I – Introduction

CEU eTD Collection THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE AND WARHOL OFANDY THE WORKS THROUGH In partial fulfillment forthe degree ofMaster of Arts in GenderStudies QUEERING PERFORMATIVITY: Department ofGender Studies Central European University Budapest, Hungary Claudia Martins Submitted to ART 2008 by CEU eTD Collection I neverfall apart, because Inever falltogether. The Philosophy of Andy Warhol: From A to B and again Back B Ato From Andy Warhol: of Philosophy The Andy Warhol CEU eTD Collection EEECS...... 76 REFERENCES CONCLUSION...... 74 CHAPTER 8 - Andy Warhol: Emboding Escape...... 43 CHAPTER 7 - Performance Art: When the Body talks louder...... 35 CHAPTER 6 - Performing gender...... 29 CHAPTER 5 - Sexually Deviant Bodies...... 24 CHAPTER 4 - Subculture: Resisting ...... 22 Ajustment CHAPTER 3 - XXI century: Era of (dis)embodiment...... 17 CHAPTER 2 - Bringing the body into focus...... 13 CHAPTER ...... 7 1 - Introduction ABSTRACT...... vi ACKNOWLEDGMENTS...... v ILLUSTRATIONS...... iv Difference Through ...... 69 Repetition Divine Icons...... 67 ...... 64 “Who Wants the Truth?” Feeling Pop, Seeing Pop...... 62 Dislocating Meanings...... 60 Collecting Signifiers...... 58 Silver, Mirror, Space, Stars, Amphetamine: Depth in Emptiness...... 53 ...... 51 On the Surface Conversions I, II and III - 1970 /1971 ...... 40 - Vito Acconci Action Pants: Genital Panic, 1969 –VALIE EXPORT...... 39 Rhythm 0 Imponderabilia, 1977- Marina Abramovi Embodiment Through Body Modification...... 19 Disembodiment ...... 18 inVirtual Spaces , 1974 -- Marina Abramovi CONTENTS iii ü ...... 38 ü adUa ...... 37 and Ulay CEU eTD Collection 24. Andy Warhol, 24. 23. Andy Warhol, 23. Andy Warhol 22. Andy Warhol, 21. 17. Andy Warhol, 17. Andy Warhol, 16. 20. Unknown author, 20. Andy Warhol, 19. 18. Andy Warhol 18. 15. Andy Warhol 15. Andy Warhol, 10. Andy Warhol, 9. 14. Andy Warhol, 14. Andy Warhol, 13. Andy Warhol, 12. Andy Warhol 11. Andy Warhol, 8. 7. Vito Acconci, 6.VALIE EXPORT, 5. Marina Abramovi Marina 5. Abramovi Marina 4. Andy Warhol 3. 2. Yves Klein, 1. Jackson Pollack, Jackson 1. Figure Anthropometries, , Banana silkscreen , Banana , Tunafish Disaster , Tunafish , Nancy , Kiss , Thirteen Most Wanted Men Wanted Most , Thirteen II Conversions Marlon Brando Marlon Double Elvis Marilyns Mao Campbell’s Soup Can Campbell’s Brillo Box Liz Thirteen Most Wanted Men Wanted Most Thirteen Kiss Sleep Sleep Electric Chair Electric ü ü Lavender Mist: Number 1 Mist: Lavender 94...... 69 , 1964 Action Pants: Genital Panic Genital Pants: Action Saint George Saint , andUlay, , ...... 58 1963 , ...... 58 1963 , 1973...... 69 Rhythm 0 , 1963...... 51 , 1963...... 51 , 1960...... 64 ic 94...... 72 , circa 1964 , 1964...... 62 93...... 46 , 1963 , 1970 / 1971...... 41 , 1963...... 71 , 1966...... 46 Imponderabilia , 1974...... 38 1960...... 15 , no date...... 69 , 1963...... 71 94...... 15 , 1964 92...... 62 , 1962 ILLUSTRATIONS , 1964...... 48 , 1964...... 48 , 1950...... 15 97...... 37 , 1977 99...... 39 , 1969 iv Page CEU eTD Collection and advice fordealing with pregnancy, motherhood and an academic life. mestudies, togender and finally aspecial thanks toAllaine Cerwonka forher books thoughts; to Allaine Cerwonka and David Weberman fortheinitial sparkthat leaded Báll andMónikaJones for their help;toAnna Loutfifor her accurate andincisive and sister back Brazilin fortheir enthusiastic support; to my colleaguesBernadett and goodcare ofmy sonduringthe intense program myof studies, tomy parents guidance through Foucaultand Butler; to Márton, ÉvaandPálSebes for their love Thanks are owed tomy supervisorEszter Tímár for her kind and patient ACKNOWLEDGMENTS v CEU eTD Collection body. and performance toopenuppotential routes of empowering the sexually deviant of Foucault's theories of power relations with Butler’s framework onperformativity deviant body - is located outside ofthe mainstream production ofart. Icombine one performance artists, in which thecorporealperformance oftheartist's body- the possible ways tosubvertnormativity, Iexplore two casestudies–Andy and Warhol Foucault, bothof whom have beeninfluential inqueer theory. Inorder toarguefor fixed, Irely onpost-structuralist theories,particular in Judith Butler andMichael Departing from queer conceptions that destabilize thecategory of the subject as corporealperformances andhow it ispossible tosubvert binary gendernorms. This thesis discussesThis thesis howgender is(des)constructedidentity through ABSTRACT vi CEU eTD Collection of the necessary process of transition in which the war is justified. war the which in oftransition process necessary ofthe causalities but such, as consider not are wars in terror deaths The sphere. body the from sphere human the –separates human 1 culture - as away of life orbody of ideas andknowledge, and culture asthe Morphy the process ofunderstanding, criticizing and representing social relations, s Howard norms. Thechoiceofinvestigating bodily performances Artplaysan important rolein of production - in order to explainhow these performances subvertsexualgender performances asthey are located on themargins - outside ofthe mainstream center to queerconceptions and practices ofarts. I look particularly atcorporeal meaning in contemporary art. longer beread asmerely an (unproblematic) platform or surfacefor conveying embodiment andsubjectivity over thepast fifty years.Consequently, thebody canno shifts coincide with post-structural,postmodern, andfeminist theoretical challenges to for instance, haveunderminedtraditional ideasaboutcorporeality. Thesepolitical given how technological disembodiment in cyberspace, militarization, and terrorism, medium and, to inscribe or renegotiate subjectivity. This isperhaps unsurprising has apparently lostits values; since 1990’s many artists have been using bodies asa disembodiment cyberspaces, in militarization andterrorist actions platform for conveying meaning incontemporary art, justly, inaneraof latent The disembodiment in military and terrorist actions is affected by the discourse of devaluation of the body as the carrier ofthe carrier the as body the of devaluation of discourse the by affected is actions terrorist and in military disembodiment The The aim thesisof this istoshow how performances ofthe bodyareconnected Departing from the attempt tocomprehend the reemergence ofthe body as a explains: “Art associatedis almost equallywiththetwo sensesof the world INTRODUCTION CHAPTER 1 7 1 -where thebody CEU eTD Collection idea idea of being outside of“normal”, inwhich queertheory is embedded, came from the sexuality that is perceived outside of“normal”, it is relevant tonote herethat the very a broadersense claimingthat the same-sex desire is oneofthe aspects concerning including race, class, location and age. Although Sullivan approaches queer theory in also assuming thatsexuality takes precedence overotheraspects ofidentity, that rebels against norms, deconstructing not sexualityonly asnatural andgiven, but of sexualpractices ofsame-sex couldrelation be understood through a queer project everyday life” (2003:vi). Sullivan’s refusal toaddress queer within anarrow definition ways inwhichnotions ofsexuality andgender impact –attimes implicitly –on provide an understanding ofthe use of “queer theory and the extensive range of madness, denoting andalso difference inapositive way defining queer, since has it been (ab)used –as apejorative term for homosexuality, analysis, presented inher book conceptions that are relevant for thisthesis. I rely mostly onNikkiSullivan’s and societal ideas about normativity. subjectivity asfundamentally unstableand how they question social /power relations examinethe way which in allthese of intellectual andcreative engagements address Warhol’s oeuvreare shaped bythe idea of bodily performance; specifically, I will institutions, during the 1960’s and1970’s. Queer theory,performance art,and and enacted at alternative venues, outside ofthe official museums andart Warhol’s artworks performances from various artists whose works were exhibited products ofsociety arejudged” (2006:1,2). metaphysical essenceof society, incorporating standards bywhich thefinest I willgive ashort exposition ofqueer theory in order tohighlight queer I supportmy argument bybringing twoin casestudies for analysis: Andy A Critical Introduction toQueerTheory 8 2 - Sullivan’s - intention isto . Rather than CEU eTD Collection 2 P.G. Wadehouse (1919), Robert Ownen (1928) and Brendan Behan (1958) – all quoted in Sullivan 2003: preface v, vi) v, preface 2003: Sullivan in quoted – all (1958) Behan Brendan and (1928) Ownen Robert (1919), Wadehouse 2 P.G. and unstable identity isshaped bytemporary performances andpower relations.In neither stable, nor itisthe onlycharacteristic that shapes our identity -infactour fluid presence of“queer” asan identity, rather than only a sexual identity.Sexuality is withoutan essence” (quotedSullivan, in 2003: Iwill43). argue foristhe What dominant. Thereisnoting inparticular towhich necessarily it refers, itisanidentity statement Halperin: by David “Whatever isatoddswiththe normal, thelegitimate, the community anditspolitics, Ihave chosen to leave thisdiscussion outof the study. Although, Iam aware of thedilemma producedbyqueer identity asaway tobuild a positionality formed andthrough in thepractice ofparticular action)” (ibid, 50). verb (asetof actions), rather thananoun (an identity, oreven anameable law, andtheoriginal. Moreover, JanetJ. Jakobsen suggests a“[re]think ofqueer asa shown thecase in studies – how is to useparody, totwist, to play with the norms, the heterosexualfemininity [norms]” (ibid: 49). account, [womenwho], whilst being heterosexual, donot fit theideal image of heterosexual women onwelfare, singlemothers and/or women ofcolourfrom their 2003: 43).For instance, Cathy Cohenchallenges queer theorists that outleave promise ofnewways ofthinking andacting politically” (Duggan, quoted Sullivan,in does notsimply develop new labels foroldboxes, butrathercarries with itthe homosexuality, which reinforces rather thancontests normativity, is left behind. “[It] unified, stable andfixed. Consequently, thedichotomy heterosexuality / homosexuals “compulsory andforbidden disclosure” (Kosofsky-Sedgwick, 1990:70). segregation ofhomosexuality. Ambiguously and simultaneously itimposes on The notion ofqueer for the sake of thestudy willbe based on the following “Thenew way and ofthinking acting” suggested byLisa Duggan– that will be Further, queer theory aligned withpost-structuralism, questions identity as 9 CEU eTD Collection the concept ofdeviants (chapter 5),we willsee how those “points of resistance” are of this thesis. defy the institutionalpower, which donot accept thenorm, form the theoretical focus located onwhatFoucaultcalls “points of resistance” (1990: 87, 95).Those points that perceived asan institutional source– “a monarchic power” –canbesubverted and levels. However, what is interesting for thecurrant study is how power, primarily not eliminate theother; indeed they co-habit a matrix of relationships on different but, rather that the economy ofpower created is within different positions: onedoes consequence ofchance, nor does meanit concept thathis of power haschanged, History ofSexuality not onlyamodelof asingle source ofrepression, asheexplains in hisbook 1990:422). Ontheother hand,he arguesthat power also asystem is of relations and and comparisons between practices and regimes” critics point ashis out(Phelan, there is“noground for resistance orsocialchange, [...]for makingany evaluations On theonehand heasserts that power isaresult of institutionalforces,which in provided poststructuralists andstructuralists with different understandings ofpower: constructing subjects, Iwill address Foucault(chapter 5).Although Foucault has has sketched up above. two queertheoristsfor - thepoliticaland philosophicalunderstanding of queer that it this thesiswill I mainly refer tothetheories of Michael Foucaultand Judith Butler – Followed byatheoretical approach onsubculture formation (chapter 4) and The ambiguity inFoucault’s theories ofpower isneither relations a 95-96). (1990: great Refusal of nosingle locus is Hence there network. power in everywhere arepresent These resistances in poweror handle relations. support, target, ofadversary, role the these play ofresistance: ofpoints onamultiplicity depends power] [of Theexistence . .]. to power[. in relation exteriority of position in never is resistance In order tocomprehend how power function relations thein process of Where there is power, there is resistance, and yet or rather consequently, this consequently, or rather and yet isresistance, power,there is there Where Vol. 1: 10 The CEU eTD Collection subject’s existence (chapter 6). Theperformative process isseen toform an Matter conception of the subject found herin books homogenic power itsrelations, and Iwill address Judith Butler’s theoretical aim ofsubverting institutional power. perceived asmodes ofresistance, questioning the“norm” andthey succeed theirin dealing with their subjectivity though their bodies, bothforms ofperformance are (chapterAlthough 3). andWarhol otherperformance have an oddapproach artists to practices tattooing andpiercing isas an attempt tobringagency through visibility through “leaving the meat behind”,asan attempt todematerialize thebody. The latter and bodymodification subculture - will bediscuss. The former claim its subjectivity understanding of embodiment /disembodiment, two subcultures – cyberpunk culture, Abramovi (dis)embodiment: Warhol’s intention toescape anddenyhis persona, and homophobicart world (chapter 8). desirehis “to beamachine” -canbringabout agency for ahomosexualartist ina oeuvre anddispersonification – The removalof his bodily identity from workhis and “I feltreally violated” (Daneri,2002:29). Theother casestudy explores Andy Warhol’s anaudiencewhile used her bodyas they wished. Later inaninterview shedeclared: body objectification tolight. Abramovi shows (chapter7).This performance couldbe claimed tobringissues ofwoman’s overexposing themselves, asMarina Abramovi artists usetheirbodies asa medium, the enduring limits ofthefleshandmind and embodiedthrough the two casesstudies presented: The ways inwhich performance (1993), inwhich sheclaims thatperformativity the pre-conditionis ofthe To conceptualize performance andtheperformativity ofthe bodyshaped by The two casestudies use different techniques theirin modes ofacting through ü ’s mental andphysical overexposure. Inorder to provide abetter ü her in work stayedpassively for sixhours, 11 Gender Trouble ü ’s performance (1990) Rhythm 0 ( and Bodies that 1974) CEU eTD Collection attitude andartwork isused asstrategy forescaping normativity. provoke, while during thesecond case study, wesee willhow Andy Warhol’s bodily concerns the useofthe body in performancean instrument artas toshockand normalcategories ofhuman natureinthetwo casestudies. The first casestudy performativity, Iwill analyze theways ofsubverting sex and gender assumptions as gender categories” (Sheie,1994:31). Taking Butler’s theory on performance and specifically calls intoquestion adramatic performance’s to capacity subvert fixed As Timothy Sheieobservers: “[For Butler] all gendered identity isperformance, and individual identityrather thanbeing theproduct ofindividualwill orchoice (1993: 24). 