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of Warhol Arts and Humanities Colloquium AHC-AD 126, Spring 2013, 4.0 pts. MW 2:35-3:50

Professor Bryan Waterman @_waterman Office hours: U 3-5; T 4-5 DTC S-224

COURSE DESCRIPTION At the global art market's most recent peak in 2007, American Pop artist Andy Warhol (1928-1987) edged out Pablo Picasso to become the world's highest earning painter at auction. Although he has recently ceded that position to Chinese artists Zhang Daqian (1899-1983) and Qi Baishi (1864-1957), Warhol remains one of the most influential forces in contemporary art worldwide, with an enormous retrospective on tour in five Asian cities over the next few years. From his famous Campbell's soup cans to his enduring aphorism that "In the future, everyone will be world-famous for fifteen minutes," Warhol's art and thinking saturate contemporary culture. This seminar uses his diaries and other writing as a base line against which we will examine his 25-year career as a painter, filmmaker, publisher and music producer, TV personality, and artistic mentor and collaborator, as well as his legacy in what has been described as our "Warhol economy." What can Warhol's output and reception tell us about class, gender and sexuality, religion, and media over the last half-century? And how should we understand his role in the making of global culture today? LEARNING OUTCOMES Engaged students will gain a general sense of artistic movements from 1960 to the present and an in-depth understanding of Pop and its aftermath; develop the ability to analyze a range of media (painting, film, prose, photography, popular music); cultivate an understanding of the relationship between artistic production and cultural and historical context; and consider the life and work of an artist deemed among the most significant in the last century. These outcomes will be assessed through class discussion, short essays, a substantial research project, and participation in online community.

REQUIREMENTS AND ASSESMENT Preparation and participation (15%): This course adopts a seminar format that depends on the diligent preparation, consistent attendance, and active contribution of each member. Please read or view all works on the syllabus before coming to class that day. Arrive on time with several possible topics and specific art works, film scenes, or literary passages to discuss, pertinent questions you would like to raise, or specific points from the secondary reading that you find illuminating or perplexing. Pay regular attention to the course blog and engage with the online contributions of your classmates. Consider how you would like to respond to material from the blog in our next class meeting. Each member is expected to contribute to the discussion every time we meet; you may be asked without prior warning to begin or help redirect a discussion. I reserve the right to administer reading quizzes unannounced. Course blog (20%): Some of our discussion each time we meet will be driven by works or passages flagged by class members as you go about your reading. Prior to each meeting every class member will post at least one item to the course Tumblr along with one or two lines of commentary and/or questions. When you post a photo of an artwork or a quote from the reading to the Tumblr, please be sure to include essential bibliographic information, especially title and date. You are welcome to reblog material from the sites dashboard or from the #warhol or related tags; if you reblog material from your classmates you must add to the commentary briefly but substantively. Twitter posts related to the course should be tagged #AoW13. The course blog will be open to the outside world and other Warhol bloggers will likely engage with us; please conduct yourselves in a manner worthy of the institution, though you should also feel free to have fun with this assignment. Short response papers (30%): You will complete a total of six short essays, 1-2 pages (single-spaced, 12-pt font), in response to work from different media we consider. The material should analyze closely the formal properties, generic conventions, and cultural preoccupations of a single work or a concise passage or scene from a longer piece of prose or film. Your analysis should move beyond mere description of the work and explain not just what you take it to mean but how you understand meaning to be produced. Further directions will be given in class. Research paper (35%): Prior to spring break we will schedule a library discussion of research methods in the humanities, including how to work with digital databases of primary and secondary works. I have also supplied you with generous materials in the form of course reading that offer you a starter kit for any research project related to Warhol or his era. Drawing on these resources you will produce a research proposal and meet with me individually to discuss it by Thursday, April 11. You will meet with me again by May 2 to discuss your progress. The papers final draft roughly 6,000 words (13-15 pages) is due via email by 5 PM on Sunday, May 19. Additional details will be discussed in class.

ACADEMIC INTEGRITY In preparing for course discussion, searching for material to blog, or writing papers, you will likely find yourself reading online about the specific works we study. Please be mindful that plagiarismthe uncredited incorporation into your own writing of language or ideas not your ownwill result in a failing grade for the assignment and possibly, given the circumstances, for the course. If you have any concerns about whether work you submit has been plagiarized intentionally or unintentionallyplease raise these with me before you officially submit the work. REQUIRED TEXTS Bokris and Malanga, Up-Tight: The Velvet Underground Story (Omnibus, 1983/2002) Bourdon, Warhol (Abrams, 1989) Danto, Andy Warhol (Yale, 2009) Goldsmith et al., eds., Andy Warhol GIANT Size (Phaidon, 2006) [AWG] Goldsmith, ed., Ill Be Your Mirror: The Selected Andy Warhol Interviews (Carroll & Graf, 2004) [IBYM] Hackett, ed., The Andy Warhol Diaries (Grand Central, 1989) Patell, Some Girls (Continuum, 2011) Rosenthal, et al., Regarding Warhol: Sixty Artists, Fifty Years (Metropolitan Museum of Art, 2012) Taylor, ed. Post-Pop Art (Flash Art, 1989) [PPA] Warhol, a: a novel (Grove: 1968/1998) Warhol, The Philosophy of Andy Warhol (Harcourt, 1975) Warhol and Hackett, Popism: The Warhol Sixties (Mariner, 2006 [1980]) Waterman, Marquee Moon (Continuum, 2011) Additional readings marked [B] will be made available on Blackboard SCHEDULE (subject to change) Andy and the Dreams That Stuff Is Made Of W Jan. 30: Please look at the following over winter break: Louis Menand, A Critic at Large, Top of the Pops, The New Yorker, January 11, 2010, p. 57 [full text available through NYU Libraries]; Bryan Appleyard, A One Man Market, More Intelligent Life, Nov./Dec. 2011; Jed Perl, The Wildly Over- rated Andy Warhol, The New Republic, Aug. 22, 2012 Once you have received your books for the semester, and before our first meeting, please read and carefully review the artwork reproduced in the following: Hickey, Andy and the Dreams That Stuff Is Made Of and Goldsmith, Success Is a Job in New York [AWG]; Bourdon, The Kid from Pittsburgh & Success Is a Job in New York

