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Andy Warhol was a cult person in the history of pop art movement and contemporary art in general. In 1960, he was a producer and manager of the first alternative rock band The Velvet Underground.

Warhol was born in Pittsburgh (Pennsylvania, USA), the son of Ukrainian immigrants from the village of Mikov, which was then in Austria-Hungary, and now it is in Stropkovsky region in the northeastern area of Slovakia. He began to show early talent in art, and studied commercial art at the Carnegie Institute of Technology (now Carnegie Mellon University) in Pittsburgh. He was not always a good college student and often remained misunderstood by his peers and superiors.

After finishing his education in 1949, he moved to New York and began a successful career in illustrating magazines and in advertising. He became well known for his eccentric ink drawings of shoes made ??in the free style, with the intentional ink stains.

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In 1962, Warhol created a sensational series of paintings, which depicted, often in loud colors, cans of canned Coke. The attention of the radical art critics has been immediately drawn to them. They said that in his works the young artist skillfully revealed the vulgarity, emptiness, and impersonality of the Western culture of mass consumption. Subsequently, Warhol began to create more shocking works, such as the acidic images of idols of modern society: Marilyn Monroe, Mick Jagger, and Mao Zedong. Allegedly, as a “final touch” Warhol asked his lovers piss on his works to complete it. Scandalous reputation Warhol contributed to the growth of the prices for his works of this series. Currently, the market values of Warhol’s paintings are often measured in tens of millions of dollars.

In the second half of the 1960s, Warhol interested in cinema. The movies he made with Paul Morrissey were the first sign of the sexual revolution. Warhol’s earliest short depicted two men doing fellatio. Most of his movie works are more or less plotless films, lasting up to 25 hours, during which naked participants of Warhol’s “factory,” like Joe Dalessandro and Edie Sedvig, roamed on the screen. Along with the experiments making amateur movies, Warhol produces the first alternative rock band The Velvet Underground. He also made a number of conceptual designer covers album, for example, the Sticky Fingers cover for The Rolling Stones.

Around Warhol, there was a special youth subculture, whose follower – feminist Valerie Solanas – shot the “teacher” in 1968 and seriously wounding him. Although Warhol’s life could be saved, over the next two years he remained disabled, and in 1987, he died from the complication. His brothers moved the body of the artist to Pittsburgh to burry him in the Ukrainian Greek Catholic the Holy Spirit Church.

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Research Paper On Andy Warhol

andy warhol research paper

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Pop reflects the real world and interprets it. Fine artists made products showing artist 's reaction about mass culture but instead of direct attitude like challenge or criticism, pop use the mass culture as it 's material or information. It stand on the fence.

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In his self-explanatorily titled article, Andy Warhol: The Artist as Machine, Bergin perceives Warhol as a machine – as opposed to human – which he attributes to Warhol’s own painstaking efforts to indistinguishably tie himself to his work. Warhol did this by keeping away from the public life (Lanchner 4). This represents what Schroeder explores as the relationship between the artist and the brand, and indeed Warhol made himself into a brand (1291). Bergin posits that, “For all intents and purposes, the image is Andy Warhol” (359). But the question arises: what was that image? Besides, a brand is associated with certain perceivable– consciously or subconsciously – traits and features. To Bergin, the common theme in Warhol’s art, that is, brand, is an “emphasis upon a stylized exterior and the lack of concern for anything other than the obvious” (359). However, the true nature of the so-called ‘stylized exterior’ has remained elusive. Warhol himself resisted the bait (during interviews) to interpret his own work, which was eclectic and unpredictable. The point made by all these is the implacability of Warhol’s works, and this is in fact the nature of Pop arts, of which Warhol was/is a key figure, a major influence for the movement in the decades that have followed.

Warhol and Pop Art

Selvin attempts to examine the nature of Pop Art. He focuses on the reasons that led to the rise of this new art movement, as well as the elements that characterize the works of this movement. The risk with such an endeavor is that there are different approaches to and practices of Pop art, which makes it hard to describe in any clear terms. However, there is a basic understanding of Pop Art. Selvin tries to find this common theme in the views of several critics (1). These include: Max Kozloff speaks of “no focus, no selectiveness;” G. R. Swenson sees the new movement as something that “cannot be understood through formulas or some conventional pattern of visual grammar one or more remove from experience;” Peter Selz sees the Pop artist as responding “specifically to his visual environment;” and Barbara Rose perceives Pop artists as “linked only through subject matter [rather than]… stylistic similarities” (Selvin 1-2). The message derived from all these quotations is the understanding of Pop Art as impulsive, with the immediate context as the inspiring stimuli, which is the reason that it is indefinable.

