Andy 's Silver Elvises: Meaning through Context at the Ferus Gallery in 1963 Author(s): David McCarthy Source: The Art Bulletin, Vol. 88, No. 2 (Jun., 2006), pp. 354-372 Published by: College Art Association Stable URL: http://www.jstor.org/stable/25067249 . Accessed: 18/09/2011 11:24

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http://www.jstor.org 's Silver Elvises: Meaning through Context at the Ferus Gallery in 1963 David McCarthy

In the of to west. He of Elizabeth made at the same spring 1963 Andy Warhol looked the bust-length images Taylor had as one of the most of the time. onto the series bla recently emerged prominent Silk-screened silver backgrounds, solo on Pop artists, with important shows either coast, and tantly targets Hollywood, whose larger-than-life personalities now at a and of romance anticipated his second exhibition the prestigious inhabited mythic, often formulaic, world Ferus in Los the environ and action on-screen. of costume Gallery Angeles. Contemplating The specificity Presley's ment ties the series to the of the which in which his latest work would be unveiled, and build thoroughly genre , ing on the encouraging reception of his images of Hollywood Warhol both honored and lampooned throughout his ca stars at in York reer. The of two famous individuals intimates that a the Stable Gallery New the previous fall, he coupling an film most clich?d was of Warhol's intention in again conceived exhibition that featured stars, gender binary also part actor the Elvis series with the a that cer prominently the singer turned (Fig. I).1 showing Taylors, binary an a to convention. Given Appropriating advertisement for the film tainly owed large debt Hollywood (1960) for his series of silver Elvises, Warhol knowingly drew Warhol's equal interest in modern art, however, the coupling attention to while to and to venerable A cinematic convention, also continuing probably echoed paid homage precedent. his work in relation to art. is in The Bride Bare position contemporary vanguard likely referent found Stripped byHer Bach Although often overshadowed by the famous paintings of elors,Even (1915-23, hereafter referred to as The Large Glass), cans and the silk screens of Mon a was on at Campbell's Soup facsimile of which display the Pasadena Art Museum as run roe, the silver Elvises have garnered their share of critical part of the Marcel Duchamp retrospective attention. In 1971, the critic John Coplans linked them with ning concurrently that fall. Additionally, the implication of of rock and roll and de motion in some of the silver Elvis found an the rebelliousness provocatively paintings impor scribed their installation at the Ferus as a kind of "musical tant precursor in the French artist's work. This dual acknowl mural" a More the art histo of clich? and of a Dada is evi with "rhythmic beat."2 recently, edgment, Hollywood master, a when screen are in to rian Richard Meyer has identified strong current of dent the paintings interpreted relation the their intended venue. it is to revisit homoeroticism animating series, with the gun, knife, and initial, Hence, necessary obvious while the in detail those months the exhibition at the holster providing phallic surrogates, place preceding Ferus, ment as as as well as the installation of the series. of the paintings side by side, well the overlapping and reception some of the intimated male of the image within paintings, these accounts situated the on-male contact.3 Importantly, The Ferus Exhibition series within broader cultural contexts, either music on was not the same popular What opened September 30, 1963, or but in so insufficient gay culture, perhaps doing gave exhibition envisioned earlier in the year, and the final prep to the factor of the consideration mitigating local, namely, aration of individual canvases was somewhat unusual. A letter the historical and context. director of the a mixture geographic from Irving Blum, Ferus, suggested It is contention that both time and late more an my place?the of recent and new work. "The I have had opportu and summer of 1963 and Los to to spring Angeles, respectively? nity consider it," he wrote Warhol in late May, roles in the and in played pivotal conception, installation, tended of the series. materials meaning Furthermore, period the more convinced I am that your exhibition in the located in the time at the Warhol Museum in should be the most intense and far com capsules Andy gallery reaching as well as others available to him Elvis should be , Pennsylvania, posite of past work, and the paintings that Warhol's to the silver Elvises was in rear area. decision is based suggest approach shown my gallery My wholly the he had at hand. All of this on considerations. The rear area is a rectan shaped by printed ephemera spatial superb indicates the rich and to con X areas opportunity, ongoing need, gle, 18' 14' with 15' ceilings. I fear the broken of sider the silver Elvises?and, indeed, Warhol's other projects the front gallery will serve you, in this instance, far less from the 1960s?with the aid of such materials and the well. Let me hear from about this early you possibility.4 It is essential to acknowl historical focus they provide. equally an edge the defining influence of the initial spaces in which his From this brief letter it is clear that Blum envisioned The results reveal the care with which he exhibition divided in two with the work appeared. parts, retrospective provid and the its with his an introduction and to the most recent of conceived presented series, continuity ing gateway images most his work in as well as The of celebrities featured at the earlier and later art, notably film, Presley. portraits Hollywood to make his art Stable were still foremost in Blum's and he the calculated gambit simultaneously respon Gallery mind, sive to mass media and modern art, albeit from his nonhier probably anticipated that his clientele would expect to see if also some of them in the flesh.5 A advertisement he ran archical, open and encompassing, parodie sensibility. full-page a The impending exhibition prompted Warhol to produce in Artforum in September reproduces photograph of the and to show them with urbane dealer a T-shirt silk-screened with a bust the series of full-length portraits sporting ANDY WARHOLS SILVER ELVISES 355

at Los 30-October 1 Andy Warhol, silver Elvis paintings, installation view of the exhibition the Ferus Gallery, Angeles, September 26, 1963. (artwork ? 2005 Andy Warhol Foundation for the Visual Arts/ARS, New York; Elvis images used by permission, ? Elvis Presley Enterprises, Inc.; photograph provided by the Frank J. Thomas Archives)

length image of the actor Troy Donahue (Fig. 2). The adver indicated that he had not yet decided what he would ship west. To no additional has surfaced tisement features young, glamorous Hollywood, without any date, correspondence mention who was to such a role in that a checklist for the exhibition. Blum of the singer play leading provides working the forthcoming exhibition. What for Warhol was to be the may have believed that such a list was to be prepared by show at least to his West Subse heart of his second was, Warhol and his Stable Gallery dealer Eleanor Ward. Coast dealer, still unknown when the advertisement was de quent events reveal that Warhol had something quite specific summer. in mind that he chose not to share with Blum. signed earlier that to In Warhol delivered a show that was choreo Even the exhibition poster proved be misleading (Fig. fact, carefully a a is and free of work.6 As as ten 3). A photograph of smiling Presley strumming guitar graphed any retrospective many on screen of were in the front with rakishly placed angle within the rectangular frame of the paintings Presley hung room, page. With the boldly printed and slightly cropped red text ten portraits of Taylor in the back (Fig. 4). Although the story at both to true to Los is "now!" the bottom, the poster alludes Presley's of how the Presley images got Angeles well known, as a attuned to occupation and to the packaging of his albums and singles it bears repeating, it reveals sensibility keenly over in the dramatic and historical Some fifteen the previous eight years. Nothing poster directly gesture precedent.7 was at was the and indicated what to appear the Ferus. years after the fact, Blum still surprised by events, The difference between the advertising and the silver El his recollections provide insight into the nature of Warhol's vises implies that Warhol remained cagey about the actual thinking: contents his to of forthcoming show, perhaps wanting gen erate as his audience sent a roll of an enormous maximum anticipation and surprise Andy printed Presley images, to see the and sent a box of assorted size stretched and I waited what he would deliver. Perhaps, too, silence roll, bars, 356 ART BULLETIN JUNE 2006 VOLUME LXXXVIII NUMBER 2

at 2 Advertisement for the Warhol exhibition at the Ferus 3 Poster for Warhol's exhibition the Ferus Gallery, 1963. Gallery , Pittsburgh, Founding Collection (Elvis images used by permission, ? Elvis Presley Enterprises, Inc.)

him called and said, "Will you come?" [to Los Angeles]. Chamberlain. They timed their trip to arrive in Los Angeles I And he said, "I can't. I'm very busy. Will you do it?" said, a day before the Ferus exhibition opened. By then Blum had "You mean, want me to cut them? as I think his much to Warhol's you Virtually completed assigned tasks, pleasure.9 cut they should be and placed around the wall?" And he Warhol's instructions reveal that what might have been cut them that think should ... was said, "Yes, any way you they taken as a casual disregard for installation in fact just the cut. I to want should be leave it you. The only thing I really opposite. In selecting the length of stretcher bars he prede is that should be to Blum they hung edge edge, densely? termined the actual size of the canvases, knowing that So as can around the gallery. long you manage that, do the and his assistants would have to match them to the Presley sure best you can." And I said, "Well, if you're if that's what images, which came singly, doubly, and in multifigured ex you want." And he said, "Yes. Absolutely." And that's groups. Warhol had already made it fairly easy to determine actly what I did. Well, with the help of one or two people, where to cut the roll.10 He also had considered the visual I were assembled the wooden bars. They in various sizes. impact of hanging the paintings edge to edge. The effect was were one over Sometimes the images superimposed the to assert the primacy of the group over the sovereignty of any next. sat were Sometimes they side-by-side. They of varying single canvas. Finally, in assigning this round of work to as same sizes [in width], I said. All the height?roughly others, Warhol enfranchised the concept of his factory pro as I six-and-a-half feet, recall. Really, life size. The image duction. For Blum, all of this may have been surprising; for was life-size. And I as stretched as it was an efficient means of studio tasks. It got up many up required Warhol, delegating to as fill?densely?the gallery, per Andy's instructions.8 also had the practical benefit of eliminating the time and cost of preparing and shipping already stretched canvases. When he told Blum that he could not come to California, Even though Warhol thoroughly enjoyed the opening re Warhol really meant that he did not wish to handle the task ception, he gained little from the trip west. Blum had prom of stretching and hanging. A few weeks later he drove cross ised that "interest is passionate and feverish" and that "the the contact on ar country with his studio assistant Gerard Malanga, under collecting community is in daily for word the ground actor Taylor Mead, and the figure painter Wynn rival of your series," but nothing sold during the run of the ANDY WARHOL'S SILVER ELVISES 357

