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R. Cook (2003)
Andy Warhol, Capitalism, Culture, and CampSpace and Culture, 6
K. Geiger, R. Sokol (1959)
Social Norms in Television-WatchingAmerican Journal of Sociology, 65
Matt Wrbican informs me that the Warhol Museum has two of Warhol's projectors, a Beseler Vu-Lyte and a Vu-Lyte III
(1994)
For an overview of the history of department-store window dressing leading up to Warhol's Bonwit Teller display, see Whiting, A Taste for Pop
(1992)
On the Very Idea of a Subversive Art History
M. Tomasello (1999)
The Human Adaptation for CultureAnnual Review of Anthropology, 28
Bonwit Teller figures prominently as a sign of class aspiration in Philip Roth's early stories
J. Muñoz (2012)
Famous and Dandy Like B. ‘n’ Andy: Race, Pop, and Basquiat
Anthony Grudin (2010)
‘A Sign of Good Taste’: Andy Warhol and the Rise of Brand Image AdvertisingOxford Art Journal, 33
David Cowart, B. Collins (1996)
Through the Looking-Glass: Reading Warhol's SupermanAmerican Imago, 53
Ads with similar text appeared in comic books that were contemporary with Warhol's sources. See, for example, the back cover of Amazing Adult Fantasy
âExcept Like a Tracingâ: 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. âGilles Deleuze and Félix Guattari, Anti-Oedipus1 Andy Warholâs 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 Warholâs 1962 show at the Stable Gallery, Michael Fried bemoaned âthe advent of a generation that will not be as moved by Warholâs beautiful, vulgar, heart-breaking icons of Marilyn Monroe as I amâ and remarked that âWarhol 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 . . . â2 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,
October – MIT Press
Published: May 1, 2012
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