Against The Commercialization of Pop – Re-Queering Warhol

Posted: April 23, 2019 in Uncategorized

Some students have expressed interest in seeing the essays below. They are OPTIONAL. The essays discusses the discrepancy between the sanitized and popularized Andy Warhol most people recognize, as opposed to the actual queer AF Andy Warhol.

At present, Warhol ranks as one of the most highly “collectable” artists on earth. Yet the majority of museums choose to keep most of Warhol’s work underground, considering it not in keeping with the ‘family-friendly’ image of him the public finds agreeable. Consequently, it’s a fun and benign Andy with which most of us are familiar. Consider, for instance, this cheerful statement taken from the U of U’s website.

‘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.utah.edu)

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)


warholquerelle-e1342153963273


Students may also be interested in a very different 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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