4 Warhol, silver Liz Taylor paintings at the Ferus Gallery, September 30-October 26, 1963 (artwork ? 2005 Andy Warhol Foundation for the Visual Arts/ARS, New York; photograph provided by the Frank J. Thomas Archives)

show.11 Neither Presley nor Taylor visited the exhibition. Bruin. Fidel Danieli drew attention to the investigation of Critical response was less than artist and dealer had antici Hollywood stereotype and gender performance by describing as as a He surmised that the pated.12 Henry Seldis dismissed the Presley paintings just Presley "Western Adonis."16 also a was a another example of "Pop Art banality," while paying Warhol celebration of masculine archetype put-on, writing, the backhanded compliment that he had provided sufficient a quantity to compensate for lack of aesthetic quality.13 To be If one's attitude toward straight single portrait of Elvis to fair, the side-by-side placement of the Presley and Taylor may vary from enthusiasm direct revulsion, the slipped screen in a the of that becomes paintings, neatly arranged row, following synchronization and multiplication image Cans a in turn . . . the effect is that of a sad and similar installation of Campbell's Soup year earlier, wildly amusing, in a store. Warhol was shudder. Toe to one mimicked the presentation of goods disgusted toe, repeated atop another, as selling, or at least trying to. Gerald Nordland also found little poor Elvis becomes as thin and hazy the idyllic illusion to like in the exhibition. "Asmythic as the idea of the cowboy he publicly symbolizes; the assembly line produces the as is in American literature and cinema," he wrote, "and emptiness and sterility of soulless, over-managed pup as the the exhibition is attractive Presley image is, thin."14 petry. Even more hurtful, Nordland asserted that in relation to the concurrent Warhol's exhibition overheated in its the review describes an Duchamp retrospective, Though prose, lacked the "scandalous flair" and "cutting irony" of the Dada element of ambivalence within Warhol's depiction of Holly master.15 wood celebrities. Both adored and ridiculed, Presley as a An and review came from a student of Warhol's than the engaged insightful person is less the target investigation at media construction of the An "Adonis" from the writing for the University of California Los Angeles Daily actor-singer. ART 358 BULLETIN JUNE 2006 VOLUME LXXXVIII NUMBER 2

5 Warhol, , 1962, on acrylic, silk-screen ink, and pencil linen, 82 X 114 in. T?te Gallery, London (artwork ? 2005 Andy Warhol Foundation for the Visual Arts/ARS, New York; photograph provided by the T?te Gallery, London/Art Resource, New York)

he is not an individual but a one as an next "West," type, treated doubtedly affected his thinking about the contents of his "assembly line" puppet. This was neither the first time Warhol solo show. had considered the Hollywood reproduction of gender ste Warhol used the 1963 Ferus exhibition to continue his nor the first time it was as a of reotype, addressed by critics. consideration of Hollywood major producer gender Reviews of the Stable exhibition from the preceding year ideals and sexual desires. Furthermore, with this exhibition had zeroed in on Warhol's appropriation of found images of the artist found an opportunity to expand on and clarify his stars. on means of Hollywood Michael Fried and Gene Swenson centered interest, concentrating narrative and myth?by their reviews on these images. At first seemingly dismissive, the Western?which, as Fidel Danieli grasped, was less than art summer Fried reasoned that "an like Warhol's is necessarily para celebratory. That marked Warhol's entry into film sitic upon the myths of its time, and indirectly therefore upon making. While completing the Presley and Taylor portraits the machinery of fame and publicity that market these for the Ferus exhibition, he made his first film, Sleep, featur But he went on to confess his emotional of myths."17 quickly ing the nude, reclining body the poet John Giorno. When to the icons of Los response "beautiful, vulgar, heart-breaking in Angeles that October, he shot his first narrative, worried that not em a Monroe" and future audiences might Tarzan and Jane, Regained Sort Of, farce starring Taylor Mead them as men Levine. For next pathize with perhaps only the of his generation and Naomi the five years Warhol cranked could (Fig. 5). Though not quite as moving to Fried, the red, out low-budget films that stood in opposition to Hollywood as Star. bust-length portrait of Presley, too, participated in the inves production, including such fare Flaming tigation of modern myth (Fig. 6). Fried's response to the The selection of this particular film motif was entirely Monroe and screen the im an to Presley paintings acknowledged appropriate for exhibition in Los Angeles, home the of each as a and libidinal the portance figure gendered icon, film and television industries and cultural capital of to American one can understand the series focusing and reflecting back United States society its ideals West. Indeed, hardly of female and male attractiveness. After the faux or the simulta invoking without acknowledging geographic context, of Rousseau neous commencement of con primitive example Henri by way of comparison, his filmmaking. Such activity Swenson argued that Warhol, like the French painter, stituted a major part of his art through the rest of the 1960s, painted the marvels that "spelled modernity for the popular and it included Westerns. When linked with his films, the on canvases of a matter of a mind" "full good will and large natural subject and format the silver Elvises betray mock commercial at these marvels were mainstream talent."18 Admittedly base, ingly affectionate attitude toward contemporary, cinema. products of careful packaging that garnered audience fasci American review nation. Hardly exhaustive, each nonetheless recog as as nized Warhol's careful selection of images, well his Hollywood Product interest in actors and actresses who not pronounced identifying Warhol's admiration of Hollywood should be confused come to was a had signify sexual desirability and gender ideals. with adulation, and the popular insistence that he who who was more Warhol, read his reviews and much starstruck fan is contradicted by the example of the silver must as literate than is often acknowledged, have been gratified Elvises.20 In 1962 he described Tuesday Weld and Presley comments in by the of Fried and Swenson.19 Though very dif "products," while later the decade he announced that ferent in their to art in were American films don't have much to This is response Pop general, they "really say."21 most among the perceptive critics of their generation. Their hardly celebratory language. When he arrived in Los Angeles on the lure stars emphasis of Hollywood and starlets recog for the opening of the Ferus exhibition, he found that the old Warhol's in un was in new stars Warren nized already deep interest the subject and Hollywood decline, and the one, with ANDY WARHOL'S SILVER ELVISES 359

Beatty and Natalie Wood among them, just beginning.22 If in one sense moment the paintings of Presley mark this of transition, the full-length silver Elvises?highlighting stance are not and costume?make it clear that they about American film in general but rather a highly marketable genre then still a moment success on screen and riding peak of television. That genre was the Western. The cowboy had appeared previously in Warhol's art, as had Presley. In the late 1940s Warhol produced an un titled line drawing of Roy Rogers, probably inspired by, if not actually traced from, the photographs of Hollywood celebri ties he collected (Fig. 7) ,23The lack of color and the eco to nomical line call attention Rogers's controlled pose as, in he an pistol hand, leans against outcropping of rock to aim at an unseen preparing take foe. His broad-brimmed hat and neckerchief immediately identify him as a cowboy. seems in com With pursed lips and steady gaze, he easily mand of whatever danger might be facing him. Even if the were not drawing identified by the actor's name, the genre itself would still be quickly identified by the details of gun, was to clothing, and scenario Warhol careful copy. When he first turned to Presley, Warhol also used clothing to man convey the characteristics of the (Fig. 8). Importantly, the collage drawing from 1956, reproduced in Life magazine the reveals a of early following year, degree camp perfor mance that later would surface in the silver Elvises.24 In a or series of shoes named after celebrities, Presley, "Presely," as it was in the as a misspelled original drawing, appears gold-foiled, early-seventeenth-century cavalier's boot. Such 6 Warhol, Red Elvis, 1962, silk-screen ink and on linen, footwear was for acrylic designed "horseless horsemen," quipped 63% X 52 in. Private collection (artwork ? 2005 Andy Warhol one wit.25 A of a shoe rose period bouquet flowers?actually, Foundation for the Visual Arts/ARS, New York; Elvis images then to be found low shoes for embellishing men?replaces used by permission, ? Elvis Presley Enterprises, Inc.; photo the standard The Warhol quatrefoil spur leathers, while lace appears graph provided by Andy Foundation, Inc./Art where there to at the seams. The Resource, New York) ought be heavy stitching upper part of the boot, a funnel or bucket top, provided flexible protection for the knees. For Warhol, however, this part offered a broad field on which he placed gold stars, Cary Grant, and John Wayne. His ranking was based solely to recent to on revenue perhaps alluding Presley's rise fame. By contrast, the his films generated. Critics rarely lauded his a the actor as contemporaneous collage depicted James Dean acting. Of his performance in his first postservice film, G.I. a in a far less flamboyant boot?a jackboot, fact?lacking dec Blues (1960), Newsweek reviewer offered this: "Like the K a "is as orative appliqu? and sporting prominent spur with exposed ration," Presley government authorized, and just hard fastenings. The very plainness of this boot brings out the to swallow."27 Early in 1962 Newsweek again dismissed the courtly pomp, and its attendant fascination with frilly details, films: "Elvis Presley wore khakis two pictures ago [G.I. Blues], was a In one wears a that very much part of Presley's stage presence. turn, and Levis in the last [Flaming Star]. This time he these details insist on as a Presley's public persona dynamic, swimsuit [ (1961)]. As his costumes get briefer, even His of for in Elvis fatter and his Harsh words to be excessive, performer. blurring genres, gets pictures thinner."28 on stance, the assimilation of white country and urban black sure, but they had little effect the film-going public, and with was in made to War music (along its fashion), echoed the collage, they certainly Presley topical enough capture More to an which added applied decoration typically found with men's hol's attention. important, they point element of dress shoes to the form of a boot. This overt on if not emphasis failed seriousness, of outright amateurism, making him artifice a in to as a as and border crossing would later play major role susceptible camp appropriation movie star, Warhol the silver Elvises and inWarhol's parody of the Western in had already done for the singer's image in the 1956 shoe general. collage.29 When Warhol appropriated the image of Presley in the late Warhol was familiar with the surfeit of media images of spring of 1963, the "king" of rock and roll had made the Presley and easily could have selected another from among transition from massively popular singer to Hollywood com them. On more than one occasion visitors to his studio on modity, capably following the examples of Bing Crosby and commented the sheer volume of printed ephemera they . By 1963 Presley was ranked among the top five found there. The curator Walter Hopps recalled that when box office attractions for the preceding year, just ahead of he, Irving Blum, and the art dealer David Herbert visited Elizabeth Taylor, and trailing only Doris Day, Rock Hudson, Warhol's New York town house in 1961, the floor was littered ART VOLUME LXXXVIII 360 BULLETIN JUNE 2006 NUMBER 2

