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“Except Like a Tracing”: Defectiveness, Accuracy, and Class in Early Warhol *

“Except Like a Tracing”: Defectiveness, Accuracy, and Class in Early Warhol * “Except Like a Tracing”: Defectiveness, Accuracy, and Class in Early Warhol* ANTHONY E. GRUDIN The deliberate creation of lack as a function of market economy is the art of a dominant class. —Gilles Deleuze and Félix Guattari, Anti-Oedipus1 Andy Warhol’s most astute interpreters have frequently been forced to acknowledge that class plays a key role in his work, and that its manifestations may be stylistic as well as iconographic, but they have typically had a difficult time describing its specific power in any detail. In his review of Warhol’s 1962 show at the Stable Gallery, Michael Fried bemoaned “the advent of a generation that will not be as moved by Warhol’s beautiful, vulgar, heart-breaking icons of Marilyn Monroe as I am” and remarked that “Warhol has a painterly competence, a sure instinct for vulgarity (as in his choice of colors) and a feeling for what is truly human and pathetic in one of the exemplary myths of our time that I for one find moving . . . ”2 The essay is only a few hundred words long, and the repeated references to vulgarity are therefore all the more striking. Vulgarity, as T. J. Clark has convincingly shown, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

“Except Like a Tracing”: Defectiveness, Accuracy, and Class in Early Warhol *

October , Volume Spring 2012 (140) – May 1, 2012

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References (11)

Publisher
MIT Press
Copyright
© 2012 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/OCTO_a_00093
Publisher site
See Article on Publisher Site

Abstract

“Except Like a Tracing”: Defectiveness, Accuracy, and Class in Early Warhol* ANTHONY E. GRUDIN The deliberate creation of lack as a function of market economy is the art of a dominant class. —Gilles Deleuze and Félix Guattari, Anti-Oedipus1 Andy Warhol’s most astute interpreters have frequently been forced to acknowledge that class plays a key role in his work, and that its manifestations may be stylistic as well as iconographic, but they have typically had a difficult time describing its specific power in any detail. In his review of Warhol’s 1962 show at the Stable Gallery, Michael Fried bemoaned “the advent of a generation that will not be as moved by Warhol’s beautiful, vulgar, heart-breaking icons of Marilyn Monroe as I am” and remarked that “Warhol has a painterly competence, a sure instinct for vulgarity (as in his choice of colors) and a feeling for what is truly human and pathetic in one of the exemplary myths of our time that I for one find moving . . . ”2 The essay is only a few hundred words long, and the repeated references to vulgarity are therefore all the more striking. Vulgarity, as T. J. Clark has convincingly shown,

Journal

OctoberMIT Press

Published: May 1, 2012

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