12 CEU eTD Collection emotiondisconnected from social (reality), ascan be observed by the aestheticstyle atthetime, which in meaning comes from the artist’s intense interior to thecurrent modernism embeddedthe Abstract in Expressionism – thedominant mentioned, their impetus fornew experiences commonin withothers, were opposite for women, gaysandother minorities). state (from the Vietnam tothesexualWar revolution, which requested more freedom struggle” against politicalconservatism and the military and sexual authority ofthe counterculture, in which theworkingclass was configured atthe heart of“popular countries. students’The political andrevolts interest contributed to therisingof a movements intheUSA, Germany, France,England, Brazil, Argentina and other and 1970’s, influenced bythe effervescent political moments, suchasthestudent politicalsphere, blurringthe boundaries between artand life. fact started adecade earlier. Itsmain concern was itsengagement the in social and art movements suchasBeat Art,Neo-dada, Happening, andperformance art,and in taking place”, aswesee willlater. The artof the 70’swas arangeof interdisciplinary legacy ofthe Seventies isevident thein many actionsand events that are currently articlehis "IndieArt and theSeventies” (2006). “Theintensity ofthe search for the the bodyinartthrough the recall ofwhat RubenFowkercalls the“artof 70’s” in Although performance artists andAndy differ theirWarhol in approach as The useofthe body in performance arthad itsgolden ageduring the1960’s A new trend among youngcontemporary artists has been the reemergence of BRINGING THEBODY INTO FOCUS CHAPTER 2 13 CEU eTD Collection critique ofthe artmilieu -focus on the geniality andmasculinity ofthe artist. others toproduce hiswork anddeclares this openly; this can be perceived as a a critiqueof objectification ofthefemalebody (Ferguson, 1984: 108); Warhol leaves produce anartifact created by aman andlatercommercialize which could beseen as work focusesonartandsocialcriticism thenakedwomen’s- conducting to bodies from within, presumingan interpretationof the uniqueness of theartist, andKlein’s paintings” (Goldsmith,2004: 119). Pollack’s While painting isalonelyact emerging And replied:Warhol “Well Gerald [Malanga – his assistant bythe time] doesallmy yourself toexpress yourindividuality morebecause youaresowell fullyor paid?” personality, helped to create the myth of the macho abstract expressionist artist (Naifeh and Smith, 1989, Warhol, 1980). Warhol, 1989, Smith, and (Naifeh artist expressionist abstract macho ofthe myth the create to helped ofhis personality, expression the was art his that idea the with aligned rudeness, and alcoholism temper, uncontrolled here Pollack’s noting that worth is It floor. on the canvas astretched around paint the dripping performance his showed photos his of series during an interview for performance himself,directed he his assistants todomost ofthework, ashestates produces his paintings througha silk-screen process, butinstead ofdoing the 2003: 188-225). alsostretchedWarhol hiscanvas onthefloor, from he 1963 on played for twenty minutes intercalated with twenty minutes ofsilence. (Dempsey, accompanied byKlein’s own music whichin their bodies functioned aspaint brushes. Theperformance was the walls and on thefloor andconducting an orchestra, aswell as3female models, Yves Klein reinterpreted Pollack’s Action Painting pictures byplacing his canvas on 3 body'shis movement. reinterpretations ofJackson Pollack’s Pollack became an icon of Abstract Expressionism after a profile published at published profile a after Expressionism of Abstract anicon became Pollack In March 9 th , 1960at the Bay Times Galerie International d'ArtContemporain . thereporterWhen asked: “Are you drawing for Monotony Symphony, Action Painting 14 3 Life Magazine Life allowing hisinstinctstodirect where only one note was on August 8 on August th , 1949, in which a inwhich , 1949, inParis, CEU eTD Collection Performance Festival Odense,Denmark Performance Art Festival in Toronto more through significantly alternative festivals, such asthefirst through sporadic andisolated performances ingalleries and culturalspaces, and Marina AbramoviMarina market tohavesomething tosell, because in performance, there was nothing”, as to produce things” atthe beginning of the1980’s. “There was ademand from the economic ones-many artists“went backtothe seclusionof their studios and started chapter 7. Howeverthe followingin decade -for many reasons,but mainly for used asamedium to dealwith identity, sexuality andsubjectivity, as wesee willin Namuth4 Hans Photographer: Lavender Mist: Number 1 Number Mist: Lavender 1. Jackson Pollack The reconsideration of thebody artin started timidly towards theendof1990’s During the 1960’s and 1970’s through Performance art,thebodywas largely ü statedduring the interview for , 1950 Photographer: unknown 5 unknown Photographer: 2. Yves Klein 2. Anthropometries, , Canada (1997) andthe first (1999). Alreadyinthe2000’s, essential 15 1960 Art Journal (Kaplan, 1999:8). Photographer: Bill Name6 Bill Photographer: Banana silkscreen Banana 3. Andy Warhol 3. Andy 7a*11d International International , 1964 CEU eTD Collection and terroristactions, wherethe bodyhasapparently lostitsvalue? contemporary art,returned to aneraof disembodiment invirtualspaces, militarization the reasonfor my interest into performance: has Why thebody, as a medium in samemodes ofperformance enactedduring the1960’s and 1970’s. This leads us to used stillto claim agency, provoking shock and bringingsubjectivity into light,on the technology, and/or themedia inwhich theperformancereproduced), is the body is solelyused for documentary purposes, it is the artist’s interaction with this innovations inthefield (forinstance photography andvideo, whichare nolonger to Performance art. Festival ofElectronic Artin SaoPaulo the 1960’s and 1970’s atthe Guggenheim Museum the and also of Performance Art in NewYork artist from the 1970’s and herstudents, followed byPERFORMA –thefirst last accessed: May 19th, 2008 19th, May accessed: last source:http://ovoworks.smugmug.com/gallery/664768_WhPjT/1/29266559_D6Lvz/Large Name Bill photographer: 1964, self-portrait, and banana silkscreening Warhol 6 Andy last accessed: May18th, http://www.eyewithwings.net/ 2008 source: unknown, photographer: Symphony,1960, Monotony 5 Klein 2008 18th, May accessed: last http://www.artnet.com source: Namuth, Hans photographer: 1950, Painting, Action Pollack 4 Jackson Performance Group body asamedium. InAmsterdam, thefoundation ofthe events have taken place around the world asindications ofthe reconsideration ofthe Although thereemergence ofbodythrough Performance arthasbrought in 2003 in started byAbramovi (2005); Abramovi in 2005, in which in 15 its 16 ü ü –oneof thepioneer performance reenactedsix seminalworks from IPG -Independent th edition was dedicated International Biennial CEU eTD Collection uniqueness and visibility, andalso asaway ofclaming agency. subculture of bodymodification over-valorizes the body as asitefor displaying dismissbody the orderin torecreate its own Secondly, self. wewillsee how disembodiment toclaim agency. Firstly we will seehow cyberpunk culture intends to how two different subcultures insert in postmoderndeals life withembodiment / and problematized acrossdifferent cultures. In thefollowing subchapters, we willsee my bodytellpeople aboutwho Iam? set This of questions seems tobeunanswered somethingthat itisnotalways one’sidentity. communicate one’sself, inwhichthe body, that hadnotbeen chosen, denunciates identity and the body, imageself– itspossibilities and and limitations –inorderto How do Iperceive myself and how do others perceive me? Howmuch does Roland Barthes’s reflection, quoted above illuminatesstruggle the between 10 -12) 1984: (Barthes, nothing! signifies abodywhich body, anatomic aneutral, give me could Photography Ifonly (…) dispersed. divided, light, which is and myself (…), stubborn motionless, isheavy, which theimage is it for image, my with coincides never be said: myself thatmust contrary the but itis self, (profound) with my coincide always should andage, with situation altering photographs, shifting thousand among buffeted image, (mobile) thatmy is short want, in I (…) What indefinable be I meanto smile which eyesa andin faint my my over lips drift to let I decide (…) “good sort”? or a from individual antipathetic an I bebornfrom will be generated: -will image an – image my filiation: an ofuncertain with an anguish it experience I one(…), imaginary an dependenceis But throughthis photographer. fromthe existence I derive my that caprice. toits according it, bodyormortifies my creates Photography that I one: feel anactive is Thistransformation animage. into advance in myself I transform myself, bodyfor another make I instantaneously posing, of process the Posing in front of the lens, I do not risk so much as that. No doubt it metaphorically is doubtit No asthat. risk so much I donot ofthe lens, front in Posing in myself constitute I changes: everything lenses, bythe observed I myself feel Once XXI CENTURY: ERA OF(DIS)EMBODIMENT CHAPTER 3 17 CEU eTD Collection individual’s actsandmorality codes, asNigel Clarkpoints out: idea ofan individualas an independent and autonomous selfcorresponds to an complete self creation that is found in the liberalhumanist discourse, which thein completeself recreation, orthe reshaping ofbodies, personalities and emotions. cyberspace users are inthehunt forways toliberate identity from throughreal Gibson’sWhile idea, akindof “utopia” cannot be derived directly from book, his transformingthe entity into data and consequently allowing ittobereconfigured. the consciousness aglobalinto processor andseparating itfrom - the body about the desire for disembodiment throughaprocesscalled “jack in”-downloading The infamous cyberpunk writer William Gibson wrote his1984 in novel the limitated aspects of RealLife, suchas class, raceand sexuality (Bell, 2000: 562). behind” was asolution tothe clash between image andidentity. The meat represents “dematerialization” and“reconfiguration” ofthebody. The proposal “leaving themeat of thepossible resurgence ofthe theme (Terranova: 2000:270-273). obsolete?” published on the process body in of self definition. As was shown theforum in entitled “Isthe body determinism, order in to seek for evolution of intelligence -questions the of rolethe that goes beyond the biological constraintof humans, combining technology and the lived body, offering up the opportunity for ‘identity play’, for reinventing the self – perhaps, self the reinventing play’, for ‘identity for uptheopportunity body, offering lived the The delusion ofvirtualcommunities asreality is basedon the assumption ofa Through this framework, cyberpunk subculture emerged centeredonthe Theuprise ofsubcultures cyberspacesin in a posthuman frame –away oflife [C]yberspace offers freedom from the physical, corporeal constraints and limitations of and limitations constraints corporeal physical, the from freedom offers [C]yberspace Whole Earth Review Disembodiment in Virtual Spaces 18 –1088/9 wasit oneofthefirst signals Neuromancer , CEU eTD Collection experienced aslostinthedisorienting whirlof postmodern life”(Pitts,Bell, quoted in and piercing have been “reclaiming andrecovering thebody,which otherwiseis expropriation of the western idea ofthe “primitive nonwestern culture”. there has been a growingpropagation of body-modification among theyoung - an technosocialsubject, lifeis lived through bodies” (ibid). spaces, asAllucquère Rosenne Stonepoints out: “Even in theageof masturbation. In saying that, there isno way toleavethe body out ofthe virtual sex,virtual couldinvolvethephysicalthrough bodyaswell thepractice of pale skin, soft muscles. Inadditional, thecase of cybersex – although described as amount oftime spentin front of acomputer, will affect thebody directly: necksore, from its wishestobeshaped by, the repetitive useofthe body, for instance the repression ofthe bodymateriality” (quoted in Bell, 2000:560). Thecyber body,apart that theattempt atdisembodiment high-tech in subculturesfact “requiresin a willful disembodiment, asmany criticshave pointed out, suchas Ana Balsamo. She your entity and play identity games,seems it tobeashared illusion for Contemporary subcultures ofbodymodification, such as practitioners of tattoo 556). 2000: swept taboo practices outof practices swept taboo has bodymodification do-it-yourself in of interest ..agroundswell slate body asablank Paradoxically, inanopposed directionof disembodiment virtual in spaces, Although itistemptingto imaginethe possibility ofcreating andrecreating 560). Bell,2000: quoted in 1995:124, body(Clark, ofthe from the self liberation representsthe this through modification, self postmodern the anchoring to asthe flipside then A burgeoning underground of urban aboriginals has revived the archaic notion of notion the the archaic has revived urban aboriginals of underground A burgeoning Embodiment ThroughBody Modification National Geographic National 19 and into youth culture (Dery, quoted inBell, quoted (Dery, culture youth into and claims CEU eTD Collection closeted, appearing tobe normal, hisdifference remains invisible. Theproject of marked. Thedeviant canbevisibly marked and bear the consequence orbe because he is thesubject; hehasthe privilege inrelation towhom the othersappear Although the “normal” body unmarked,is heisnot invisible /nonexistent, rather works bycreatingthe deviant bymarking those bodies thatare not “normal”. “normal” body alwaysis theonethat isunmarked, because stigmatization /difference appetite forpossession” (Phelan, 1993:6). surveillance andthe law; provokesvoyeurism it fetishism, thecolonialist/imperial consequences, asPeggyPhelan points out: “Visibility is atrap […], summonsit opposition tothe “normal”. And “normal”in Erving Goffman’s definition is: claiming agency, ontheother hand representsit “theother”, which constructedis in of representation. If on theonehand itdeclares ownership over one’sown body, you haveto noticeme. Theproblem of visibility isthat alwaysit operates thein level subject emerges throughvisibility, which leads toavisual statement: I’m here and permanentmarks, assymbols ofan identity. Inexhibiting thoseornaments, the quoted inBell, 2000:557). forsite communication thatprovokes, resists, identifies and excludes (MacKendrick, of thegaze”. Through the subculture of tattoo and piercing, the body becomes the 2000: 557).Body modification attempts tobring visibility, “the near-irresistibleobject Visibility poses a challenge tothe notion ofa non-fetishized body identity. The Claiming visibility toassure anidentity at odds with the“normal” brings :78). sports (1963 in record and adecent weight andheight, good complexion, of employed, fully education, Subjects thatclaim agency through tattoo and piercing use ornaments as Young, married, white, urban, northern, heterosexual, Protestant father ofcollege father Protestant heterosexual, northern, urban, white, married, Young, 20 CEU eTD Collection discussed here,and inthislight, they urge for a spacetonegotiate their identities. attributes, instead their identities areconcerned withother attributes already attempt toclaim ownership, andrebelagainst what represented is bythe“normal”. connectionin withone’s identity. Andmore importantly theyare intheir own way an not totallydiscordant; they discoursesare concerning thebodyand its representation exposes adecoratedbody seeking visibility. In fact,however, thosesubcultures are entity datain andbytes, ontheother handbody-modification subculture over cyberpunk subculture graves thedisembodiment througha transformationof the subcultures presented inthischapter areopposed toeachother -ontheonehand withthe bodyin theprocess of constructing their subjectivity. It seems thatthetwo invisibility, embodiment anddisembodiment? which thecasesstudy analysis canhelp: Isthere anyplacebetween visibility and exhaustionthrough their work. Inthissense, this remains aquestion to be answer, in his work,while performance artists push their bodies tothe edges ofpain and shown thecase in studies, whichin seemsWarhol his toleave bodypresence out of invisibility ofbodies isacomplex andunsolved problem concerning identity, aswill be study here to understandis thatthe disembodiment /embodiment, visibility/ interrogated in thequeer politics ofthecloset. Nevertheless, what isrelevant for our visibility consists of legitimizing visibility difference. The impasse of visibility is also Cyberculture and body modification subculture arenotshaped bynormativity inMy intention thischapter is to discusshow contemporary subcultures deal 21 CEU eTD Collection Douglas, 1967 - bothcited inHebdige, 1979: 121), thedeviants orthe stigmatized frustration seems as“unnatural(Levi-Strauss, 1969), or “contrary to holiness” (Mary frustration ofagroup ofpeoplethat cannot fit intothemainstream culture; a level. recourse to means andopportunities that are notavailable to everyone on thesame aspirations - thatdirect subjects toexperiment witha problem differentin ways, with system. to Goffman, leads to alternatives ways ofrestructuring or creating anew value society cannot fulfillthe characteristics all to be considered “normal”, which according emerged thewestern in world.Indeed isitnotsurprising thatmanyfringe onthe of previous chapter can be distinguished asacoherent historical value system that has American value system of “normal” pointed outbyGoffman anddescribed thein 1955:51). new subculture providing them with areplaced social value system (Cohen, hopelessness lead thesemembers collective action, into which materializes a into problems achievingthedominant norms. Dissatisfaction,frustration and argues that subcultures materialize inapopulation when acertain grouphas According tosocial theorists subculture emerges from dissatisfaction: The riseofsubcultures depends onseveralfactors, including individual Although anyvalue system can becreated within aspecific society, the In Albert Cohen’s article "A GeneralTheory of Subculture SUBCULTURE: RESISTING ADJUSTMENT RESISTING SUBCULTURE: CHAPTER 4 22 " from 1955, he CEU eTD Collection constructed; there isnothing towhich itrefers. “normal" andconceptualize itsterm. sense, Inthis theconcept of normalis socially claims thatthevery idea ofdeviant is necessary inothertocontrast withthe idea of light thehistory ofsexuality ofhow bodies becameas deviants. gendered Foucault perspective ofthe“normal”, butrather by questioning normalization andbringing to The History ofSexuality rather than questioning naturalization assumption ofnormalbehavior (157). concerned with investigating the process ofan individualbecoming adelinquent, and critic”, but since 1980, subculture and deviance theories havebeenmainly Trouble": “The delinquent changed from frustrated social climber tocultural innovator to resistance andsubversion, asStanley Cohen points out hisin article "Symbols of 1970: 121). transgressing the sartorial andbehavioralcodes, law breaking, etc. . “(Hebdige, conscious ofthe difference between class,sex and race–“inforbidden forms – self, asGoffman pointsout.