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Homologizing Accident: Notes on Warhol’s Car Crashes

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dc.contributor.author Sarkar, Abhishek
dc.date.accessioned 2018-11-18T04:47:53Z
dc.date.available 2018-11-18T04:47:53Z
dc.date.issued 2/1/2013
dc.identifier.uri http://dspace.ewubd.edu/handle/2525/2852
dc.description.abstract This paper focuses on some paintings by Andy Warhol depicting car crashes to demonstrate how he uses them not only to underscore the commodity fetishism of contemporary capitalism but also subversively to undermine such traits in contemporary American culture. It also explores the connection between the ambivalence reflected in the paintings and Warhol’s sexuality. In the process, it connects the paintings to the category Susan Sontag has famously categorized as “Camp” and Warhol’s own facetiousness and love of surfaces and mixed modes as well as gimmick and parody. en_US
dc.language.iso en_US en_US
dc.publisher East West University en_US
dc.subject Homologizing Accident en_US
dc.title Homologizing Accident: Notes on Warhol’s Car Crashes en_US
dc.type Article en_US


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