...Christopher Reed Copyright © 1998 by Duke University Press 1998 Pop Out: Queer Warhol Jennifer Doyle, Jonathan Flatley, and José Esteban Muñoz. Durham, N.C.: Duke University Press, 1996. 288 pp., 53 illus. ...

... of Society . translated by Holmes Stephen Larmore Charles . New York : Columbia University Press . BOOKS IN BRIEF 203 LIKING, LIKENESS, ALIKENESS Marcie Frank Like Andy Warhol Jonathan Flatley Chicago: University of Chicago Press, 2017. viii + 276 pp. Jonathan Flatley s Like Andy Warhol...

... again. Between Irony and Belief: The New York Puerto Rican 1960s Like much of 1960s underground avant-­garde art, the works of Andy Warhol and Anger register a tension between camp irony and kitsch fascination or belief in an auratic presence that, like that of old...

..., and Yinka Shonibare, among others. She has written on artists from Andy Warhol to James VanDerZee. From 1991 through 2002, she was a curator at the Andy Warhol Museum, where she co- organized The Warhol Look/Glamour Style Fashion. She curated Greer Lankton’s 1996 exhibition at the Mattress Factory...

.... John Gagnon, Robert Michael, and Stuart Pop Out: Queer Warhol, reviewed by Michaels, The Social Organization of Christopher Reed 4 (1): 117–25 Sexuality) 3 (2–3): 311–16 Duberman, Martin Bauml, Martha Vicinus, Arenas, Reinaldo...

... chapters of this wide-ranging work, Doyle imaginatively plays the favored hag to Andy Warhol’s fag (102). The payoff of this queer femi- nist perspective is most pronounced in the chapter on women in Warhol’s films of the late sixties. In one of the many transhistorical interpretive gestures...

... chapters of this wide-ranging work, Doyle imaginatively plays the favored hag to Andy Warhol’s fag (102). The payoff of this queer femi- nist perspective is most pronounced in the chapter on women in Warhol’s films of the late sixties. In one of the many transhistorical interpretive gestures...

... men and elective affinities for homoerotic repre- sentations far exceed our Noah’s ark taxonomies and transform how we read our desired objects. In the central chapters of this wide-ranging work, Doyle imaginatively plays the favored hag to Andy Warhol’s fag (102). The payoff...

... men and elective affinities for homoerotic repre- sentations far exceed our Noah’s ark taxonomies and transform how we read our desired objects. In the central chapters of this wide-ranging work, Doyle imaginatively plays the favored hag to Andy Warhol’s fag (102). The payoff...

... men and elective affinities for homoerotic repre- sentations far exceed our Noah’s ark taxonomies and transform how we read our desired objects. In the central chapters of this wide-ranging work, Doyle imaginatively plays the favored hag to Andy Warhol’s fag (102). The payoff...

... chapters of this wide-ranging work, Doyle imaginatively plays the favored hag to Andy Warhol’s fag (102). The payoff of this queer femi- nist perspective is most pronounced in the chapter on women in Warhol’s films of the late sixties. In one of the many transhistorical interpretive gestures...

... men and elective affinities for homoerotic repre- sentations far exceed our Noah’s ark taxonomies and transform how we read our desired objects. In the central chapters of this wide-ranging work, Doyle imaginatively plays the favored hag to Andy Warhol’s fag (102). The payoff...

... men and elective affinities for homoerotic repre- sentations far exceed our Noah’s ark taxonomies and transform how we read our desired objects. In the central chapters of this wide-ranging work, Doyle imaginatively plays the favored hag to Andy Warhol’s fag (102). The payoff...

... men and elective affinities for homoerotic repre- sentations far exceed our Noah’s ark taxonomies and transform how we read our desired objects. In the central chapters of this wide-ranging work, Doyle imaginatively plays the favored hag to Andy Warhol’s fag (102). The payoff...

...” and “the epistemology of a subject-given-to-know” (105). Andy Warhol, wounded by his rejection from the New York art world for being too obviously gay (wounded by being gossiped about [109 hyperbolizes his “swishness” as an element of his artistic persona (118) and comes to be “inned...

... in his work (a “visual gossip column” [76 which eschews both “the earnest author- ity of ‘serious’ art and culture” and “the epistemology of a subject-given-to-know” (105). Andy Warhol, wounded by his rejection from the New York art world for being too obviously gay (wounded...

...- ity of ‘serious’ art and culture” and “the epistemology of a subject-given-to-know” (105). Andy Warhol, wounded by his rejection from the New York art world for being too obviously gay (wounded by being gossiped about [109 hyperbolizes his “swishness” as an element of his...

...- ity of ‘serious’ art and culture” and “the epistemology of a subject-given-to-know” (105). Andy Warhol, wounded by his rejection from the New York art world for being too obviously gay (wounded by being gossiped about [109 hyperbolizes his “swishness” as an element of his...

...” and “the epistemology of a subject-given-to-know” (105). Andy Warhol, wounded by his rejection from the New York art world for being too obviously gay (wounded by being gossiped about [109 hyperbolizes his “swishness” as an element of his artistic persona (118) and comes to be “inned...

... is assistant professor of performance studies at New York Uni- versity, where he teaches queer theories and critical race studies. He is coeditor of Pop Out: Queer Warhol (1996) and Everynight Life: Culture and Dance in Latin/o America (1997). His book, Disidentifications: Performing Race and Sex, is forth...