(1963: 73).They usually “express forbidden contents” - Nevertheless, Foucaulthad adifferent view about deviants ashepresents in Deviant behavior theories haveshifted focus from the problem of adjustment Vol.1,hereallocates thestudy of deviants not from the 23 CEU eTD Collection we aresexed subjects andourpresumed identity canbeconnected toour sexuality, society. Further we cannotdiscuss subjectivity without taking into consideration that be closertopleasure andsubjectivity, rather thantoreproduction inthe Western alternative processes), butsurely not concerning sexuality.Indeed, sexuality could needed for reproductionpurposes. For reproduction maybe (taking inconsideration distinguished through thedifferences thein male andfemalebodies andtheyare gender from the start”(Butler, 1990:113). along conventional lines;gender isbuilt intosex, andsexprovestohave been a politicaland cultural interpretation ofthebody, thereisnosex/gender distinction and patterns are social constructions ofsex and gender,asButler points out: “Sex is biologicaldifference has nomeaning outside oflanguage. Those marks, conditions discourses of power thatreinforce those genderedmarks,which in what called is and itssignification. Being marked as amale or afemale body delimitedis by the sexedthe infant, bodyof but brings it into linguistic implicationsof the socialsphere confines of a sexually binarized society. behavior patterns thatmust befollowedto accepted as a social beingwithin the has body, to beeither it one orthe other, anditbringspre-conditions andestablished status ofthe infant“itto, heorshe”: It agirlis orboy.Inorder tobecome ahuman comes from the doctor’sclaim that moment.in Thisannouncement reallocates the Contrary to thisclaim, onecouldsaythatthe biologicalbody visiblyis Moreover, the doctor’s statement is not innocently announcinganatomical According toButler, ourbodies are gendered atbirth, and confirmationits SEXUALLY DEVIANT BODIES DEVIANT SEXUALLY CHAPTER 5 24 CEU eTD Collection marriage rules and family organization, butto the manner which in each individual fortune were tied not only tothenumber andtheuprightness of its citizens, to their over sex discourse – frommorality towards rationality. “[Society’s] future and its the useof power to talk aboutsex (ibid, 18). an ‘exercise of power.’ Thespeaker issupposedly an agentof authority that makes prohibition - instigates theproliferation andamplificationof the discourses on sexas transformed discourse, into especially one’s desires. (ibid, 21) memory, andevery will statementmade, this senseeverything in concerning sex was requested notonly examination an ofacts against the law, butalsothoughts, soul, new one, butthrough a process that regulates everyone. Themandatory confession imperative confessionary, the seventeenth century starts an era ofrepression, nota of asecret andsex itself, ataboo, as Foucault pointsout: and ruleoutsex for reproduction, discourses on sex become relegatedtothestatus which discourse conjuressex up as wasif it pre-discursive. Intending tosuppress culture, there isnopre-cultural“I”. poststructuralist sense –being female ormale completely is assembled through especially argue that the meaningis ofthose bodies a socialconstructionis the in although this identity is not always coherent. But what queertheorists andButler In Foucault’s account, theeighteenth century saw new techniques of power However, Foucaultclaims thatthemain effect of suchrepression -the With therise ofbourgeois societies with thegreat helpof Christianity’s 1990:20). (Foucault, no respite noobscurity, to it allow aimed by adiscoursethat were, it down tracked as was of, sexnamed, takencharge directly longer was sothatit no expurgated had beencarefully of that a authority language Under the flesh. ofthe nervure unbroken bare the would lay sins, it ofthe surface the beneath meanderings: its In History ofSexuality Discourse, therefore, had to trace the meeting line of the body and soul, following all following and soul, ofthebody line themeeting trace to had therefore, Discourse, – Volume 1 , Foucault scrutinizes the process through 25 CEU eTD Collection rather in every relation from one point to another” (ibid, 93). unity, butbecause it isproduced from momentone tothenext,ateverypoint, or power:because not ithas theprivilege ofconsolidating everything under its invincible within the limits oftime andspace,as Foucault points out:”The omnipresence of directions. In factpower not is anorganization, butmoments ofstatethatoperate from adynamicinside system of relations, a net, which comes from different or alocusofresistance. Instead powerresistance and operatesfrom diverse points simultaneously. Justasthere isnofixed location ofpower, there nois “great refusal” theory, power andresistance are interconnected inthesame system,working better understanding of how deviant bodies resist andsubvert power. InFoucault’s into victims ofthesystem, without manner toescape.This must beleft asidefor a source and hasthe authority to rule, impose and punish all, transforming the others system basedona is through oneof Foucault’s conceptions of power relations. studies – and performanceWarhol artists, couldsucceed insubverting normativity cyberculture orbodymodification and - aswesee during will the analysis ofthecase resist andsubvert normativity? members ofsubcultures, which resist normativity. How couldsexually deviant bodies oppositions toGoffman’s definition of “normal”. also canrelateWe those deviants as and homosexuals (ibid,103-5). Those sexually deviant bodies were thefoundation of masturbating children, couples engaged in non-reproductive sex,multiple partners “knowledge and power centering on sex”, naming sexualdeviants bodies –women, framework ofReason. made useofsex” 25).So,sex (ibid, becamepolitical andeconomical a issue inthe The conventional top-downmodel ofpower whichcame from the monarchical The sexually deviant bodieswhich belong toasubculture, suchas negative ofidea power –anenergy that comes from one This new perspective brought onastrategy to redirect 26 CEU eTD Collection Words 7 MacKinnon (ibid, 17). Theprocess ofdeconstructing gender identities iscentral tounderstand the practices, inorder tomaintained “cultural intelligibility bywhich personsare defined” thein name of supposedly selfhood consistency, afixed conception ofsexual the gayand community,lesbian sadomasochists andso on. Indeed, identity assures, concerning female identitythat canalsobe applied todifferent minorities, including collective identity, particularand in genderidentityemploysof critical aset methods elucidates: contemporary feminists believe the ofwoman’sidea hasfailed, identity asButler the falseassumption that there is a consistency between sex, genderanddesire that presupposes an internal coherence between sex, genderanddesire. It is becauseof construction that follows a“heterosexualmatrix”. system Inthis sex,of binary it instead ofoffering adifferent set ofterms” (1990:13). form areverse-discourseis thatuncritically mimics thestrategyofoppressor that oppressed them, asButlerargues: “Theeffort toidentify theenemy assingular in process is founded. And more importantly, how they canpossibly subvertthis relation inequalities, which comes directfrom patriarchal, rather than investigatinghow this For more about their work see Dworkin, A. (1987) A. Dworkin, see work their about more For Cambridge, MA: Harvard University Press University Harvard MA: Cambridge, Butler, among has others, criticized radicalfeminists suchasDworkin and For theFor purposeof thisstudy, theimportance ofthedeconstruction of a 3). (ibid, maintained” producedand which itisinvariably in intersections cultural and political the from “gender” out separate to impossible becomes it As aresult, identities. constituted ofdiscursively modalities andregional sexual, class, ethnic, racial, with genderintersects andbecause contexts, Those feminists tendtounderstand that sex is givenand gender isasocial 7 . Those radical feminists have enumerated power oppressionof gender [G]ender is not always constituted coherently or consistently in different historical different in orconsistently coherently always isnot constituted [G]ender Intercourse, 27 London: Arrow Books and MacKinnon, Catharine (1993) Catharine MacKinnon, and Books Arrow London: Only CEU eTD Collection Warhol’s andperformance artists’ work andlife,aswillmade be later. evident queer theory project ofrejecting the“normal”, just isanimportant asit issuefor 28 CEU eTD Collection performance can beitselfperformativity. Given this, isthereanyspace tosubvert the binary gender system, andperformance isan exaggerationof those codes, then a If genderperformativity isconstructed through a setofcorporealrepetitions ofa thought is atheatrical act;exaggerated mimicries from existent social gender codes. self” (ibid, 140). Apparentlyopposed toperformativity, gender performance Butler’s in movements, andstyles ofvarious kinds constitute the illusion ofan abiding gendered producedis throughthe stylization ofthe body […] inwhich bodily gestures, reinforce the gender binary anditscompulsory heterosexuality. “The effect of gender experienced througha pregiven meaning which aims tolegitimizeone’s identity, and Those acts of performance thatshe calls performativity are repeated and ritualistic acts:a product ofgender normalization rather than an outcome ofagency. aspects ofa society, asButler claims: are notindividual choices offreewill, butconstraints setby the culturaland historical Foucault (see previous chapter). Inother words, desires,tastes, and bodily’ attitudes negotiations within thecultural /social system of power /knowledge, elaborated by and transformations, rather than aninneroutcome.the effect of is Identity contends that theprocess of identity formation isconstituted bypossible negotiations Butler’s conception of“gender identity formation” constitutedis by a setof 127). (ibid, relations cultural of dynamic offield context the within only and recirculated disintegrated, constructed, is where identity indeed, ever-shifting, the is itself which identity in bodies among exchanges cultural complex the andthrough in Although the popular notionof identity isconnectedtoautonomy, Butler [T]he source of personal and political agency comes not from within the individual, but the individual, within not from comes agency and political personal sourceof [T]he PERFORMING GENDER CHAPTER 6 29 CEU eTD Collection foreclosed in act-likeits status” (Butler, 1993: 244, note#7). Inthissense, gender itself arepetition, sedimentation, and congealment ofthepastwhich is precisely exactly thesame acts, operating like acopy.Instead, gender is an “act[which] is which in it differentiates from performance, norit a process is that simply reproduces autonomous operation, in deliberated from a freeinnerwill oranoutcome ofagency, through repetition of thecorporealstyles and movements. neither Itis completely reinforce normativity. EXPORT’s exposuregenitals ofher tothepublic, simultaneously question and canceled. Although hadit beenwidelytalked wasabout, it notwithout controversy. performances were tobeexpected,most ofthe audience left and thesession was performed during the 1960’s an Arts Cinemain inMunich, where unpredictable objectification ofthefemale asfetish in the cinematicindustry. Although itwas theatre before themoviestarted, wearing crotchless pants, embodyingthe within details inchapter 7) VALIE EXPORT through walked theaisle ofthemovie binary gender “norms”. Inherperformance titled other words, aperformance subvertsnormativity when itsoutcome deconstructsthe “the kindofeffect thatresists calculation” (Butler quoted inSullivan, 2003:91). In potentially subversive. Butler claims thatwhatmakes aperformance subversive is outcome oftheperformance bringdifferent meanings to different peopleand this is “norm”, is realized it just afterit hasbeen enacted. Theunknown effects of the “there isnodoer behind the deed”.It also means, a performanceif subverts the performanceperformativity and can reinforce normativity orsubvert it. binary gendersystem through performance orperformativity? In fact, both Butler asserts that “performativitya precondition is ofthesubject existence”, According toButler, performance canbesubversive through the idea that 30 Action Pants:Genital Panic (dealt CEU eTD Collection heterosexualrelationship, for theexclusive purpose ofreproduction. Inthis sense, only befully implemented bythosewho arebetrothed toalifelong monogamous and norm of gender,asButler states: as asocial being and,contrary tothe idea ofbeinganagent, it reinforces abinary camouflages thehidden aim of agender performance: intelligibility and acceptance formation.The selfsupposedly operates asan agentofthe acts andconsequently it surface ofthebody; givesit adeceptivenotion ofaninnerpower foridentity the body[…] which bodilyin gestures,movements, andstyles” take place on the paradigm the in moment thatitwas reenacted. happened orhasbeen saidto have happenedthe in past and reappropriated as a citation rather thanamimesis. Citation is theactofmentioning something thathas violence. ..”(Butler quoted inMcKenzie, 1998:222). Those repetitions function like a same transvestiteontheseat next tous on the buscancompelfear, rage, even “[A] transvestite onstage can compelpleasure andapplause while thesight of the alwayswill berepeated inanother context andtime. Forinstance Butler suggests: time constructed is within ownits limits.cannot It becompletely replicated because it gender tobecome real,ratherthenjust animitation. performativity through theprocess of repetition, creates a matrix that allows sex and The identity ofsexualnormativity canbe interpreted assomething thatcan added). 