Warhol’s silk screens are seen to heavily focus on that of the Celebrity and the cult of celebrity worship. Warhol was well known from an early age to have a strong interest in celebrity culture, with his obsession coming from reading glamour magazines in his childhood. Warhol believed in celebrity cult worship as akin to that of religious worship, with Warhol believing that the use of repetition brought forth this idea of truly knowing his subjects and that by capturing the person on film this allowed the viewer to understand the persona of the celebrity. Warhol was interested in the beauty of celebrity culture, this interest including the interaction between celebrity and celebrity and the interaction between celebrity and the general population.
…show more content…
He’d say ‘Try looking over here’. He was very softly spoken and used a funny Polaroid portrait camera. It was an easy environment and not really a pressured situation. He made it very easy. Andy was part of our legacy and our future. ’ These Polaroids were often used as a basis for his artwork; often by repeating the image through silk-screening this appeared as a statement on celebrity and the way in which they judged by their surface image. This mass production of work is exhibited in many of Warhol’s works, however is most starkly viewed in Warhol’s works on Mao Zedong. Warhol created many pieces of Mao throughout the early 1970’s, using ready-made images, most of which were silkscreened. To Warhol, Mao was the epitome of Celebrity. Warhol discussed his interest in China at length, being noted to say in reference to the numerous pictures he had seen of Mao, ‘“I have been reading so much about China. They’re so nutty. They don’t believe in creativity. The only picture they ever have is of Mao Zedong. It’s great. It looks like a silkscreen”. Warhol was interested in how people viewed this image when confronted not only en-mass but also how changing the colours of the silk screens evoked different
He’d say ‘Try looking over here’. He was very softly spoken and used a funny Polaroid portrait camera. It was an easy environment and not really a pressured situation. He made it very easy. Andy was part of our legacy and our future. ’ These Polaroids were often used as a basis for his artwork; often by repeating the image through silk-screening this appeared as a statement on celebrity and the way in which they judged by their surface image. This mass production of work is exhibited in many of Warhol’s works, however is most starkly viewed in Warhol’s works on Mao Zedong. Warhol created many pieces of Mao throughout the early 1970’s, using ready-made images, most of which were silkscreened. To Warhol, Mao was the epitome of Celebrity. Warhol discussed his interest in China at length, being noted to say in reference to the numerous pictures he had seen of Mao, ‘“I have been reading so much about China. They’re so nutty. They don’t believe in creativity. The only picture they ever have is of Mao Zedong. It’s great. It looks like a silkscreen”. Warhol was interested in how people viewed this image when confronted not only en-mass but also how changing the colours of the silk screens evoked different