In all of these quotes, there is a lack of concrete wording for what Pop art really is. Bergin aptly describes Pop art as intellectually imprecise (359). The only certainty with Pop art, therefore, is its unpredictability. In those terms, Warhol and his works remain elusive to-date, three decades after his death. He seemed intent to run away from the world, to refuse to be defined in certain particular terms. He did all kinds of artworks (paintings, film, textual production, among others), refusing to be called any one kind of artist (Otty 1). He also explicitly refused to interpret his work, letting the work interpret itself, and for the audience to experience the underlying theme whichever way they chose. For instance, even amidst the bad reception of his Campbell Soup Cans (1962), Warhol remained silent, resisting the possible temptation to nudge the audience towards the acceptance of his work. Pop Art was a form of resistance, an emphasis on oneself rather than the collective. This is how many felt in Warhol’s time, which makes Pop Art an appropriate art for the generation, and Warhol an artist for his time.

Critical Analysis of Warhol’s Campbell’s Soup Cans, Gold Marilyn Monroe, and Elizabeth Taylor Portrait

Campbell’s Soup Cans: This consisted of 32 paintings of the so-called Campbell’s Soup Cans . All the cans were exactly the same in physical look, but the names of the soups were different (Johnson 1). The work was first exhibited in 1962, and the reception was a mixture of “mockery and indifference” (McCorquodale 1). The work was in fact considered a flop, until Irving Blum (the owner of the Los Angeles’ Ferrus Gallery ) figured that the pieces needed to be placed together as part of the same piece. Only then did the audience start to see the statement that it was speaking of the then-spirit of America, particularly the time’s consumerist culture (Bolton 7; McCorquodale 1).

‘Campbell’s Soup Cans’, Andy Warhol (1962)

Warhol makes this statement using two devices. The first, understood as the Warhol’s ‘doctrine,’ is the reproduction (repetitiveness) of the subject (Bergin 359). It is the ‘machine’ side of Warhol (Bergin 359). There are dimensions to the machine side of Warhol. In one dimension, the machine is Warhol himself. In this respect, Warhol overzealously protects his private life, and by doing that he separates himself from any context in which he could be seen as a mortal man. Like a machine, therefore, he is without a background story. Bergin notes that, “Warhol apparently would prefer not to be thought of as a man with a past… but as a unique entity… who sprang into existence fully grown to do his work and who will someday vanish just as abruptly and mysteriously” (359). To what extent this dimension is apparent in this work is not clear. However, the work reveals the repetitiveness of a machine, which is an exhibit of Warhol’s methodical and mechanical way of working (McCorquodale 1). Indeed, the repetitiveness of the Campbell’s Soup Cans is the way of machine. He works methodically, almost as if he is not conscious of what he is doing – merely reproducing without thought. This is, however, only a surface interpretation. There is an ultimate underlying meaning in all this, and as noted, Campbell’s Soup Cans is a statement about consumerism (McCorquodale 1-2).

Indeed, Warhol, intentionally or unintentionally, is a social commentator concerned with the issues of his time. Schroeder, in line with this premise, perceives Warhol as a “consumer researcher” (476). In this regard, Warhol is understood as the provider of – through his diverse works – insights into consumer culture; these insights are consistent with many findings of the existing consumer research. Warhol notes that the ‘image’ is a statement of the symbols of consumerist culture, particularly the “harsh impersonal and brash materialistic objects upon which America is built today” (Schroeder 476). This seems to be the key underlying theme in Campbell’s Soup Cans, the rather exhausting repetitiveness of the cans implying the ‘I want, I want, I want…’ nature of consumerism.

Gold Marilyn Monroe: Otty reflects on the “dynamics of absence and presence” in Warhol’s works (1). This can be understood at the surface level as fascination with the physical space. Warhol writes about this fascination, “When I look at things, I always see the space they occupy. I always want the space to reappear, to make a comeback” (Otty 5). Implicit in this quote is the figurative aspect of this fascination, as something that is to be reclaimed from the current occupier. Indeed, Warhol’s works can be said to break boundaries, and in this respect scrambling to take up ‘space’ for self-realization and identity. This is evident in Gold Marilyn Monroe , among others.

