Acknowledgments

Whiting, Cécile

Save Cite Share

Free

Acknowledgments

Cécile Whiting

A Taste for Pop: Pop Art, Gender, and Consumer Culture

Acknowledgments

Author

Cécile Whiting

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00003.003

Stable URL: https://aaeportal.com/?id=-17656

Acknowledgments

In the decade and a half that have elapsed between a seminar paper written on political imagery in Pop art and this book about Pop’s intimate liaison with a consumer culture coded as feminine, I have accrued innumerable intellectual debts. I want to thank the many colleagues and students who have challenged me to rethink Pop art; their impact can be traced on every page. I am particularly appreciative of provocative comments I received from Martha Banta, Ann Bermingham, Albert Boime, Sarah Burns, Tim Clark, John Clarke, Wanda Corn, Melissa Dabakis, Serge Guilbaut, Anne Higonnet, Caroline Jones, Cecelia Klein, David Kunzle, Karen Lucic, Kate Norberg, Christopher Reed, Richard Shiff, Kenneth Silver, Sally Stein, Lisa Tiersten, Ellen Todd, Anne Wagner, Joan Weinstein, Sarah Whiting, and Rebecca Zurier. Undoubtedly, I have forgotten to acknowledge some helpful interlocutors, most obviously the careful listeners who asked probing questions when I presented talks on this material at Indiana University; Kenyon College; the University of British Columbia; the University of California, Berkeley; the University of California, Los Angeles; the University of Kansas; and the University of Texas, Austin; or at meetings of the American Studies Association, the College Art Association, and the Women’s Caucus for Art. Also among those who remain unnamed are the referees who provided thorough and thoughtful comments on the earlier versions of several chapters that were published in American Art, Genders, Oxford Art Journal, and RACAR. Beatrice Rehl, the Fine Arts Editor at Cambridge, has supervised the project with patience and good will, and Patricia Hills read the manuscript with care, offering many helpful critical suggestions while always remaining supportive.

UCLA not only has provided me with a stimulating intellectual home, but it also has given me the practical resources to complete my research. Over the years, I have received invaluable assistance from a number of resourceful research assistants, including Bill Begert, Roz Bickel, Katie Hauser, Lisa Hofman, Karen Mason, and Lynn Matheny. I was able to hire assistants and pursue my research thanks to annual Academic Senate Research Grants from UCLA as well as to a Mini-Grant from the Center for the Study of Women at UCLA. Finally, I am grateful for a University of California President’s Research Fellowship in the Humanities during the year 1994–5, which permitted me to complete the manuscript.

Finally, I wish to thank Jim Herbert, who turned his critical eye to every page of the manuscript and penned rigorous criticisms in the margins; each of his comments greatly sharpened my argument throughout. Thanks as well to Nicole Herbert-Whiting, who, while not yet able to read and to question her mother’s authority, provided me with numerous distractions from writing and rewriting this book. Both demonstrated remarkable good spirit, even enthusiasm, as I inevitably made this project an integral part of our shared domestic interior.

Portions of this book have already appeared in various journals. I thank the editors for permission to use the material in revised form:

“Borrowed Spots: The Gendering of Comic Books, Lichtenstein’s Paintings and Dishwasher Detergent,” American Art 6 (June 1992): 8–35.

“Pop Art Domesticated: Class and Taste in Tom Wesselmann’s Collages,” Genders 13 (Spring 1992): 43–72.

“Figuring Marisol’s Femininities,” RACAR (Revue d’art canadienne/Canadian Art Review) 18 (1991): 73–90.

“Andy Warhol, the Public Star and the Private Self,” Oxford Art Journal 10 (1987): 58–75.

Previous chapter

Base text size -

Chapter images ()