6
Portfolios%3D%222969%22%20and%20Sort_Artist%3D%22Warhol,%20Andy%22
Print
Jackie
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
23 7/8 x 23 1/4 in. (60.6 x 59.1 cm)
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overall
frame
Acrylic
Acrylic
1964
1964
1964
1900-2000, 20th century, politics in art, serigraphs, women
Print
Warhol often used an unorthodox approach to portraiture. He borrowed from media photographs of celebrities to construct an individual’s public image instead of using a brush to render an idiosyncratic artistic interpretation of a sitter’s appearance.
This work is part of Warhol’s “Jackie” series, which he began shortly after the assassination of President John F. Kennedy in 1963. As the basis for the paintings, he first selected eight photographs from the mass-media coverage of the event. He then cropped the pictures to focus on the President’s widow, Jacqueline Kennedy. Warhol used a commercial silkscreen technique to produce multiple versions of his work. As Warhol described,
I wanted something that gave more of an assembly line effect….With silkscreening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple quick and chancy.
[Forman Gallery, Summer 2015]
1965.7
item
Memorial Art Gallery
9/8/1999
65.7TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
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65.7SL1
slide
2 x 2
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glossy
full
8 x 10
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negative
full
8 x 10
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negative
full
4 x 5
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65.7DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/65.7_A1.jpg
70warhol1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/70warhol1.tif
Sculpture
Kiss
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
12 3/4 x 8 in. (32.4 x 20.3 cm)
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base
horizontal
base
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image
Printer's ink
Printer's ink
1966
1966
1966
Sculpture
"Seven Objects in a Box"
"Seven Objects in a Box" was the first edition of Pop multiples - that is an editioned group of objects instead of prints. Rosa Esman, a young art collector on a budget, who attended all of the Pop shows and witnessed the popularity of the Warhol and Lichtenstein shopping bags, believed that Pop objects might be met with the same enthusiasm. She had already published the Pop print portfolio, "New York Ten," in 1964. Since artists had begun using or creating objects themselves - Warhol was making Brillo boxes and signing real Campbell soup cans, and Jasper Johns made sculptures of beer cans - Esman envisioned that the next step would be to have artists make a group of objects for a portfolio.
The availability of new technology made it possible to create the artist's visions. For example, Tom Wesselmann's "Little Nude" could not have been created before World War II because the technology of vacuum-formed molding was not available. The artists also needed the ability to mass-produce the objects they designed. Luckily, New York was the perfect place to find offbeat cottage industries capable of producing 100 sand cast faucets and baked enamel sunrises.
The result of Esman's effort is a combination of objects quite typical of each artist's personal work. Warhol used a still from a movie he made in 1963 called "The Kiss." The film froze on a close-up of a black man and a white woman kissing, a subject considered quite provocative at the time. Wesselmann's "Little Nude" is lifted right from his "Great American Nude" series, which he began in 1961, featuring highly simplified, stylized, abruptly cropped female bodies, usually focusing on the lips, nipples and genitalia. D'Arcangelo's "Side-View Mirror" takes his signature highway motif one step further by placing it in actual side-view mirror hardware. In the end, what is left is a series of small-scale mementos of each artist's larger works: mass-produced objects available to the public at a reasonable price so that "consumers" could also be "collectors."
[Gallery label text]
mountmount
1975.333.6
item
Memorial Art Gallery
9/8/1999
75.333.6DI1
digital image
2 x 2
00/00/00
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glossy
8x10
00/00/00
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2.5x3
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75.333.6
slide
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.333.6DI#2
digital image
7/29/2021
http://127.0.0.1:5000/Media/images/75.333.6_A2.jpg
Print
Birmingham Race Riot
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
19 15/16 x 24 in. (50.7 x 61 cm)
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sheet/image
Printer's ink
Printer's ink
1964
1964
1964
1900-2000, 20th century, Charles Rand Penney Collection, politics in art, serigraphs, violence
Print
Andy Warhol frequently appropriated images by other artists for his work. In this case, the image was originally a photograph by Charles Moore in "Life" magazine, May 17, 1963.
[Gallery label text 2013]
This image first appeared in Andy Warhol’s Disasters series, in which the artist selected, cropped, altered, and reproduced mass-circulated news photographs. The series commented upon America’s social ills with photos of suicides, car crashes and nuclear explosions. Birmingham Race Riot captures the racial tensions that gripped the country during the Civil Rights Movement.
