Andy Warhol / Flash (FS II.41) (November 22, 1963 Portfolio) Présenté par Revolver Gallery

Andy WARHOL - Flash (FS II.41) (November 22, 1963 Portfolio)

Présenté par Revolver Gallery

  • Technique
    Aucune technique
  • Dimensions de l'image
    0,0 x 0,0 cm / 0.0 x 0.0 in
  • Dimensions du papier
    53,3 x 53,3 cm / 21.0 x 21.0 in
  • Prix
    Sur demande
  • Référence
    (FS II.41)
  • Visite(s)
    2995
  • État
Andy WARHOL - Flash (FS II.41) (November 22, 1963 Portfolio)

Title: Flash (FS II.41) (November 22, 1963 Portfolio)
Medium: Portfolio of eleven screenprints, colophon, and Teletype text on paper
Year: 1968
Size: 21” x 21”
Edition: 22, 26 numbered in Roman numerals; 10-lettered A-J has three additional screenprints, each of which is a composite of images from II.33 and II.38. (See II.43A-43C.)
Details: Each print, housed in a folder with a page of Teletype text, is signed in ballpoint pen on verso; the colophon is signed and numbered in ballpoint pen.

FLASH 41 (NOVEMBER 22, 1963 PORTFOLIO)

This image is part of a portfolio of eleven different screenprints based on the assassination of President John F. Kennedy on November 22, 1963 and was named for all the “news flash” texts that were being broadcast at the time. All of the prints were based on campaign posters, mass-media photographs, and advertisements. The prints were presented next to Teletype text taken straight from news sources. Flash 41 (November 22 1963 Portfolio) features President Kennedy’s face delicately outlined in purple on a black background, creating a quiet portrait of the President.

FLASH 41 (NOVEMBER 22, 1963 PORTFOLIO) AS PART OF ANDY WARHOL’S LARGER BODY OF WORK:

This body of work has a clear connection to the work Warhol did focusing on Jacqueline Kennedy, however now he is focusing on the man himself, and the events surrounding his assassination. Still based on the anger around the medias interpretation of the incident and the constant news flashes. He is starting to look at American society and the relationship they have with the media and the obsession with tragedy, which he continues to return to in later works.

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