136 emphasis 1990: (Butler, identity andstable primary a of of discourse effects producedasthetruth are only but truenorfalse, can beneither Gender [….] heterosexuality. ofreproductive frame obligatory the within sexuality of regulation the of purposes the for maintained discursively anillusion core, gender organizing and an ofinterior illusion Moreover, because those acts, as Butler suggests “through the stylization of In genderperformativity, there-articulation ofthose ofacts of performance in Acts, gestures, articulated and enacted desires [of being an intelligible] create an create being [of anintelligible] desires andenacted gestures, articulated Acts, 31 CEU eTD Collection also deconstructs the ideathatsex, desire and genderare linked, anddestabilizes is neitheran originalnor acopy, but already a reworked representation. stereotype canbe asymbol, which may betrueorfalse, and in thecase ofawoman, believe represent a particular typeof person or thing”(1999:1078). Insaying that, stereotypefixed “isa general imageset of characteristics or thata ofpeoplelot can further comprehend what Butler means. According to the Cobuild Dictionary, humiliate woman. (ibid:137). Ifwe turn tothe meaning oftheword stereotype, we queen performance isperceived asa stereotype ofafemale, which proposes to stereotyping from thewithin practiceof heterosexuality [which] is copied”. A drag parodies either as adegradationof women uncritical or“an appropriation ofsex-roles fashions anitself is imitation withoutorigin” (ibid, 138). factin there isnooriginal, asButlerstates: “The original identity afterwhich gender as we haveseen,islikecitations –areappropriation ofacts other timein /contexts; a gender imitation isalready acopyof non existentoriginal. Gender performativity, Through performance, parodies ofgender inversion expose themechanism whichin and cross-dressing have a latent potentialfor subverting anddisplacing thenorm. gays, lesbians, bisexuals and gender inversion parodies, suchas drag, butch/femme constant letdowns to lead its own destabilization, asButler contends: sexualnormativity aregulationis that can seldom exercised.be entirely Moreover, Despite thecritics thatclaim that thedragqueen exaggerates female style, it According toButler feminist theory have been understood sexual inversion withinIndeed itis thoseterms, other”, that“the sexual the deviantbodies: 122). (ibid, itself of parody aconstant [….] comedy, as aninevitable but law, a only compulsory not itself heterosexuality revels positions these with incoherence without and fully identify to failure persistent Heterosexuality offer positions that are intrinsically impossible to embody, and the embody, to impossible are intrinsically that positions offer Heterosexuality 32 CEU eTD Collection create force, is realized bynegating andimposing restrictions. AsFoucault claims: sexuality. Compulsory heterosexuality, aspowerprohibits that and limits, not does the performance ofheterosexuality to create new perspectives onthe field of comes source from a single –male domination. Queer theory extends thefailure of theories of radical feminism, but ratheran energyor state that comes fromdifferent directions, it iscontraryto the (Foucault, 1990:103). Further, Foucault’s conception that power is not an institution, normativity, in which “mechanism of knowledge andpower [is] center[ed] onsex” poweroperating relations is response in to thecreation ofthecompulsory whether ornotaparodic performance, isthe very momentwhen Foucault’ssystem of challenges female andmale roles.The fixed andnotion stable ofsexual identity, destabilizes thenotion ofsex and gender, as Butler states: but ratheracopy without anorigin. Further, inthecaseof a dragperformance which be subversive, exposing themechanisms inwhich they mimic, notanoriginalgender, that fact is in a fabricatedmodel, without origin. Inthissense, gender parodies can stereotype,which thein stereotype is already a representation ofagender identity emphasis added).Inother words, gender parodyis supposedly acopyof failed one, an ideathatno onecanembody, […]laughter emerges” (ibid:139, original isrevealed to beacopy[of a fabricated gender model], and aninevitable compulsory heterosexuality. And yet,Butler suggests: “[W]hen the normal, the the notion thatfeminine and masculine roles arenatural,necessary and tied to When When a deviant bodysucceeds in destabilizing heterosexualnormativity, it 137). (ibid, performed gender sexand sex, anatomical corporeality: significant dimensions of contingent three of inthepresence But we areactually beingperformed. that is andthegender performer The performance of drag plays upon the distinction between the anatomy ofthe anatomy between the uponthedistinction ofdrag plays performance The which believethat women arevictims ofpower that 33 CEU eTD Collection identity. normativity and its inflexible andimperativemodes tounderstand sexuality and studies is toprovide an account ofthe different ways thattousebody toquestion the beginning ofthe 1960’s and 1970’s. The reason for comparing the two case and simultaneously apopular figure thein underground Art sceneNew in York on becamewell-known a artistwithin the high Art circuit -critics, collectors and artists - study how is Andy thoughWarhol, his performance ofapparent dispersonification bodies toendure thelimits offlesh and mind, provoking shock. Thesecond case case study howis performance artists during 1960’s and 1970’s have used their normativity can besubverted throughout performance andperformativity. The first following two casestudies as an instrumental materialto beanalyzed onhow for challenging imperative norms. Itisunderthis framework thatIam presenting the identify. This twist signification of exactlyis what queertheorists support asaground shown us,into a setof meanings that allow scholars to explore other ways toliveand pejorative meaning oftheeighteenth andnineteenth centuries, as Foucaulthas into the normativity. Theterm “deviant bodies” has been transformed from the notion of identity asfixed, stable andconnected tosexuality. significant tothe development ofqueertheory, brings the possibility of reframing the 1990:85-86). After all, through the lenses of Foucault and Butler, which were itssuccess proportional itsitself; is tohideown to ability mechanism”its (Foucault, not exist. “Power istolerableonly on condition that masksit asubstantial partof made byresource visible, I mean, theorigin ofthecopythat Butler hasproved does basically anti-energy” anditstriumphachieved canbe resourcesif its havenotbeen “[I]t is incapable todoanything, except for what thispower allows todo.[.. it .]Itis Queer can beseen asan embodiment ofdeviance–whose bodies can not fit 34 CEU eTD Collection the conventional spacetoperform alternativein venues,such ascabarets, cafes, Futurism questions themuseums artsystem,consequently their members have left 1910 (Goldberg, 2001:13). Dadaism – thesubsequent movement inherited from Austrian colonialism performed thefirstFuturist evening in Trieste onJanuary 12 Academy’s painting values of andliterature andmotivated bypolitical issuesagainst be saidto stem from the Futuristmovement. Italianartists dissatisfied with spheres. It is difficultto saywhen performance started, however Performance artcan speak outagainst the established conventions thearts,in politics in or inothersocial difference” (2001:9). Artists havebeen performing different in art movements to Futurism tothe Present, matter ofrepresentation ofthe flesh, but asacentralvehicle to movementPerformance called artthatartists haveused the bodynot onlyas a constantlybeen inthearts,was it in the20 only reflex a fragment ofthereal world”(Gombrich, 1999:248). Although the body has that artcouldbe used not only totell the sacred history in atouching way, butalsoto popular ways ofportraying people. “Painters and patronswere delighted withthe idea body became freetoberepresented invisual arts;painting andsculptures were From Art Rupestre,passing through Greek theater, tothe 15 address sexuality identity and issues. artists which arerepresentative oftheprocess of usingthe body as amedium to As RoseLeeGoldberg states herhistoricalin book The human bodyhasbeen presentthe arts in throughout the course ofhistory. In thefollowing subchapters, I will presentfour performances from different PERFORMANCE ART: WHEN THE BODY TALKS LOUDER TALKS BODY THE WHEN ART: PERFORMANCE Performance seen is “as achosen medium for articulating CHAPTER 7 35 th century and specially centuryand ina Performance Art:from th century-when the address subjectivity. th , CEU eTD Collection drive, itisnotpreviouslyarticulated. can thereforeWe understand performance asan may needsome props.Although in Butler’s theory ofperformativity there is also a conscious drive –the artist hasto set up atime andday,arrange a location, he/she a fragileis linethatdivides both: inperformance thereisan stronginitial and performance is the same astheperformativity of thebodysuggested by Butler. There be constituted.will However it nottheis sametosaythat theenactment ofa an artistperformswithout rehearsal, during the veryact of doing it, the performance between performativity and performance conceptualized inchapterButler. 6by When characteristics todifferentiate performance artfrom theater andtoblur the division compared toButler’stheory ofperformativity. audience are unknown beforeit is enacted. In this sense performance canbe performances are repetitions ofthe binary gender system, which theeffects on the concerns the enactment ofthesame performance many times,in atheater. like Her 2007:15). Itisrelevant to mention herethat what Abramovic means byrepetition no repetition and nopredicted end” (Lauband Abramovi illustrated thisin study,like the work ofAbramovi reflection and toresistplay / withhegemonic power relations. The performances movements andsoon. The aim of usingthe body bythat timewas donetoprovoke moments, suchasthefeminist movement, postmodernist theory,countercultural 70’s hasalso been influenced bymany artmovementswell aspoliticaland as social performance toprotestand bringtransformation, Performance artduring the 60’s and century. In thesameway thatartmovements andschools have employed trademarks ofPerformance artthathas emerged inthesecond halfof the 20 Indeed, alternative venues andtherelationbetween artist andaudience are galleries and alsoonthestreet, closer toreal lifeand interaction with thepublic. “No rehearsal, norepetition andnopredicted end” arefundamental 36 ü , follow themantra: “Norehearsal, ü , 2005and Abramovi th ü , CEU eTD Collection %EB%B0%94%EB%94%94-%EC%95%84%ED%8A%B8 – Last viewed: May 20 May viewed: – Last %EB%B0%94%EB%94%94-%EC%95%84%ED%8A%B8 http://kalos0.cafe24.com/tt/entry/%EA%B0%9C%EB%85%90-%EC%97%86%EB%8A%94-%EB%AF%B8%EC%88%A0-3- 8 forced to transgress the boundary between public andprivate. hesitating todoso. The passage was theperformance, which the in spectator was observed by other visitors, who hadeither already crossed the door orwere still touch thenaked bodies ofeither oneofthe performers. Inpassing they were and leaving anarrow space forpublic entrance.spectators The were obligedto both Abramovi their audience. power anddependency within the triangular relationship between eachother and performingand traveling extensively. Theirperformances explored the parameters of articulated desire ofperformativity. enactment, apractice ofexposing themechanism of performativity, and an Imponderabilia, 1977, Reproduction: unknown. Soruce: Digital Esthetics Digital Soruce: unknown. Reproduction: 1977, Imponderabilia, In Abramovi Imponderabilia, Reproduction: unknown Reproduction: 4. ü andUlay stood naked facing each other frontin oftheGallery door, ü andUlay lived andcollaborated together foralmost two decades, Imponderabilia, 1977-Marina Abramovi Imponderabilia presentedat , 1977 8 Galleria Comunaled’Arte Moderna 37 th , 2008. ü andUlay inBologna, CEU eTD Collection Last viewed on: June 14 June on: viewed Last 10 20 9 femininewithout - another alternative. one must choosebetween twomodels ofsexual identification –masculine or Imponderabilia began toactquite aggressively. AsAbramovi but astime passed(andtheartist remained inactive and impassive) several people single bullet. Initially, members oftheaudience reacted withcaution andmodesty, objects, which included“scissors, aknife, awhip, and, most notoriously, agun and a instructions to theaudience to dowhatever theywanted toherusing anyofthose Abramovi Rhythm 0 Performance description extracted from: Wikipedia – Wikipedia from: extracted description Performance th , 2008. public. Everyone ran away, escaping an actual confrontation (Daneri, 2002:29). (Daneri, confrontation anactual away,escaping Everyone ran public. toward the walking I stood upandstarted as 6hours, planned, exactly After atmosphere. anaggressive created It tookit away.and another head, gun atmy the person aimed killed.” [...] I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one , 1974 - Reproduction: Unknown – Source: http://jejinternet.blogspot.com/2007/03/body-art.html – Last viewed: May viewed: Last – http://jejinternet.blogspot.com/2007/03/body-art.html – Source: Unknown - Reproduction: 1974 ü positednaked next toatablewith 72objects andasign which gave The experience I learned was that [...] if you leave decision to the public, you canbe public, the decision to you leave if [...] was that Ilearned experience The could be seen could asametaphor for therepressive normativity, in which Reproduction: Unknown Reproduction: 5. Rhythm 0 Rhythm 0 , 1974 -- Marina Abramovi , 1974 38 ü described it later” 9 ü 10 th , 2008. CEU eTD Collection http://editions.patrickpainter.com/artists/Export_Valie/work-01.html – Last Viewed: May 20 May –Last Viewed: http://editions.patrickpainter.com/artists/Export_Valie/work-01.html 11 that shedecided to gainher agency and move away. also seenis asacritic of woman’s victimatization–shewas abuseduntil the moment critique of patriarchalnormativity, whichthein woman’s bodyisusedandabused, it and immediately her detractors move away. one Ifin sense this performance is a dominatedby other. shestandsWhen upand leaves the room, gives heragency it aim aim was toconfront thepornographic reduction ofwomen tostatic representations, of thepeoplesilently gotup and leftthe theater. In the screenandeverybody seesyouwatching this now” (Abramovi pants withthe crotch cut out andsaying “What you seenow is reality and it’s noton Munich.in Before the session started she walked slowly asidethe aisle wearing Action Pants: Genital Panic, 1968 - Reproduction unknown – Source: – unknown -Reproduction 1968 Panic, Genital Pants: Action In this performance Abramovi VALIE EXPORT was topresent invited afilm with otherartists in an artcinema Action Pants:Genital Panic, 1969–VALIE EXPORT Reproduction unknown Reproduction 6. Action Pants: Genital Panic, 1969 ü pointsout the female’s bodythatserves and is 39 11 Action Pants: Genital Panic th , 2008. ü , 2007:118). Most her CEU eTD Collection http://www.guggenheimcollection.org/site/artist_work_md_1B_2.html – last Viewed: May 26, 2008. 26, May Viewed: –last http://www.guggenheimcollection.org/site/artist_work_md_1B_2.html 12 over herbody. holding agun EXPORT overrepresented her intentionto bring back woman’s power of herperformance notthe real is action, but arepresentation of it. Further, by oppositionin tothe reductionist form woman’s representation,of which thein publicity however, the cinema in duringheraction. Inthis light, EXPORT performed anaction photo, EXPORT issetholding agun;there isnoevidence that she usedtherevolver, a staged one; it probably was doneafter herperformance hadbeen enacted. In the An interesting point isthat thephoto that worksreference asa ofthisperformance is same gesture timethis isarepresentationof the woman’s bodyfetish inthecinema. her crotchless pants, generating anon passive reaction from the audience, but at the action” (Stiles: 2000:47). She produces agesture when shewalks thein cinema with action, EXPORT realized thecapacity ofagesture “both to produce and torepresent context ofsafeboundaries ofart into an actualencounter withthe public. Inthis body asfetish. She made anaesthetic gesture thatwent beyond the representational thereby posing adirect, politicalchallenge tothe abstractobjectification ofthefemale Conversions II: Insistence, Adaptation, Groundwork, And Display And Groundwork, Adaptation, Insistence, II: Conversions Conversions I,IIand III-1970 / 1971-Vito Acconci 7. Reproduction: unknown Reproduction: Conversion II Conversion –1971 12 40 , 1971 – reproduction unknown – source: unknown – reproduction 1971 , CEU eTD Collection which heteronormativity constructed,is Acconciexposes thefalse assumption that its ability tohide its ownmechanism” (1990: 86).In revealing themechanisms in constructed,masculinity is Foucaultclaims: [ofpower] the“success isproportional to destabilizes theprivilege of masculinity, exposing themechanisms which ofpower in manipulation ofhis own bodyin an attempt toproduce asexualtransformation Foucault’s framework previously already discussed inchapter 6.Acconci’s transform them afemaleinto breast. to make disappear it andfinally, inthe one,last hepulled his breasts trying to like jumpingand running,while tryingto hidehispenisbetween his legs, an effort in masculine symbol Conversion I, the codesofnormativity, “the myth ofthemacho abstract expressionist artist”. In being male, white andaproducer ofart– immortalized byPollack’s representation of question the power ofmasculinity, attempting tofeminize his unquestionable body as are symbols based on normativity interpretations of masculine and feminine. masculine of interpretations normativity on based are symbols opposite. the claimed never had anyone or he also 14 and Dillon Kathy artist the - partner female his with worked 13 white,man andprobably heterosexual the oppressedpoint ofview – lesbians, gays, women whileAcconci, andblacks, as a assumption ofthemale’s solitude, asAmelia Jones claims: Woman does not have a hairy chest. This and other appearance and physical differences between male and female bodies female and male between differences physical and appearance other and This chest. ahairy have not does Woman and lived he - relationship heterosexual a stable years many for had he fact in the implicit was It was. image Acconci At least These performances canbeaddressed in connection withButler and Conversions 145). (1998: inmodernity body-with-penis tothe genius accrues artistic of privilege the which way the in plenitude, of staging failed) always already (and byitscontinual legitimated During the 1960’s and 1970’s performance artists questioned normativity from Acconci’s Acconciburned the hairofhischest witha candle, asitis a clear 14 is atrilogy is of performances Acconci’sintention which isto . Inthefollowing performance he made aseriesofmovements, Conversions explore the way in which the male body legitimates but also also is but bodylegitimates the male which wayin the explore 13 , questioned normativity destabilizingthe 41 CEU eTD Collection willsee how his corporeal performance andperformativity constructed his identity. overexposure. Through Warhol’s style,choice ofsubjects andobject ofdesires, we embodiment anddisembodiment –simultaneously heattempts dispersonification and presented Andy oeuvreWarhol andmanner he which is locatedbetween visibility, exemplified byperformance artists. In this light,onthenext chapter will be virtualspaces in anattemptdisembodiment for (seechapter 3) andthetrap of problematic aspectstosustain their claims: fail the of”leavingthe meat in behind” identity. Although bothmodes ofperformance claim agency, theyalso haveshown through corporealperformances playsafundamentaltherole in formation ofgender subcultures (see chapter 3),itispossible tounderstand thatthe (dis)embodiment overexposed andendure their bodies, tothe effort of disembodiment virtual in sense performance performativity. is on theotherhand, the will tomake aperformance comes beforethe“I,so in this performativity. If on the onehand,there is an “I”before theperformance thatplace, system. performances Their the blur conceptions ofperformance andthe endurance and exposition oftheir bodies that they question the binary gender normativity that incise oursociety. Inother words, itwas throughthevisibility ofthe the title ofthis chapter, in order toprovokeshock andbring visibility totheeffects of performance artistsused their bodiestospeak out,orspeak louder asIsuggest in represent ageneration ofartists, rather thanan exception fortheperiod. These during the1960’s and1970’s and theirperformances discussed briefly this chapterin withoutorigin, andcannot be fully embodied (1990:138). suggests, the binary gender identity built intothe framework ofnormativity a copyis masculinity isanatural rather thanaculturalconstruction. Furthermore, asButler Comparing these performances presented incurrant chapter which Abramovic, Ulay,EXPORT andAcconci were performance active artists 42 CEU eTD Collection significant account of twenty-century queer history” (2003: 7). Moreover, this account gives ustheclues ofthis evidence: “[Warhol’s] play[s]amajorjust in role about any has lately foundevidence of another dimension ofhis work”(2001: 54), Siegel also article among texts, andbooks. exhibitions movementvery -a important sideof oeuvreandWarhol’s hispersona hasemerged historical OldMasters and setting him apart from Pop artandthe countercultural 2003: 8). and Angels. Onthe textexhibition’s ofthe catalogue Sebastian regards Warhol’s and then move to Warhol: Retrospective as Goya,Matisse andRaphael, byHeiner Bastian forexample -thecurator of Dyer: 2004: 34). Andyethis paintings have been compared tomodern masters, such bringingto theart scene previously perceived mundane subjects (Vowel: 1993:26, is oftencelebrated as breaking thebarrier between highartand popular culture, of thesecond half of XX century” (Crimp 1999,quoted in Dyer2004: 33). His oeuvre publisher, music producercelebrity and - recognizedis “as oneofthe greatest artists Death and Disaster Dickand theCase Tracy of Warhol’s Closet Infact, hasinfluencedWarhol morethe artfield,as than Collins statesin his Apart from the misinterpretation of oeuvreWarhol’s –associating him with Warholpainter, - illustrator, entrepreneur, avant-garde filmmaker, collector, Tate Modern ANDY WARHOL: EMBODYING ESCAPE EMBODYING ANDY WARHOL: , which was firstly exhibited at paintings as “Goyaesque” (Bastian, 2001, quotedSiegel, in in Londonand CHAPTER 8 43 Museum of Contemporary Art : “[A]new generation ofscholars Neue Nationalgalerie , in Berlin inLos Flowers Andy CEU eTD Collection Warhol: Retrospective –wemight saythat–clearly largeinstitution artexhibitions also the queerenvironment Pop within Artemerged inUSA, as Seigel revels“Andy of theartist keepsaway notonlytheimportance ofsexualityWarhol’s inhiswork, but the engagement of Warhol’s work andlife a queer is project, Bastian’s retrospective center queer asanalternative life, asHenry Abelove states: person, he was notalienated or isolated; in fact Thoreau’sproject broughttothe through theabsence of family. Although Thoreau was oftenportrayed asalonely broughtHis book indignation ofanexciting lifethat domesticitylacks –conveyed Thoreau’s 36months inacabin inthe woods, after he rebelled against thetax office. him to HenryDavidThoreau’s place for art. focus, which fromin the endof1950’s on, has became theworld most prominent normativity and relocates queer anddeviants to thecenterof the New York cultural the exaltedly blatant promiseof another way oflife”(ibid). Hiswork challenges multimedia artproduction offered andcontinues tooffer tolegions ofyoung queers meaningful connotationfor queer project asSiegel claims: “[Warhol’s] life and Wikipedia Encyclopedia online - < online – U.S. in Encyclopedia movement Wikipedia liberation gay the of beginning ofthe landmark a became riots Those communities. gay Hispanic and by black mostly frequented a restaurant – Inn Stonewall the in place took that police City NY and people transgender/transsexual 15 mainstream art worldof the pre-stonewall era notis duetohis success as ahomosexualartist in the extremely homophobic 16 See also Collins, 2001; Dyer, 2004; Mayer, 1995 and Vowell, 1993. Vowell, and 1995 Mayer, 2004; Dyer, 2001; Collins, also 16 See Stonewall consisted a series of clashes that started on June 28 June on started that ofclashes a series consisted Stonewall Although,evident it is Siegel’sin andother articles 37). Walden is transcendthem To family. bourgeois white andthe andmarriage, love romantic domesticity, Bringing queer tothecenter ofhomophobic art world, as did,Warhol connects ’s object, and if it fails fully to accomplish this transcending, the object remains (2003: remains object the transcending, this toaccomplish fully and ifit fails ’s object, What Walden http://en.wikipedia.org/wiki/Stonewall_riots figures as valuable and vivid is life outside the discourses of discourses outside the life is andvivid asvaluable figures Walden, published in 44 th , 1969 between LGB – lesbians, gays and gays – lesbians, LGB between , 1969 15 , rathermost ofhisworkhasa > Last viewed April 15 April viewed Last > 1854. Thenovel about is 16 , as we will see, aswe later will that, th , 2008. , CEU eTD Collection Last viewed: May 19, 2008 19, May viewed: Last 18 2008 19, May viewed: Last Arts Visual the for Foundation A.Warhol Reproduction, 17 Brando 8. Marlon pointed out byCollins: public that nottheis aware of codesimplicitly init;thereare other implications the signification ofhis workwas (andperhaps notstill is) accessible tothe general the creation ofemptiness (he often used found images onhis production). However, what generally is thoughtas nothing there -heportrays meaningless subjects, with Although themeaning ofhiswork is factin onthesurface ashestated, contrary to there Iam. There’snothing behind” (Berg, 1967,quoted inGoldsmith,2004:90). about Andy justWarhol, look atthesurface ofmy paintings and films andme, and retrograde”(Siegel, 2003: 9). are exactly what they used to be:hypocritical, homophobic arrogant, and politically Double Elvis Double Marlon Brando Marlon the Because heterosexuals. to one ofwhich was unavailable twocarried meanings, example, for One of Warhol’s famous epigrams about saysalot it:“Ifyouwant toknow all to Hollywood and its star system and objects of desire (2001:54). desire ofand objects star system and its Hollywood to works bothhomage his would seein ofsuchmaterials readers that knew the time, Warhol at , 1963 Reproduction, Andy Warhol Foundation for the Visual Arts, source: http://artchive.com source: Arts, Visual the for Foundation Warhol Andy Reproduction, 1963 , macho , 1966 Reproduction, Andy Warhol Foundation for the Visual Arts, source: http://artchive.com source: Arts, Visual the for Foundation Warhol Andy Reproduction, 1966 , , 1966 Warhol’s images of Marlon Brando as a motorcyclist and Elvis asgunslinger Presley and Elvis Brando asamotorcyclist Marlon of images Warhol’s cyclist and the cowboy with gun and holster were standard characters in gayerotic in standard characters were gunandholster with and the cowboy cyclist 17 45 Reproduction, A. Warhol F. for the Visual Arts Visual the F. for A.Warhol Reproduction, 9. Double Elvis Double , 1963 18 CEU eTD Collection men: as wasWarhol concerned that his workwould be responsible forthecapture ofthese a coupleofdaysbefore theFairstarted, andbecause ofitsdouble implication, would leading upto the1964fair” (Crimp, 1999:61).Ittheend, thepanelwas onlyexhibited stepped up their harassment ofpublicgayestablishments andactivities intheperiod clean up thein preparation ofthe New York Fair, ashestates: “New York authorities authors concluding that the censorshipagainst panelWarhol’s part ofamoral is panel connects outlaws andhomosexuals, as Richard Meyer pointsout: the FBIfortheir crimes, butalso theyarewanted by forhisqueerness.Warhol, This reasons, but what is interesting is itsdoubleconnotation: Thosemenwanted are by Fair panelcomposed byFBIhead shotscommissioned to be atthe 1964 onthefacadeof the New York Pavilion, was censuredforunclear political someone had recognized him from my pictures (Warhol, 1980: 90). 1980: (Warhol, pictures my him from hadrecognized someone FBIbecause tothe in got turned ever criminals the of ifone tofeelresponsible have wouldn’t I was now a was In gone: waythe mural them. over glad I put they’d just paint the through Men Wanted Moreover, Crimp hasextended his reading of the casealong withother 98). 1995: (Meyer, Warhol wanter is say, the if, alsomale, wanter is the if ofcriminality a form constitutes wanting men actof but thevery FBI, are wanted by men thatthese notonly is it entendre: onadouble [...]turns thesemen. ..]andfor [. image the Anotherexampleis Warhol’s A bunch of us went to Flushing Meadow to have a look a it [ look at Meadowtohave us went Flushing to of A bunch desire for outlawed outlaw and ofthe Warhol’s image setup between the circuitry The ], but by the time we got there, you could only see the images faintly coming faintly seetheimages only youcould we there, got time ], butbythe Thirteen MostWanted Men, 46 The Thirteen Most Thirteen The a black-and-white New York World New CEU eTD Collection from value ofaholy imagecommercialization. through cheapWarhol used a reproduction toless dowith his Catholic childhood thanwith an intention tocriticize theloss ofthe connotations which couldberaised byshowing Warhol’s Siegel, 2003:note 15).It is relevant tomentionthat here Warhol’s “[Warhol]was avery Catholic person, a highly moralartist” (Bastian,quoted in substituted the panel for 11 opening atthesame time theFBIwas releasing thenew wanted list after September At theBerlin exhibition contexts, 20 date no ofOntario, Gallery Art Reproduction: 19 Arts Visual for F. A. Warhol Reproduction: 10. Thirteen Most Wanted Men Wanted Most Thirteen th , thecurator Sebastian, afraidof giving “rise tothewrong connotations”, The LastSupper According toSiegel, Sebastiandid notexplain thepossible negative Despite thepromise ofassembling and for the first time original exhibiting Thirteen MostWanted Men, , 1964 – Installation 11 Installation – 1964 , andreproduced it more than100times forasingleexhibition. Andy Warhol: Retrospective The LastSupper hadagaincensured been (Siegel, 2003:10). . Thirteen Most Wanted Men Wanted Most Thirteen . 47 (1989). He justified thechange by saying: , in2001,was coincidently Most Wanted , 1964 – Close up – Close , 1964 Last Supper under the has CEU eTD Collection http://www.flickr.com/photos/bamcat/184286135/, last viewed: May 19, 2008. 19, May viewed: last http://www.flickr.com/photos/bamcat/184286135/, in onein ofthemost well-known artbookseries – American way oflivingthrough consumerism and superstars. This is likewise shown disattachment ofthosesubjects, time andpeoplearound him, asasummary ofthe production andpersonality istherandom aspect ofhissubject matter andhis him ownon his terms” (1993: 25). However, whathasbeen emphasized inhis contribution toart history;to look athisartwithout discussing his to faillife is to meet points out:Toaddress Warhol’s life awayart-historicalcontext fromthe his cheapens 13 p.7 2003), (Spring, No.1 one countable. This multifaceted, massiveand eclecticassembly ofartworks isunitedby sculptures, concerts, happenings, vinyl; the list isendless and theamount hardly communism in Warhol’s time, andAl-Quaeda ourin time. “normal”) against Others (as ametaphor for deviants) –for instance Vietnam and could problematize theimperative power oftheFBI andthe US(ametaphor for 19 playful connotationof gaydesire thein title specifically, inqueer nature ofthatcritique” (2003:10). Siegelmeans thatbeside the “work’s subversiveness resides itsin critique radical ofstate power and, could havebrought onthesame setofquestions that wouldit have, 1964. in Warhol contemporary political situation. Nevertheless, based onSiegel’s interpretation, it Thirteen Most Wanted Men Wanted Most Thirteen Thirteen Most Wanted Men Wanted Most Thirteen raison d'être moralistic attitude (Ingo F. Walther, 2000: 323). F. (Ingo Walther, attitude moralistic a fundamentally concealed emotionless-ness show or whetheroutto of be, his himself hemade reporter cold-blooded thedetached, was truly whether Warhol debateabout much hasbeen […] There boxes. Brillo and flowers revolvers, soupcans, registering to brought he that detachment same with the chair bomb, electrical the atomic and the crashes, airplanes Warholproduced paintings, silk-screens, Polaroid photographs, films, Value, feelings, seems not to exist for Warhol. He registered race riots, suicides, riots, race He registered for exist to Warhol. not seems feelings, Value, , rooted inhislife,desires, environmentidentity, as Vowell and , 1964 – Installation view, reproduction, A. Warhol F. for Visual Arts, source: Arts, Visual F. for A. Warhol reproduction, view, – Installation 1964 , , 1964 – Close up, reproduction from the exhibition the from up,reproduction – Close , 1964 48 Wanted Men The Art of the 20 at Art Gallery of Ontario – of Ontario Art Gallery at , described by Meyer; it also , described byMeyer;it th Century: Art Journal Art no date, Source: date, no : , Vol. 62, , Vol. CEU eTD Collection well hiswell implicit challenge tonormalizing andmoralizing attitudes toward particular realitywas […]acalculatedprovocation. Assuch,his literalism as indicates oeuvre. AsSeigelcontends: “Warhol’s literalism towards attitudes about [any] passive, boring oralienated are not borne out weif examinehis longlifeanddiverse 44). frame oftheworkart.