Curator Greg Pierce On How the Museum of Sex’s Warhol Show Came to Be
“Warhol was a radical Queer filmmaker because he didn’t pretend to be anyone but who he was, even when he was playing the part of the great pretender.”
Andy Warhol’s obsession with celebrity was one of the defining aspects of his career, and analyses of that career, not to mention of his life, often fixate on it—he gets blamed for everything from our own celebrity obsessions to the narcissism that has become the ugly hallmark of the social media age. What’s lost in that narrative is any attention that might otherwise be paid to his overtly political work and experiments in abstraction (his Piss, Oxidation and Cum series works were both more boring and more beautiful than you might imagine), not to mention any exploration into the person, particularly the queer person, behind the prints and the persona.
In his quest to edge as close as possible to fame and glamor, Warhol surrounded himself with celebrities and documented the comings and goings of The Factory crowd in photos and film. His portrait series, in particular, portrayed the faces of celebrity, capturing the vulnerability beneath fame’s facade. But what lurked behind his facade? “Looking at Andy Looking,” which opened at New York’s Museum of Sex during Armory Week, offers some clue. Organized by the museum in partnership with The Andy Warhol Museum in Pittsburgh, it considers both voyeuristic elements of Warhol’s work and the complexities of identity and self-perception that can be gleaned therefrom.