Otty describes this as a “large rectangular canvas covered with reflective gold paint and featuring a small, centrally positioned image of Marilyn Monroe” (3). The standout aspect of this work – and others in the series – is the silk-screen printing, which is a stencil-like process in which paint is applied to an image through a screen. In doing this, however, Warhol seemed to mock the traditional understanding of artistic skill. The question here is what aspect of the final work can be attributed to the artist. In this case, for instance, Warhol notes that his assistants actually did the work – albeit at his direction. That is, Warhol did not rely on a direct touch of his work. The assistants and the technology (of photography) seem to create space between the artist and his work to the point that the work can be produced despite the artist’s absence. Warhol, therefore, claims himself to be both the physical and figurative space. The latter focuses on the significance of the monochrome in relation to the known conventions of art. According to Otty, the monochrome represented a devaluation and inversion of representation, and in this case, Warhol uses it to transcend artistic representation’s ideological function (4). Ultimately, the resultant image – in terms of space – is paradoxical: it represents both the blankness and occupation of space. The image of Monroe is both there, but also not there.

‘Marilyn Monroe’, Andy Warhol (1962)

Elizabeth Taylor (Warhol 1962): In his The Artist and the Brand , Schroeder argues that greater awareness of the relationships between visual art traditions and conventions, as well as the production and consumption of images, can significantly enhance an artist’s ability to understand branding as a practice of strategic significance (1291). The article focuses on two dimensions: how the artist uses his/her craft for branding and how the artist manipulates their image to become a brand. Andy Warhol did both. However, more than as a commentator on brands and consumer culture – for which Schroeder, in another article, refers to him as a consumer researcher”– Warhol was the best example of “artist as brand” (Schroeder 1292). This, however, does not diminish his place as a brand creator and promoter, especially as a “consumer researcher” (Schroeder 476).

‘Liz’, Andy Warhol (1965)

The Elizabeth Taylor painting was part of the same series as Marilyn Monroe’s portrait. Like the Marilyn Monroe portrait, the Elizabeth Taylor portrait brings Warhol’s theme of machine product to a logical conclusion (Bergin 361). In this regard, it is people that become machine products and commercial property. In this case, Warhol utilized a photograph of a living person, photography itself being technology. But he went beyond that to create an additional veil through which to view Elizabeth Taylor. Particularly, in this case, he turned Elizabeth Taylor into a work of art to be admired as such, and also something that could be reproduced over and over. Simply, like Monroe in the painting above, Elizabeth Taylor becomes a product – or at least her image. With constant repetition, accompanied by the right wording, this image becomes a pervasive presence in people’s spaces and minds. Indeed this pervasive presence (intrusion) into people’s lives is how brands are created. According to Schroeder, Warhol demonstrates the power of mass production, as well as the infinite possibilities of production, that is, the regurgitation of the same object to make it different (1294). Warhol also demonstrated the disconnect between image and lived experience” (Schroeder 1294). This implies one of the puzzling aspects of brands; that is, their ability to influence decisions despite the fact that its value may be largely intangible (such as prestige). In fact, brands seem to work because of this disconnect; the intentional/unintentional choice of its market to assume the truth. Warhol puts to practice his understanding of the relationships between visual art conventions and the public’s consumption of images to enhance the value of branding. His Campbell’s Soup Cans, for instance, significantly improved the popularity of the brand. His celebrity endorsements – such as Marilyn Monroe’s and Elizabeth Taylor’s portraits – were important promotional platforms for the celebrities.

Schroeder considers Warhol an in important figure in the creation of branding as it is today (476). Particularly, Schroeder believes that Warhol contributed towards the understanding of consumer behavior, which informs the key elements of branding today: brand equity; clothing, fashion and beauty; imagery; packaging; and self-concept (481). Indeed, these elements are key to the various aspects of marketing today, including segmentation and positioning, among others.

Three decades after his death, Warhol remains an influential figure in not just the art world, but also the commercial world. Indeed, he was a success at both, becoming an acclaimed artist, as well as a big brand in his own person, which gave him great wealth. This influence is tied to his part in helping launch what has become popular as Pop art. The true boundaries of this movement remain elusive. In fact, elusiveness and unpredictability of Pop art seem to be some of the aspects that people agree on. Mostly, it is understood as impulsive, driven by deeper instincts, that is, psyche rather than a conscious effort to meet certain conventions of artistic expression. Warhol, both as a person and through his works, embodied these aspects of Pop art. Warhol’s way of working demonstrates the same impulsive tendencies that are known to characterize Pop Art. The premise here is Pop Art involves an inward look – an attention to one’s own instincts – rather than the outward world, in this case represented by the traditional conventions of art. In Warhol’s case, his works embody his personal ambitions to be a major brand in his own right, as well as his attempts to claim his own space. The three of his works examined, that is, Campbell’s Soup Cans, Gold Marilyn Monroe, and Elizabeth Taylor Portrait, embody some of the features of his work (as Pop art) such as repetitiveness, commodification of elements that are traditionally not considered consumable commodities (such as people), and ultimately the brand and branding, among several other implicit themes. These are the features that have informed Pop art. Warhol laid the foundation for the current crop of Pop artists, but the world is yet to see any of his students take up his space. Again, Warhol claims his space despite being absent.

