Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation

Andy Warhol
American, 1928–1987
Campbell’s Soup I: Tomato (II.46), AP edition E/Z, 1968
Screenprint, 35 x 23 inches
Courtesy of Jordan D. Schnitzer and His Family Foundation. © 2017 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.These prints are based on paintings of Campbell’s soup cans that Warhol exhibited in 1962 at the Ferus Gallery in Los Angeles, an exhibition that hastened a radical break with the past. The paintings were lined up on a shelf around the room like cans arranged in a grocery store aisle. Warhol used ubiquitous products, including Coca-Cola bottles and Brillo boxes, to convey his belief in the democratic appeal of American consumerism. His Campbell’s Soup cans and Marilyn Monroe portraits quickly became his signature works in a new movement dubbed Pop Art.

Andy Warhol
American, 1928–1987
Flowers (II.73), edition 201/250, 1970
Screenprint, 36 1/8 x 36 1/8 inches
Courtesy of Jordan D. Schnitzer and His Family Foundation. © 2017 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.Warhol took the source image for his Flowers paintings of 1966, on which he based the subsequent print series (shown here), from a picture in a 1964 issue of Modern Photography. The photographer, Patricia Caulfield, sued Warhol and eventually received royalties as part of a settlement.It wasn’t the first time Warhol had been sued over copyrighted images; another case involved Charles Moore’s Birmingham pictures from Life magazine. Afterward, Warhol was more careful in securing the rights to reproduce existing photographs from print media, but he shifted decisively toward using Polaroids taken by himself or his assistants.

Andy Warhol
American, 1928–1987
Mao (II.91), edition 212/250, 1972
Screenprint, 36 x 36 inches
Courtesy of Jordan D. Schnitzer and His Family Foundation. © 2017 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.In 1972, President Richard Nixon traveled to the People’s Republic of China—the first U.S. president to visit the communist nation. In the same year, Warhol made a portrait of Mao Zedong taken from the Chinese leader’s well-known book of quotations distributed across China from 1964 through 1976.He also produced wallpaper with the same likeness of Mao, and the paintings were shown hung on the wallpaper in Paris in 1974. To the bright colors and off-registration printing in the silkscreen versions, Warhol added line drawing, interjecting the flourish of the artist’s hand, to his reworking of the official portrait.

Andy Warhol
American, 1928–1987
Birmingham Race Riot, from the portfolio Ten Works x Ten Painters, edition 174/500, 1964
Screenprint, 20 1/8 x 24 inches
Courtesy of Jordan D. Schnitzer and His Family Foundation. © 2017 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.This print first appeared in the portfolio Ten Works by Ten Painters, which brought abstract artists such as Ellsworth Kelly, Robert Motherwell, and Frank Stella together with Pop Artists Robert Indiana, Roy Lichtenstein, and Warhol.Warhol’s contribution was markedly different from the others; he appropriated and reproduced a photograph by journalist Charles Moore, published in Life magazine in 1963, depicting an attack on a civil rights demonstrator in Birmingham, Alabama. The choice to use Moore’s photograph was consistent with Warhol’s reworking of other disturbing media images, including car accidents and an electric chair. Contrary to the work’s title, the original image documented a peaceful march disrupted by police.

Andy Warhol
American, 1928–1987
Mick Jagger (II. 138), edition 25/250, 1975
Screenprint, 43 1/2 x 29 inches
Courtesy of Jordan D. Schnitzer and His Family Foundation. © 2017 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.Mick Jagger called on Warhol in 1969 to design album art for the Rolling Stones, which led to the classic Sticky Fingers (1971) cover, which features a bulging, denim-clad crotch and a functional zipper. This portrait series began as a Polaroid photo shoot; subsequent prints were used for other Stones albums, including a limited-edition German pressing of Emotional Tattoo.