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Index
Cécile Whiting
Description: A Taste for Pop: Pop Art, Gender, and Consumer Culture
A Taste for Pop: Pop Art, Gender, and Consumer Culture
Index
Author
Cécile Whiting
PublisherYale University Press
Copyright© Cambridge University Press 1997
https://doi.org/10.37862/aaeportal.00003.012
Stable URL: https://aaeportal.com/?id=-17665
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Index
Abstract Expressionism 27, 123–4, 229
advocates of the movement 62, 202
crisis in 123, 128–9
exhibition practices of 7–8
female practitioners of 196–7, 208–10
masculinity of 124, 132, 135, 137, 146, 177
parodied by Pop art 27, 122, 125, 170, 172, 184
taste for 94, 96
American Woman, the, defined in the press 222–3
Art in America 78–9, 217–20
Art News 73, 121–2, 134, 173
Bacon, Francis
Portrait of Isabel Rawsthorne 170, 171
bathroom design 73
Baum, L. Frank 10–1, 12, 16
Bianchini Gallery 8, 39, 48
female consumers in supermarket exhibition 38–9, 40
male connoisseurs in supermarket exhibition 42
supermarket exhibition 30–1, 39, 41–3, 45–8
Bonwit Teller
department store, the 9
Warhol window display 10, 14, 19–20, 29, 30
window displays 11–2, 15, 16, 18
Boorstin, Daniel 163–4
brand names 31, 56, 147, 163–4, 211
Brando, Marlon 160–1
Camp 177, 179–83
Campbell soup 38–9, 44–5
Campbell, Lawrence 202, 210
Clark, Clifford E. 55, 85, 87
collectors, Playboy 92, 94–7
collectors of Abstract Expressionism 95–7
collectors of Pop art 6, 83, 95–9, 139–40, 182
female, with art work 50, 88, 90, 97, 98
male, with art work 90–1, 97–8
modern architecture, and taste for 83, 84
Pop displayed in homes 50, 83, 88
collectors of Warhol’s art 183
Color-Field painting 7, 117, 133–4, 135, 136, 192
connoisseur of Pop art 27–9, 42, 48, 95, 141
consumer, the 3, 6, 13, 60, 62, 102, 138, 233
Bianchini Gallery supermarket exhibition 31, 38–40
enticed by packaging 32, 36–7
homemaker, as 52, 57, 58, 60, 64, 68
irrationality of 34, 37–8
modes of evaluation,
exemplifying absorption 10, 12, 14, 19, 22, 39, 62, 120
exemplifying a formalist eye 17, 18, 19, 21–2, 82, 139, 142, 144, 205, 212
exemplifying identification 73, 143, 205–8, 212, 216–7, 218–20
using touch 26, 28, 40, 42
Oldenburg’s Store 23
rationality of 32–3, 38
unconscious desires 34–7
Warhol window display 9–10, 14, 19, 22
critics of Pop art 180, 189–95
advocates of the movement 3, 27, 117, 118–20
attribute parody to the movement 125
criticize,
as camp 178–9
as consumer culture 3–4, 7
as copying 102, 122
owing to motifs 2, 60, 64
modes of evaluation
exemplifying consumer desire 29–30
exemplifying a formalist eye 191–2
using touch 28
de Kooning, Willem 95, 129, 183
Marilyn Monroe 154, 156
Woman I 154–5
department store, the 15, 22, 24, 58
promoting good taste 21–2, 80
and modern art 17–8
Doane, Mary Ann 81, 207, 217, 226–7, 230
domestic interior, manuals 52, 57–8, 69–71, 78, 84–7, 94
economy of domesticity, the 52, 53, 84
Cold War, and the 54–5
issues of class, and 53–6
in Pop art 52, 53, 56–7, 60, 81
Fortune 32, 40, 42, 60
Frankenthaler, Helen 134–5, 210
gaze, the
of the female consumer 72–3, 77, 81, 187, 204, 213, 217, 220
of the male voyeur 72–3, 76–81, 83, 203–4, 213, 217
Gill, James
Marilyn 155, 157
Glueck, Grace 197, 198, 201
Gornick, Vivian 178–9
Greenberg, Clement 61, 62, 117, 132–3, 135, 136, 173