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sort movie fan and to a is therefore and with "every of pulp magazine, magazine, Presley bust-length portrait unique to do with stars from the movies indicates the of this series. The full trade sheet, having popular singularity particular or 'n' ... we music the treatment allows audiences to the look rock roll. As walked in, the popular of length contemplate time was from a hi-fi . . In and accoutrements of an American enacted one of blaring cheap set-up. ."30 May 1963, myth by an Time wrote "a tune actors in an at anonymous reporter for that single pop its significantly lesser entirely forgettable film, over over a when the was blared from [Warhol's] phonograph and again" moment, ironically, genre enormously pop a recent while "Elvis albums" and other ular and during visit, Presley profitable. materials "litter the Most of these raw materials pulp place."31 on the floor. Parodie Westerns stayed in a screen role in a for the Western its success in the Depicting the singer full-length Indeed, experienced peak years to which is Ferus A feature article in Time mat, Warhol called attention Presley's acting, preceding the exhibition.32 to significant. In the Pop artist's early 1960s oeuvre, Presley is magazine at the end of the 1950s drew attention the "horse in of the only Hollywood celebrity whose full body stretches from prevalence of operas" popular culture.33 Eight to canvas. Monroe in the ten shows on television were with Gunsmoke bottom top of the appeared bust-length top Westerns, as first The Time author that "the West portraits, did Warren Beatty and Tab Hunter, while Taylor among them.34 argued was in both bust- and format. Marlon ern is the American "on the presented half-length really morality play" performed in vast of the unbroken He went on to note that Brando and James Cagney, appearing three-quarter stage prairie."35 never the canvas. The decision not to limit this was the realm of national of men them length, span myth, testing ANDY WARHOL'S SILVER ELVISES 3?1

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8 Golden Famous g*h$p' fc?ri?wrtisepieots, Andy Warhol, "Crazy Slippers: vm, becamefaapnatod with theirde? ?sa hob People Inspire Fanciful Footwear," Life |t?' ?k?tcb?nrtginary footwear, '|??m^?ot?onwietttttah?com 42 (January 21, 1957): 13, illustrating ly of gold leafora* ca. Andy Warhol, Elvis Presley, 1956, and ca. 1956 ? James Dean, (artwork 3b b? ?me ^tRi* ?toaW.%, they 2005 Andy Warhol Foundation for i\*fbt dacoratiei?,?ad W?rW>now ?? whole iKWset of ertaygolden ?Hpp?*. the Visual Arts/ARS, New York; photo graph provided by Life Magazine ? 1957 Life Inc., used with permission) \&&:^&^&&

selves one another and of the individ in film against against nature, Actors the included John Wayne, Henry Fonda, Greg or a ual triumphing against the odds heroically perishing in the ory Peck, James Stewart, and Walter Brennan, veritable to who's who of screen in the era. attempt. Americans liked the genre enough spend $125 cowboys postwar on to various or million commercial products related the tele Unlike James Arness and Chuck Connors of television, vision while to to to series, continuing flock theaters take in Gary Cooper and John Wayne of the screen, however, Presley of life and death on the vast was western mascu big-screen productions expanse hardly the living embodiment of rugged, a His turned col of the prairie. The April 1963 issue of Show, copy of which linity. greased hair, made-up face, delicately remained in Warhol's included historian Arthur in silver possession, lar, and tailored costume?all duly noted the paint assertion that "the Western remains as a and therefore Schlesinger Jr.'s ings?read carefully staged, utterly . . . America's distinctive contribution to film."36 That same unconvincing, performance (Fig. 9). He lacked the grizzled actors. spring Metro-Goldwyn-Meyer released its latest incarnation of presence of these other Warhol certainly knew this. In the genre, How theWest Was Won. Life magazine reported that his 1980s celebration of the old West, he selected John with "a cast of 12,617 players and every trick in the horse Wayne?identified in late 1963 as "the king of the cow . How. not actor a over to opera repertory. the West Was Won is the best boys"?as the only in series otherwise given western ever made but it is the and and film stars surely biggest gaudiest."37 historical figures images (Fig. 10) .38The male ART BULLETIN 2006 VOLUME LXXXVIII NUMBER 2 352 JUNE

on 9 Warhol, Double Elvis, 1963, acrylic canvas, 82V4 X 59V? in. Seattle Art Museum, Purchased with funds from the National Endowment for the Arts, PONCHO and the Seattle Art Museum Guild (artwork ? 2005 Andy Warhol Foundation for the Visual

Arts/ARS, New York; Elvis images used by permission, ? Elvis Presley Paul Enterprises, Inc.; photograph by Macapia)

Brando and Warhol does not Presley admired and emulated, Marlon James The image of Presley appropriated by to inhabit their screen with a come from the film itself but from a of the Dean, appeared personae pres photograph singer ence a that never ex in costume film's A and conviction Presley fully achieved, taken during the production (Fig. 11). the has no narrative or cept when he sang. In turn, his singing placed him in the staged studio product, image locale, Gene and fundamental elements in In Warhol's selective tradition of those sensitive, singing cowboys, Autry any Western.40 Warhol's One can also lacks This Roy Rogers, popular during youth.39 editing, the photograph background space. in the roles of the "hard to further from the film and even hardly imagine Presley customer," works distance the image and "bad man" come in off the to from embodied Without of the other "rip-tailed roarer," plains Presley's presence. any not cast who turn in several of the stills disturb the peace violently. In fact, he did play those roles members, up publicity in Star. He was the forced to make from actual the Warhol chose Flaming good son, Pacer, taken footage (Fig. 12), image an impossible choice between the world of his Native Amer contains almost nothing to indicate that it is tied to Flaming Star or to Western. the screen ican mother and Anglo father. At the end of the film, with his any other particular Instead, underscores acted the of parents dead and half brother seriously wounded, he defends painting role-playing.41 Presley part camera. the family homestead so that his Anglo community in a gunslinger purely for the benefit of the Legs After the star of he shoulders his might survive. seeing "flaming death," tensed, square, gun drawn, eyes steady, prac a visual clich?. The silver fram stoically rides into the hills to await his end. ticed pose replicates ground ANDY WARHOL'S SILVER ELVISES 353

10 and Indians: screen Warhol, Cowboys John Wayne, 1986, print on museum X Lenox board, 36 36 in. Andy Warhol Museum, Pittsburgh, Founding Collection (artwork ? 2005 Andy Warhol Foundation for the Visual Arts/ARS, New York)

his aura screen 11 for source ing body certainly evokes the of the silver and Publicity photograph Flaming Star, 1960, the era when Westerns first in it material for Warhol's Elvis The Warhol appeared Hollywood, and paintings. Andy Museum, Collection also invokes the mirror.42 Either the Pittsburgh, Founding (photograph full-length way, generic ? Twentieth Century Fox, all rights reserved; Elvis images stance of a was one familiar to gun-wielding cowboy virtually used by permission, ? Elvis Presley Enterprises, Inc.) the man in the a every boy playing past century, point made by the film critic Robert Warshow in 1954.43 Although obviously ironic to a large degree, Warhol's silk like of screen, many other representations cowboys, conveyed cultural in the even if to Historian David R. has powerful meanings postwar era, only Shumway argued that Presley's styl undermine Bound a strict code of mea was them.44 by honor, ized performance onstage highly feminized in that it sured in of never off the to as an speech, capable physical violence, emphatically called attention his body object of mark when a uncomfortable with too much sexual while often him as a shooting foe, attraction, his lyrics situated bashful around a life of ho vulnerable Critics civilization, women, preferring male.46 assailed his flamboyant stage pres mosocial often in nature with the one bonding, taking refuge ence; complained that Presley's gold lam? suit "could camaraderie of horse and the was a creature of embarrass Libe This masculine gun, cowboy race."47 ambiguous perfor the West and an ideal of American He mance carried over to the masculinity. starred in screen, particularly when Presley the heroic story about the taming of the frontier, while sang, as he did in the first scene of Flaming Star, and it seems men emotional reminding that restraint, though sometimes evident in the silver portraits. Richard Meyer has noted that in extreme was of their national her the film's title is to erupting violence, part susceptible camp interpretation, and therefore series as itage. Throughout the 1950s and early 1960s, historians and has convincingly interpreted the evidence critics sounded the above not uncriti of Rock critics have taken a less refrain, though always gay sensibility.48 celebratory the a intellectual credence view of the same on cally, thereby giving genre topical, paintings. Focusing the heavily shadowed that was of a broader of American as part investigation popular eyes, Greil Marcus characterized the silver Elvises "symbol Some of set as a culture.45 this topical relevance is evident in the film izing powerlessness," with Presley up "eunuch."49 in that it was sensitive to racial male Marcus's is in to Flaming Star, difference, reading only possible when made relation and the to assert an man the force and of and on it violence, struggle independent power Presley onstage vinyl, but hood. Without color to his or one any suggest parentage any helps lead to the element of parody in the paintings, foe in the screen more depicted paintings, however, Presley ap fully evident when the 1963 series is read in relation to as little more than a one pears cipher, conveniently loosed Warhol's films.50 from the conventional narratives of most are a Westerns. This The silver Elvises of piece with Warhol's earliest films, accounts for the and sexual schol which eschew to probably gender ambiguity narrative emphasize iconic presence ars have found in the series. The through duration.51 self-consciously amateurish produc ART 364 BULLETIN JUNE 2006 VOLUME LXXXVIII NUMBER 2

