Analysis Of Carl Jung 's An Archetype And Warhol 's Variations Of The Electric Chair From The Disaster Series

1215 Words Mar 23rd, 2015 null Page
Imagine the excruciating moment when a child pausing in front of your work in an exhibition and simply saying “That isn’t art, I could do that!” Not considering the plethora of factors that weave themselves into that one - seemingly simple - work of art, the child may easily think that some of the most famous works of art of the 21st century can be effortlessly recreated. While the abstract technique of modern artist may seem elementary to some, Andy Warhol is a prime example of an artist who had something to say and said it in such a simple and profound way that millions of viewers can discover what his work really conveys. In the way that an archetype, discussed by Carl Jung, can be so modest while conveying many messages, is directly similar to Warhol’s treatment of subjects in some of his most iconic pieces. Evaluating the hybrid between Jung’s archetype and Warhol’s variations of the electric chair from The Disaster series, can be done by studying how the object is viewed in its raw form, how the object is reshaped, and how the object is viewed as a result of its deviation.

After being inspired serendipitously by a newspaper headline in 1962 that read: “129 DIE IN JET!”, Warhol started working on what he called the Death and Disaster series (Ratcliff 37). Carter Ratcliff, author of Modern Masters: Andy Warhol, says that “the Disaster series makes unnerving equations - the series empompasses a variety of car-crash images, as well as renderings of an empty electric…

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