Andy Warhol is usually remembered as the artist who said that he wanted to be a machine, and that no one need ever look further than the surface when evaluating him or his art. Arguing against this carefully crafted pop image, Reva Wolf shows that Warhol was in fact deeply emotionally engaged with the people around him and that this was reflected in his art.
Wolf investigates the underground culture of poets, artists, and filmmakers who interacted with Warhol regularly. She claims that Warhol understood the literary imagination of his generation and that recognizing Warhol's literary activities is essential to understanding his art. Drawing on a wealth of unpublished material, including interviews, personal and public archives, tape recordings, documentary photographs, and works of art, Wolf offers dramatic evidence that Warhol's interactions with writers functioned like an extended conversation and details how this process impacted his work. This highly original and fascinating study gives us fresh insight into Warhol's art as practice and reformulates the myth that surrounds this popular American artist.
In the decades preceding the Stonewall riots—in the wake of the 1948 publication of Alfred Kinsey’s controversial report on male sexuality and in the midst of a cold war culture of suspicion and paranoia—discussions of homosexuality within the New York art world necessarily circulated via gossip and rumor. Between You and Me explores this informal, everyday talk and how it shaped artists’ lives, their work, and its reception. Revealing the “trivial” and “unserious” aspects of the postwar art scene as key to understanding queer subjectivity, Gavin Butt argues for a richer, more expansive concept of historical evidence, one that supplements the verifiable facts of traditional historical narrative with the gossipy fictions of sexual curiosity.
Focusing on the period from 1948 to 1963, Butt draws on the accusations and denials of homosexuality that appeared in the popular press, on early homophile publications such as One and the Mattachine Review, and on biographies, autobiographies, and interviews. In a stunning exposition of Larry Rivers’s work, he shows how Rivers incorporated gossip into his paintings, just as his friend and lover Frank O’Hara worked it into his poetry. He describes how the stories about Andy Warhol being too “swish” to be taken seriously as an artist changed following his breakthrough success, reconstructing him as an asexual dandy. Butt also speculates on the meanings surrounding a MoMA curator’s refusal in 1958 to buy Jasper Johns’s Target with Plaster Casts on the grounds that it was too scandalous for the museum to acquire. Between You and Me sheds new light on a pivotal moment in American cultural production as it signals new directions for art history.
"All traders are thieves, especially women traders," people often assured social anthropologist Tuulikki Pietilä during her field work in Kilimanjaro, Tanzania, in the mid-1990s. Equally common were stories about businessmen who had "bought a spirit" for their enrichment. Pietilä places these and similar comments in the context of the liberalization of the Tanzanian economy that began in the 1980s, when many men and women found themselves newly enmeshed in the burgeoning market economy. Even as emerging private markets strengthened the position of enterprising people, economic resources did not automatically lead to heightened social position. Instead, social recognition remained tied to a complex cultural negotiation through stories and gossip in markets, bars, and neighborhoods.
With its rich ethnographic detail, Gossip, Markets, and Gender shows how gossip and the responses to it form an ongoing dialogue through which the moral reputations of trading women and businessmen, and cultural ideas about moral value and gender, are constructed and rethought. By combining a sociolinguistic study of talk, storytelling, and conversation with analysis of gender, the political economy of trading, and the moral economy of personhood, Pietilä reveals a new perspective on the globalization of the market economy and its meaning and impact on the local level.
Winner, Aidoo-Snyder Prize, African Studies Association Women’s Caucus
J. Edgar Hoover, Joseph McCarthy, and Roy Cohn were titanic figures in midcentury America, wielding national power in government and the legal system through intimidation and insinuation. Hoover’s FBI thrived on secrecy, threats, and illegal surveillance, while McCarthy and Cohn will forever be associated with the infamous anticommunist smear campaign of the early 1950s, which culminated in McCarthy’s public disgrace during televised Senate hearings. In Gossip Men, Christopher M. Elias takes a probing look at these tarnished figures to reveal a host of startling new connections among gender, sexuality, and national security in twentieth-century American politics. Elias illustrates how these three men solidified their power through the skillful use of deliberately misleading techniques like implication, hyperbole, and photographic manipulation. Just as provocatively, he shows that the American people of the 1950s were particularly primed to accept these coded threats because they were already familiar with such tactics from widely popular gossip magazines.
By using gossip as a lens to examine profound issues of state security and institutional power, Elias thoroughly transforms our understanding of the development of modern American political culture.