12 Still from Flaming Star, Twentieth Century Fox, 1960 (photograph and film ? Twentieth Century Fox, all rights reserved; Elvis used ? Elvis images by permission, Presley 13 Still from The Great Train Robbery, Edison Motion Pictures, Inc.; the of Enterprises, photograph provided by Academy 1903 (photograph in the public domain, provided by Motion Picture Arts and Sciences) Photofest, New York)

tion of Warhol's films with me on and "I to through 1968, poor resolution, Laramie," "Hang that yonder tree," had or no over strobe cuts, little editing, inconsistent lighting, shoot him dead on account of what he said." Set not on the and minimal camera and underexposure, work, sometimes open plains of the West but obviously within Warhol's Forty reveals a consistent for film as one constant garbled sound, disregard Hollywood seventh Street Factory, the has its ele standards. of the mechanical ment as men. Exposure deliberately clumsy the large horse, serving backdrop for the was an of the series conceived scenes a of process already integral part Intermittent of violence, game strip poker, fon for the as it was of Warhol's silk screens in for Ferus, general. dling of the horse, preening the camera, and vigorous the of Elvis is not on same When multiplied, figure always the milk drinking all allude to narrative convention (Fig. 14) .53 ground line. The interval between figures, whether sequen Periodically the dialogue is interrupted by a recording of tial or is inconsistent. Some are denser overlapped, images Maria Callas blaring away offscreen. Literally, Warhol's first than others. in the different amounts of Clogging screen, ink, Western was a horse opera. and of hand on the make in on in varying degrees pressure squeegee His follow-up, shot color location Old Tucson, each different. of the silver was an erotic Viva as the repeated image slightly Many Arizona, comedy.54 Though starring are backgrounds mottled. proprietor of a local brothel, the film tracks the relationships the silver Elvises as similar to Warhol's a Seeing earliest, and activities of band of good-looking brothers. As is typical films leads one to the distance so Lonesome on prenarrative recognize sepa of many Westerns, Cowboys puts the male body the silk screens and films from Westerns. If Whether or dressed rating postwar display.55 nude, seminude, flamboyantly the evidence of in Warhol's series evokes an in accoutrements Western anything, process the standard of getup?boots, older of serial This com and history production. production chaps, bandannas, checked shirts, sombreros, such?the in the nineteenth men are aware menced late century with highly formulaic intensely of appearance (Fig. 15).56 "Where dime novels and William Cody's stage show Buffalo Bill's Wild did you get that sexy jacket?" one asks. 'You look butch in it." as West. Both popularized the cowboy American hero. Holly The less than stoic behavior of the men drives the plot. After wood the thereafter. Warhol's to picked up genre shortly they fail gang-rape Viva, she dismissively screams, 'You're method of labored the life of a At film's two men production perpetuated all fags." end, of the break with their over to and clich? at its It brothers to head to California to take In genre given repetition inception. up surfing. general, also seems more than circumstantial that his series coincided concern their infatuation with petty rivalry, their with appear with the sixtieth of the most famous motion their to anniversary early ance, antipathy authority, and especially their hostil The Great Train That film to women West picture Western, Robbery (1903). ity echo Marshall McLuhan's insight that the ended with the scene of actor Barnes ern was spectacular George essentially adolescent.57 firing his gun directly at the audience (Fig. 13), a gesture When linked with these films, the silver Elvises take their echoed in the of Warhol. a of works a of the photograph Presley appropriated by place among group offering camp critique In the silver Elvises are tied to The on in the and subject matter, Warhol's Western.58 emphasis appearance paintings later filmed parodies of the Western, whether the anarchic films, particularly the male body as it achieves identity decons true tion of Horse (1965) or the homoerotic farce of through clothing, suggests that the similar equipment in the (1968).52 Written by Ronald Tavel and shot Presley paintings?gun, holster, dagger, shirt, and pants? Horse men are the was a in black-and-white, involves four voicing plati reminders that perhaps above all cowboy fig a "I'm the ure an tudes, among them, "You're tinhorn," kid from of style, whose walk, talk, and dress composed elabo ANDY WARHOL'S SILVER ELVISES 355

14 Still from Warhol, Horse, 1965 (film ? The Andy Warhol Museum, a museum Pittsburgh, of Carnegie Institute, all rights reserved)

15 Still from Warhol, Lonesome Cowboys, 1968 (film ? The Andy Warhol a museum Museum, Pittsburgh, of Carnegie Institute, all rights reserved)

rate on and a a a an Eastern who was performance dependent recognizable gestures put-on, sham, provocation by hipster Warhol seems to assert that if the cow his own films and who had dis props.59 Moreover, already making previously stars as boy's identity is only style, then anyone might inhabit the missed Hollywood pure product. No wonder the a and the not to character, whether famous rock roll singer, Factory paintings did sell. Their camp humor mirrored back their brief or audiences its essential vacuousness in out formu players enjoying charade, standing Hollywood churning screen as in front of a mirror. laic narratives in the of at least when it came to before the paintings though pursuit profit, To summarize Warhol's interest in the Western, which Elvis Presley and Flaming Star. of constitutes part of his much broader consideration Holly Linking the silver Elvises with Warhol's filmed Westerns in one can a combination of reverence extent to which he treated the of the wood general, identify demonstrates the myth of and of veneration and dis as a an and ridicule, homage parody, West mirage, image lodged within the fantasy life of missal. In Ferus was of no matter what their fantasies entailed. In choos this regard the exhibition something Americans, ART 366 BULLETIN JUNE 2006 VOLUME LXXXVIII NUMBER 2

early 1960s, the silver Elvises played a role in his ambition to as a be taken seriously fine artist.

Vanguard Ambition Sending the silver Elvises and silver Liz Taylors to the Ferus was a on Gallery calculated risk Warhol's part because the overt play to, and with, Hollywood convention might easily obscure his desire to link himself with an emergent sensibility in the New York school. It is well known that through the earliest years of the 1960s he struggled with both style and subject matter while hoping to be taken seriously by Jasper and Robert the most ac Johns Rauschenberg, critically claimed members of the younger generation. Their dismissal of Warhol was a source of and resent deep embarrassment ment to the artist.62 Yet this did not stop him from emulating their example of distancing themselves from the high drama of Abstract Expressionism while publicly honoring Marcel antiromantic If not evi Duchamp's gestures.63 immediately dent in the silver Elvises, the spirit of Duchamp nonetheless a in plays defining role the series and its installation, espe cially when linked with the portraits of Taylor. Although Duchamp had been the subject of periodic art world and mass media attention over the preceding half dozen years, 1963 marked his art world apotheosis. That April witnessed the fiftieth exhibition anniversary commemorating the legendary Armory Show of 1913, in which the painting Nude Descending a Staircase, No. 2 played a starring role (Fig. 16) .64That fall marked his first major retrospective in the United which at a States, opened the Pasadena Art Museum week after Warhol's at the Ferus. west opening Warhol's trip in late September was timed to allow him to attend both events and to meet Duchamp. Already Warhol had paid to the as at homage French master, critics the time and historians have Cans subsequently noted.65 Campbell's Soup (1962) continued the investigation of the ready-made byway of Johns's Painted Bronze (1960), while several paintings, 16 Marcel Nude a No. Duchamp, Descending Staircase, 2, 1912, them Storm Door were tied to The oil on X in. among (1961), clearly Large canvas, 5714 35V2 Philadelphia Museum of Art, Glass in the choice of matter.66 Louise and Walter Arensberg Collection (artwork ? Artists subject Rights Society [ARS], New York/ AD AGP, Paris/Succession Gerard Malanga has claimed that the overlapping of fig Marcel Duchamp) ures to evoke motion in several of the silver Elvises was inspired by his interest in photography (Fig. 17).67 In the of the most relevant of a spring 1963, example painting ing Presley, Warhol made certain that the elements of clich?, mimicking photographed motion was Nude Descending a Stair and would remain foremost. But in No. of in convention, performance case, 2, given pride place the revised Armory Show, the of the Warhol used as the for the addressing myth West, firmly grounded the poster exhibition, and later prominently a paintings within venerable, and highly popular, tradition of displayed in Pasadena. Though his studio assistant may have literature and film that identified and celebrated introduced the effect to the Warhol it as rugged series, accepted his as central to American and own. More in seems masculinity experience culture.60 important, Warhol's interest motion This consideration cannot be disconnected from his interest indebted to the French artist's of investigation motion and in he to postwar art, and, indeed, retrospectively pronounced technology. Contemporary publications available the Pop his disdain for the lives of the artist often asserted that to modern rough-and-tumble Abstract Duchamp's contribution themselves sometimes identified with the ism consisted in his use of mechanical The late Expressionists, imagery.68 myth of the West.61 A masculine ideal is, of course, incon spring 1963 issue of Art in America, released in May, before ceivable without a feminine serves to complement, which Warhol and Malanga began silk-screening the images for the return to the of the screen Ferus announced the investigation coupling Presley exhibition, upcoming retrospective paintings with the portraits of Elizabeth Taylor shown with and singled out Nude Descending a Staircase.69 In a description the silver Elvises at the Ferus When this is that the decision to use to Gallery. done, presaged overlapping suggest Warhol's consideration of the Western is wedded to his con motion in the silver Elvises, Helen Wurdemann argued that current desire to situate himself in relation to a in the was a contempo producing "revolutionary Nude," Duchamp "like raneous as with so much of his art from the radar. . . the to the and avant-garde, for, pointing way mechanized psychic ELVISES ANDY WARHOL'S SILVER 3?7

