This exhibition focuses on the late paintings, which show the complex relationship between the two poles of Warhol’s work: his mechanically produced icons of popular culture, and his extraordinary technical facility as a painter and draftsman. ![]() Over his last decade Warhol explored a dizzying range of new imagery and processes in numerous series such as the Oxidations, Shadows, Rorschachs, Collaborations, Black & White Ads, and finally The Last Supper. He introduced abstraction, returned to painting by hand, and engaged in a dialogue between abstract and figurative painting. Weary of the business of producing portraits on commission, Warhol began to experiment with “newer ideas” about 1978. He expanded both his business and his artistic ventures, experiencing an extraordinary period of creativity in television, fashion, and printmaking, and creating a little known body of personal paintings that were rarely exhibited in his lifetime. ![]() Warhol’s last decade is, arguably, when the artist was at his most productive. A decade later, he turned fifty and began a critical assessment of his life and career that brought about a radical metamorphosis in his art. Virtually his entire reputation is based on the Pop art he produced from 1962 to 1968, but that work represents only seven of nearly forty years of artistic production.Īfter an attempt on his life in 1968, Warhol transitioned his studio practice into a portrait and film business. Using the visual style and production process he learned while working as a commercial illustrator in New York in the 1950s, Warhol began mechanically transferring images borrowed from popular culture to create vibrant new works that altered the course of American art. In the vanguard of the Pop art revolution in the early 1960s, Andy Warhol (American, 1928–1987) created images of Marilyn Monroe and Campbell’s Soup cans that became icons of celebrity and American consumer culture.
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