Consumer Culture

The photo of the singer Elvis Presley in the role of a gangster is the basis for this work. Andy Warhol repeated the same motif three times on a silver canvas. This repetition was made possible by the silkscreen technique, in which Andy Warhol saw many advantages for his artistic work. The pale figure of Elvis stands out against the metallic background as if in an old film or fog.

The title of this large diptych by Andy Warhol, almost 4 x 3 m in size, refers on the one hand to the photographs used and on the other hand to the color of the two canvases. Densely printed motifs of violence stand next to a mustard-yellow void. Here, as in many of his works, Andy Warhol combined the techniques of painting and silkscreen.

The title of this large diptych by Andy Warhol, almost 4 x 3 m in size, refers on the one hand to the photographs used and on the other hand to the color of the two canvases. Densely printed motifs of violence stand next to a mustard-yellow void. Here, as in many of his works, Andy Warhol combined the techniques of painting and silkscreen.

Each of the photographed boxes is covered with a Plexiglas sleeve, protecting it from possible exposure. Louise Lawler’s photograph of packaging is applied as wallpaper in the museum, matching the proportions of the particular wall on which it is seen. The resulting distortion of the image draws the focus not only to the contents, but also to the space. The photograph thus shows what we usually disregard when looking at pictures: the wall and hence the frame in which art is presented.

Numerous objects are arranged around three metal scaffolding poles: kettle grill, beer cans, burger buns, American flag, chips and a Marlboro garbage can, plus some insignia of rural America, such as horse saddles and blankets. But the scaffolding poles that frame everything create an unsettling, even aggressive mood and seem to prevent any free movement.

Seth Price goes toe-to-toe with privacy: the artist uses linen and printed cotton lining, which he sews together to make envelopes. The 1.22 x 2.43 m “soft sculpture” is torn open. In fact, it is so soft that it can be folded like a garment and displayed again and again in a new form.

The work on paper is composed of several layers of images: the print based on a portrait photo, a transparency, colored paper and tape. Andy Warhol assembles the portrait of an unknown person using a so-called collage technique. The figure looks at us with captivating eyes in a strong pose.

Each of the photographed boxes is covered with a Plexiglas sleeve, protecting it from possible exposure. Louise Lawler’s photograph of packaging is applied as wallpaper in the museum, matching the proportions of the particular wall on which it is seen. The resulting distortion of the image draws the focus not only to the contents, but also to the space. The photograph thus shows what we usually disregard when looking at pictures: the wall and hence the frame in which art is presented.