17 Warhol, , 1963, alumi num ink silk paint and printer's screened on canvas, 82 X 71 in. Vir

ginia Museum of Fine Arts, Richmond, Gift of Sydney and Frances Lewis (artwork ? 2005 Andy Warhol Foun dation for the Visual Arts/ARS, New York; Elvis images used by permission, ? Elvis Presley Enterprises, Inc.; photograph by Katherine Wetzal, ? Virginia Museum of Fine Arts)

as in philosophical expressions of today, the dynamic flow and both opaque and transparent, mirror and ideal?as, movement time and overtones in our much like the surface of a screen that of speed, the Freudian short, very paradoxi culture."70 cally opens into a fictional space peopled with heroes and Although Warhol's interest in Hollywood predated his in heroines. These ideas present themselves when The Large troduction to Dada, he could not have missed the fact that Glass is approached through Warhol's exhibition at the Ferus was interested in film. Critical discussion of which in turn to be the work of an Duchamp also Gallery, appears engaged over the used cinema and to the Dada Duchamp preceding years repetitively spectator honoring responding precedent. as a In his 1959 on the The narrative of the Ferus exhibition can be seen to follow frame of reference. monograph artist, Robert Lebel called him a "rebel" in making the painting that of The Large Glass (a facsimile of which featured promi a in the a woman is without Nude Descending Staircase and noted that Americans treated nently retrospective): presented him "as if he were a once famous movie star."71 Lebel docu her body?which is left for her suitors and her audience to on a man in a the two mented that while Duchamp worked The Large Glass (Fig. imagine?and appears stereotypical role, to so in a but nonetheless 18), applying mercury the back the bachelors would figures coupled single presentation, in his in to in Whether the division of War appear silver, he began work film.72 According separated space.74 gendered The Glass was conceived in "cinematic" hol's was the who Duchamp, Large exhibition initially planned by artist, have meant that it was a comment on two in and or the terms.73 By this he might worked the series June July, merely on stereo additional formulaic narrative, heterosexual desire, gender fortuitous result of Irving Blum's opening up a type, and role-playing from the early days of Hollywood. If so, space for the exhibition, the result tantalizingly implies one can to see the bachelors' of considered between the begin imaginative stripping relationship concurrently running the bride as to audience invested in exhibitions of Warhol and Like the canonical passive analogous fantasy Duchamp.75 onscreen. can also the work once in transit between Warhol's in the idealized figures One perceive damaged coasts, covered with as stallation was sent with a set of instructions that surface of The Large Glass, extensively silver, cross-country 368 ART BULLETIN JUNE 2006 VOLUME LXXXVIII NUMBER 2

19 Duchamp, detail of Fig. 18: Malic Molds

same-sex are in turn installation that dance, echoed by the reminded Fidel Danieli of a chorus line of "over-managed Liz in a puppetry."78 By extension, Taylor, placed separate room and disembodied through the bust-length portraits, plays the role of heartless and soulless bride, one perpetually frustrating the desires of her suitors (Fig. 20).79 Throughout the preceding year, her turbulent love life had filled the pages of Life, Photoplay, and other publications as her latest the out of film, multimillion-dollar Cleopatra, spun control.80 Pundits wondered whether her costar, Richard Burton, might become husband number five; Warhol assiduously recorded the 18 Duchamp, The Bride Stripped Bare byHer Bachelors, Even {The spectacle.81 lead foil and and dust If cinema and Large Glass), 1915-23, oil, varnish, wire, the connections Duchamp made between on two X glass mounted between glass panels, 109J/4 69V4 in. the of organization The Large Glass remain conjectural and Museum of Art, of Katherine S. Dreier Philadelphia Bequest treatment not. vague, Warhol's of Hollywood does As with the (artwork ? Artists Rights Society [ARS], New York/ADAGP, of that of was also from Paris/Succession Marcel Duchamp) image Presley, Taylor appropriated Hollywood publicity, likewise directing attention not to nar rative but to marketable The comedie stasis of product.82 machine was Duchamp's inoperative replaced by Warhol's echo insistence that the artist is not the of one a Duchamp's only comedy leading Hollywood stars, singer poorly play maker of the art. Six he had asserted the the other bride. In War years earlier, famously ing hero, apparently everyone's that "the creative act is not the artist the hol's the machine was no so performed by alone; view, Hollywood longer spectac spectator brings the work in contact with the external world ular. The heady days of the studio system were rapidly fading and its from a reflection of by deciphering interpreting inner qualifications and view, leaving only pale bygone splendor. thus adds his contribution to the creative act."76 When it Like his parody of the Western, Warhol's indebtedness came to to art?in Du cutting and installing the silver Elvises, Blum served contemporary vanguard particular that of as the marked a awareness of the capably engaged spectator who deciphered and inter champ?was by profound options preted Warhol's series. open to his generation. From the moment he decided to shift at to The installation the Ferus linked perhaps Hollywood's his practice from commercial fine art, Warhol knew his most most choice of was between the roman eligible bachelor with its notorious bride.77 Pres style emotionally charged, stance mimics that of the left tic of Abstract and the ley's splayed-legged uncannily aspiration Expressionism deadpan most Malic Mold in The as of Dada. He chose the To Large Glass, identified by Duchamp sensibility ostensibly latter. be sure, the or This have Warhol's treatment of was nor cuirassier, cavalryman (Fig. 19). might pro Duchamp neither dogmatic vided a logical connection for Warhol in that Presley played deferential, and perhaps it was not even fully evident to his a cowboy in Flaming Star, had served in an armored division in audience in Los Angeles, but that should not prohibit evalu the and had a in ation of the materials at hand. It overt to army, played tank sergeant his first postarmy signals allegiance G.I. Blues. The room the of whose film, effect of ringing the front of the emergent generation Pop artists, historical Ferus with the silver Elvises awareness was as acute as it was comedie. If the parallels that of the encircled nothing else, men a of of the Malic Molds. Their actions, linked in tribal, Presley paintings provide further evidence Warhol's free ANDY WARHOLS SILVER ELVISES 369

20 Warhol, Silver Liz (FerusType), 1963, silkscreen ink, acrylic, and spray paint on linen, 40 X 40 in. The Andy Warhol Museum, Pittsburgh, Founding Collection (artwork ? 2005 Andy Warhol Foundation for the Visual Arts/ARS, New York)

in to mass . . range gathering of Americana his goal eradicate what should be for the of American people. ."85 The silver ever were mass on boundaries left between elite and culture by Elvises instantiate this belief. Drawing the stock figure of the summer of 1963. the cowboy, Warhol invoked a major American shibboleth of West When viewed through the dual lens of gendered Holly about masculinity and the heroic settling the known wood as the and that of to not clich?, represented by Western, virtually all citizens of the United States. But he did Duchampian precedent, notably The Large Glass, the silver simply re-present the figure. His selection of Elvis Presley, as an a broader theme distanced from conventional Elvises emerge important part of narrative, effectively unhinged within Warhol's work of the 1960s. That theme con to to early the figure bring the fore the issue of performance. This sisted of first challenging, and then dismantling and recon is clear when the series is connected with Warhol's earlier figuring existing hierarchies?whether in film, gender, or drawings of Hollywood cowboys and Presley and with War order to carve out a for on his hol's filmed Westerns. It is clear that painting?in place himself, subsequent equally own terms, within the New York school. As Warhol attracted when coupled with the silver Liz Taylors and linked with the an concurrent critical attention through 1962 and 1963, he articulated Duchamp retrospective, the cowboy for Warhol as "the was men to in a aesthetic that Duchamp sagely recognized complete just another role chose play mechanical to democratization of art."83 When asked by the critic Gene courtship ritual ultimately doomed failure and frustration. summer what art was Warhol re All of an to an of Swenson that Pop about, this reveals artist deeply attuned expanse answer was avant plied: "It's liking things."84 Verbally, his seemingly visual culture, both contemporaneous and historical, as as was from which he and straightforward it simple, but when taken visually by garde and popular, might draw materials, the of the silver that answer demanded to which his own work a contribution. In using example Elvises, represents knowing clarification. was in his to as extensive What Warhol liked apparent staking claim this yet untamed territory, Warhol the How himself as a cultural one choice of image appropriated. and why he liked it capably performed cowboy, with, the task of critical an to sincere admiration the remained investigation, investigation suspects, for challenges of the role. which reviewers were also invited to bring their likes and dislikes. Throughout the 1960s and, indeed, the rest of his life, David McCarthy (PhD, University of Delaware) is currently theRuf insisted that art was for "I don't think at Warhol Pop everyone. fin Professor of Art Rhodes College. He is the author of'The Nude art for he "... it to should be only the select few," asserted, in American Painting, 1950 1980 (1998), Pop Art (2000), and VOLUME NUMBER 2 370 ART BULLETIN JUNE 2006 LXXXVIII