[...]Better tokeepthem hidden,unseen”private, (1989: “[S]ome just things shouldnot be aired public,in letalone openlydisplayed within the little gallery next door called shown at exhibition atthe experience when aseries ofhis homoerotic drawings were notaccepted for desires” (Lobel, 1989: 44). In his early yearsat New York City,hehad afrustrating prohibition. [...] wasWarhol only tooaware oftheproblematics ofexpressing certain age the in 1940s and 1950s, when homosexuality was subject towidespread cultural atmosphere the in pre-Stonewall period, asLobel points out:“Warholhad come of astute managingin his homosexuality. Firstly, we havetoconsider thehomophobic willsee, from subjecthis matter paintings, relationships in and movies, was Warhol counterculture attitude. Although the traces of his homosexuality were allover, as we experiences, from free love,to drugs,typically eminent from the 1960’s writers, poets, different subculture members, prettymuch opentoallkind of intense though somebody kept telling the little old lady who ran the place, the ran who lady old little the telling kept somebody though 21 life style. wasWarhol queer, ashestates “moralist attitude” means, neitherwhere itcouldbe found on Warhol’s production and “We spent the night in a motel near there, and once again it was the-boys-in-one-room-the-girls-in-the-other scene, even scene, the-boys-in-one-room-the-girls-in-the-other was it again once and there, near a motel in night the spent “We Indeed, most ofthemyths about Warhol’s personality as being shallow, Nevertheless, the authors ofthecited book donotclarify whatexactly Serendipity 3– Tanager Gallery a fashionable dessert placefrequented byqueers, and ina Bodily . Later, inthe winter of1956,those drawings were (Burns,2006). Furthermore, Lobel sentences: 21 49 , living aroundoutcasts; drag, artists, But we’re all queer. ” (Warhol, 1980: 192-3 ) 192-3 1980: (Warhol, ” CEU eTD Collection great tactic oftying up hisdaily experience –Giorno was his lover and agood apparently beperceived as arandom for firstchoice Warhol’s movie, a is indeed later, than were hismovies, suchas bodies in the cinema.bodies in body serves the other asavisual object ofpleasure, asit is usually framed female situation, zooming toshow the bodyinparts for itsown pleasure. Thesleeping male sleeping situation toscan theflesh slowin motion. The long slow gazedominates the relaxed, passive, andunaware ofthecamera gaze,which takes advantage of the homoerotic gaze– takeslong from different anglesofhisnaked torso. Thebody is time -thepoetJohnGiorno - sleeping. The outcome aneight hour is film of the Last viewed: May 19, 2008 19, May viewed: Last 23 2008 20, May viewed: Last - details/Andy+made+me+famous/article.do 22 and isworthnotingthatinhiswork, earlyphase,paintings it like counterculturaldifferences” (2003: 12 emphasis added). Taking anoverview ofhis Film strip from Sleep, 1963, source: http://www.warholprints.com/cgi-bin/Warhol.Andy/gallery.cgi?category=Warhol.Early source: 1963, Sleep, from strip Film http://www.thisislondon.co.uk/arts/article-23397997- source 1963, Sleep, from still Film Nancy It is It is also interesting to mention thatthesubject of unknown Reproduction 12. Sleep 12. (1961), were less literally concerned withhomosexuality, asIwill show , 1963 - film still -film 1963 , 22 Sleep 50 (1963) whichin hefilms hisloveratthe Reproduction unknown Reproduction 13. Sleep , 1963 - Film strip Film - 1963 , Sleep Advertisements , which could 23 (1960) CEU eTD Collection Ego. Nevertheless, theit ison surface ofthebody –physical and/or visual sensations infant’s own image the in mirror thatprovides the ground for theconstruction ofthe projectionits thattheEgo isfirst formed itself theprojectionof a surface” – itthroughis thetactilesensation onthe flesh and described as“first and foremost abodilyego; it isnotmerely asurface entity, but it between realityandtheId instinct’s needs and desires. For Freud, the Ego is that theEgo– shaped.is TheEgo theis part of thepersonality thatnegotiates films,his onthepagesofhis diaries (for those lucky enough toseethem). states thateverything abouthimself onthe is surface ofhis paintings, thescene in of evasive answers, peopleleading toseehim alienated; as on theother hand,he those codes: onthe onehand he refused to accept normative codes,escaping with comprehended according tothose norms. Indeed,hecreates his ownway tosubvert dealing with sensible situations were unexpected ofhim - hecould notbe artist, hisattitude did notfollow the normative codesofthe time.manners Hisodd in “macho” represented artist byPollack. engagements couldbe interpreted asanegation oftheimpassionate, genius and apparently detachment from environmenthis –peopleand social /cultural oeuvrehis –moviebecame thefollowing in years Warhol’s mainmedia. Warhol’s called to ask what I was doing he would say, Let me guess, sleeping?” (Giorno, quoted in Goldsmith, 2004: 21) 2004: Goldsmith, in quoted (Giorno, sleeping?” guess, me Let say, would he doing was I what ask to called he – when time the all slept I Andy. met I before a nap have I could so home get to dying door, the at waiting be would I to three quarter By atthree. closed and at 10 opened market stock The morning. every a hangover with work into go and drunk get 24 sleeper Giorno says: “I was a kid in my early 20s, working as a stockbroker. I was living this life where I would see Andy every night, every Andy see would I where life this living was I a asstockbroker. working 20s, early my in a kid was “I says: Giorno In psychoanalytic theory believedit is thatit is throughthesurface ofthe body In asmuch as seemsWarhol tobe“cold-blooded”, distant and anisolated 24 , tothesocial art atmosphere –arising in underground filmmaking, to and On theSurface (Freud, 26). 2001: forLacan,itisthe While, 51 CEU eTD Collection them Nevertheless,“selves”. thatmay notalways bewhat meantWarhol toconvey. curators and art critics. Each person relates to workhis through theirconceptions of howeveradmire still him, from outcast figures tothemost homophobic conservative ways” (1996:44),which continuously leadsus to (mis)interpret, love andhate, appears tohave conducted himselfsimultaneously inthemost public and private of As Lobelputs it: “Warhol's persona presents us witha seeming paradox, forhe of his personality are notoppositions, rather aggregate new meanings. and oversimplification, butalso ambiguity, confusion andmysticism. Theseaspects as wewillunderstand during the analysis ofhis oeuvre. He stands fortransparency, way hiscodes, ofreading which can leadtoprivate and secret layers ofsignification, apparently seems obvious,superficial, open and public. However, there isafurther normativity, heplays ironically withthose codes, subverting them awayin that own codesofsignification, but rather thaninventing anew system opposed to which was outside placed ofthecodes ofnormativity. Indeed, createsWarhol his books, andhis style performance,life onhisconstruction focusing ofsubjectivity, homophobic society andaqueer subculture (Benson, 1994: 101). movies, arethelocus where hissexuality is negotiatedwithin and between a reality,within as wesurvey can on surfaces,Warhol’s hisbody,butalso painting and of thebody -that provides a ground for the unconscious desires tobe negotiated Perhaps, that one of is Warhol’s greatest deeds: hiscreation ofhis ownmyth. In thissectionIwill addresssome ofWarhol’s paintings, films, interviews, 52 CEU eTD Collection City intheearly 1960’s (Brennan, 2002). wasWarhol among thosefilmmakers that homosexualthrough the emergence oftheunderground movie scene New in York Narcissus who fallsinlovewithhisown reflection in thewater -andthe male mirror symbolizes the relation between narcissism,which refers to the Greek myth of as anamphetamine accident, nevertheless it meantfor agreatdeal thetime. The Factory wasallpainted insilver,as explains: Warhol street from 1963-1967 (Bill Name, onGriffths, 1889, documentary). Infact,the atmosphere moreis it likely tobe about the SilverFactory thatoperated atEast 47th addresses all inNew York City,although when someone tothe refers Factory’s wild personalities, including Warhol’s” (Dyer, 2004:33). TheFactory had fourdifferent hisfilms.to bein Inthissense,thepopularity oftheFactory “produced artworks and an open place where peoplefrequently visited, toseewhat was goingon,or perhaps paintings, silk-screens, sculptures and most ofhisfilms. At the same was time, italso hanging around everyone else. I just pay the rent, and the crowds came simply because the doorwas the because simply andthecrowdscame rent, pay the Ijust else. aroundeveryone hanging open. People weren’t particularly interested in seeing me, they were interested in seeing each other. seeing in werethey seeingme, interested in interested particularly weren’t People open. A lot of people thought that it was me everyone at the Factory was hanging around, that I wasI some that wasaround, hanging atthe Factory was everyone me thatit thought ofpeople A lot kind of big attraction that everyone come to see, but that’s absolutely backward: it was me who me was itwas backward: absolutely that’s see,but to come everyone that ofattraction big kind From quoteabove,Warhol’s seemsit thatthesilverinFactory happened 1980:83). (Warhol, silver were with backed mirrors – was silver narcissism anything, than more sets.And maybe silver in photographed actresses Screen–Hollywood was Silver – the And silver alsothepast too. was silver, equipment their and been up them, in and hadalready Glenn –Shepard,Grissom, suits woresilver astronauts was great, itwas a perfect time to think silver. Silver was the future, it was spacy – the But it that. to alwayswentback –everything thing beenanamphetamine have must know. It don’t so I much silver he loved bowl.Why toilet down the to right withit, everything sprayed The Factorywas studio,Warhol’s where heproduceshis visual artwork, Silver, Mirror, Space,Stars, Amphetamine: Depth in Emptiness Billy was responsible for the silver at the Factory. [. . .] He bought cans of silver of ..]Heboughtcans [. Factory. atthe thesilver for was responsible Billy They came seewhoto came came. They 53 Warhol, Popism: The Warhol Sixties Warhol The Popism: CEU eTD Collection between documentary andfiction, which is blurred.It doesn’t mean thatfrom time to were clear from the beginning, asName comments: aesthetically anderotically publicizing theirway oflife”(2003: 13). This project’s aims artistic production [had] the commitment of andWarhol his superstars to aproject of support for Warhol’s queerassignment, asSiegelclaims:1960’s “[T]he Factory on Griffths, 1889,documentary). The Factory dropouts alsojointed toshow mutualin Warhol’s Cinema; personalities”, asBilly NameFactory keeper –The - says thein documentary power druginfiltration, mostly amphetamineand attracted strong andwired for them – astheirown audience, claims byBrennan: they andwhatlived theydid– andfurthermore tocomplete thecycleof narcissism, misfiting together” (Warhol, 1980:276). Their filmswere basicallyabout them - how attitude about everything; thetruth was, we wereall odds-and-ends misfits, somehow states: “[P]eoplethought the Factory was aplace where everybody had thesame were exploringcinema throughsubcultures, in which theybelonged, as Warhol Another interesting aspectof moviesWarhol’s is thedivisionary categorization 1889, documentary). onGriffths, Name, woman (Bill woman loving see man, loving themman . .]Lets now.[ show oklets that said .] [.. andAndy force acultural become hasjust gay movement The gayfactor. ofthe overtness Beyond theconstant wild atmosphere ofparties -the Factory had“ahigh (2002) easy categorization. thatresist sexualities to mean queer usageof contemporary themore with keeping in queercinema, for moment pioneering a mark accurately more films these cinema, gay-identified thefirst instituting than Rather [...]. homosexuals andaboutmale by, for made cinema first the formed arguably These films [. ..] homosexuals. as male identified filmmakers ofthese underground many Significantly, whose world anunderground fostered filmmakers Along with the amphetamines and the wild people another magnetic was the another people magnetic andthewild amphetamines with the Along these other, and each friends, their themselves, about mostly films By making It was aplaceofintensivecreativity andcollaboration Name,(Bill 54 raison d'être was largely recording ofit. recording was largely CEU eTD Collection distinguish from the traditional form that seekstobe“the distant observing gaze”, a quasianthropological work, asGeorge Marcus calls “modern ethnography” -to insight that Warhol’s moviesa certain in extension arealso documentaries.It seems be themselves while thecamera rolling, however is stillaconstruct. It brings us tothe the “stars” to make them up, butsincethey are playingthemselves, they just haveto specific instructions onhow they shouldact, what thedialogues shouldbe;to it isup someone rather else than his/her own personage, ashe reports: certain lengthoftime andthatwouldbe the movie” (Warhol,1980: 139). themselves andtalkaboutwhat they usually talked about and I’d film them for a does hefollow it, ashe asserts: “Ionly wanted tofind great peopleand themlet be idea of aset orasituation thatthe film would go around.Heneither hasa plot nor extend canbeconsidered a fiction. the scenes and the structure forthe film. Inthissense the Factory), not allpersonages live inthehotel. The hotelfunctions as a unifier for set up.Indeed, the hotelwas partially theset of thefilm (many sceneswere filmed at (1966) which supposedlyis filmed the live in Chelsea Hotelmost ofthesceneswere aspects ofboth documentary andfiction. For example his infamous in time hewas shiftingbetween thetwo genres, rather thatthe samemovie contains Warhol’s directing stylecontrasts with what is expected: hedoesnotgive neither they – and sometime difference tell the You couldn’t two. the separate soonyoucouldn’t pretty themso that into get they’d lives; partoftheir became the movies andofcourse of mymovies, part became lives Their since. ever been doing whatI’ve he added andthat’s asecond, for thinking After clothes. Andy just told me to tell the story of my life and to somewhere along the line take off all my His “stars” play themselves -opposed tothe idea that an actor “acts” as However, Warhol’s film comes usually tobefilmed abasic from only simple Once I heard Eric telling someone about the direction I gave him for the first scene. thefirst himfor I gave the direction about someone telling Eric I heard Once (Warhol, 1980: 227). (Warhol, 55 , ChelseaGirls , in acertain, in Chelsea Girls CEU eTD Collection created bythe major companies film to provide internal regulation for moralconduct. agency -officially calledMotion Picture Producers andDistributors ofAmericas - the movies, touchinglips formore than3seconds. HayesOffice was aself regulatory minutes.for 3 The ideafor composed ofheterosexual byclose-ups and homosexual couples kissing eachother intention todestabilize normativity isthe Viva andLouis haveintercourse,Waldon talk aboutVietnam andeat, War producing reality. As Tyler observes in thefilm reality captured bythecamera became peculiartobe valuated the process in of sides ofthecamera were devotedtothesuccess ofthe project. Inthis sense,the Siegal claims:” aesthetically and erotically publicizing their way oflife”and soboth between them constructs acollaborative project dealing with queer visibility – as whostudied” are (Marcusquoted inBrennan, 2002). Further, this identification thewhile latter ”identify andrecognize thesimilarities between who studyandthose Another example ofamoviethat, in anexplicitly way,communicates an 11). 