Against The Commercialization of Pop – Bringing Out The Archive

Posted: April 17, 2018 in Uncategorized

Some students have expressed interest in seeing the essay below. It is OPTIONAL. The essay discusses the discrepancy between the sanitized and popularized Andy Warhol most people recognize, in a way akin to how legal currency and major credit cards are recognized.

At present, Warhol ranks as the one of the most “collectable” artist on earth. Yet the majority of Warhol’s work most museums choose to keep underground, considering it not in keeping with the image of him the public finds agreeable. Consequently, it’s a fun and family-friendly Andy that most of us have come to know and love. Consider, for instance, this cheerful statement.

‘I am so delighted to have Warhol’s work out in the communities throughout the West so that people of all ages can experience these works personally,’ said Jordan Schnitzer, President of Harsch Investment Properties and print collector. ‘He was an icon of his time and these suites act as a powerful mirror for exploring our shared values.’ (UMFA Website)

AGAIN, this article is NOT assigned, but feel free to read it if you’re interested in Pop Art and queer aesthetics and politics. If I were a better teacher I’d probably make it required reading. But I can only do so much in fifteen weeks.

Douglas Crimp
“Getting the Warhol We Deserve”

Social Text, No. 59 (Summer 1999)


Students may also be interested in another take on Andy Warhol, that of Princeton University art historian Hal Foster, author of The First Pop Age.

Hal Foster
“Death In America”
October, No. 71 (Winter 1996)

Andy Warhol
Saturday Disaster (1964)

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