H. C. Westermann at War: Art and Manhood in Cold War 18. Gene R. Swenson, "Andy Warhol," Artnews 61 (November 1962): 15. The first part of the quotation isMeyer Schapiro on Henri Rousseau. America (2004) Art, Rhodes 2000 North [Department of College, 19. Several scholars note Warhol's and book habits. See Tenn. reading buying Parkway, Memphis, 38112, [email protected]]. Bradford R. Collins, "Dick Tracy and the Case of Warhol's Closet: A no. Psychoanalytic Detective Story," American Art 15, 3 (2001): 70; Ste phen Koch, Stargazer: The Life, World and Films of Andy Warhol (New York: Marion Boyars, 2002), xi; and Reva Wolf, Andy Warhol, Poetry, and Notes Gossip in the 1960s (Chicago: University of Chicago Press, 1997), 3. 20. As my essay is about the silver Elvises in particular, I do not delve into Thanks to Marc Gotlieb and the anonymous readers at The Art Bulletin; Matt the extensive literature on Warhol and film. I cite only some of the Wrbican at the Andy Warhol Museum; Bradford Collins and several col most important studies in these notes. The following essays helped leagues at the Southeastern College Art Conference in Raleigh, North Caro shape my thinking about Warhol and Hollywood: Callie Angell, "Andy lina, in October 2003; and Sara Doris, Allison Smith, Dee Garceau-Hagen, Warhol, Filmmaker" and "The Films of Andy Warhol?a Selection," in Kaywin Feldman, Marina Pacini, and Reva Wolf for their advice and assistance Andy Warhol 1956-86: Mirror ofHis Time, 176-200; Russell Ferguson, in preparing this essay. "Beautiful Moments," in Art and Film since 1945: Hall ofMirrors, ed. exh. Museum of Los 1. As the following essay considers only those silver Elvises shown at the Kerry Brougher, cat., Contemporary Art, Angeles, Colin Mark and Peter Ferus Gallery, it does not address the debate concerning the chronol 1996, 139-87; MacCabe, Francis, Wollen, eds., cur Who Is Warhol? British Film Institute and the War ogy of their production and the number of silver Elvis paintings Andy (London: Andy hol and A. Bike and rently known. For a full discussion, see Georg Frei and Neil Printz, Museum, 1997); Juan Su?rez, Boys, Drag Queens, Mass and Identities in the 1960s Un The Andy Warhol Catalogue Raisonn?, vol. 1, Paintings and Sculpture 1961 Superstars: Avant-Garde, Culture, Gay Cinema Indiana 214 1963 (New York: Phaidon Press, 2002), 355-79; and Raiji Kuroda, "Col derground (Bloomington: University Press, 1996), on 64. lapsing/Collapsed Discourse Warhol: Regarding Two Elvis Series," in Warhol 1956-86: Mirror His Time, exh. cat, Warhol Andy of Andy 21. Warhol, quoted in "Products," Newsweek 60 (November 12, 1962): 94; Museum, and Museum of Art, 1996, Pittsburgh, Contemporary Tokyo, and Gretchen Berg, "Nothing to Lose" (1967), in Andy Warhol: Film 267-73. Factory, ed. Michael O'Pray (London: British Film Institute, 1989), 57. 2. Warhol and Elvis Studio International 181 emer John Coplans, "Andy Presley," 22. The passing of an earlier generation of Hollywood stars and the 49-53. An influential contribution to critical one was a com (February 1971): interpre gence of a younger, perhaps as yet undistinguished, tation of the series, now seems tied to a late 1960s, Coplans's essay fully mon refrain in the early 1960s. See, for instance, Arthur Schlesinger romantic of rock and roll as cultural radicalism. He did, how reading Jr., "Hollywood Then and Now," Show 3 (April 1963): 76-78, 125. A ever, draw attention to the elements of and parody gender ambiguity copy of this publication can be found in the Archives, Andy Warhol within the series. Museum. For Warhol's comments on the old Hollywood, see Warhol and 40. 3. Richard Meyer, "Warhol's Clones," Yale Journal of Criticism 7, no. 1 Hackett, , 94-97, revised in Outlaw and Homosexu (1994): Representation: Censorship 23. On Warhol's collecting of Hollywood ephemera, see Margery King, in American Art York: Oxford ality Twentieth-Century (New University "Starstruck: Andy Warhol's Marilyn and Elvis," Carnegie Magazine 62 Press, 150-53. like that of others who have 2002), Meyer's scholarship, (July-August 1995): 10-14; and Blake Stimson, "Andy Warhol's Red addressed Warhol's is essential for the often sexuality, identifying lay Beard," Art Bulletin 83 (September 2001): 528. ered meanings inWarhol's art. 24. Meyer, Outlaw Representation, 109, documents that Warhol's closest 4. Blum to Warhol, 28, 1963, Archives, Warhol Irving Andy May Andy friends described the shoe collages as camp at the time. See, too, Museum, Pittsburgh. Nathan Gluck, interview by Patrick S. Smith, in Smith, Andy Warhol's at Art and 335-37. 5. Blum was expecting bust-length portraits similar to those exhibited Films, the Stable The of were a Gallery. full-length images Presley complete 25. Quoted in R. Turner Wilcox, The Mode in Footwear (New York: Charles conversation with author, November 2, 2001. surprise. Telephone Scribner's Sons, 1948), 103. This particular style of boot was identified with at court and had been Henri TV of 6. Several scholars have recognized Warhol's attention to environment gentlemen popularized by France. Wilcox that "Henri lived in his and context in the installation of his work, especially the series. See states, 103, practically camp boots. . . ." Given Warhol's interest in his Stephen Koch, "Warhol," New Republic 160 (April 26, 1969): 25; and (emphasis mine). shoes, ap notes of and his advertisements for the modish Coplans, "Andy Warhol and Elvis Presley," 49. Charles F. Stuckey propriation printed sources, New York shoe store I. it is that he was familiar with Wil Warhol's "wry sense of conceptual contextual gesture" in his installa Miller, likely cox's book. tions. Stuckey, "Warhol in Context," in The Work of Andy Warhol, ed. Garrels, Discussions in Culture, no. 3 Gary Contemporary (Seattle: Bay 26. "Slim Pickings," Newsweek 61 (January 14, 1963): 42. Press, 1989), 24. 27. "Hollywood's 'Soldiers,'" Newsweek 56 (November 14, 1960): 110. 7. The portraits of Taylor were stretched in New York and shipped by 28. "Next to Nothing," Newsweek 59 (February 19, 1962): 97. crate. Irving Blum, telephone conversation with author, January 12, a cornerstone 2005. 29. Susan Sontag made the element of failed seriousness of her essay "Notes on Camp," published early in 1964. Also of relevance 8. Irving Blum, interview by Patrick S. Smith, October 20, 1978, in Andy to the silver Elvises is her insistence on artifice and exaggeration, role Warhol's Art and Films (Ann Arbor, Mich.: U.M.I. Research Press, 1986), obvious and 221-22. playing, quotation, playfulness. Sontag, Against Interpreta tion (New York: Farrar, Straus, Giroux, 1986), 275-92. 9. Warhol was "thrilled" the installation at Ferus, but also admitted by Edie: An ce 30. Walter Hopps, quoted in Jean Stein and George Plimpton, that he more enjoyed the round of parties with young Hollywood American Biography (New York: Alfred A. Knopf, 1982), 192. lebrities, such as Dennis Hopper, than the "work" that went into mak see Art: Cult of the Time 81 72. ing and selling art; Andy Warhol and Pat Hackett, Popism: The War 31. "Pop Commonplace," (May 3, 1963): See, 141 hol Sixties (New York: Harcourt, Brace, Jovanovich, 1980), 42. too, Aline B. Saarinen, "Explosion of Pop Art," Vogue (April 15, 1963): 87. 10. Blum, telephone conversation with author, January 12, 2005. 32. Sidra Stich, Made in U.S.A.: An Americanization inModern Art, the '50s 11. Blum toWarhol, May 28, 1963. Blum recollects that one of the silver and '60s, exh. cat., University Art Museum, Berkeley, 1987 (Berkeley: Elvises sold after the exhibition had closed; telephone conversation of California Press, 1987), 131. Lee Clark Mitchell estimates with author, 12, 2005. University January were that fully one-quarter of all Hollywood films in the 1950s West 12. On Warhol's with the exhibition, see Victor Bockris, disappointment erns. Mitchell, Westerns: Making theMan in Fiction and Film (Chicago: Warhol York: Da Press, 1997), 182. (New Capo University of Chicago Press, 1996), 203. Michael Kimmel notes that "over 10 of all fictional works in the 1950s were 13. Henry J. Seldis, "In the Galleries: Sir Swivel Reigns in Pop Art Display," percent published westerns." Manhood in America: A Cultural York: Los Angeles Times, October 4, 1963, Dll. Kimmel, History (New Free Press, 1996), 252. 14. Gerald Nordland, "Marcel Duchamp and Common Object Art," Art The Six-Gun Time 73 52. Internationals (February 15, 1964): 31. 33. "Westerns: Galahad," (March 30, 1959): 15. Ibid., 32. 34. Warhol, inWarhol and Hackett, Popism, 41, avidly watched television in the 1950s and remembered Dennis in the Western se 16. Fidel A. Danieli, "Art Forms," UCLA Bruin, October 2, 1963, 9, seeing Hopper Daily ries Bronco. copy in Archives, Andy Warhol Museum. 35. "Westerns: The Six-Gun Galahad," 53. 17. Michael Fried, "New York Letter," Art International 6 (December 20, A 36. Arthur "Film as The Show 3 1962): 57, reprinted in Steven Henry Madoff, ed., Pop Art: Critical Schlesinger Jr., Myth: Western," (April 38. History (Berkeley: University of California Press, 1997), 267. 1963): ANDY WARHOL'S SILVER ELVISES 37^

