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UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ I Think Everybody Should Be Like Everybody The Hidden Significance of the Andy Warhol Do It Yourself Series of 1962 A thesis submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the Requirements for the degree of MASTER OF ARTS In the Department of Art History of the College of Design, Art, Architecture, and Planning by Meredith A. Schiff BA Vanderbilt University, May 2002 May 2008 Committee Chair: Dr. Kimberly Paice Abstract As one of the mot widely recognized artists of the 20th century, Andy Warhol (1928- 1987) and his art have been heavily debated and analyzed. His strict dedication to the Pop Art movement is manifested in several forms: his formalist stance, his enthusiasm for modernity and American consumerism, and his wide range of subject matter, including advertisement appropriations, cartoon replications, and serialized portrayals of celebrities. Because his oeuvre is so far-reaching and diverse, it is feasible that scholars and art historians may neglect some of it. An example of such an instance is with Warhol’s Do It Yourself series of 1962, a reproduction of the popular Venus Paradise paint by numbers kits. Although small in number, this series marks a turning point in Warhol’s career as a result of its inherent involvement of spectator participation. In addition to a discussion of specific aspects of the Pop Art movement and how Warhol fits into it, the first chapter concentrates on the formal aspects of the DIY works and how they warrant such spectator contribution. Next, the second chapter examines Warhol’s artworks prior to the DIY series, and how the former are more limited when it comes to an active viewing experience. Finally, the third chapter recognizes the DIY series as a distinct turning point for Warhol. This is achieved by means of analyzing his art, technique, and lifestyle after the series’ completion in the summer of 1962. iii Acknowledgements For years, I have been a fan of the Pop Art movement, specifically, of Andy Warhol and his art. Upon choosing to pursue my Masters degree in Art History, I knew that I would eventually have to write a thesis. As I sat trying to decide what would be the most fitting and interesting topic for myself, my mind kept returning to Warhol. However, recognizing the wide range of literature pertaining to this artist already available, it seemed as though there would be little for me to contribute. Dr. Kimberly Paice, my thesis chair, changed all of that. When I explained to her my research ideals, she responded, “I would love to see you write about Warhol’s Do It Yourself series.” The idea was a success. I found that there was very little literature that even mentioned these works, let alone concentrated upon them. Thus, from that point on, I began researching possible arguments, and established the following. Despite the lack of scholarly dedication to the DIY series, I would like to recognize Benjamin Buchloh. Without his remarkable essay, “Andy Warhol’s One-Dimensional Art: 1956-1966,” I may never have found my area of focus. His assertions about the DIY works and their inherent “aspirations toward a new aesthetic of participation,”1 inspired me to research how and why such involvement is significant to Warhol and his entire artistic career. Next, I would like to extend my great thanks to the faculty and staff of the College of Design, Art, Architecture, and Planning. Specifically, I would like to acknowledge Dr. Kristi Nelson and Jane Carlin, instructors of the Research Seminar that I took during my first year of my candidacy. Without their aid and expertise in the areas of research databases, citation, writing skills, and thesis format, this writing process would have been more difficult, confusing, and stressful. Furthermore, I would like to thank Dr. Mikiko Hirayama and Dr. Theresa 1 Benjamin Buchloh, “Andy Warhol’s One-Dimensional Art : 1956-1966,” in Andy Warhol: A Retrospective, ed. Kynaston McShine (Boston: Bullfinch Press/Little Brown & Company, 1989), 45. iv Leininger-Miller, instructors of the Thesis Colloquium, which took place at the beginning of my second year of candidacy. Without their patience, precise scheduling, and advice, I doubt that my thesis would be nearly as successful. Additionally, I am grateful to my entire thesis committee. First, I would like to extend my greatest gratitude to my thesis chair, Dr. Kimberly Paice. No matter what was my question or issue, Dr. Paice was always ready and willing to help me in any way possible. Her incredible intellect, sense of humor, and interest in my topic never went unnoticed. Additionally, I am so grateful for her creative and clever ideas that always proved to increase the success of my argument and analysis. She was always accommodating, considerate, precise, and enthusiastic. Despite