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the broad

Campbell's Soup Can (Clam Chowder - Manhattan Style) [Ferus Type]

Andy Warhol
1962
casein and pencil on linen
20 x 16 in. (50.8 x 40.6 cm)
TRADEMARKS LICENSED BY CAMPBELL SOUP COMPANY. ALL RIGHTS RESERVED.

Are you hungry?

How about a can of this? Clam Chowder...Manhattan Style

Hmmm, yeah, I’m not so sure about that one [slightly laughing].

The artist, Andy Warhol, LOVED soup. Loved it!

He - apparently - ate [SOUNDFX: soup slurping sounds] a bowl of soup everyday. Every. Single. Day.

So with that in mind, this painting makes complete sense! Paint what you love, right?

Andy also made pictures of dollar bills, celebrities, and flowers. So it seems he really liked, ordinary, everyday things - what he saw at the supermarket, on television and in newspapers.

And in fact, it was his love of the little, everyday things that made a big impact on art.

Why exactly would someone want to see what's in stock at the grocery store in a museum?

Well, it kind of makes you see the world differently. Imagine you’re wearing a pair of special glasses.

[SOUND FX]

Now, look at the world again! The world is a place where inspiration for art happens anywhere.

Andy was one of the first artists to “look again.” He was part of a movement called Pop Art, because he made art that looked like POP [SOUNDFX]--ular everyday stuff.

But back to the soup. In 1962, he made 32 of these soup can paintings. These were all shown as a group for the first time right here in LA. There was all kinds of flavors: tomato, minestrone, vegetable beef..

[SOUNDFX: belly rumbling sounds]

Whoa, maybe I’M getting hungry now!

Andy Warhol is considered one of the most important figures in postwar art and has had an impact on almost every aspect of the art world. He, along with other pop artists like Roy Lichtenstein and James Rosenquist, brought the imagery and techniques of mass commercialism into fine arts and broke up the stylistic hegemony of abstract expressionist painting in the 1960s. While Lichtenstein used hand-painted comics to develop a relationship between art and popular culture, Warhol focused on photography, silkscreen printing, and cinema to push his avant-garde imperatives. Alongside his art, Warhol’s persona and individual celebrity led to a contemporary status unlike any other artist. His studio, the Factory, became a flashpoint for 1960s counterculture, and was frequently visited by musicians and artists such as Lou Reed, Bob Dylan, and the Beat poets, as well as most of the New York art scene. 
 
Warhol’s silkscreens of the early 1960s are perhaps his best-known works. Drawing on themes such as celebrity, death, and commodity culture, the silkscreens are seen as metaphors for American culture and the fickle nature of fame in a capitalist society. Two Marilyns, 1962, and Twenty Jackies, 1964, exemplify Warhol’s mixture of the techniques of mass reproduction with the older, established painting genres of religious icons or portraiture. Warhol’s Marilyns and Jackies are symbols of their time, bound in their representations. Their relationship to mass reproduction makes these works of central importance to discussions of authorship, originality, and the possible end of art.
 
Warhol also used various programs of abstraction in his painting to mimic and comment on art of his era, especially abstract expressionism, as in Dance Diagram [3] [“The Lindy Tuck-In Turn Man”], 1962, Rorschach, 1984, and Camouflage, 1986, or his famous Shadows, 1978–79, and the Oxidation series. Dance Diagram [3], like the celebrities of the silkscreens, is topical to early 1960s, namely the revival of 1920s and 30s dance steps such as the Charleston and the Lindy Hop. At the same time, however, the work allows a deeper reading of the evolving nature of painting as a performative endeavor or, since the work is displayed on the floor, the changing relationship between painting and sculpture.