Inventing Andy Warhol M Feb. 4: Danto, chs. 1-3 W Feb. 6: Karp, Andy Starts to Paint & Dalton, Matinee Idols [AWG]; Bourdon, Nosing His Way & Pow!; Wolf, intro to Ill Be Your Mirror Pop: Precedents & Politics M Feb. 11: Watch before class: De Antonio, Painters Painting From IBYM, interviews 1, 2, & 3; Hopkins, Art After Modernism, chs. 2 & 4 [B]; Bourdon, Stir Up Controversy W Feb. 13: Watch before class: Branca, Whats Happening Bourdon, Black Fancies and Thoughts of Death; Barthes, That Old Thing, Art & Andreas Husseyn, The Cultural Politics of Pop [PPA]; Hal Foster, Death in America [pdf] Painting analysis due in class Film/Factory M Feb. 18: Watch before class: Warhols Cinema: A Mirror for the Sixties & Haircut [details TBA] Goldsmith, Filmmaking [AWG]; Danto, ch. 4: Moving Images; Ekstract, Pop Goes the Videotape, from IBYM, 71-78; Bourdon, Sweet Dreams of Cinematic Glory W Feb. 20: Watch before class: Warhol, Empire [10 min clip] Crimp, Epilogue: Warhols Time [B]; Bourdon, Star-struck Wizard; Malanga, Interview with Andy Warhol on EMPIRE, from IBYM, 53-58 M Feb. 25: Watch before class: Hickenlooper, Factory Girl; selected Screen Tests [details TBA] Crimp, Face Value [B]; Dalton, Matinee Idol & Goldsmith, The Silver Factory [AWG]; Berg, Andy Warhol: My True Story, from IBYM, 85-96. Film analysis due in class W Feb. 27: NO CLASS Words M Mar. 4: Warhol, Popism [through 1966] W Mar. 6: Warhol, Popism [to the end]

M Mar. 11: Warhol, a: a novel [through p. 282; please consult Bokriss readers guide on p. 454] W Mar. 13: Warhol, a: a novel [to the end] Kotz, Conclusion & Dworkin, Whereof One Cannot Speak [B] Prose analysis due in class Happenings M Mar. 18: Kaprow, Happenings on the New York Scene & The Happenings Are Dead: Long Live the Happenings! [B]; Banes, The Reinvention of Community [B]; Wolf, Andy Warhol, Poetry, and Gossip in the 1960s, ch. 3 [B] W Mar. 20: Listen before class: The Velvet Underground and Nico Bokris and Malanga, Up-Tight, 1-64, 105-45; skim Bourdon, Electric Nights; Willis, The Velvet Underground [B] Song analysis due in class MARCH 25 & 27 SPRING BREAK Warholism M Apr. 1: Bourdon, Gunshots in the Afternoon; Danto, ch. 5: The First Death; Warhol, Philosophy of Andy Warhol, thru 118 W Apr. 3: Warhol, Philosophy of Andy Warhol, to end; Colacello, Philosophy On Tour [Note: Colacellos entire memoir is available as an audiobook, read by the author, here scroll down] M Apr. 8: Listen before class: Television, Marquee Moon & additional playlist TK Killen, Warholism [B]; Graham, Punk: Political Pop [PPA]; selections from Waterman, Marquee Moon W Apr. 10: Listen before class: Rolling Stones, Some Girls Lott, Sound + Vision: Andys Mick; selections from Patell, Some Girls Warholism response exercise due in class **possible class visit from Dean Patell** Th Apr 11: Deadline by which you need to have met with me to discuss your research proposal, which you should bring to the meeting.

Portraits of the 70s M Apr. 15: Goldsmith, Polaroids and Portraits [AWG]; Colacello, Portraits and Ads [B]; Bourdon, Taking the Beautiful People at Face Value; Flatley, Warhol Gives Good Face [B] W Apr. 17: Deitch, Lives catalog; Danto, ch. 6: Andy Warhol Enterprises; Bourdon, The Shadows Lengthen; Colacello, Holy Terror, chs. 33-36 [B] M Apr. 22: Hackett, ed. The Andy Warhol Diaries (selections TBA) W Apr. 24: Hackett, ed. The Andy Warhol Diaries (selections TBA) M Apr. 29: Hackett, ed. The Andy Warhol Diaries (selections TBA); Goldsmith, Infallible Processes [B] **Possible class visit from Kenneth Goldsmith** Diaries analysis due in class Last Call W May 1: Watch before class: clips from Andy Warhols TV and Andy Warhols 15 Minutes on Youtube Bishofberger, Last Call [AWG]; Buchloh, An Interview with Andy Warhol Th May 2: Deadline by which you need to have met with me to discuss progress on your research project M May 6: Before class, watch Schnabel, Basquiat; clip from State of the Art Bokris, Andy Warhols Last Loves [B] W May 8: Hackett, ed. The Andy Warhol Diaries (selections TBA); Bourdon, Through the Reflecting Glass; Taylor, The Last Interview Regarding Warhol M May 13: Danto, ch. 7: Religion and Common Experience; Colacello, Epilogue: Andy Is Everywhere [B] W May 15: Regarding Warhol catalog; Warhol in Abu Dhabi: & first SUNDAY MAY 19, Deadline for final research paper, submitted via email

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