Warhol. Advertising. 'If someone who has a body', - says one of the advertisements, which Warhol borrowed for his painting in the 1980s. I think the ways in which the consumption of promises unity is impersonation and abstraction, at once become clear to anyone who (like me) thinks shopping potent antidepressant. Part of an effective return on consumption is that by consuming the product, we can identify ourselves with any other user of this product, we have access to another kind of universalization of themselves and their desires. Warhol said that you can watch TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, you too can drink Coca-Cola ... All bottles of Coca-Cola are the same and they are all good. One of the most significant effects of entrainment Warhol's commercial aesthetics - this is the way in which Warhol made Campbell's own branded her an artificial second skin.
Ivan Karp noted that Warhol 'full-length portraits of the' soup cans were a guarantee that 'tomato soup will never be just tomato soup. " Instead, the Bank of Campbell's soup has become the 'world famous' character of the Warhol. By doing so, Warhol could not fail to denounce the idea that the value generated by the product itself. At the same time, Warhol's paintings testify to the enormous and inevitable power of commodity fetishism, the power he seeks to display and make available for purchase by others. In light of this, I would like to consider 'Two hundred cans of soup, Campbell's' as a kind of memento mori, a reminder that the trade mark together with the promise is always an element of mourning, or, equally, the destruction and the creation of the face. Image of the disaster. In Warhol was perfect flair for the disaster, a keen understanding of their appeal. His most famous work after portraits of celebrities are probably those that relate to 'a series of disasters' electric chair, race riots, suicides, terrible car accident, funeral, atomic bombs, mourning Jacqueline Kennedy.
Ivan Karp noted that Warhol 'full-length portraits of the' soup cans were a guarantee that 'tomato soup will never be just tomato soup. " Instead, the Bank of Campbell's soup has become the 'world famous' character of the Warhol. By doing so, Warhol could not fail to denounce the idea that the value generated by the product itself. At the same time, Warhol's paintings testify to the enormous and inevitable power of commodity fetishism, the power he seeks to display and make available for purchase by others. In light of this, I would like to consider 'Two hundred cans of soup, Campbell's' as a kind of memento mori, a reminder that the trade mark together with the promise is always an element of mourning, or, equally, the destruction and the creation of the face. Image of the disaster. In Warhol was perfect flair for the disaster, a keen understanding of their appeal. His most famous work after portraits of celebrities are probably those that relate to 'a series of disasters' electric chair, race riots, suicides, terrible car accident, funeral, atomic bombs, mourning Jacqueline Kennedy.
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