Warhol was an eager consumer of newspapers and magazines; he likely saw this photo of the Birmingham riot when it was published in LIFE magazine on May 17, 1963, only five days after the event it immortalized. The original photograph was taken by Charles Moore.
lower right, in the image
1975.335.10
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.335.10DI1
digital image
12/5/2001
http://127.0.0.1:5000/Media/images/75.335.10_A1.jpg
75.335.10DI#2
digital image
2/13/2015
http://127.0.0.1:5000/Media/images/75.335.10_A2.jpg
Print
Jacqueline Kennedy III
Jacqueline Kennedy III
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
Warhol, Andy
United States
1928 - 1987
Male
Primary
40 x 30 in. (101.6 x 76.2 cm)
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overall
frame
Printer's ink
Printer's ink
1966
1966
1966
1900-2000, 20th century, politics in art, serigraphs, women
Print
The images that Andy Warhol used of Jacqueline Bouvier Kennedy were based on photographs by Fred War in "Life" magazine, December 6, 1963.
[Gallery label text]
From the portfolio "Eleven Pop Artists, Volume III"
Pop Art print rotation, Post-1950 American art gallery, Jessica Marten, Assistant Curator, Oct. 3, 2011 - March 5, 2012:
President John F. Kennedy was the first “television president;” he and his wife and children were regulars on our TVs, as if they were our royal family. After the President’s assassination, Warhol treated images of Jacqueline Kennedy as a popular culture commodity much like his ubiquitous Campbell Soup can.
Warhol used a commercial silkscreen technique to produce his art. “I wanted something that gave more of an assembly line effect… With silkscreening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple quick and chancy.”
lower left, Hand undeterminedverso
1976.132
item
Memorial Art Gallery
9/8/1999
76.132SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
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4x5
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76.132DI1
digital image
full
2 x 2
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76.132TR1
transparency
full
4 x 5
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70warhol2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/70warhol2.tif
76.132DI#2
digital image
1/20/2006
http://127.0.0.1:5000/Media/images/76.132_A2.jpg
Print
Campbell's Soup Can on Shopping Bag
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
19 1/2 x 16 15/16 in. (49.5 x 43 cm)
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overall
vertical
image
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bag without handle
Printer's ink
Printer's ink
1966
1966
1966
12.72L
1900-2000, 20th century, serigraphs
Print
This bag was published for a Warhol exhibition at the Institute of Contemporary Art in Boston, on view from October 1 - November 6, 1966. Two years earlier, serigraphed shopping bags sporting a Warhol soup can and a Lichtenstein turkey were made for an exhibit entitled "American Supermarket" at the Bianchini Gallery in New York. Signed by the artists, in editions of about 125 each, they cost $12 apiece. Sold as exhibition souvenirs, the shopping bags were an instant hit. People used them until they fell apart and now those novelty items have gained a status completely counter to their original intent.
[Gallery label text 2012]
Andy Warhol designed this bag with his iconic Campbell’s Soup can for a 1966 exhibition at the Institute of Contemporary Art in Boston. Sold as ephemeral souvenirs, those that have held up the past 45 years have gained a lofty status counter to their original intent.
The popularity of these shopping bags and others like them inspired the production of other Pop multiples as seen in the case nearby, including Warhol’s Kiss.
lower center, in the image
1978.97
item
Memorial Art Gallery
9/8/1999
78.97DI1
digital image
12/7/2001
http://127.0.0.1:5000/Media/images/78.97_A1.jpg
Print
Vegetarian Vegetable
Campbell's Soup II
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
35 x 23 1/16 in. (88.9 x 58.6 cm)
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plate
image
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sheet
Printer's ink
Printer's ink
1969
1969
1969
1900-2000, food, serigraphs
Print
Gallery label text 2012:
By choosing a common consumer item like a soup can as his subject and using commercial techniques to print it repeatedly, Andy Warhol forever altered the modern concept of art and value. His first Campbell’s Soup cans, painted and exhibited in 1962, consisted of 32 canvases, each one a variety of soup then produced by Campbell’s. They were displayed in a gallery on wall-mounted shelves to mimic their appearance in a grocery store. Over the next 20 years, Warhol repeatedly revisited the subject. In 1969, he made Vegetarian Vegetable as part of his Campbell’s Soup II portfolio. Below are three other prints from the portfolio of ten:
versoverso
2000.38
item
Memorial Art Gallery
3/27/2001
2000.38DI1
digital image
3/21/2002
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negative
4 x 5
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glossy
8 x 10
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2000.38SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.38DI#2
digital image
1/17/2019
http://127.0.0.1:5000/Media/images/2000.38_A2.jpg