"Other Voices, Other Rooms": Between Andy Warhol and Truman Capote, 1948--1961.
Item
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Title
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"Other Voices, Other Rooms": Between Andy Warhol and Truman Capote, 1948--1961.
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Identifier
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AAI9969720
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identifier
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9969720
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Creator
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Printz, Neil.
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Contributor
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Adviser: Carol Armstrong
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Date
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2000
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Language
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English
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Publisher
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City University of New York.
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Subject
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Art History | Literature, American
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Abstract
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Other Voices, Other Rooms, Truman Capote's first novel, was published in January 1948 while Andy Warhol was still a student at the Carnegie Institute of Technology in Pittsburgh. Warhol's infatuation with Capote dates from this time. It is generally maintained that this was a "peculiar obsession" Warhol's part,1 marking his status as an outsider and exposing the trauma of his homosexuality. This dissertation posits an alternative proposition: that Warhol's infatuation was enormously productive for him, setting in motion a force field of intense desire and identification that activated his artistic practice and his capacity for self-invention.;Moving outwards from Capote at its charged core, this field is mapped here through selected studies of Warhol's work from the period 1948--1962: idealized "portraits" of Capote and sketches inspired by the Broadway production of Capote's House of Flowers, drawings of men in partial drag, a group of display windows designed for Bonwit Teller, his privately-printed illustrated books, erotic drawings of men, and selected paintings of 1961--62. The modalities of camp, pastiche, sexual inversion and homoerotic desire are each examined, variously located in these works, and considered in a relation to particular photographic images and literary texts. The latter include Capote's early writings, especially Other Voices, Other Rooms, Gore Vidal's contemporaneous The City and the Pillar, and a vanguard homosexual novel of the early 1930s by Charles Henri Ford and Parker Tyler, The Young and Evil.;Drawing was the focus of Warhol's enterprise during the decade before 1960, and this dissertation studies its complexity at close range. Namely, it examines how Warhol used photographs in tandem with drawing, parsed his line into two functions---one that was multiply-traced and blotted, the other continuous and haptic---enlisted his mother's hand, and applied color. Particular attention is paid to the way photography, drawing, painting and writing operate intertextually, how presence is registered, transformation negotiated, and pleasure represented in Warhol's early work.;1David Bourdon, Warhol (New York: Harry N. Abrams, 1989), 31--32.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
