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拍品專文
Andy Warhol's soup cans are perhaps the most resonant symbols of 1960s Pop Art. As a complete set of ten prints, Campbell's Soup II showcases Warhol's famous fixation on the mundane soup can. Warhol's irony is reinforced by the screenprint medium, which recalls the mechanized nature of a factory assembly line. Just as canned soup evacuates the personal from the culinary, the screenprint diminishes evidence of the artist's hand. In both instances, the ritual of the homemade is replaced by the machine.
The sharp hues of these prints burns into the consciousness of the viewer in the mode of the television screen or magazine advertisement, collapsing the distinction between high art and mass media. Warhol's deadpan presentation of the soup can mimics the familiar visual language of the advertisement. Conceived during the 1960s at the height of consumer optimism, Warhol's Campbell's Soup II offers a transcendent image in the familiar language of kitsch. His soup cans are talismans of the 1960s American dream, and serve as emblems of our recent past.
The sharp hues of these prints burns into the consciousness of the viewer in the mode of the television screen or magazine advertisement, collapsing the distinction between high art and mass media. Warhol's deadpan presentation of the soup can mimics the familiar visual language of the advertisement. Conceived during the 1960s at the height of consumer optimism, Warhol's Campbell's Soup II offers a transcendent image in the familiar language of kitsch. His soup cans are talismans of the 1960s American dream, and serve as emblems of our recent past.