These sculptures were first exhibited at the Stable Gallery in 1964 and called to question what can be considered as fine art. The resulting appearance was identical to the logoed boxes often see in supermarkets. His best known sculpture from this series is probably his Brillo Boxes,1964. As the name suggests, Andy Warhol screen prints press logos of the consumer product onto plywood boxes. Of this medium the best known were the series of “grocery carton” works which replicated Heinz Ketchup and Campbell’s tomato juice cans. Similar to his other works, his sculptures replicated commercial symbols and ideologies. Warhol’s range as an artist certainly shows in his sculptures and installations. Even today, these massively recognizable images serve as a beacon of popular culture. Andy Warhol’s screen prints include his iconic portfolio of Marilyn Monroe: Marilyn Monroe (Marilyn), 1967 and Elizabeth Taylor (Colored Liz), 1963. Producing art in a systematic manner similar to an assembly line, Warhol gave rise to series or portfolios of his beloved celebrities. He used a variety of canvases and papers. Warhol was able to apply multiple colors to create a layering effect, thus a different color composition could be made each time. The choice of ink depended on the intended composition of the final product. The ink would pass through the mesh and impress a print of the image onto the canvas underneath. Afterwards, he passed an ink-covered squeegee over the mesh. First, he laid a photograph on to the mesh of a silk screen. Warhol had a streamlined process in producing silk screen prints. Andy Warhol screen prints process was a variation of stenciling. On Warhol screen prints, he mentioned: “the reason I’m painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do.” Indeed, machine-like precision and mimicry appear repeatedly in works of this medium. Andy Warhol screen prints were his main printmaking pushing the boundaries of coloration and design of his subjects.
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