Yippie Pop: Abbie Hoffman, Andy Warhol, and sixties media politics

Grey Room

Volumn , Issue 8, 2002, Pages 63-79

  Joselit, David ^a  

^a NONE

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[No Author keywords available]

Indexed keywords

EID: 67149143375     PISSN: 15263819     EISSN: None     Source Type: Journal    
DOI: 10.1162/15263810260201607     Document Type: Review

References (25)

1. See Gregory Battcock, "The Warhol Generation," Other Scenes 4, no. 9 (November 1970)
2. reprinted in Battcock, ed., The New Art: A Critical Anthology (New York: E.P. Dutton and Co., 1973), 21-28
3. For an excellent account of Hoffman's media politics, see Aniko Bodroghkozy, "'Every Revolutionary Needs a Color TV': The Yippies, Media Manipulation and Talk Shows," in Groove Tube: Sixties Television and the Youth Rebellion (Durham: Duke University Press, 2001), 98-122
4. Daniel J. Boorstin, The Image: A Guide to Pseudo-Events in America (New York: Vintage Books, 1961), 11
5. This action took place in August of 1967, before the official birth of the yippie movement in early 1968, but it is nonetheless exemplary of their subsequent strategies. For an account of the event, see Jonah Raskin, For the Hell of It: The Life and Times of Abbie Hoffman (Berkeley: University of California Press, 1996), 114-115
6. Hoffman, 133-134
7. Norbert Wiener, The Human Use of Human Beings: Cybernetics and Society (New York: Da Capo Press, 1950), 26
8. Michael Shamberg and Raindance Corporation, Guerrilla Television (New York: Holt, Rinehart, and Winston, 1971), 12
9. Shamberg and Raindance Corporation, 27
10. Farber analyzes this contradiction in "Inside Yippie!" in Chicago '68, 211-225
11. Todd Gitlin, The Whole World Is Watching: Mass Media in the Making and Unmaking of the New Left (Berkeley: University of California Press, 1980)
12. Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again) (New York: Harcourt Brace Jovanovich, 1975), 5
13. Warhol, The Philosophy of Andy Warhol, 91
14. and Branden W. Joseph, "Nothing Special: Andy Warhol and the Rise of Surveillance," in Thomas Y. Levin, Ursula Frohne, and Peter Weibel, eds., CTRL [SPACE]: Rhetorics of Surveillance from Bentham to Big Brother (Cambridge: MIT Press, 2002), 119-133
15. Angell discusses Outer and Inner Space in CTRL[SPACE], 278-281
16. Andy Warhol, a: a novel (New York: Grove Press, 1968), 116
17. Jonas Mekas, "Movie Journal," The Village Voice, 16 June 1966, 27, 29
18. Victor Bockris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus Books, 1983), 28
19. Raskin, 85
20. Jonas Mekas, "On the Plastic Inevitables and the Strobe Light" (26 May 1966), in Mekas, Movie Journal: The Rise of a New American Cinema 1959-1971 (New York: MacMillan, 1972), 242
21. Andy Warhol and Pat Hackett, Popism: The Warhol '60s (New York: Harper and Row, 1980), 113
22. I have made a similar argument with regard to the modernist quality of flatness in my essay "Notes on Surface: Toward a Genealogy of Flatness," Art History 23, no. 1 (March 2000): 19-34
23. Andy Warhol, 1966 CBS interview with Alan Solomon, quoted in Rainer Crone, Andy Warhol (New York: Praeger, 1970), 30
24. Clement Greenberg, The Collected Essays and Criticism. Volume 2: Arrogant Purpose 1945-1959, ed. John O'Brian (Chicago: University of Chicago Press, 1986), 201
25. For a very suggestive essay, albeit one with rather different conclusions than my own, on how art historians can rethink their disciplinary skills in terms of current methodological challenges, see Thomas Crow, The Intelligence of Art (Chapel Hill: The University of North Carolina Press, 1999)