his book was put together with the energy and excitement gener-
ated by a conference we organized at Duke University in January
called "Re-Reading Warhol: The Politics of Pop."
Our first thanks, then, go to the people who were instrumental
in making that event happen, and especially to the people who participated
in and attended the conference but did not contribute to this collection of
essays. For their contributions to the conference,
its generative atmo-
sphere, we send gratitude and admiration to Mark Francis of the Andy
Warhol Museum; to Jane Gaines and the Program in Film and Video at Duke
Iris Tillman Hill and the Center for Documentary Studies; to
Fredric Jameson and Duke University's Program in Literature; and to Carol
Mavor, Cindy Patton, Sohnya Sayers, Kristine Stiles, Lynne Tillman, and
Ellen Willis. Thank you also
Roy Grundmann, Tina Takemoto, and Chris-
topher True for their valuable presence. Sandy Mills, Sandy Swanson, and
Tom Whiteside deserve special acknowledgment for their tireless efforts
helping us coordinate all the mechanical aspects of the conference.
We are especially grateful to the organizations-and the individuals be-
hind those organizations-who contributed financial and material support
for the conference: Kathy Silbiger of the Duke University Institute of the Arts
and the Henry David Epstein Endowment, Michael Mezzatesta of the Duke
University Museum of Art, and Ronald Feldman Fine Art.
For her support and advice we thank Callie Angel of the Warhol Film Proj-
ect at the Whitney Museum of American Art and acknowledge her much-
Previous Page Next Page