her personal workload, she always gave me the time I needed to sort out my writing. Next, I would like to thank Dr. Mikiko Hirayama and Dr. Kristi Nelson. Both of them were extremely helpful in providing feedback, fixing grammatical issues, and in explaining to me what additions or subtractions could best improve my paper. I am so appreciative of their unyielding patience, their willingness to be a part of my committee, and their excellent guidance. Finally, I would like to recognize the incredible support of all of my friends and family. Without them, I may never have gotten through this difficult and turbulent journey. Both of my parents were always eager to read each bit of my thesis as I finished. Furthermore, they were always willing to give me feedback, and to help me edit my work. My mother was always on the lookout for new and interesting books about Andy Warhol, and was willing to do anything she could to help me write an intriguing and persuasive paper. On the whole, I truly cannot imagine this journey without the guidance and support of each recognized individual. Thank you so deeply to all! v vi Table of Contents List of Illustrations viii Introduction 1 Chapter 1: A Distinct Approach to Pop Art: The Do It Yourself Series of 1962 7 Chapter 2: The Path to the Ultimate Spectator Role: Techniques and Subject Matter in Andy Warhol’s Early Career, 1950-1962 20 Chapter 3: The Do It Yourself Series as an Integral Turning Point for Warhol: Spectator Participation in his Art from 1962-Death 32 Conclusion 41 Bibliography 47 Illustrations 50 vii List of Illustrations 1. Andy Warhol, Do It Yourself (Seascape), 1962, Synthetic polymer paint and Prestype on canvas, 54½” x 6’, Collection Dr. Marx, Berlin. 2. Andy Warhol, Do It Yourself (Sailboats), 1962, Synthetic polymer paint and Prestype on canvas, 6’ x 8’ 4”, Daros Collection, Switzerland. 3. Andy Warhol, Do It Yourself (Landscape), 1962, Synthetic polymer paint and Prestype on canvas, 70 x 54”, Museum Ludwig, Cologne. 4. Andy Warhol, Do It Yourself (Violin), 1962, Synthetic polymer paint and Prestype on canvas, 54” x 6’, Private Collection. 5. Andy Warhol, Do It Yourself (Flowers), 1962, Synthetic polymer paint and Prestype on canvas, 69 x 59”, Courtesy Thomas Ammann, Zurich. 6. Andy Warhol, Do It Yourself (Flowers), 1962, Colored crayon on paper, 25 x 18”, The Sonnabend Collection. 7. Andy Warhol, Do It Yourself (Narcissus), 1962, Pencil and colored pencil on paper, 23 x 18”, Oeffentliche Kunstsammlung Basel, Kupferstichkabinett Karl August Burckhardt-Koechlin Fonds. 8. Andy Warhol, Popeye, 1961, Synthetic polymer paint on canvas, 68¼ “ x 58½”, Collection of Mr. and Mrs. S.I. Newhouse, Jr. 9. Andy Warhol, Superman, 1960, Synthetic polymer paint and crayon on canvas, 67 x 52”, Collection Gunter Sacks. 10. Andy Warhol, Dick Tracy, 1960, Synthetic polymer paint on canvas, 6’7” x 45”, Collection Mr. and Mrs. S. I. Newhouse, Jr. 11. Andy Warhol, Coca Cola, 1960, Oil and wax crayon on canvas, 6’ x 54”, Dia Art Foundation, New York. 12. Andy Warhol, Large Coca Cola, 1962, Synthetic polymer paint on canvas, 6’10” x 57”, Collection of Elizabeth and Michael Rea. 13. Andy Warhol, Campbell’s Soup Cans, 1962, Synthetic polymer paint on canvas, thirty-two works, each 20 x 16”, Collection of Irving Blum, New York. 14. Andy Warhol, Campbell’s Soup Cans (Chicken with Rice, Bean with Bacon), 1962, Synthetic polymer paint on canvas, two panels, each 20 x 16”, Stadtisches Museum Abteiberg, Monchengladback. viii 15. Andy Warhol, Dance Diagram, 1962, Synthetic polymer paint on canvas, 6’ x 54”, The Estate of Andy Warhol. 16. Andy Warhol, Dance Diagram (Tango), 1962, Synthetic polymer paint on canvas, 71¼” x 52”, The Estate of Andy Warhol. ix Introduction The Hidden Significance of the Andy Warhol Do It Yourself Series of 1962: Spectator Participation and Relationship to his Career “That Warhol borrowed his images from others, from photographs, ads, food labels and developed a technique by which they were serially mass-produced by anonymous Factory hands remains one of the most contentious issues in criticism. By erasing himself from his creations, minimizing the artist’s responsibility, the significance of talent, and the value of originality, Warhol challenged presumptions about what art is supposed to be and how one is to experience it.”2 -Alan R. Pratt, 1997 “Whether his subject is soup, a HANDLE WITH CARE- GLASS- THANK YOU label, S & H Green Stamps, dollar bills, or do-it-yourself paint-by-number kits, each canvas asks: Do you desire me? Will you destroy me? Will you participate in my ritual? Each image, while hoping to repel its death, engineers its erotic arrival.”3 -Wayne Koestenbaum, 2001 As one of the most widely recognized artists of the 20th century, Andy Warhol (1928- 1987) and his art have been heavily debated and criticized.

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