, 209; representing collectivities, 62; painting comics, 22–23; serial paintings of, 5, 21–23, 56, 61–62, 101, 110–11, 184, 209; silkscreen paintings of, 21–23, 50, 52, 61, 94, 100–101, 110, 113, 197, 200, 210, 230; on skin, 52, 179, 182, 184, 202–3, 205, 211–12, 230–34; own skin, 182–84, 183n14, 183n16, 246; talent for failure, 28–29, 60–61, 101, 110–11, 113–14, 120, 200, 204, 211, 217, 222–23, 232, 240–41; talent for fellatio, 168, 168n79; talent for liking, 2, 2n6, 3n7, 4, 6, 37–38, 43–44, 51, 53, 70, 98, 134; talent for producing likeness, 6, 27, 49, 51, 100–101, 109n58, 134, 181–82, 208, 212, 222, 228–30, 233, 238; Shirley Temple, admiration of, 109, 222; on thinking alike, 1, 8, 9, 9n24, 105; on time, 174–75; windows, looking out of, 159–60, 172
Warhol, Andy, works by: A: A Novel, 1, 1n3, 56, 94, 119; A la Recherche du Shoe Perdu, 62; Andy Warhol’s Exposures, 2; Arm and Hammer II (with Basquiat), 250; Black and White Disaster #4, 61; Blue Movie, 43–44, 69; The Bottom of My Garden, 62; Campbell’s Soup Can paintings, 2, 3, 15–16, 21, 101, 107; Dance Diagrams, 52, 102–5, 108–11, 120–21, 169; “Death and Disaster” paintings, 50, 187, 187n24, 189, 190n26, 190n27, 209; Diaries, 12n35, 184, 223, 246–47, 249; Do It Yourself, 102, 106, 108, 110, 111n65; Dollar Bill paintings, 21, 21–22n67, 107; Eat, 114, 162; Empire, 159, 162, 172–74; Ethel Scull 35 Times, 61; Ethel Scull 36 Times, 61–62; Folk and Funk (as curator), 59–61; Henry Geldzahler, 114, 162; I Like Dance, 109; Jackie Frieze, 61; Kiss, 180; Ladies and Gentlemen, 52, 62, 181–82, 220–21, 226, 228, 236, 238, 240–42; Last Supper (Christ 112 Times), 62; Little King, 101; Make Him Want You, 101; Marilyn × 100, 61; Marilyn Diptych, 23–24, 210–19, 238; Multiplied Jackies, 47–48; Nancy, 101; $199 Television, 101; 129 Die, 190; Outer and Inner Space, 94, 114, 117–18, 117n84; Oxidation Paintings, 120; The Philosophy of Andy Warhol, 8, 10, 13n37, 14, 16, 31, 66–67, 77, 83, 105–6, 115, 179, 182, 219; POPism, 29, 44, 47, 68, 78, 101, 114, 165; Race Riot paintings, 52, 107, 179–80, 182, 184, 186–210, 186n23, 190n26, 212–13; Raid the Icebox, 61; Red Elvis, 23–24, 212; Screen Tests, 6, 51, 77–88, 114, 175, 184, 212, 212n79, 223–24; Sex Parts, 44–45, 71; Shadows, 120; Since, 47, 49; Six Months, 212; Sixteen Jackies, 61; Sleep, 52, 159–72, 169n82, 174; Storm Door, 101; Ten Portraits of Jews of the Twentieth Century, 62; Thirteen Most Beautiful Boys, 77; Thirteen Most Beautiful Women, 77; Thirteen Most Wanted Men, 62, 77; Thirty Are Better Than One, 61; Torsos, 44–45; Thirty-Five Jackies, 61; This Week That Was, 47, 61; Time Capsules, 6, 56, 69, 71n55; Troy Diptych, 210; Tunafish Disaster, 107; 25 Cats Named Sam and One Blue Pussy, 62; 25 Colored Marilyns, 61; 210 Coca-Cola Bottles, 61
Waring, James, 160
Warner, Michael, 7n18, 7n20, 14–15, 31n99, 32n100, 215
Waters, John, 242
Waugh, Evelyn, 212
Waugh, Tom, 44n136
Weatherby, W. J., 217n95
Weathers, Chelsea, 17n51
Weber, Max, 96
white supremacy, violence of, 185–86, 190, 192–95, 204, 206, 209. See also racism
Whitman, Walt, 6–7, 83, 112
Whitney Museum of American Art, 63
Whyte, William, 139
Williams, Esther, 28
Williams, Linda, 118n86
Winnicott, Donald, 37
Wohlgefallen, translated as “liking,” 34n108
Wolpert, Daniel M., 88n90
Wood, Natalie, 22–24, 101–2, 110, 210, 214, 250. See also Warhol, Andy, works by
Woodlawn, Holly, 181, 221
Woronov, Mary, 17n52, 49
Wrbican, Matthew, 6n15
Wright, Russel, 53
Young Lords, 226
Zajonc, Robert, 34, 35n110, 98, 98n34
Zapruder, Abraham, 47, 49
Footnotes
Introduction
1 “What Is Pop Art?,” interview by G. R. Swenson, Art News 62, no. 7 (November 1963); reprinted in IBYM, 16–20, 16. Gerard Malanga reported that Warhol was more open and expansive in this interview because Gene Swenson (an art critic and Warhol’s friend) hid the tape recorder under the table and Warhol did not know he was being recorded. Patrick S. Smith, Warhol: Conversations about the Artist (Ann Arbor: UMI Research Press, 1988), 165.
