![]() ![]() 65, ill., calls it "Last Self-Portrait" in the caption and "Self-Portrait" in the text. Messinger in "Twentieth Century Art." Recent Acquisitions: A Selection, 1987–1988. ![]() "Summertime Perspectives and the Viewing is Easy." Record (Hackensack, N.J.) (August 16, 1987), p. "Regarding Warhol: Sixty Artists, Fifty Years," February 4–April 28, 2013, no. "Regarding Warhol: Sixty Artists, Fifty Years," September 10–December 31, 2012, no. "Looking At You," January 26–September 30, 2001, no catalogue. Jahrhunderts," February 19–June 12, 2000, no. "Andy Warhol: A Retrospective," June 19–September 9, 1990. Musée National d'Art Moderne, Centre Georges Pompidou. "Andy Warhol: A Retrospective," February 25–May 27, 1990. "Andy Warhol: Self-Portraits," January 30–March 1, 1990. "Andy Warhol: A Retrospective," November 20, 1989–February 11, 1990. "Andy Warhol: A Retrospective," September 7–November 5, 1989. "Andy Warhol: A Retrospective," June 3–Aug 13, 1989. "Andy Warhol: A Retrospective," February 6–May 2, 1989. "Andy Warhol," July 9–August 22, 1986, no catalogue. To experts illuminate this artwork's story His head floats in a dark black void and his face and hair are ghostly pale, covered in a militaristic camouflage pattern of green, gray, and black. In this eerie, premonitory self-portrait, produced just a few months before his death in February 1987, Warhol appears as a haunting, disembodied mask. After the early 1960s his most frequent subjects were the famous people he knew, and occasionally he was his own subject. He featured them in individually colored serial paintings and prints that relied on commercial silkscreening techniques for reproduction. To this end, he borrowed images from American popular culture and celebrated ordinary consumer goods, such as Brillo pads, Campbell's soup cans, and Coca-Cola bottles, as well as media and political personalities, including Marilyn Monroe and Mao Zedong. His aim was to demystify art by making it look as if anyone could have done it. Warhol purposely sought an alternative to the emotionally charged paintings of the Abstract Expressionists by adopting a commercial, hands-off approach to art. About 1959 he decided to concentrate his energies on painting, calling upon both his formal training and commercial experience in his new work. Although he had a traditional art education at Carnegie Institute of Technology in Pittsburgh, as a young man in the 1950s he supported himself doing commercial art in New York. Of all the Pop artists who emerged in New York and on the international scene in the early 1960s, none is more famous or more typifies the movement than Andy Warhol. ![]()
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