Works Cited

Bergin, Paul. ‘Andy Warhol: The Artist as Machine.’ Art Journal . 26.4 (1967): 359-363.

Bolton, Linda. Artistes in their Time: Andy Warhol . Connecticut: Franklin Watts. 2002.

Johnson, Ken. ‘Review: A 60s View of Warhol’s Soup Cans, at MoMA. The New York Times . 2015.  10, Feb.2018.

Lanchner, Carolyn. Andy Warhol . New York: The Museum of Modern Art. 2008.

McCorquodale, Sara. ‘How Warhol’s Work Influenced our Wardrobes.’ BBC: Culture . 2015. 10, Feb.2018.

Otty, Lisa. ‘The No Man Show: Technology and the Extension of Presence in the Work of Andy Warhol.’ eSharp: Borders and Boundaries , 5. (N.d): 1-13.

Schroeder, Jonathan E. ‘Andy Warhol: Consumer Researcher.’ Advances in Consumer Research , 24 (1997): 476-482.

Schroeder, Jonathan E. ‘The Artist and the Brand.’ European Journal of Marketing. Vol. 39, No. 11/12 (2005): 1291-1305.

Selvin, Erdem. ‘The Analysis of Pop Art: Content, Subject Matter, Style, and Form.’((2016). 10.13140/RG.2.1.4782.5047.

Spencer, Catherine. ‘Why Andy Warhol Still Surprises, 30 Years After His Death.’ Independent .2017. 10, Feb.2018.

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Andy Warhol - Research Paper Example

Andy Warhol

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Brief Biographical Profile Andy Warhol has been regarded as a pop artist and cultural icon of the 20th century (The Andy Warhol Foundation for the Visual Arts). Born on the 6th of August, 1928 in Oakland, Pittsburgh, Pennsylvania, Andy’s full name was actually Andrew Warhola. He was the youngest of three children and was diagnosed of being afflicted with a rare neurological disorder (The Andy Warhol Foundation for the Visual Arts par. 3). The disorder provided the impetus for Andy’s orientation to DC comic books and the celebrity magazines that proliferate during his time.

He pursued a degree in Pictorial Design from the Carnegie Institute of Technology and graduated in 1949 (The Andy Warhol Foundation for the Visual Arts par. 3). His official website revealed that “building on the emerging movement of Pop Art, wherein artists used everyday consumer objects as subjects, Warhol started painting readily found, mass-produced objects, drawing on his extensive advertising background” (The Andy Warhol Foundation for the Visual Arts par. 5). In Open Culture, it was disclosed that Warhol decided to abruptly quit painting and delve into both music and film making.

In this regard, the essay aims to describe contents and aesthetics of the Andy Warhol's work, particularly focusing on the controversial “anti-films”: Sleep, Eat and Kiss, with the ultimate objective of responding to the question :"why it is art?". Sleep As the title depicts, Warhol’s first film, Sleep, shot a man in deep slumber with the shot taken from different views, initially from the foot as the person taking the film with only the face in clear perspective.


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Muslims hold the belief that the Qur'an is God’s word as given to the prophet Muhammad over a period of twenty two years. Understanding the Prophets life is thus important in distinguishing the different components of the Quran namely, God’s word and the words of the Prophet.

Sirah The life of the Prophet was transmitted by people and was compiled into books referred to as Sirah (Sumar, 89) These books thus document Prophet Muhammad’s virtuous life on earth.

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Research Paper On Andy Warhol

andy warhol research paper

Show More Andy Warhol. John Lennon. 1985-86. Synthetic polymer and silkscreen on canvas. 40 x 40 1/8in. Tony Shafrazi Gallery, New York, USA,(May-October 2005). The artwork I have chosen to describe by Andy Warhol is John Lennon. It is done with synthetic polymer and silkscreen on canvas. I think this piece of art is very different. It’s a realistic painting in the fact that it is based off of the actual person, John Lennon. It is a little abstract because the colours aren’t how you’d normally see a person in the streets. The hair colours are different than what would traditionally be seen in real life on an actual person. The hair is green at the very bottom. Then, as you go up, you see it starts to fade into a blue colour. After the blue, it starts to go into a yellow colour. Then it fades out completely to the point where it is just an outline of the hair and the …show more content… When Andy was a young boy he had contracted Chorea, which he was left in bed for several months because of it. During this time, his mother had given him his first drawing lesson which really helped shape Andy’s career as an artist. Andy’s mother had also bought him a camera shortly after this, when he was nine. Andy had taken up photography at this time. Andy Warhol went to primary schooling and took the free art classes at Carnegie Institute, now called Carnegie Museum of Art. When Andy’s father died, he dedicated all the money he had towards Andy’s college tuition. Andy used to money to enroll in Carnegie Institute for Technology (now called Carnegie Mellon University) where he studied pictorial design. Andy graduated college and later came out with the idea of Pop Art . Pop Art is paintings that focused on mass-produced commercial goods. Andy Warhol also opened his own studio called “The Factory” which locals loved to visit. Andy Warhol was 58 when he died and his legacy will live on for many years after