a 37. "Look Out Below!" Life 54 (March 29, 1963): 87. an Artist Who, for a Large Section of Younger Generation, Can Do No Artforum 3 (February 1965): 27. Leider wrote this before 38. "The Western Hero," Life 55 (December 20, 1963): 109. The series, Wrong," Warhol his Westerns. Cowboys and Indians, is reproduced in Frayda Feldman and J?rg produced parodie Schellmann, Andy Warhol Prints: A Catalogue Raisonn? 1962-1987 (New 51. Warhol's comments on his early films are equally pertinent for the York: Distributed Art Publishers, 2003), 153-55. Presley series: "Imade my earliest films using, for several hours, just one actor on the screen the same or or 39. Autry, Rogers, and other stars of earlier Westerns had recently been doing thing: eating sleeping I did this because to the movies to see chronicled in a brief essay in Show. Donald LaBadie, "The Last smoking. people usually go only the star...." Warhol, in Gretchen to Lose" Roundup," Show 2 (September 1962): 74-77. LaBadie argued that the quoted Berg, "Nothing in Warhol: Film 56-57. appearance of singing cowboys marked the demise of the heroic West (1967), reprinted O'Pray, Andy Factory, ern. "Starstruck: Warhol's and Margery King, Andy Marilyn Elvis," 10, 52. Horse remains relatively unknown and insufficiently researched among documents that Warhol owned a of Gene publicity photograph Autry. Warhol's films. An essay by Gregory Battcock, "Four Films by Andy Warhol" in Warhol: Film 40. In 1954, Robert Warshow reasoned that the vast expanses of the West, (1967), reprinted O'Pray, Andy Factory, 45, notes the with Western convention that "reveals the as well as the conflict between the cowboy/gunslinger and an evil foe, briefly parodie play eroticism of the Lonesome has been were necessary ingredients in helping to establish the moral clarity of disguised genre." Cowboys subjected the hero. Warshow, "Movie Chronicle: The Westerner," in The Immedi to extensive analysis and critique. For instance, see Mark Finch, uRio Lonesome and in ate Experience: Movies, Comics, Theatre and Other Aspects of Popular Culture Limpo: Cowboys Gay Cinema," O'Pray, 112-17; Koch, and in Out: (New York: Atheneum, 1974), 135-54. The same essay appeared as Stargazer, 104-13; Thomas Waugh, "Cockteaser," Pop Queer "The Gunfighter as Moral Hero," WFMT Perspective 11, no. 1 (1962): Warhol, ed. Jennifer Doyle, Jonathan Flatley, and Jos? Esteban Mu?oz 22-29. (Durham, N.C.: Duke University Press, 1996), 51-77.

41. Bradford R. Collins reaches a similar conclusion about the image in his 53. The refusal to imbibe alcohol and the resulting necessity to fight other essay on Warhol's erotic art. Collins, "Beyond the Pleasure Principle: men to prove one's manhood figured as a pivotal scene in the 1952 Warhol's 'Erotic' Art and Film," Southeastern College Art Conference Review film Shane. Mitchell, Westerns: Making theMan, 218-19, draws out the no. 14, 2 (2002): 115. gender implications of this scenario. According to Ronald Tavel, War hol had an extensive of books devoted to It there 42. A student of popular culture, Warhol most certainly knew that the library Hollywood. fore seems reasonable to conclude that his treatment of film conven Lone Ranger's horse was named Silver. Although critics and scholars tion was learned. On Tavel's recollection, see Koch, frequently link silver with film and mirrors, Warhol saw additional asso highly Stargazer, 12. Tavel also asserted that he and Warhol were ciations. In his remembrance of the 1960s, he stated: "Silver was the constantly working convention; see his comments on Horse in Stein and future, it was spacy?the astronauts wore silver suits?Shepard, Gris against Plimpton, and interview Patrick S. in som, and Glenn had already been up in them [rockets], and their Edie, 237-39; Tavel, by Smith, Smith, Andy Warhol's Art and 496-500. equipment was silver too." Warhol and Hackett, Popism, 64-65. Films, was as a 43. Warshow, "Movie Chronicle: The Westerner," 153. 54. Old Tucson often used ghost town in film and television West erns. Angell, "Andy Warhol, Filmmaker," 183. Warhol recalled that the 44. Mitchell, Westerns: Making theMan, has tracked the mutation of the cast and crew stayed on a dude ranch with "mementos and pictures of cowboy in twentieth-century American culture. See, too, Paul H. Carl stars like Dean Martin and John Wayne and stills from an O.K Corral son, The Cowboy Way: An Exploration ofHistory and Culture (Lubbock: movie," which must have provided a convenient foil for Warhol's movie Texas Tech University Press, 2000) ;Robert V. Hine and John Mack about "a one-woman all-fag cowboy town." Warhol and Hackett, Popism, Faragher, The American West: A New Interpretive History (New Haven: Yale 261, 259. University Press, 2000) ;John H. Lenihan, Showdown: Confronting Modern sees America in theWestern Film (Urbana: University of Illinois Press, 1980); 55. Mitchell, Westerns: Making theMan, 150-87, display of the male or as a William W. Savage Jr., The Cowboy Savage: His Image in American History body, whether clothed seminude, defining feature of the West ern. and Culture (Norman: University of Oklahoma Press, 1979); and Rich ard Slotkin, Nation: The Myth of the Frontier in Twentieth-Century Gunfighter 56. In his classic study of the West, Henry Nash Smith, Virgin Land, 120 America (New York: Atheneum, 1992). 21, drew attention to cowboy clothing. 45. For instance, see the following studies: John G. Cawelti, "Prolegomena 57. McLuhan, "Horse Opera and Soap Opera," 157. to the Western," Studies in Public Communication 4 (Fall 1962): 57-70; 58. in between the silver Elvises from the summer of 1963 and Barnard De Voto, "Pha?ton on Gunsmoke Trail," Harper's Magazine 209 Standing the film Westerns from 1965 and 1968 are the colored screen (December 1954): 10-11, 14, 16; idem, "Birth of an Art," Harper's Mag paintings from 1964 as "Warhol's and others have azinern (December 1955): 8-9, 12, 14, 16; Marshall McLuhan, "Horse that, Meyer, Clones," 101, dress as icon lavender Opera and Soap Opera" (1951), in The Mechanical Bride: Folklore of In noted, deliberately Presley gay through pants, hot red and face. See Sara 'Your Fifteen Minutes dustrial Man (Boston: Beacon Press, 1967), 154-57; Henry Nash Smith, shirt, made-up Doris, Are and inWarhol's Star Virgin Land: The American West as Symbol and Myth (New York: Vintage Up: Fame, Obsolescence, Camp Portraits, Books, 1950), 98-125; and Warshow, "Movie Chronicle: The West 1962-1967," in Reframing Andy Warhol: Constructing American Myths, He erner." roes, and Cultural Icons, ed. Wendy Grossman, exh. cat., Art Gallery at the University of Maryland, College Park, 1998, 34; and C?cile Whiting, 46. David R. Shumway, "Watching Elvis," in The Other Fifties: Interrogating A Taste for Pop: Pop Art, Gender, and Consumer Culture (New York: Cam Midcentury American Icons, ed. Joel Foreman (Urbana: University of Illi Press, 162. One senses here both an elabora nois Press, 124-43. bridge University 1997), 1997), on tion what was perhaps covert the summer before and an act of ven 47. Time 69 8, 34. "People," (April 1957): geance on Hollywood for the commercial failure of the 1963 Ferus 48. Meyer, "Warhol's Clones," 101. Warhol made the link between cowboys exhibition. The combined elements of flamboyance and archness, evi and sexual adventure explicit in his 1963 film Haircut by dressing one dent in Elvis I and II (1964, Art Gallery of Ontario, Toronto), charac of the actors (Freddie Herko) in a cowboy hat, the only reference to terized Warhol's studio over the next few years. For a re a over see Westerns in film otherwise given to the activity identified in its production, Frei and Printz, Paintings and Sculpture, 372-73. title. For analysis of the film, see Koch, Stargazer, 52-58; Wayne 59. Identity as performance is a core element inWarhol's films. For an Koestenbaum, Andy Warhol (New York: Viking Press, 2001), 70-74; and introduction to this large topic, see Steven Shaviro, The Cinematic Body Wolf, Andy Warhol, Poetry, and 39-43. Two decades later Warhol Gossip, of Minnesota Press, 1993), 201-39. Ronald wrote: "I looked like hustlers. That's nice. Cow (Minneapolis: University always thought cowboys Tavel, in Stein and 237, insisted that his films with War are Plimpton, Edie, boys and hustlers quiet. They don't know many words." Warhol, hol, including Horse, were concerned with "image and display." America (New York: Harper and Row, 1985), 165. 60. In addition to his silk-screen paintings and prints and his films, War 49. Greil Marcus, Double Trouble: Bill Clinton and Elvis Presley in a Land ofNo hol's writing also investigated American experience. Warhol, The Philos Alternatives (New York: Picador U.S.A., 2000), 182-83. More aggres ophy of Andy Warhol (From A to B and Back Again) (New York: Harcourt, sively, Albert Goldman summarized Presley's films thus: "After the Brace, 1975) and America. army, Elvis appears very delicate and vulnerable, as if he were recover 61. See Warhol and 13-14. Of the Abstract ing from major surgery. He wrings his hands as he talks. He has be Hackett, Popism, Expressionists, Pollock was often linked to the of the a come extremely wary. With his preposterous Little Richard conk, his Jackson myth cowboy, point lamented critic limp wrist, girlish grin and wobbly knees, which now turn out instead by the Harold Rosenberg, "The Search for Jackson Pol Artnews of in, he looks outrageously gay." Goldman, "The Fun Years," in The lock," 59 (February 1961): 35, 58-60. One wonders whether was some Elvis Reader: Texts and Sources on theKing of Rock 'n'Roll, ed. Kevin Warhol's interest in the cowboy linked, in small way, to his Quain (New York: St. Martin's Press, 1992), 203. lifelong interest in Pollock. 50. In 1965, art critic Philip Leider wrote: "Warhol's activities in the film 62. The standard story of Warhol's relationship with Johns and Rauschen treat much more openly that mockery of prescriptive values which is berg is recounted inWarhol and Hackett, Popism, 11-13; and Bockris, only implicit in his paintings...." Leider, "Saint Andy: Some Notes on Warhol, 128-30. ART BULLETIN 2006 VOLUME LXXXVIII NUMBER 2 372 JUNE

