Page 19 - Studio International - February 1971

Andy Warhol

and Elvis Presley

John Coplans

Social and cultural predictions of Warhol's Andy Warhol
serial images. Marilyn Monroe 1962
Polymer silkscreened
on canvas
The multiple Elvis paintings derive from a 84 x 46 in.
publicity still of Elvis Presley posing as a Coll: René de
Montaigue, Paris
gunslinging half-breed cowboy in the movie Photo : Eric Pollitzer,
Flaming Star, 1960 (20th Century Fox). New York
Silkscreened in black on a plain silver ground,
they were first shown at the Ferus Gallery, Los
Angeles, during September and October of
1963. Unlike Warhol's New York exhibition
held at the Elinor Ward Gallery in the fall of
1962, which consisted of extremely diverse
imagery,1 the Elvis exhibition-as in his first
one-man exhibition of the Campbell's Soup Cans
held at the Ferus Gallery the previous summer-
repeated the use of a single, unified serial theme .
The exhibition was arranged by telephone.
In the discussion between Irving Blum (who
directed the gallery) and Warhol, it was agreed
that a number of paintings of Liz Taylor would
also be sent, but on the condition they were to
be exhibited separately, in another space.2
Warhol further requested that the Elvis
paintings be installed as a 'continuous surround'
with the canvases closely butted around the
gallery walls. The Elvis paintings were received
in Los Angeles on a single, continuous roll of
canvas together with a number of sets of
knocked-down stretcher bars of equal height,
but of varying widths. After fitting the stretcher
bars and marrying them to suitable images, the medium. But there is very often a discernible of silver is systematic throughout the Elvis
roll of canvas was cut and the images stretched. disparity between the way a painting or series series. So it is in the portraits of movie actors
No instructions emanated from Warhol to centre of paintings may have originally been conceived, that the marriage of the stars and the silver
the images; Blum did so on his own initiative how they are made and what finally happens to screen begins-the shiny, indeterminate and
(and on the basis of the centrally disposed image them. Warhol is apparently extremely metallic painted surface reflecting the persona
of the Campbell's soup cans). In the permissive; there seems to be an implied of Warhol's drama, as if the canvas is a mirror
installation, the sequence of the images as they concession in the way in which his work is of reality (albeit the special, distilled reality of
originally appeared on the roll of canvas was exhibited. Obviously, the Elvis images were filmland images).6
abandoned in preference to grouping the conceived and painted as an environment. They The silver ground is also crucial to the serial
paintings around the gallery walls according to were made on a single roll of canvas; yet the aspect of the Elvis paintings; thus it is formally
the most visually pleasing arrangement.3 fact that Warhol supplied the stretchers leads and iconographically integrated and it provides
Despite the outstanding success of Warhol's one to suppose that whatever was originally in a stabilized background upon which the
previous New York exhibition, other than for his mind in the planning and execution of the rhythmic distinctions are organized. The effect
younger members of the audience the Elvis work had been foregone. This series was not of taking a photograph of Presley, enlarging the
paintings were coolly received in Los Angeles kept together; it was finally broken up and sold scale to slightly larger than life size, and
and none sold.4 in New York as individual units. On the other screening it in units of a single, double or treble
Throughout Warhol's work-and despite hand, the 32 Campbell's Soup Cans, which were image (often overlapped), enhances variety
certain radical impulses from which his aesthetic not originally conceived of as a unit, were within unity, particularly when seen in series.
devolves -there are obvious and strong attempts fortunately kept together. The variation in the density of the screening of
to maintain, insofar as possible, close links to The use of a silver ground first occurs in one the black image on the silver ground intensifies
the traditional use of medium. Notwithstanding of the smaller portraits of Marilyn Monroe, this feeling. The viewer appears to be seeing
the use of silkscreen, the principle body of his several of the Liz Taylors, and in at least one of different movements and apparent changes of
work is oil paint, or its equivalent, on stretched the three-quarter length images (derived from light, when in fact he is seeing a single photo
canvas. Even the Brillo and various other boxes a movie still) of Marlon Brando posing as a reiterated with slightly different screening
are paint on wood, an extremely traditional leather-jacketed motorcycle rider.5 And the use effects. True, all the figures are symmetrically

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