In the bleak McCarthy era, gay culture paradoxically flourished in the home--safer than police-threatened bars and tearooms. The private apartment--or townhouse--became a Joseph Cornell shadow box, a vitrine, an inside-out Brillo carton; in domiciles, queers amassed artworks, cleansers, masks, records, and receipts, with a curatorial intensity that Warhol would translate into an art of serial and repeated imagery, and into the collections (cookie jars, jewelry, superstars, drawings, cardboard-boxed time capsules) that were his signature, his incarceration, and his bid for immortality.Bonus link: David Schwartz on Callie Angell, the late curator of the Andy Warhol Film Project.
Friday, May 21, 2010
Archives of multiples
Wayne Koestenbaum's Andy Warhol learns that "gay taste tended, in 1950s New York, toward multiplication and archiving":