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Andy Warhol later on became a pop art legend because of his talent of drawing shoes during the early creative stages of his career. He ended up earning a spot in the cultural timeline…Just like Mr Warhol, Atang Tshikare who us based in cape town , born in bloemfontein, he studied graphic design and spent 2 years in the UK but moved here and did art full time, he is an artist/illustrater who says his passion began with his obsession with sneakers and him always customising sneakers. John Norman…

Andy Warhol was born August 6 1928 in Pittsburgh, Pennsylvania to his parents Julia Warhola and Ondrej Warhola. At the age of 8 he was diagnosed with Sydenham's chorea , a rare and sometimes disease to the nervous system. He became an outcast at school and bonded with his mother. As he layed in bed due to his disease his mom gave him his first art lesson. At age 14 Andy took another tragedy when his father passed away. Andy was so upset that he did not attend his father’s funeral. Andy’s father…

Andy Warhol Was A Big inspiration to the Pop Art movement that started in the 1950’s. His Campbell’s Soup and Marilyn Monroe Paintings Made him a really famous painter in the Twenty First Century. Andy Warhol changed the world by Showing color in his paintings and showing what would happen if it was a different color in every different painting he did. He made it iconic and popular especially with his marolyn and campbell’s soups. Born in August 16, 1928 in Pittsburgh, Pennsylvania. He was the fourth…

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andy warhol research paper

Research Paper On Andy Warhol

Comparing two self-portraits by contemporary artist Andy Warhol (1928 –1987), one created early in his career in 1966, and another in 1986 a year before his death reveals how he telegraphed meaning in his work and “branded” himself as a product. Warhol often denied his work had profound meaning instead opting for superficiality. He once famously said, “If you want to know all about Andy Warhol, just look at the surface of my paintings, and film and me, and there I am. There’s nothing behind it.”1 He mirrored the era unlike any other artist. His work was about the instantly recognizable, the iconic, and the cult of commodity and personality. It was high art for the people. Over time Warhol’s persona was his greatest work of art, his self-portraits, …show more content…

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The country was shocked and the international art community, who had not been welcoming in recent years, mourned. Exhibited following his passing Self-Portrait -1986 (figure 2) reads like a death mask, a context not envisioned by the artist but unavoidable now. One final time he mirrored the reality behind the surface of the image.11 Self-Portrait -1986 (figure 2) equaled the earlier Self-Portrait -1966 (figure 1) as the most popular works Warhol ever created. The painting appears on the cover of books and in textbooks. The two paintings bookend his career—a career by an artist who like Rembrandt and Picasso left many self-images to be ruminated on after their death. Warhol’s images of self are augmented by a wealth of other self-documentation including daily tape-recordings dictation, along with clippings from magazines and other objects of interest. Many of these recordings were published posthumously as The Warhol Diaries, which became a bestseller. 12 These documents were placed in a cardboard box he kept by his desk, and once filled they were sealed and dated. Warhol called them his “time-capsules”. There are a total of 612 now housed at the Warhol Museum in Pittsburg. They offer scholars a wealth of information on the

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Biography of Andrew Warhol

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    Andy Warhol Research Paper December 4, 2013 UsefulResearchPapers Research Papers 0 Andy Warhol was a cult person in the history of pop art movement and contemporary art in general. In 1960, he was a producer and manager of the first alternative rock band The Velvet Underground.

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    Research Paper On Andy Warhol. Good Essays. 61 Words; 1 Page; Sep 28th, 2021 Published; Open Document. Essay Sample Check Writing Quality. By pioneering his art, Andy Warhol helped in creating a pop culture passion in America. Through the techniques of, the repetition and enforced similarity to printed images, visual isolation of imagery and ...

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    Influence of Andy Warhol on Culture Words: 855 Pages: 3 5031 Andy Warhol, whose original name Andrew Warhola, was born onAugust 6th, 1928, in Pittsburg, Pennsylvania. He was a well-known artist and filmmaker, and also one of the leading initiator's of thePop artmovement in the 1960s.

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