63. On Warhol's stylistic debts to Johns and Rauschenberg in the early bachelors "'shooting' once each" in Duchamp's "'Hilarious' glass see 1960s, Benjamin H. D. Buchloh, "Andy Warhol's One-Dimensional house." Johns, "The Green Box," Scrap, December 23, 1960, 4, re Art, 1956-1966" (1989), reprinted in Andy Warhol, ed. Annette Michel printed in Joseph Mashek, ed., Marcel Duchamp in Perspective (Engle son (Cambridge, Mass.: MIT Press, 2001), 19-25. wood Cliffs, N.J.: Prentice-Hall, 1975), 110. After at in New 64. opening the Munson-Williams-Proctor Institute Utica, 74. Also included in the Armory Show and the Pasadena retrospective was in the exhibition was installed at the site at York, February, original The King and Queen Surrounded by Swifi Nudes (1912, Philadelphia Mu Avenue and where it ran from 6 to Lexington Twenty-fifth Street, April seum of Art), whose title provides another instance of coupling male 28. to the critic David Warhol visited the exhibi According Bourdon, and female royalty that may have shaped Warhol's thinking about his tion in New York. Warhol York: N. a Bourdon, (New Harry Abrams, second Ferus Gallery exhibition. In 1962, Liz Taylor played queen in 140-42. Art in America devoted a section to the anniver 1989), special her film Cleopatra. The film was reviewed in spring 1963 as the latest exhibition and described Nude as the that "in sary Descending painting Hollywood extravaganza and the costliest film in history. See "Cleopatra furiated, baffled and the crowds." S. Trovato, "Ar captivated Joseph Barges in at Last," Life 54 (April 19, 1963): 72-81. By 1958, Presley was Show in Utica," Art in America 51, no. 1 (1963): 55. See, too, "The mory known as the "king" of rock and roll. See "Rock 'n' Roll Rolls On 'n' Glorious Affair," Time 81 5, 1963): 58-67; and Tillim, (April Sidney On," Life 45 (December 22, 1958): 37-43. "Dissent on the Show," Arts 37 1963): 96 Armory Magazine (May-June On the retrospective, see Dickran Tashjian, "Nothing Left to Chance: 101. Duchamp's First Retrospective," in West Coast Duchamp, ed. Bonnie 65. On Duchamp and Warhol's early Pop art, see, among other studies, Clearwater (Miami Beach, Fla.: Grassfield Press, 1991), 60-83. Amelia Postmodernism and the ofMarcel Jones, En-Gendering Duchamp 75. Irving Blum, telephone conversation with author, November 2, 2001. (New York: Cambridge University Press, 1994), 51-54; and P. Smith, Coplans, "Andy Warhol and Elvis Presley," 49, reported that Blum and Andy Warhol's Art and Films. Warhol agreed, by phone, to show both the Presley and Taylor images and notes 66. P. Smith, Andy Warhol's Art Films, 92-93, that with the pur in the exhibition as long as they appeared in separate rooms. This sug chase of a Box in a Valise and a of Robert Lebel's (1935-41) copy gests that Warhol was already thinking about a gender split in the in monograph Marcel Duchamp (1959), the years 1962 to 1963 marked stallation. Warhol's greatest interest in Duchamp. For reproductions of Campbell's 76. Marcel Duchamp, "The Creative Act," Artnews 56 (June-August 1957): Cans and Storm Door, see Frei and Printz, Soup respectively, Paintings 29. and Sculpture, 62-77, 40. 77. The subject of continuous tabloid speculation, Presley's relationships 67. Malanga, interview by Patrick S. Smith (1978), in Smith, Andy Warhol's with several actresses in the early 1960s are thoroughly chronicled in Art and Films, 395: "I introduced the multiple image in these paintings. Peter Guralnick, Careless Love: The Unmaking of Elvis Presley (New York: I deliberately moved the image over to create a jump effect, and he Back Bay Press, 1999). [Warhol] liked it. So, we used it." See, too, Malanga's comments in Stein and Plimpton, Edie, 206. Through his training at Carnegie Tech 78. Danieli, "Art Forms," 9. in the 1940s, Warhol was most familiar with Laszlo Moholy certainly 79. Danieli, ibid., read the treatment of Taylor as hostile, noting the "over Vision inMotion (Chicago: Paul Theobald, 1947). This study con Nagy's sized clown mouth" and "lurid, Martian green" of her eye shadow. tained many images of motion, including Duchamp's Nude Descending a That summer, Richard Oulahan dismissed Taylor's performance in Staircase (249). Cleopatra, writing that "when she tries to be the imperious, conniving, that to modern art was 68. Nicolas Calas argued Duchamp's contribution cruel Queen of Egypt, her eyes flash from batwing frames of mascara the of modern one result of which was the introduction technology, and sequins.. ..," Oulahan, "Cleo Finally Gets Here?Is She Worth $40 of and "cinematic of "The suggestion "movement" pace figures." Calas, Million?" Life 54 (June 21, 1963): 30. Reading Warhol's installation as a Brothers All at Artnews 55 25. Rob Duchamp Once," (February 1957): homage to The Large Glass, with the figures of Presley and Taylor as ert Lebel that the for Nude was the cin argued inspiration Descending bachelor and bride, suggests an additional coupling: the cowboy's tra ema and while the cover of his fea photochronographs, monograph ditional partner as either the stereotypical schoolmarm from the East tured a black-and-white of time-lapse photograph Duchamp descending or the hooker with the heart of gold. Given Taylor's picturesque love a staircase. Lebel, Marcel trans. Heard Hamilton Duchamp, George life, one would have to dismiss the former as a possibility. York: Books, 8, cover. The of Du (New Paragraphic 1959), image Although produced in the summer of 1963 as part of the series sent in motion had in champ already appeared Life magazine. Winthrop to the Ferus, the Silver Liz in the collection of the Andy Warhol Mu "Dada's 32 28, 1952): 100. Lawrence D. Sergeant, Daddy," Life (April seum (Fig. 20) may not have made the trip west. See Frei and Printz, Steefel Jr. noted Duchamp's "interest in the machine, in the erotic, in and 402. . . . Paintings Sculpture, motion. ," in "Review of Marcel Duchamp, The Bride Stripped Bare by 80. On love life, see "Poor, Dear Little ..," 52 Her Bachelors, Even," Art Journal 21, no. 1 (Fall 1961): 44. Taylor's Cleopatra.. Life 13, 1962): 32-41. She in every issue of in the As further evidence of Warhol's close reading of art criticism at the (April appeared Photoplay months before and Warhol the silk-screen time, as well as his thorough interest in Duchamp, I offer the following eighteen Malanga prepared for the Ferus exhibition. and shared the cover parallel: Warhol's famous statement that he wanted to be a machine, portraits Presley Taylor of the issue of Screen. I. G. recorded in an interview with Gene Swenson in the summer of 1963, May 30, 1960, Popular See, too, Edmonds, RIP. 111.: Books, 145-49. A followed Calas's consideration of machine aesthetics in Duchamp's Hollywood (Evanston, Regency 1963), copy of this book can be found in the Warhol Museum. work. Calas, 26, wondered, "If the product of a man's skill can be a Archives, Andy work of art should not a machine a work of art?" G. R. why produce 81. Edmonds, Hollywood R.I.P., 148. Warhol produced several paintings "What Is Art?" Artnews 62 26. Swenson, Pop pt. 1, (November 1963): with Taylor as their subject in 1962, including Daily News, Men inHer and Liz as Frei and Printz document the sources and 69. Helen Wurdemann, "In Pasadena?a Duchamp Retrospective," Art in Life, Cleopatra. America 51, no. 3 (1963): 140, 142. production of these paintings in Paintings and Sculpture, 175-77, 180, 268-75. See, too, P. Smith, Andy Warhol's Art and Films, 118-22. 70. Ibid., 142. 82. For a reproduction, see Frei and Printz, Paintings and Sculpture, 392. 71. Lebel, Marcel Duchamp, 11, 1. 83. in Harold C. "Creator of Nude 72. Ibid., 43-48. Duchamp, quoted Schonberg, Descending Reflects after Half a Century," New York Times, April 12, 1963, 25. 73. See Marcel Duchamp, The Bride Stripped Bare byHer Bachelors, Even, 84. Swenson, "What Is Pop Art?" 26, reprinted in Madoff, Pop Art, 103. trans. George Heard Hamilton (New York: George Wittenborn, 1960), n.p. In his brief review of the book, Jasper Johns drew attention to the 85. Warhol, quoted in Berg, "Nothing to Lose," 57.