This book explores Andy Warhol’s creative engagement with social class. During the 1960s, as neoliberalism perpetuated the idea that fixed classes were a mirage and status an individual achievement, Warhol’s work appropriated images, techniques, and technologies that have long been described as generically “American” or “middle class.” Drawing on archival and theoretical research into Warhol’s contemporary cultural milieu, Grudin demonstrates that these features of Warhol’s work were in fact closely associated with the American working class. The emergent technologies Warhol conspicuously employed to make his work—home projectors, tape recorders, film and still cameras—were advertised directly to the working class as new opportunities for cultural participation. What’s more, some of Warhol’s most iconic subjects—Campbell’s soup, Brillo pads, Coca-Cola—were similarly targeted, since working-class Americans, under threat from a variety of directions, were thought to desire the security and confidence offered by national brands.
 
Having propelled himself from an impoverished childhood in Pittsburgh to the heights of Madison Avenue, Warhol knew both sides of this equation: the intense appeal that popular culture held for working-class audiences and the ways in which the advertising industry hoped to harness this appeal in the face of growing middle-class skepticism regarding manipulative marketing. Warhol was fascinated by these promises of egalitarian individualism and mobility, which could be profound and deceptive, generative and paralyzing, charged with strange forms of desire. By tracing its intersections with various forms of popular culture, including film, music, and television, Grudin shows us how Warhol’s work disseminated these promises, while also providing a record of their intricate tensions and transformations.
 

This collection, for the first time, explores women’s self-conceptions and representations of women’s and gender roles in society in their own Expressionist works. How did women approach themes commonly considered to be characteristic of the Expressionist movement, and did they address other themes or aesthetics and styles not currently represented in the canon? Women in German Expressionism centers its analysis on gender, together with difference, ethnicity, intersectionality, and identity, to approach artworks and texts in more nuanced ways, engaging solidly established theoretical and sociohistorical approaches that enhance and update our understanding of the material under investigation. It moves beyond the masculine, “New Man,” viewpoint so firmly associated with German Expressionism and examines alternative, critical, and divergent interpretations of the changing world at the time. This collection seeks to broaden the theorization, scholarship, and reception of German Expressionism by—much belatedly—including works by women, and by shifting or redefining firmly established concepts and topics carrying only the imprint of male authors and artists to this day.

In this extensively illustrated work, Vanessa Meikle Schulman reveals how visual representations of labor, technology, and industry were crucial in shaping the way nineteenth-century Americans understood their nation and its place in the world. Her focus is the period between 1857 and 1887, an era marked by the rapid expansion of rail and telegraph networks, the rise of powerful, centralized corporations, and the creation of specialized facilities for the mechanized production and distribution of products. Through the examination of popular as well as fine art—news illustrations and paintings of American machines, workers, factories, and technical innovations—she illuminates an evolving tension between the perception of technology and industry as rational, logical, and systemic on the one hand and as essentially unknowable, strange, or irrational on the other.

Ranging across the fields of art history, visual studies, the history of technology, and American studies, Work Sights captures both the richness of nineteenth-century American visual culture and the extent to which Americans had begun to perceive their country as a modern nation connected by a web of interlocking technological systems.