Term
| Warhol's works can be divided up into two categories according to theory. What are they and who were their proponents? |
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Definition
Referential - as supported by social historians who tried to put Warhol's images in their historical and cultural context
Simulacrul - this was informed by post-structuralists such as BARTHES who argued Pop Art wants to 'desymbolise' the 'object' - in effect, Pop is superficial |
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Term
| What did Warhol say of the effect of looking at the same thing over and over? |
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Definition
| "The more look at the exact same thing the more the meaning goes away and the better and emptier you feel" |
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Term
| What would psychoanalysis have to say of Warhol's idea that repetition inspires emptiness and subsequently happiness? Is this a correct way to interpret his work? |
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Definition
| Perhaps that we repeat traumatic events in order to psychologically order them. But it is more like 'a fixation on a lost object in memory (for example his 'Marilyns' series) - so Warhol both neutralises trauma via his repetitions AND opens it out |
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Term
| What writer was a key proponent of the social historian's 'referential' take on Andy Warhol? |
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Definition
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Term
| What does Thomas Crow find in opposition to Barthes in Warhol's Pop? |
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Definition
| "Straightforward expressions of feeling" via "the reality of suffering and death" in series such as those based on the tragedies of Marilyn, Liz and Jackie. |
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Term
| What did Thomas Crow find in Warhol in terms of his character and his relation to his art? |
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Definition
| An empathetic subject - Warhol cares beyond the simple depiction of emotion. For example in series such as the electric chair images and the car crash victims. This is of course Crow's projection, but Warhol's contradictory public persona can only ever be defined by other's projections. |
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Term
| Thomas Crow places Warhol in the popular American tradition of ..what? |
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Definition
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Term
| What did Warhol want to 'be'? |
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Definition
| A machine. He claimed that he had the same lunch for 20 years (canned soup, obviously) an example of his that he was part of consumer society via an "if you can't beat em join em' mentality. |
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Term
| Who preceded Warhol ideologically and who follows very closely in his footsteps to this day? |
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Definition
| Dadaism preceded, Jeff Koons was heavily influenced |
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Term
| Define Barthes' concept of the thing that individualises a work of art, and put it into a Pop context. Is it correct to do this? |
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Definition
| Barthes called this "the punctum' something that reaches out from the image and connects personally to the viewer. Many would argue however that Warhol is more universal in his intentions than this, via his proxies, such as coke bottles, brillo boxes et al. |
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Term
| There are two particular current in Warhol's selection of images that lead to a 'mass subjecthood'. What are they? |
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Definition
Marilyn, Mao and others - the celebrity icons
Reports of disastrous death
Together these form mass subjecthood - things everyone can relate to
One is an iconic celebrity, the other an abstract anonymity - two extremes |
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Term
| Iconic celebrity and abstract anonymity are two extremes - what fits well between them? Give 2 examples of this in Warhol's work |
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Definition
NOTORIETY - the 15 minutes of fame, halfway between celebrity and anonymity. Warhol deals with this in works such as 'Thirteen most wanted men' and his electric chair series
These all lead back to the MASS SUBJECT |
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