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Five Deaths Seventeen Times in Black and White.

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Larger Image	Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at: http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/827-50.jpg
Title	Five Deaths Seventeen Times in Black and White.
Alternative Title	Five Deaths - Seventeen Times in Black and White.
Creator	Warhol, Andy (American painter, printmaker, and filmmaker, 1928-1987)
Date	1963
Cultural Context	American North American
Style/Period	Pop (fine arts styles) Modern (styles and periods) Modernist
Theme	Prints (visual works) Screen prints Silkscreens (visual works) Avant-garde Allusion Deaths Disasters Tragedies Accidents Automobiles Passenger vehicles Vehicles (transportation) Voyeurism Mass media Culture Popular culture Social issues Social groups Social status Social stratification Social structure Social classes
Subject	Prints Screen prints Allusions Death Disasters Tragedies Accidents Automobiles Vehicles Dead persons Wounds & injuries Voyeurism Social aspects Social classes
Description	"The use of serial repetition here, as in other early Warhol works, relates interestingly to Minimalist uses of repetition. The reciprocally ironic relation between Warhol and the Minimalists came to a head in 1964. Warhol exhibited a series of Brillo Boxes, consisting of large wooden boxes covered with silkscreened commercial logos, at the Stable Gallery, New York. He must have been aware of Robert Morris's anonymous cubic structures of the period." (Caption, p.114); "Warhol's voyeuristic tendencies surfaced most clearly in the Disasters series (1962-4). The Marilyns, produced shortly after her suicide, anticipated these works in dramatizing how mass culture threads private tragedy through its machinery. (The repeated 'frames' of the Marilyn Diptych [1962], some with the image over-inked or virtually invisible, connoted film, a medium to which Warhol turned in 1963.) Deriving initially from a stark newspaper headline '129 die in Jet' (the subject of a 1962 painting) the Disasters series ironically revived an important genre of Neoclassical 'history painting': the heroic death. Warhol, however, programmatically placed allusions to 'celebrity' deaths, such as Monroe's or President Kennedy's registered through the grief on his wife Jackie Kennedy's face, on a par with those of 'unknowns' - the harrowing Suicide Jumps and Car Crashes. The latter constituted dystopian reflections on the symbol of American affluence in the wake of Jim Dine's earlier 'Happening' [The Car Crash, 1960]. Other works in the series, the Electric Chairs and the Tunafish Disasters, dealt with 'unknowns' who momentarily achieved fame precisely through death. All in all, death was presented as a social leveler." (Excerpt, p.116)
Material	Silkscreen print on canvas Silkscreen ink Ink Canvas
Measurements	217 x 418 cm
Technique	Screen printing Printing (process) Printmaking
Work Type	Prints Screen prints Silkscreens (visual works)
Repository	Öffentliche Kunstsammlung, Kunstmuseum (Basle, Switzerland) Öffentliche Kunstsammlung (Basle, Switzerland)
Source	Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (pp.112-113, fig.56)
Rights	Photo Martin Buhler. Reproduced in Hopkins courtesy of Öffentliche Kunstsammlung, Basel Kunstmuseum. © The Andy Warhol Foundation for the Visual Arts, Inc./DACS, 2000. (G.1972.2)
Digital Publisher	University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format	image/jpeg
Digital File Name	VRC 827-50.jpg
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