Harper’s Bazaar 205–10, 220
Hartigan, Grace 196, 208
Heller, Ben 95, 98
highbrow, the 63–4, 65, 72, 82, 98, 139, 181–2, 183
House and Garden 44, 46, 70, 84, 97
House Beautiful 15, 18, 21
Huyssen, Andreas 2, 3, 120
Irigaray, Luce 228, 230
Johnson, Ellen 24, 26, 118–9, 180
Johnston, Jill 27, 29
Kennedy, John F. 164–6
Kiesler, Frederick 16–8
kitchen design 1, 57, 69, 72, 92, 141–2
Kitchen Debate, the (Nixon and Krushchev) 54–6
Kozloff, Max 3, 4, 7, 122–3
Kraushar, Mr. and Mrs. 50, 83–4, 87, 88, 90–1, 96, 98, 182
Ladies Home Journal 84, 97
Lichenstein, Roy 5, 90, 91, 189, 192, 233
comic book sources,
gender roles in 104–10
image vs. text in 111–5
naturalism in 116–7
paintings by,
criticized as copies 120–2
defended by formalist criteria 118–20, 135–6, 140
foreground gender roles 104–10
foreground processes of representation 102, 116–7
image vs. text in 111, 115
transformation vs. copy in 102, 117, 123
persona of 126–8, 132, 137
scenes of kitchens in paintings by 111
use of Ben Day dots by 116, 125, 127
use of comic book sources by 100, 101, 102–3
use of parody by 117, 119, 125
works,
As I Opened Fire 112–3
Drowning Girl 103, 109, 110
Eddie Diptych 114–5, 115
Engagement Ring 110, 113
Hopeless 104, 110, 114, 116
I Know How You Must Feel, Brad 118–9
Little Big Painting 125, 127
M-Maybe 114
O.K. Hot Shot 106, 108, 111
Portrait of Mme Cézanne 121
Refrigerator 111
Scared Witless 105
Whaam! 104, 106
Women Cleaning 111
Sponge 111
Spray of 1962 111
Step on Can with Leg 111
Life 39–42, 90–1, 152–3, 165–6, 209–10
American Woman in, the 222–3
Bianchini supermarket exhibition in, the 31, 38–48
Camp in 179
Kennedy assassination in, the 168
Kraushar in, Mr. & Mrs. 88, 96, 98
Lynes, Russell in 63
Monroe, Marilyn in 152
Pollock, Jackson in 124
Pop art in 180
Scull in, Mr. & Mrs. 98
Lippard, Lucy 1–2, 3, 6, 135–7, 144, 180, 185–95, 202–3
Look 222, 223
Loran, Erie 120–2, 123
lowbrow, the 63–4, 181
Lower East Side, the 8, 23–6, 28, 30
Lynes, Russell 62, 64, 181, 182
magazines, women’s 57, 58, 69–71, 204–17
domestic interiors in 52, 57, 73, 78, 82
Marisol in 220
modern architecture in 84–5
Pop advertisements in 138
Marisol
art by,
as fashion 205, 211, 216–20
compared to Abstract Expressionism 229
compared to Andy Warhol 202
compared to folk art 194
compared to Jackson Pollock 202
compared to Pop art 189–91, 193–5
compared to Post-Painterly Abstraction 229
art criticism on art by, in the 1970s and 1980s 221–2
artist,
as bohemian 210
as fashion model 205–6, 210
nude in art by, the 218–20
persona of,
as feminine 196–7, 204, 211, 220, 221
as narcissistic 200–4
as unknowable 196, 197–200, 203
self-portraiture by 188, 200, 228
use of masquerade by 226–7, 230
use of mimicry by 228–9, 230
use of parody by 187–8, 194–5, 227
works,
Americans 206
The Party 225–8, 227
Women and Dog 187–8, 228–9
Marlowe, Derek
A Slight Misfit 157, 158
masculinity, crisis of 130–2, 162
Mass Culture: The Popular Arts in America 61–2
middlebrow, the 61, 63–4, 65, 72, 82, 98, 139, 181
Monroe, Marilyn 148–54
Moore, Gene 10, 14–5, 18–9, 21
Motivation Research 34, 39, 42
advocates of 32, 34–5, 36, 37
critics of 36, 37–8, 44
Nemser, Cindy 196, 221
New York Times Magazine 138–40, 197–8, 200
Newman, Barnett 133–4, 135, 136, 192
Vir Heroicus Sublimus 133
Newsweek 134, 153, 180, 183
Oldenburg, Claes 98, 189
