by Walter Robinson
Many years ago in art appreciation class we were assigned an essay on a 1964 sculpture by Andy Warhol
-- a stack of Heinz tomato ketchup boxes. Ever slow on the uptake, I gave a strictly formal reading, lyrically extolling the work in terms of form and volume, syncopation and asymmetry, color and geometry. Nothing from me about Pop’s conceptual aspect, the commercial modes of production or mundane subject matter, in which machine-made consumer products replace the lyrical vision of the artist.