2003: Siegel, in Andy(quoted doingit for say, is ofwhich asI part do it; to impulse inner bysome prompted only as are they butdoingit something, on doing intent elsewhere, We are watching We Kiss reality came from camethe HayesOfficeprohibition from ofactors in in the instance of two organic human bodies onabed,and bodies human two organic of the instance in Kiss 56 (1963) this (1963) minute isa50 long movie Fuck (Blue Fuck (Blue Movie - 1968),which in CEU eTD Collection performance is itselfperformativity. believe that it isperformativity. So, thisin sense, we canunderstandthat “doing for Andy” is something that theyalready havebeen doing, which leads us to to doitand can it be understood asaperformance, onthe otherhand, what theyare casethis blur. it is Ifononehandthe “stars” are “doingfor it Andy”,which implies will The difference between them concerns thewill ofthe“starts” indoingso,which in “norms”, which inButler’s term it couldbeconsidered performativity or performance. “stars” subvert andparody normativity through theconstant repetition ofgender bring backButler’s conceptionof performativity andperformance. Although Warhol’s does cameraWarhol’s affectthewayhis“stars” perform? concern This meleads to immediately raises uncertainties aboutthe reality produced byand within. How much into a quasi documentary project foreseeing normativity deconstruction, it Unknown Reproduction: 14. Kiss , 1963 – film strip –film 1963 , Although theidentification between Warhol and “stars” his putsthem together 25 57 Reproduction: Unknown Reproduction: 15 . Kiss , 1963 – film strip film – 1963 , 26 CEU eTD Collection producing stars with the “old MGM star system” (Warhol, 1980: 278) 1980: (Warhol, system” star MGM “old the with stars producing 27 2008 26 2008 25 Navajo blankets, 210 Bakelite bracelets, 1,659 pieces ofRussel Wright pottery and and collectibles” andbycollectibles she adds” 175 cookie jars, 313watches, 57 Americanclassics, Indian artifacts, postwar artand20th-century jewelry, watches diversified holdings ever auctioned at Sotheby's -19th-century Americana, Art Deco York Times Warhol’s artcollection. On theauctionexhibition, Reifa journalist – from a hugeart collection, which just became knowninits ownmagnitude after his death. personalworld, which in a few peoplehad access. Inthe privacy ofhis home heheld live, todistinguish between publicand private. At house, his builtWarhol his However, factoryalsomeans aplace of work inopposition tothe home to –aplace machine” opposedtobe acraftsman, andleaving theperson geniality behind. to themethodology ofhis work –mass production, series of portraits, desire “to bea visitors, plays onunambiguous idealof theassembly which line, is directly connected system” Paul Morrissey – Warhol’s collaborator and a kind of office manager. He compared the success of the Factory organization in organization Factory ofthe success the compared He manager. office of a kind and collaborator – Warhol’s Morrissey Paul 20, May viewed: - Last – source:http://www.artbrokerage.com/artdataretail/warhol2/warhol_kiss.htm strip – film 1963 Kiss, 20, May viewed: – Last -source:http://visualarts.qld.gov.au/media/andy_warhol/details.asp?ID=102 strip – film 1963 Kiss, In thespring of1988,Sotheby's Auction House soldtenthousand items from From the quoteabovewe canrecognize how Warholconstructed his own “star 1980:71). (Warhol, realprofessionals to become ever themselves unsure of too know how to push themselves. They were too gifted to to lead gifted were too They pushknow howto themselves. didn’t butnostar ego–they hadstarquality They anyone else’s. was than better one time once,buttheir than more do something couldn’t town.They over all down atauditions turned 27 Sex is nostalgia for when you used to want it, sometimes. Sex is nostalgia sex for nostalgia is Sex sometimes. wantit, whenyouusedto nostalgia for is Sex , his , his own world. Thename “Factory”, apart from ”leftovers although gifted” reports:[Warhol’s collection] presentwill oneofthe largest and most The people that I loved were the ones like Freddy, the leftovers of show of business, theleftovers Freddy, oneslike were Iloved the that people The Warhol, Collecting Signifiers The Philosophy of Andy Warhol: From A to B and Back Again B andBack Ato From Andy Warhol: of Philosophy The 58 regular lives regular , but they were also but they , The New . CEU eTD Collection Wayne Wayne Koestenbaum proposes throughOscar Wild’s very actof collecting is acodeto identifying other males withthe same sex-desire, as betweena link with people thesame Incase the of interest. Warhol’s collection, the space ofprivacy andretreat” (Lobel, 1996:46). the heterogeneous elements. [.It is] asort ofplayscape of theartist's mind, a coherent whole, an activity that echoes theattempt toconstructastable unity outof states: “In thecollection objects areaccumulated, ordered, andnarrativized intoa him, hecreates his own world, aworld whichin hisexistence makes sense,as Lobel private world,view in of thefactthat the compulsory heterosexual world isnot for shown ushow important was it forhim. Among thoseobjects heconstructed his 170 chairs” (Reif,1988). Theextent of Warhol’s commitment collection tohis has a group,and “secrecy”; aself protected mechanism against ahomophobic world. the same asexhibitionism, rather it the is latent needforasensation of belonging to necessity forsecrecy and display” reliance on identificatory codes, [which] are intended to reconcile thesimultaneous “Historically,prohibitions against homosexual haveoften activity necessitated a revelation - andexclusion, asLobelclarifies thenecessity forthose codes: a form of recognition -the act ofdisplaying would beahidden (coded) actofself- understandable tomembers ofa particular subculture, function, at thesame time as (Koestenbaum, 1993:62). whether tells Wild usabout collection because he can’tmention homosexuality jewels, perfumes, embroideries, and ecclesiastical vestments becausehe’sgay, or whether DorianOscar obsessively Gray Wild’s collects exotic musical instruments, the libertine, hasnofamily, no socialties, noloyalties, nointerior. It’snotclear "Collecting codeis a for homosexualactivity and identity […]-the collector who, like A collection, in thesense of constructing aworld that you canfit into, it isalso Moreover, those codes ofidentification, areonly Lobel, 1996: 46).“The necessity of display” isnot 59 The Picture ofDorian Gray : CEU eTD Collection (1964). sculpture the subjectmatter, forinstance, found photographs that heused for hisportraits, andfor oeuvre isunitedon theconception of the dislocation and recontextualization ofhis possible totake anoverview on theartist’s production orderin toprove that his Warhol’s queerness, hisefforts towardscollection a andhisoeuvre. Moreover, itis normativity twisterof signification”, isa“potentialcritical tool” wisely usedbyqueer tosubvert dislocation ofthe objects’ meaning from its origin,oraswe have previously seen“a objects andsubsumes them anewwithin narrative structure”. The exploitation ofthe meaning,claims: ashe “[Collection apracticeis] thatradically decontextualizes dislocation oftheobject from originalit use, transforming notonlythe object, butits Death and Another remarkableaspect of a collectionwhich Lobelpoints out is the I like to be the right thing in the wrong place and the wrong thing in the right place. the right in wrongthe thing and wrongthe in place be rightthing the to I like -Brillo Box (Lobel, 1996: 45).Inthis light, we canrecognizethe association between Disaster Series (1964) and soup (1964) cans into paintings - Warhol, (1963),the transformation ofsoap pads boxes intoa Dislocating Meanings The Philosophy of Andy Warhol: From A to B and Back Again. B andBack Ato From Andy Warhol: of The Philosophy 60 Campbell’s soupcans CEU eTD Collection there. It escorts us towards aset ofquestions concerning the assumptions ofreal its origins, exposingwhat isalready known and reveling themeaningthat is already Church http://momahildawa.blogspot.com/2007/06/andy-warhol-campbells-soup-cans-1962.html – last view: May 19, 2008. 19, May view: –last http://momahildawa.blogspot.com/2007/06/andy-warhol-campbells-soup-cans-1962.html of another, butalso reverts backto itsoriginal concept,as evaluatesWarhol thein case 29 2008. 19, May viewed: – last http://www.abc.net.au/news/stories/2008/01/06/2132536.htm Saggin Giulio Photographer: 28 16 Campbell’s soup can Brillo Box Brillo . Brillo Box Brillo . Stable Gallery From perspectivethis pop plays back andforth with theconceptsof real and 30-31). (1980: sixties very Pop, were,was very really upwhatthings Playing them. phones in pay installed just –they stayed booths confessional the even were: thewaythey exactly religious fixtures the left they Church called a discotheque ‘68was] [And then in as is[…]. it was,you’d leave really thing up whata you’d goandplay in the sixties, were.But basically whatthey camouflage to […] and redecorated, theyremodeled usually on airs: put waswhen people a time which generally To use a real stable space and call itthe spacestable andcall useareal To Pop doesnotjust dislocate the meaning of an object from toone point , 1964, photographer: Giulio Saggin at Brisbane's Gallery of Modern Art – January 2008 Source: 2008 – January Art Modern of Gallery atBrisbane's Saggin Giulio photographer: 1964, , – adiscotheque opened in 1968: , 1964 It [ , 1962, photographer 1962, , Stable Gallery Stable –where hisfirst exhibit isheldinNew York and thecasein ofthe 28 ] had been an actual stable where rich people kept their horses […]. their peoplekept where rich stable had beenanactual ] : Sid Gomez Hildawa at Museum of Modern Art – NY – June 2007 Source: 2007 –June – NY Art Modern of Museum at Hildawa Gomez Sid Photographer 17. Campbell’s Soup Can Soup Campbell’s Stable Gallery Stable 61 : Sid Gomez Hildawa Gomez Sid was a very modern idea for the fifties, the for idea modern was avery , 1962 29 CEU eTD Collection deal abouthis feeling ofexclusion bythose artists, as Collins interpretation shows: interested in hiswork asanartist well-known working on the pop theme; while Warholwas struggling togetsomeone 1980: 14).RoyLichtenstein, Robert Rauschenberg andJasper Johns were relatively rejected bytheNew York based American precursors ofthemovement” (Warhol, (Warhol, 1980:3). Infact, triedWarhol theapproach ofother popartists, but hewas rising upout ofthe muck andstaggering forwards withyour paintings frontin ofyou” – youpopartists indifferent parts ofthe city [New York], unknown toeachother, Warholthe in beginning ofhis career asan artist: “It was likeascience fiction movie twenty-century art atthe Metropolitan Museum during the 1960’s and 1970’s saidto of belonging toagroup, working together. Henry Geldzahler –thecurator ofthe present in oeuvre,Warhol’s hewas neverpart of the PopArt movement, thesense in ordinary matters from lifeand daily its recontextualization a playfulin way, are much keen to dissimulate his homosexuality (Burns, 2006 ). The advertisement field was less homophobic than the art one. art the than homophobic less was field advertisement The ). 2006 (Burns, homosexuality his dissimulate not to was he keen much artist, an as his career of beginning atthe secondly and and magazines campaigns advertising main on working 30 5. gender anddesire are aligned within an internalcoherence, asdiscussed chapterin questions that it ispossible todenaturalize thesexualbinary system, which sex, in genesis ofobjects andsubjectsisrelevantstudy forthis because isthroughit those and originalthat is in factaconception imposed bynormativity. The inquired ofthe I was never embarrassed about asking someone, literally, What should I paint? paint? Because Popcomes I should What literally, someone, asking about embarrassed wasI never There were two main reasons for Warhol being rejected by those artists: firstly he was a well-known commercial artist, commercial well-known a was he firstly artists: those by rejected being Warhol for reasons main two were There from the outside, and how is asking someone for ideas any different from looking for them in a themin for looking from anydifferent ideas for someone asking and howis outside, the from Although, the elements thatconstitute PopArt, suchasthe choice ofpopular, Feeling Pop,Seeing Pop 30 . Warhol’s magazine? 62 Nancy (1961) painting, revelsa great Warhol, Popism – The Warhol Sixties –TheWarhol Popism CEU eTD Collection he states: philosophy,his relationships, interviews; heacts pop,hesees hewas pop,as Indeed, Not onlywas artWarhol’s Popbut he himselfwas apieceofPopArt, through 1992:22). 32 153 pp, company, and Brown Press/Little, 31 movement andlaterby others Angels, hebecame aniconofPopArt. Rather thenbeing influenced byacertain For instance, Robert Rauschenberg has emigrated at the end of 1950’s from Abstract Expressionism to Pop Art. (Lippard, Art. Pop to Expressionism Abstract from 1950’s ofend at the emigrated has Rauschenberg Robert instance, For (1989) (ed.) Kynaston. McShine, source: – on canvas painting 1960 Nancy, you could never see America thesame way again whereaswere we dazzled byit – tous,it was thenewArt. OnceyougotPop, everywhere –was the thing about it, most still people took forit granted, highways. Suddenlywe allfelt likeinsiders because even though Popwas Nevertheless, after firstWarhol’s exhibition at 76-77). (2001: soughtprotection also he from which climate, frosty a provided too, Catholicism, the other] [and world art NewYork the in climate homophobic to chilly the is thereference level, obvious Onethe satisfaction. dualpsychological this basis of the weather –reveals againstinclement protection additional need for Nancy’s […]. male homosexual andpresumably effeminate for worlds gay andstraight usedinboth name The farther west we drove,themore Popeverything looked on the Reproduction: Claudia Martins Claudia Reproduction: pun. ona itturns time, the works at of many Warhol’s Like 18. Nancy , 1960 32 , artworkWarhol’s was popthroughout his life time. 63 31 Andy Warhol ARetrospective Warhol Andy Leo Castelli Gallery (Warhol, 1980: 50). 1980: (Warhol, Nancy was a derogatory , Boston: Bullfinch inLos CEU eTD Collection withthe formulaic, orcanned, nature of that question” (Goldsmith,2004: xiii). avoided answering aquestion a direct way,in there was agoodchance it hasto do introduction of alienated asmany criticshave said. points out Wolf Warhol’s reasons for thatonthe strategy to avoidsome questions thana non-sense manner ofbeing vague and cooperative attitude observed in acollection of interviews which seem to bemore a AreWhy? theyyour favoritemovie stars? Yes” (Goldsmith,2004:4). This isanon Pop Art trying to say?I don’t know. AreMarilyn andTroy significant toyou? Yes. 1962. Thereporterasked: “What isPopArt?” And answered:Warhol “Yes. is What collaborative interviewee, forinstance, when hewas interviewed by 1980:251) tothe main artpublication in thecountry; he turned out to be in anon same time hewas opentoreceive anyone –from a Highschoolpaper (Warhol, group, expressedhis in environment hadtotally shifted from 1960 to1963: from not belonging tothe Pop between Warhol’s dailyexperience andhis oeuvre. Warhol’s feeling towards his when hewas amongwith hisfriends; they drove from New York toHollywood. unwelcomingenvironment; tofelling ”like aninsider” articulated in thequote above, came from, really, but who cared? She was an original, and she showed a lot of people how have ofto people andshe alot showed but who Shewasanoriginal, cared? really, came from, She’d made up more stories about herself for the newspapers that I did. Nobody knew sheNobody knew wheredid. I thenewspapers that aboutherselffor stories up more She’d made I’ve heard people say, Tiger Morse was a fraud. Well, of course she was, but she asarealfraud. but was,of she course Well, Morsewas afraud. Tiger say, heard people I’ve Warholhad avery particular andambiguous relationshipwiththe press. Atthe Furthermore, Iwant todrawattention to thestraightforward connection I’ll Be YourMirror– The selected AndyWarhol Interviews Nancy “Who Wantsthe Truth?” painting -he was felling alone andexperienced an fun. 64 Warhol, Popism – The Warhol Sixties –TheWarhol Popism Art Voice : “If Warhol : in CEU eTD Collection makingmovies in1967atthe Drew University, as explains:Wolf procedure when hewas called todeliver alecture about PopArt and the process of (Goldsmith,2004: xxvi). alsousedWarhol the same strategyofsubverting the Warholwere providing anillustration, rather thanadefinition, ofthatword” asked: isPopArt? Hereplied,Yes. What This utterancesounds itself pop,as if subjectmatterthe interview, of buttheinterview as explains:itself, Wolf “When suggestive parallel between anartwork, commercialart andinterviews. produced, edited andcopyrighted under someone’s name topublishing,there is a consideration that an interview a commodityis –commissioned orforsale- that is interviewsan ifinterview could beawork ofart(Goldsmith, 2004: xi). Ifwe takeinto commercial artandfurthermore aninterview is He asked art? - during many ofhis whatbe could considered artor not, what are the differences between artand countryside family, which also could not explain his attraction for art, even more Pop Art – that it is connect to consume and urban desires. consume to connect itis – that Art Pop more even art, for attraction his explain not could also which family, countryside and poor immigrant an from came 15). He 1980: (Warhol, macho” very was Expressionism ofAbstract expel world an “the in attitude he asstates Besides, conception. Warhol’s of any to opposed – canvas the to conflicts inner his from transferred is artist ofthe geniality the that Expressionist, Abstract was ofArt Pop movement predecessor the which in case, Warhol’s xix) xviii, (Goldsmith, 34 and influences origins procedures, their about questioned when 33 oeuvre those questions would be simple anddirect keys toprovide the idea about theartist’s visualtocliché aska artist about his/her predecessors, influences andorigins It is simplest and