TABLE OF CONTENTS

MY POP

Kelley Walker

Coming to New York in the mid-’90s I became aware of a difference between artists: Jeff Wall was cautious, Warhol was trouble. Warhol’s work seemed much more intuitive, which I was attracted to not because of fashion or Glam or style or publicity but because of its direct expression, often in the form of a failed self-negation coupled with violence. Since then I have become conscious that, however informed, by working intuitively Warhol found in Pop his conception of a functional antagonist, a one-character avant-garde, and a language of marketing. Warhol's direct self-promotion and soliciting—offering the prize of a glamorous dinner with the cover star of that month’s Interview to someone who commissioned a multi-panel portrait, for example—point to a significant reason Warhol achieved such success as an antagonist. Through his use of commercial strategies, I see he honestly questioned

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