Andy Warhol’s Art Explained: What Makes His Iconic Campbell’s Soup Cans & Marilyn Monroe Diptych Art?

Pop Art looks out into the world. It does not appear like a painting of something, it looks like the thing itself.– Artist Roy Lichtenstein
By 2021, most of us accept that Andy Warhols Campbells Soup Cans are art, however there are some who are still not positive as to why.
No shame because.
Art Historian Steven Zucker and the Khan Academys Sal Khan take on the question head on in the above video, concluding that the work is not only a reflection of the time in which it was developed, but that the enormity of its effect was made possible by that timing.

As Campbells is to soup, Marilyn Monroe is to celeb– an enduring household name. Her attractive, youthful image is imprinted on fans born decades after her death.
The most universal Marilyn is the one from the Niagara promotion still, commemorated in acrylic and silkscreen in Warhols Marilyn Diptych. Among his most specifying works, it was produced the same year as his soup cans (and Monroes suicide at the age of 36).
In considering this work for his ongoing series, Great Art Explained, gallerist James Payne explores Warhols fascination with multiples, celeb, religious iconography, machination, and death, noting that “both Warhol and Marilyn understood change”:.
From early on in his profession, Andy Warhol had an amazing capability of discovering the spiritual in the profane … He was a product of the Eastern European immigrant experience who himself ended up being an icon, a shy, gay, working class guy who ended up being the court painter of the 1970s, an artist who embraced consumerism, celeb and the counterculture and changed modern-day art while doing so.
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Ayun Halliday is an author, theatermaker, and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

Pop Art looks out into the world. Fountain checked beliefs about art and the function of taste in the art world. He continued: I was drawing peoples attention to the fact that art is a mirage. You do not die in the field of art. Warhol had a personal connection to his subject matter, however it wasnt like he set out to associate a lifelong favorite.

Forty-five years prior to Warhol accompanied those lowly, immediately recognizable soup cans from the grocery store to the far loftier world of museum and gallery, the art world was thrown into an outcry over Marcel Duchamps provocative readymade, Fountain, a prefabricated urinal submitted to the Society of Independent Artists inaugural exhibit as the work of the fictitious R. Mutt. The Tate Moderns site summarizes its significance:
Fountain checked beliefs about art and the role of taste in the art world. Interviewed in 1964, Duchamp said he had chosen a urinal in part since he thought it had the least possibility of resembling (although many at the time did discover it visually pleasing). He continued: I was drawing individualss attention to the truth that art is a mirage. A mirage, precisely like an oasis appears in the desert. It is very beautiful up until, naturally, you are passing away of thirst. You do not pass away in the field of art. The mirage is solid.
Campbells soup cans possess a comparable solidity.
The familiar label dates back to 1898 when a Campbells officer drew motivation from Cornell Universitys red and white football uniforms.
A complete page magazine advertisement from 1934 presents Cream of Mushroom and Noodle with Chicken (soon to become Chicken Noodle) by advising readers to “Look for the Red-and-White Label.”
By 1962, Campbells had offered customers their choice of 32 tastes, and Warhol painted all 32 of them. Not the contents. Just those uniform cans.
Los Angeles Ferus Gallery sold 5 of them before gallerist Irving Blum realized that their impact was biggest when all 32 were displayed together, to echo how consumers were used to seeing the genuine thing.
Warhol had a personal connection to his subject, but it wasnt like he set out to representative a long-lasting favorite. Rather, he was acting on a good friends recommendation to paint something everybody would recognize, with or without passionate feelings. (He seemed to be without:-RRB-.
I utilized to consume it. I used to have the same lunch every day, for 20 years, I guess, the very same thing over and over once again.
Warhol brought a successful commercial illustrators eye to his Campells Soup Cans, profiting from the publics existing understanding. The colors, the custom-made cursive logo design over the sans serif flavor font style, and the shape of the cans had actually couched themselves in the early-60s American awareness.
As had industrialization as the overarching system by which most lives were bought. The artist may not have offered obvious comment on standardized items, convenience foods, or brand name loyalty. He just depended on the general public to be so totally acquainted with them, they had faded into the wallpaper of their day-to-day lives.
Nor was the general public extremely familiar with daily objects reconceptualized as art. These days, were a bit blasé.
Warhols subject may have been prosaic, but his timing, Khan and Zucker inform us, might not have actually been much better.

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