reductionist to believe that those question would give a concrete view of an artist’s oeuvre, Particularly in Particularly oeuvre, artist’s an of view a concrete give would question those that believe to and reductionist It issimplest interviewers, their troubling attitude similar had personalities other among Sontag Susan Dylan, Bob Goldsmith to According Thirdly, apart of Warhol’s philosophicalenquires concerning thestate of Art- 78).1975: to (Warhol, say” going they’re decided already up whatthey’ve toback here andthere from words anddetails for looking just so toyou, they’re talk ever aboutyoubefore think know they they what you and about write Finally, subvertsWarhol meanings and contents inaplayful way, notjust the There areseveral aspectsto be considered here: Firstly, Itwasandstill isa 34 . Secondly, had averycriticalWarhol opinion about interviews: I’ve found that almost all interviews are preordained. They know what they wantto They knowwhat they arepreordained. all interviews almost that found I’ve 65 33 , as CEU eTD Collection and geniality (ibid, 312). Indoingso, subverts Warhol the conceptionof identity -itsuniqueness said: “Allen was sogood-looking that they [the students] might even enjoy him more” Gerald,Eddiewas Warhol, VivaasUltra and so on. acceptedWarhol theideaand other identities atparties andopening New in York foryears, saying that wasWarhol placehis andperforming Andy BythatWarhol. time theyhadbeenplaying each U.S.A. buthewas verybusyworkingNew in York. Allen Midgette suggested going in In theoccasion that wasWarhol askedto delivery aseries oflectures in Western everybody shouldbe amachine” (ibid. 56). various industrials processesof automation, after Warhol’s famousthink quoteI “Malanga made upboththe questions and answers basedonhaving researched fact totally forgedbythe latter with consent,Warhol’s asGoldsmithexplains: and another interview supposedlyconducted byhis assistant GeraldMalanga, but in away of it. 35 interview titled you just tellme thewords andthey’ll just come outofmymouth” (ibid:54). In another film words wouldas bevalid a statement. Forinstance, aninterviewin in 1966forthe asked the interviewer toanswer forhim,which hewould repeat, as thoseif repeated background, he often suggested tothe reporter tomake itup,or even more ironic he Emphasis on the geniality of the artist was one of the main aspects of the Abstract Expressionism, which Warhol put himself put Warhol which Expressionism, the Abstract of aspects main ofthe one was artist the of geniality on the Emphasis USA: Artists, Warhol believed that a good performance wasworthmore thanthereal thing. Following thesame line, wasWarhol When asked totalkabouthis xvii). (ibid. interviews published ofthe so were many as was Theevent aperformance, it. andadiscussion of ofpop artrather illustration were as yes andnoanswer disappointing his showed afilm; Warhol aboutfilmmaking, speaking than 35 What they [the students] did get was a demonstration instead of explanation: rather explanation: instead of getwas ademonstration did [the students] they What , which hasan implicit connection to themyth ofartists. Four months Andy Warhol on Automation he said: I’m hesaid: so empty today. “I can’tthink ofanything. don’t Why 66 , publishedat Chelsea 18 in 1968, this CEU eTD Collection popular Christomorphic iconography of the Renaissance (2004: 36). frontality, simplicity ofdesign and the subject’s situation emptyin spacerecalls the influence ofthesaints’ portraitsfrom stars’the churchin Warhol portraits: “Stark taken regularly by his mother duringhischildhood (Burns, 2006). Dyer points out the Byzantine Renaissance used by theEastern Orthodox Church, in which wasWarhol the Arts. styleWarhol’s portrait compared is toChristian iconostasisfrom the same context thathedoes)andmundane objects thatare usually notportrayed in have donebefore –representing theOthers, rather, Warhol’s outcasts belong tothe choices ofsubject matter: theoutcasts (but not thesame waymany that othersartists style, aswell wehaveseen in his paintings, sculptures and films. Thecontentis his original identity; formedit is continuous bythe processof(trans)formation. constituted during ofrepetition oftheactsperformance, meansthere it that isno of identity, particularlya gender identity discussed byButler. If anidentity is and from a newspaper, commented:Warhol later when people from the Collegefound out, comparing pictures from the lectures The iconographic aspect of portraits evocativeWarhol’s is both,content and in In performingeach other identities, andWarhol his friends question theorigin 313). (Warhol,1980: you are think whatthey it’s counts, that are notwhatyou prove that it’s –to isfor what show business That’s truth? the I like to listen for new ways to say old things and old wayssay andold newthings. to things newwayssay old to for listen to I like I still thought that Allen made a much better Andy Warhol than I did.[. . .] Who want Who ..] did.[. I than Andy Warhol better a much made Allen that thought still I Divine Icons 67 Warhol, Popism – The Warhol Sixties –TheWarhol Popism CEU eTD Collection Reproduction unknown Reproduction http://www.gsinai.com/rw/icons/panel_icons_Saints.php – last viewed May 19, 2008 19, May viewed –last http://www.gsinai.com/rw/icons/panel_icons_Saints.php 38 37 2008 , 15th March viewed last – www.artnews.com source: unknown, reproduction 1964, 36 Liz, Liz 19. sends his message. performs arepetition butwith adifference, and is through it thisdifference thathe idols. Furthermore,case inthe ofMarilyn, Liz andElvis,that arequeer icons, he view thatthesame isperformed action withdivine icons, and isrepeatedwith popular been already worshiping), hechallenges the adoration performance, proposing an famous forhisportraits, people which arepopular icons(and in asensetheyhave which symbols areproduced and venerated. It is worthnoting here that choosingin they arerepresentatives ofthe iconographical queersystem. Jesus andthesaints thechurch.in Marilyn, Liz andElvisarenot random choices; icons, worshiping his Marilyns, Lizas, Elvis, the sameway would bedonewith it mundane world. Indoing so,he places popular idols thesame ofthe level divine Saint George – iconography from the Byzantine Eastern Orthodox Church, no date, reproduction unknown, source: unknown, reproduction date, no Church, Orthodox Eastern Byzantine the from –iconography George Saint 2008 , 15th March viewed last – www.artnews.com source: unknown, reproduction 1973, Mao, , 1964 In playingironicallywith iconography, isquestioning thesystem Warhol in Warholexpropriates thestyle ofthe divine icons andtranslates them into his 36 20. Author: unknown Author: Reproduction unknown Reproduction Saint George 68 , no date date 21. no , 38 Reproduction unknown Reproduction Mao , 1973 37 CEU eTD Collection Death andDisaster, Coca-Cola image many was duplicated timessame onthe canvas,asisevident inhis series / person). Furthermore, healsohadproduced series ofscreens in which asingle infinity outcomes (Marilyns / sexualrelations) generated from a singlematrix (screen repetitions canbe understood aspart ofhis ethicalproject ofqueervisibility, reveling found thein traditions oftheArt field. In a subjective analysis those multiple we canobservehis intention to deflate theidea ofaunique andsinglepiece ofart just alternatingthecolor, format andbase.On a directreading ofthose repetitions, uncountable numbers ofMarilyns, Lizas, Jacks, andElvis, using the samematrix and performances, style,and images. Throughsilkscreen technology hehas printed portrayed, since anArtinstitution aplacefor is contemplation andnot for action; it Simultaneously provokesit oddness and consequentlyconcern a about thesubject subjectsan into artinstitution isnotany less ambiguous, asmost ofWarhol’s workis. electric chair.Though, the effect produced by the process ofdisplacement ofthose lost its effect,for instance the woman byatuna thatwaspoisoned can, fish oran concern about theircontent, which dueto the overexposure by the media had already pages ofthenewspapers and onthe TV screens, totheartvenues, brings back the repetition, tothe Museums andGalleries. The displacement ofthevenues, from the seeing every day,on thenews -Warhol transferred with thesame intensity of I’m the opposite: if I’m going to sit and watch the same thing I saw the night before, I don’t want it tobe don’t wantit I before, saw same I night thing the sitandwatchthe going to ifI’m opposite: the I’m Apparently, most people love watching the same basic thing, as long as the details are different. But aredifferent. as thedetails aslong basicthing, same the watching love people most Apparently, essentially the same – I want it to be exactly the same. Because the more you look atthesame look you more Becausethe thesame. be exactly it to –Iwant thesame essentially Repetition isanotherrecurrent aspect in oeuvre:Warhol’s Repetition of The images ofcommodities and disasters - that we havebeensaturated with exactly thing, the more the meaning goes away; and the better and emptier youfeel. and emptier better and the goes away; themeaning more thing,the exactly Difference ThroughRepetition and Flowers. 69 Warhol , Popism – Sixties The Warhol , Popism CEU eTD Collection is through those mistakes that youcan see the differences, asDyer points out: skipped, indeed itisexactlybecausethose of defects thathepreferred theworks, it interesting thing isthat notdid dispose those Warhol imagesmatrix thatthe had produces smallmistakes, which usually happens inanyproduction line. The visible. Inother words, theprocess of making thesame imageandover over process ofduplication, which generates mistakes bywhich thedifferences become perceived when itwas overexposed bythemedia. its anterior state of unaffectedness, bythe same ofapathy position that was also has reverse effect on theviewers –ananesthesia. Infact, the subject returns to However themost aspect remarkable of repetitionWarhol’s of images the is Reproduction: Claudia Martins Claudia Reproduction: 22. Tunafish Disaster Tunafish , 1963 39 70 Reproduction: Unknown Reproduction: 23. Electric Chair Electric , 1963 40 CEU eTD Collection 41 263 pp, 40 company, and Brown Press/Little, Bullfinch Boston: Retrospective, 39 are theretwo copies ofthe same work, asDyeraffirms: those mistakes acopyisnever exactly aperfect reproduction oftheoriginal, neither Electric Chair, 1963 - Reproduction: Unknown – Source: www.artnews.com – last viewed March 15th , 2008 , 15th March viewed –last www.artnews.com – Source: Unknown Reproduction: - 1963 Chair, Electric A Warhol Andy (1989) (ed.) Kynaston. McShine, – source: Martins Claudia Reproduction: - 1963 Disaster, Tunafish Marilyns difference produced (Dyer, 2004: 37).2004: (Dyer, produced difference the accept openedto is copies, actofmaking the in artist, also andthe is asurprise outcome the are unpredictable, accidents because thosesmall Moreover, be unique. each work makes that feature isthe difference irregular So, the copies. making of process the through In Warhol’s process of reproduction, he generates acopy, but because of 37). (2004: repetitions differential but series of image, same ofthe repetitions ofseries be, not out to turned images ..] [. Warhol’s differences. their produces structure their and that are structural between images the similarities that reveals images the between differences onthe Focusing ..] [. applied. identical and never sloppy , circa 1963, reproduction: unknown, source: www.artnet.com – last viewed March 15th , 2008 , 15th March viewed –last www.artnet.com source: unknown, reproduction: 1963, , circa The weight of Warhol’s silkscreens is the difference produced by small accidents producedby small thedifference silkscreens is of weight Warhol’s The 24. is silkscreening are The the same. not twoprints repeated, is design basic the While Reproduction: unknown Reproduction: Marilyns , circa 1967 41 71 CEU eTD Collection and ambiguous, but surelynot complacent into “normal” limitedstructure . possible assembling ofidentities, sometimes coherent, some othertimes divergent depending onthe context which willit servefor, which it leadstoawide range of proposed byButler. Identities aresimultaneously “instituted and relinquished”, never make two perfectcopies, as we canseeintheprocess of identity formation possibilities, which itisdesirable forqueers. binary gender reproduces gender parodies– multiple and different sexual imperfect, although desirablecopies, toButler’s insight that through repetition ofthe Further, thedefects produced bythe repetition of paintingsWarhol’s can In this light,we cancompare Warhol’s repetition of images thatreproduces 72 CEU eTD Collection Before I was shot, I always thought that I was half-there than all-there – I always suspected that I wasI –I that always suspected all-there than Iwas that half-there I always thought I was shot, Before watching TV instead of living life. […] Right when I was being shot and ever since, I knew that I wasI knew that since, and ever shot whenwas being […] Right I life. ofliving instead TV watching Andy Warhol, Andy The Philosophy of Andy Warhol: From A and BackAgain From B to Warhol: ofAndy Philosophy The watching television. watching 73 CEU eTD Collection bodies toendure the limits oftheflesh and mind inprovoking shock. Thesecond case studyshowed how performance artists during the 1960’s and 1970’s used their conception ofperformance andtheperformativity, I used two casestudies: the first possible tosubvert gender identities. gender system – naturalfemininity masculinity and -is the location where itis is constructed. Ishow how Butler's argument ofthesimulated origins ofthis binary repeating binary gender performances makes visible the mechanism of binarygender destabilized through asystem of power relations. This happens due tothe failure of ownway, claimingownership ofthe body and rebelling against the“norm”. argued thattwo subcultures which appear to beindiscordance are infact,their in overexposes thedecorated bodyseeking visibility. Asa result, thisin paperIhave data andbyte. However, in anoppositedirection, asubculture of body-modification subculture, which craves disembodiment throughatransformation ofthe entity into subcultures resist normativity andclaim agency. Onesuchexample was cyberpunk sense,this throughout this paper Ilookedfor ways tosubvertbinary sexual identities. a heterosexualproject ofclassifying andmarking bodies that donotfitthe “norm.” In challengessexual identity asastable, fixed, unified andassembled bynormativity in performances andpower relations. I argue this bydeparting from queer theorythat In orderto investigate how those subversions take placeblurring Butler’s I usedthetheories ofFoucault andButler toexplain how heterosexuality is One way thatIfoundthissubversion is by looking athowvarious body-related This thesis has shown how the subject is(de)constructed throughcorporeal CONCLUSION 74 CEU eTD Collection . bodily performanceinfluence theprocess can ofidentity formation. research opens the door for asimilar investigation onhow subjective experiences of negotiations of identity, sexuality andagency occur outside ofnormativespace. My art sceneortheconcerning of society.Western my showsWhat research howbodily reemerged contemporary in art.Ihave concluded that the body hasnot eitherleft the the 1960’s and 1970’s seeking tounderstand the reason whichin thebody research about themateriality ofthebody, I investigated the useofartists’ bodies in and Andy through the Warhol ofFoucaultlens andButler. Inthe process of my disembodiment, deals withhis subjectivity. case study howis Andy throughWarhol, his performance ofapparent The importance ofthisproject is read theartist’s bodies performancein artists 75 CEU eTD Collection Daneri, Annaela et al Crimp, Douglas. “Getting the Deserve”. Warhol We Crewswell, John (1998).Qualitative W. Cresap, Kelly M.(2004). Collins, Bradford R.“Dick Tracy andtheCase of Closet:Warhol’s APsychoanalytic Cohen, Stanley (1980). “Symbols ofTrouble” in Gelder,Ken (Ed.), Cohen, Albert K. (1955). “AGeneral Theory of Subcultures” in Gelder, Ken(Ed.), Cobuild, Collins (1999). ______(1993). Butler, Judith (1990). Bergin, Paul.“Andy TheArtist Warhol: asMachine” Brennan, Patrick S. “CuttingThrough Narcissism –QueerVisibility in Benson, Peter. “Freud andthe Visual”. Bell, David (2000).“Meat andMetal” Gelder, in Ken(Ed.), Ahmed, Sara (2006). Abelove, Henry, (2003). “From to QueerThoreau Politics” in Abramovi 1999),pp.49-66. 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