Green Gallery exhibition of art by 8
representation vs. real in art by 28
works,
Bedroom Ensemble 78, 79, 88
The Store 8, 22–9
Packard, Vance 37–8
Playboy 79, 91–5
Pollock, Jackson 94, 124–7, 128–9, 137, 170, 177, 202, 212
Number 1, 1948 124
Pop art, aesthetic of defined in the press 179, 180
debates about the real vs. representation generated by 28–9, 40–2, 43, 80–1, 98
fashion, as 211–3
Pop art advertisements 102, 137–45
portraiture, modern 170–1
Post-Painterly Abstraction 117, 133, 135, 136, 192, 229
Potter, David 53–4
Presley, Elvis 160–1
product image, the 31–2, 36–8, 40, 43–4, 81, 163
Rose, Barbara 136–7, 180, 192
Rosenberg, Harold 95, 124, 162
Rubin, William 128–9
Rublowsky, John 120, 127, 189–93, 203
Saarinen, Aline 18, 119, 121, 126
Sandler, Irving 136–7, 144, 192
Scull, Mr. and Mrs. 83, 88, 89, 95, 97, 98, 176, 182
social class, defined by
consumer goods 53–6
consumption of Pop art 6, 14, 22, 88, 138, 181–3, 212
egalitarianism 55
Motivation Research 37
taste 59, 63, 72, 181
Steinem, Gloria 179–80, 199
supermarket 8, 24, 31, 33, 37–8, 43, 44, 48, 54
taste 62–4
aesthetic, and the 51, 72, 92, 94, 177
bad taste,
in art 17, 61, 179
in consumer culture 21
in interior design 58, 78, 88
consumer taste 51, 60, 65, 72, 82
good taste 21–2, 58–60, 70
good taste,
in art 95, 183
in consumer culture 25, 30
in interior design 56, 57, 58, 65, 78
hierarchies of 60, 62, 72, 82, 181–2
taste for Pop art 96
Taylor, Elizabeth 148–52
Tiffany’s 14–5, 18, 21
Tillim, Sidney 26, 29, 182
Time 97, 183, 194, 196, 200, 201, 223
Tomkins, Calvin 41–2
Vasarely
Minta 213
Onix 2 211, 213
Vogue 88, 96, 126, 149, 154, 158, 162, 211–7
Warhol, Andy 5, 91, 118, 189, 192, 193, 197, 202
art works by,
in Bianchini Gallery supermarket exhibition 30, 47
in Bonwit Teller window display 9, 10, 14, 15, 19, 20, 22, 29
espoused by the “In Crowd” 181–3
homosexuality, and 178, 181
masculinity, and 161–2, 177, 180, 183
persona of,
impersonated by Alan Midgette 174, 177
public vs. private in 146, 172, 174, 183
in relation to Edie Sedgewick 175–7
portraits by, in the 1970s 183, 186
silk-screens by,
technique 159–60, 161, 168, 172, 184–5
of female stars 146–8, 158–60
of the Kennedys 164–9
of male stars 161–2
works,
Blue Liz as Cleopatra 147, 151
Campbell’s Soup Cans (Chicken with Rice, Bean with Bacon) 39, 44–5, 160
Elvis I 162, 163
Judy Garland 185
Liz 147, 150
Marilyn Monroe 147, 160
Philosophy of Andy Warhol [book] 174
Portrait of Mrs. Scull 89
Portrait of Yves St. Laurent 184
The Week That Was I 167, 166–9
Wesselmann, Tom 5, 189, 233
nude in paintings by, the 50, 68, 72–7, 80, 81, 89, 90–1, 212
reproductions of modern art in paintings by 65–72
scenes of bathrooms in paintings by 50, 52, 69, 72, 76, 98
scenes of kitchens in paintings by 52, 53, 56–7, 60, 68, 73, 77–8, 81–2, 88
use of parody in paintings by 69, 77, 78, 79
works,
Bathtub Collage #1 50, 91, 98
Bathtub Collage #3 72–6, 80
Great American Nude #6 65, 66
Great American Nude #26 74, 76
Great American Nude #34 76
Great American Nude #48 67, 68
Great American Nude #52 77
Great American Nude #55 78
Still Life #17 73
Still Life #20 69, 70
Still Life #30 52–3, 56–60, 77–8, 80, 81–2
Still Life #31 68, 67
Whyte, William H. 60, 61
window display
art, as 15–8, 19, 21, 22, 211
mass merchandise, of 23, 25–8, 30
theater, as 10, 14, 16, 19, 22