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Anthony E Grudin

Biographic Data

ID1601413
NAMEAnthony E Grudin
GIVEN NAMESAnthony E
FAMILY NAMEGrudin
SIGNATUREGRUDIN A E
AFFILIATIONSANTHONY E. GRUDIN is Assistant Professor of Art History at the University of Vermont. He is currently completing books on class and advertising in Warhol's work and the collaboration between Claes Oldenburg and Coosje van Bruggen.
VERIFIEDNo
TOTAL WORKS3
TOTAL CITATIONS1
WORKS AS AUTHOR3
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2010
LATEST PUBLICATION YEAR2016
H-INDEX1
  • Beholder, Beheld, Beholden

    Anthony E Grudin•ARTICLE•Oxford Art Journal•2016

    We also find, even in recent textbooks, sentences of this sort: ‘A plebeian, Diderot lacks tact and delicacy; he commits faults of taste which affect the sentiments themselves with a certain vulgarity ... ’ Thus, class exists, but as an aesthetic or ethical atmosphere ... Roland Barthes 1 In 1962, five years before the publication of his seminal essay ‘Art and Objecthood’, Michael Fried wrote a withering review of John Berger’s Permanent Red for …

  • Except Like a Tracing

    Anthony E Grudin•ARTICLE•October•2012•References: 6

    May 01 2012 “Except Like a Tracing”: Defectiveness, Accuracy, and Class in Early Warhol Anthony E. Grudin Anthony E. Grudin ANTHONY E. GRUDIN is Assistant Professor of Art History at the University of Vermont. He is currently completing books on class and advertising in Warhol's work and the collaboration between Claes Oldenburg and Coosje van Bruggen. Search for other works by this author on: This Site Google Scholar Author and Article Informati…

  • A Sign of Good Taste

    Anthony E Grudin•ARTICLE•Oxford Art Journal•2010•Cited by: 1

    In the slums ... the closer colors are to the rainbow, the more enticing they are. The working-class connotations of Warhol's very earliest pop paintings have long been recognised: ‘crudely anonymous, out-of-date, tasteless trash’, as Kirk Varnedoe memorably described them.2 The ‘brand image’ artworks, by contrast – the neatly reproduced soup cans, cola bottles, and detergent boxes that Warhol began to make late in 1961 – have traditionally been …

  • A Sign of Good Taste

    Anthony E Grudin•ARTICLE•Oxford Art Journal•2010•Cited by: 1

    In the slums ... the closer colors are to the rainbow, the more enticing they are. The working-class connotations of Warhol's very earliest pop paintings have long been recognised: ‘crudely anonymous, out-of-date, tasteless trash’, as Kirk Varnedoe memorably described them.2 The ‘brand image’ artworks, by contrast – the neatly reproduced soup cans, cola bottles, and detergent boxes that Warhol began to make late in 1961 – have traditionally been …

  • A Sign of Good Taste

    Anthony E Grudin•ARTICLE•Oxford Art Journal•2010•Cited by: 1

    In the slums ... the closer colors are to the rainbow, the more enticing they are. The working-class connotations of Warhol's very earliest pop paintings have long been recognised: ‘crudely anonymous, out-of-date, tasteless trash’, as Kirk Varnedoe memorably described them.2 The ‘brand image’ artworks, by contrast – the neatly reproduced soup cans, cola bottles, and detergent boxes that Warhol began to make late in 1961 – have traditionally been …

  • Except Like a Tracing

    Anthony E Grudin•ARTICLE•October•2012•References: 6

    May 01 2012 “Except Like a Tracing”: Defectiveness, Accuracy, and Class in Early Warhol Anthony E. Grudin Anthony E. Grudin ANTHONY E. GRUDIN is Assistant Professor of Art History at the University of Vermont. He is currently completing books on class and advertising in Warhol's work and the collaboration between Claes Oldenburg and Coosje van Bruggen. Search for other works by this author on: This Site Google Scholar Author and Article Informati…

  • Beholder, Beheld, Beholden

    Anthony E Grudin•ARTICLE•Oxford Art Journal•2016

    We also find, even in recent textbooks, sentences of this sort: ‘A plebeian, Diderot lacks tact and delicacy; he commits faults of taste which affect the sentiments themselves with a certain vulgarity ... ’ Thus, class exists, but as an aesthetic or ethical atmosphere ... Roland Barthes 1 In 1962, five years before the publication of his seminal essay ‘Art and Objecthood’, Michael Fried wrote a withering review of John Berger’s Permanent Red for …

Art (3 works) · Aesthetics (2 works) · Art history (2 works) · Art History and Market Analysis (2 works) · Art, Politics, and Modernism (2 works) · Cultural Industries and Urban Development (2 works) · Psychology (2 works) · Taste (2 works) · Visual arts (2 works) · Vulgarity (2 works)

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