JENNIFER DOYLE
JONATHAN FLATLEY
JOSE ESTEBAN MUNOZ
Introduction
"Pop Art took the inside and put it outside, took the outside and put it inside."
-Andy Warhol, POPism
1
ndy Warhol was queer in more ways than one. To begin with, he
was a fabulous queen, a fan of prurience and pornography,
and a great admirer of the male body. This queerness was
"known," in one way or another, by the gay audiences who
enjoyed his films, the police who censored them, the gallery owners who
excluded his sketches of male nudes from exhibits, the artists who were
made uncomfortable by his swishiness, not to mention the drag queens,
hustlers, speed freaks, fag hags, and others who populated the Factory. Con-
sidering then, on the one hand, that many people knew enough about War-
hol's sexuality to let it guide their response to and evaluation of him and his
art and, on the other, that Warhol has become a central figure in work on
postmodernism, the avant-garde, mass culture, film studies, high art/low art,
and American art history,2 we might expect that there
already
would be a rich
body of criticism exploring, appreciating, celebrating, or at least mentioning
the role of Warhol's queerness in the production and reception of his films
and art.
However, with few exceptions,3 most considerations of Warhol have "de-
gayed" him.4 Warhol's critics have usually aggressively elided issues around
sexuality or relegated his queerness to the realm of the "biographical" or
"private" to usher in his
oeuvre
to the world of high art. Or when they have
alluded to Warhol's sexuality, usually without mentioning that he was
gay
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