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STOOJ  _01 

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Tony's large painting on Oshay's chairs.

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Andy Warhol’s instant shot of Georgia O’Keeffe and Carl Van Vechten’s print of her testify to that habit … of smelling out the money portrait, taking a picture of an opening, neigh, opportunity. They are trophy shots, made without pleasure in the (myth of) the independent genius crone subject or her deep dive into a doggy core. Warhol and Van Vechten are not scrapbooking; they are transactional. Drag it up on your own cracked screen. I don’t want to look again. She’s a total buck. She could be on a dollar, but I can’t spend her. G O’K goes camping with the Rockefellers in 1961; while visiting her dealer in Fort Worth, G O’K attends the Chow Chow club International National Specialty (1973); clever Warhol produces the G O’K Polaroid in keeping with what he understands about value … no punctum, all studium … which means that AWl corrals us in the doldrums of the image … the boredom of looking at famous artists instead of at good art—the windless doldrums of capitalist genealogies? Is he drolly exposing the beloved crone or just rote-ly dissecting the illusory sentimentality that gilds capitalism? Warhol’s turned the symbolic profile into a GW; persistent … it produces vast capital. Warhol’s G O’K is listed at $27,000.

 

 

 

 

 

 

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       _01 Liked by Barry Le Va

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