Weegee and Warhol: voyeurism, shock and the discourse on criminality

Hopkins, D. (2001) Weegee and Warhol: voyeurism, shock and the discourse on criminality. History of Photography, 25(4), pp. 357-367. (doi:10.1080/03087298.2001.10443238)

Hopkins, D. (2001) Weegee and Warhol: voyeurism, shock and the discourse on criminality. History of Photography, 25(4), pp. 357-367. (doi:10.1080/03087298.2001.10443238)

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Abstract

A remarkable photograph from around the mid-1960s shows New York's legendary newspaper photographer of crime and slaughter, Weegee, staring with undisguised fascination at the Pop guru Andy Warhol.1 At this point in time Wee gee (real name Arthur Fellig) had long since given up his demanding freelance work of the 1930s and 1940s and, after a sojourn in Hollywood, was back in New York photographing the rich and famous. Warhol, along with two figures who would subsequently be prominent Warhol subjects, Marilyn Monroe and Jackie Kennedy, were all photographed by Weegee around this time (figure 1). But if Wee gee was fascinated by Warhol's celebrity, could it have been that the fascination was mutual?

Item Type:Articles
Status:Published
Refereed:Yes
Glasgow Author(s) Enlighten ID:Hopkins, Professor David
Authors: Hopkins, D.
College/School:College of Arts > School of Culture and Creative Arts > History of Art
Journal Name:History of Photography
Publisher:Routledge
ISSN:0308-7298
ISSN (Online):2150-7295
Published Online:19 January 2015

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