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拍品專文
As a successful commercial artist during the 1950s and early ‘60s — designing advertisements for Tiffany's and Bergdorf Goodman — Andy Warhol was unusually aware of the consumer-oriented values of our culture. In an era of processed food, prepackaged goods, and mass-media "hype," he found the imagery of his art on supermarket shelves and in newspaper headlines. Using objects from daily life such as the Campbell's soup can, the Coca-Cola bottle, and the dollar bill, Warhol picked up where Marcel Duchamp (with iconoclastic found sculptures and "ready-mades") had left off. Rather than questioning the validity of art through real objects as Duchamp did, Warhol satirized public taste in his translations of images into paintings and silkscreen prints. Holding up a mirror to consumer society, he created a new iconography for our age.
In addition to depicting objects that now — twenty years later — have become emblems of “Pop” culture, Warhol reproduced disasters from the front pages of the Daily News and made portraits of celebrities. True to our mass-media age, he used photographic images and transformed them by the garish colors of his day-glo palette and by off-register or intentionally careless printing.
The chill of Warhol's vision is most evident in his portraits of Marilyn Monroe — an image he treated several times after the star's death in 1962. Her legendary smile is repeated in silkscreen on canvas in multiples of two, six, and ten; her face Is floated on a gold ground like a Byzantine icon; and more radically, her lips are screened 168 times on 49 square feet of canvas.
Marilyn is seen here in a black, gray, and silver version from a set of ten silkscreen print variations. These repeated images call attention to the proliferation of mass-produced goods in our society and to the tragic fact that people have also become commodities. Photography and processed photomechanical images from the popular press and the commercial advertising medium of silkscreen are the perfect techniques for Warhol's unsettling message.
Nancy Spector, The Modern Art of the Print: Selections from the Collection of Lois and Michael Torf, p. 106
In addition to depicting objects that now — twenty years later — have become emblems of “Pop” culture, Warhol reproduced disasters from the front pages of the Daily News and made portraits of celebrities. True to our mass-media age, he used photographic images and transformed them by the garish colors of his day-glo palette and by off-register or intentionally careless printing.
The chill of Warhol's vision is most evident in his portraits of Marilyn Monroe — an image he treated several times after the star's death in 1962. Her legendary smile is repeated in silkscreen on canvas in multiples of two, six, and ten; her face Is floated on a gold ground like a Byzantine icon; and more radically, her lips are screened 168 times on 49 square feet of canvas.
Marilyn is seen here in a black, gray, and silver version from a set of ten silkscreen print variations. These repeated images call attention to the proliferation of mass-produced goods in our society and to the tragic fact that people have also become commodities. Photography and processed photomechanical images from the popular press and the commercial advertising medium of silkscreen are the perfect techniques for Warhol's unsettling message.
Nancy Spector, The Modern Art of the Print: Selections from the Collection of Lois and Michael Torf, p. 106