2 The Inoperative Community, ed. Peter Connor, trans. Peter Connor, Lisa Garbus, Michael Holland, and Simona Sawhey (Minneapolis: University of Minnesota Press, 1991), 33.
3 See, among many examples, A: A Novel (New York: Grove Press, 1968), 324.
4 For instance, on films, in 1965: “Oh, I like them all” (IBYM, 65). And see Glenn O’Brien, “Interview: Andy Warhol,” High Times, August 24, 1977; reprinted in IBYM, 233–64 (on painters, 238; on movie stars, 254: “I like them all—I mean anyone who’s in a movie”). Asked in 1986 if he collected art, his response was “I like everybody’s art” (IBYM, 358). In a 1977 interview: “I like everybody” (IBYM, 272). At the end of a longer exchange in 1981, Edward Lucie-Smith asked Warhol, “Do you ever allow yourself to dislike people then?” Warhol responded, “No … I try … I really try not to” (“Conversations with Artists: Andy Warhol Talks with Edward Lucie-Smith,” January 27, 1981, BBC Script, 17).
5 “The Slice of Cake School,” Time, May 11, 1962, 52. The story also featured short reports on Wayne Thiebaud, Roy Lichtenstein, and James Rosenquist. Warhol, the o
nly artist pictured, is quoted as saying, “I just paint things I always thought were beautiful, things you use every day and never think about. I’m working on soups, and I’ve been doing some paintings of money. I just do it because I like it.”
6 Personal communication during “Warhol Week in Moscow” conference and film festival, Moscow, 2001. Tavel told David James that Warhol “would sit and watch [his own films] for endless hours with one leg crossed over the other and his face in his hands and his elbows on his knees, with absolute fascination and he was puzzled why the public wasn’t equally fascinated. When we stopped off at a screening of Empire to see how it was doing, and there were six people in the theater, he said, ‘Well, look at that. They’ll just pile in to see’—and he referred to some Hollywood blockbuster, you know—‘and nobody comes to see Empire.’ It was a genuine remark, he was not dissembling. He said to me, ‘Why don’t they come in droves to see Empire?’ So we should not think that these films were not interesting to him or that he didn’t want them to be interesting.” James, “The Warhol Screenplays: An Interview with Ronald Tavel,” Persistence of Vision 11 (1995): 51; quoted by Douglas Crimp, “Our Kind of Movie”: The Films of Andy Warhol (Cambridge, MA: MIT Press, 2012), 140. Also see Tavel’s remarks in “Banana Diary,” in Andy Warhol Film Factory, ed. Michael O’Pray (London: BFI, 1989).
Tavel was a novelist, playwright, screenwriter, poet, and essayist who wrote the scenarios for several films directed by Warhol, including Vinyl (1965), Horse (1965), Kitchen (1965), and The Life of Juanita Castro (1965). On Tavel, see Matthias Haase and Marc Siegel, “Do It Again! Do It Again! An Interview with Ronald Tavel,” in “Jack Smith: Beyond the Rented World” (special issue, ed. Marc Siegel), Criticism 56, no. 2 (Spring 2014), and Douglas Crimp, “Coming Together to Stay Apart,” in Our Kind of Movie.
7 She then adds, “You would make a great publicist.” Andy Warhol’s Exposures: Photographs by Andy Warhol, text by Warhol with Bob Colacello (New York: Andy Warhol Books/Grosset and Dunlap, 1979), 201. Another friend, Tony Berlant, recalls walking with Warhol in New York on West Broadway: “He looked up at the stoplight and said, ‘Streetlights, they’re just so great.’ You know, he could use that particular Warhol take on anything.” In Possession Obsession: Andy Warhol and Collecting, ed. John Smith (Pittsburgh: Andy Warhol Museum, 2002), 120.
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