5, 1982.
BOOKS &
adjustment was the loss of its heroic
of Warhols
status.Theconsequences
cynicism-a cynicism so profound it
looked like innocefice-or the content
the light of the esthetic decisions of inMENAND
of modern art wererealty notasfardividual artists; but it would not be in- reaching as its consequences for the imhe publication last fall of
Aldulging in more than the usual
critical age of the modern artist.
threw the
bertGoldmansbiography
of hyperbole to saythatwhenWarhol
Elvis Presley was an important threw out the canvas wlth the drips and bottle-rack and th,e urinal in their faces
for a challenge,complained the unevent, not so much because of
hash
marks,
a majorphase
in the
willing godfather of Pop Art,
Marcel
Goldmans cruelties as because of
history of modern culture came,to an
the enormous response the book proDuchamp, and now they admire them
end.Those painterlyeffects were the
voked. When serious wqiters in journals
for their artistic beauty. The modern
srgnature of the special sensibility that
.
artist
had
always
been the heroic
ranging from The Vdlage Voice to the guaranteed Art. They were the traces
of challenger
ofofficialculture-ofits
Times Lrterary Strpplernent rose to de- the paintersheroicstruggle
to transcommodity fetishism,its
marketplace
fend Presleys culturalsignificance,it
form the everyday into art, to make a
morality, its bourgeois notions of art.
wasclear that Elvis hadidentified a
statement about hisspecialrelation
to Withthearrival
of Popismandthe
substantialaudience
of intellectuals
the world of ordinary experience.
emergence of the big money art world
with an interest In popular entertainers.
It is perhaps easier to acceptthe
ofthe 1960s and 1970s, though,the
We are surely gomg to get more books
significance of Warhols decision if we avant-gardesuddenlyseemed
tojoin
for this audience-Goldmanhimself,
remember that it was no[ in the ordinary
forces with that part of modern life it
when he gets his contracts straightened
sense an artistic decision but primarily a had traditionally been understoodto
out, will be writing one on John
Lencommercial one (this aspect
of Warhols
despise.
non-and it is tempting to speculate on
art is made quite clear In Calvin TomBut the need for the culture hero that
the reasons for this fascination with the
kinss account of the episodeof the two modern high culture had always filledheroes of popular culture.
Coke bottlesin
De Antonio the artist whose life and
work are the
The Interest can be attributed in great
may have thought he saw
a
work of art; heroic testimony of the modern worlds
part to thechange theimage of the
Warhol realized he had something that
hostility to genius-did notdisappear
modern artist has undergone in the past
would make him famous.
with the
institutionalization
of the
fifteen or twenty years. Once the symWhat Warhol had done was to turn avant-garde. The culture hero
simbol
of
heroic
a alternative
to
the
avant-garde
voracious
commercialism
of modern one of the oldest -of
ply rediscovered in another part of the
strategies on the avant-garde itself, incultural spectrum-in
the
world
of
life, theavant-gardeartlsthascorn&
conventional
relationship
popular
culture.
Since
the
spirit
of
since the 1960s to look like just another verting the
modernartandliteiaturehadalways
entrepreneur in the business of culture. between high art and the marketplace
been in direct conflict with the notion of
An episode recounted in Andy Warhols andtransforming the high cultureart
provides work into a commodity. Or to put it in art as a form of popular entertainment,
memoir of the
esthetic fterms-well, here is Warhols this relocation of the culture hero from
a neatillustrationofwhathappened.
own
gee-whiz prose:
painting
and
poetry
to rock
music
One day In 1960, Warhol, at the time a
makes
for
one
of
the
lovelier
ironies
successful commercial artist who made
Pop
the inside and
It
generated by the collapse of the cultural
his living drawing shoes, decoratlng the
side, took the outside and
inside. The Pop artists did images that
hierarchy.
windows of fashionable
department
anyone walkmg down
Broadway
Looking back, we can see the kindof
stores and, on a few occasions, drawing
would recognize in a second-comlcs.
attractionsomeone like ElvisPresley
little suns
and
ram
clouds
for
TV
picnic
mens trousers, celebfor intellectuals in the
would
have
weathermaps,showed
/his friendand
rities,
shower
curtam, refrigerators.
modernist version of the myth of the artmentor Emile de Antonio two paintings
Coke bottles-allthe
greatmodern
ist as culture hero. Presleys career can
he had made. Both were of Coca-Cola
Lhmgs that the Abstract Expresslomsts
be read as the embodiment of one of
bottles:in one,theimage
was embelhad tried so hard not to notice at ali.
modern cultures two
strategies
for
lished with Abstract Expressionist drips
and hash marks; in the other, the bottle
All thegreatmodern
things: the dealingwiththephenomenaofmass
The , two
was unadorned. De Antonio told Warhol collapse of the distinction between hlgh society andmassculture.
andsubmisthat one of the paintings was worthless, andpopularculturethat
this phrase strategieswereresistance
but, he said, The otheris remarkablesums up has seemed to, many-people to sion, and both were understood to be
its our society, its whowe are, its ab- be the defeat of culture. But I t is really heroic because both were understood to
solutely beautiful and naked, and
you cultures triumph: it has always been the entail suffering. The notion thatPresley
ought to destroy the first one and show secret and mastering desire of modern submitted his talent totheinhuman
culture to enter into our lives, to be ex- machinery of commercial exploitation,
the other.
It 1s ofcoursethefondestsort
of perienced as more than simply collec- and that he paid in consequence a terrihlspresent
romanticism t o read cultural history In tion of estheticartifacts,andnow,
by bleprice, 1s thebasisfor
someextraordinarybut- inevitable ad- peculiar stature as both the hero andthe
leaches i n !he Engid? justment of its self-image, it has done so. victim-the heroic victim-of modern
The price paid by high culture in this mass culture.
deparltnenl at
University.
All Shook Up
~~~~
5, 1982
691
..
~-
~~
AND
of
A menculous anthology of
contmnm g all of IChomems malor Ideas Translaannotanom, and Introduction
Hamld A@,
professor of
studies
at the University of Cahfornla,
and an outstandrng authority
religon in
- Khomeinis
work, dated 1970
- 28 pubhc statements.
- Held December 29, 1978
and December 29, 1979 wlth H a m d Algar
A
scholarly plece on splr~tualonentanon
Wntten
a 1979 televlslon serles about the
Quran
Algar,
work greatly enhasces
flow of Khomemls teachings, underscores
the mterrelatlonshpof Islam as both a reha soc~olegal framework for
life. (July 1981)
0-933782-04-7
464 pages. Hard cover.
Price $19.95 (add S .70 postage)
Dept. N
Berkeley, CA 94704
9
692
5, 1982
--
- .
dangermsand
..
wherebythe
oc?)mes
literation
SlmoekValx-e
CHRISTOPHER