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Portfolios%3D%22476%22%20and%20Sort_Artist%3D%22Warhol,%20Andy%22
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
Flowers
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
23 1/8 x 23 1/8 in. (58.7 x 58.7 cm)
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overall
square
image
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sheet
Printer's ink
Printer's ink
1964
1964
1964
1900-2000, 20th century, Charles Rand Penney Collection, flowers in art, serigraphs
Print
Andy Warhol regularly appropriated imagery from other artists. Here, he based his image on a photograph of hibiscus flowers by Patricia Caulfield in "Modern Photography", June 1964.
[Gallery label text 2012]
Warhol’s Flowers series was based upon a photo published in the June 1964 issue of Modern Photography taken by the magazine’s editor, Patricia Caulfield. Warhol’s appropriation of images was to have an enormous effect upon later artists—turn around to see Devorah Sperber’s appropriation of Grant Wood’s painting, American Gothic—but it was not appreciated by Caulfield who threatened to sue Warhol when she saw his Flowers. Although Caulfield never filed a lawsuit, Warhol did pay her for the use of her photo.
lower right, below image
1975.314
item
Memorial Art Gallery
9/8/1999
75.314 SL1
slide
full
2 x 2
00/00/00
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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
75.314DI1
digital image
12/13/2001
http://127.0.0.1:5000/Media/images/75.314_A1.jpg
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
http://127.0.0.1:5000/Media/images/75.333.6_A1.jpg
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2.5x3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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