Andy Warhol Brillo Soap Pads Box 1964 Silkscreen ink and house paint on plywood. 17 x 17 x 14 in. (43.2 x 43.2 x 35.6 cm). Signed and dated "Andy Warhol 64" on the underside.
Provenance Bruno Bischofberger, Zürich; Private Collection, Vienna; Private Collection, Antwerp Exhibited Tokyo, Mitsukoshi Ltd., Andy Warhol January 8 - January 20, 1991; Tel Aviv Museum of Art, Andy Warhol August 27 - October 27, 1992; Vienna, KunstHausWien, Andy Warhol February 22 - May 30, 1993; Helsinki Kunsthalle, Andy Warhol August 23 - November 16, 1997; Warsaw, The National Museum, March 6 - May 3, 1998; and The National Museum in Cracow, Andy Warhol May 19 - July 12, 1998; Rio de Janeiro, Centro Cultural Banco do Brasil, Warhol, October 12 - December 12, 1999; Kochi, The Museum of Art, Kochi, February 6 - March 26, 2000; The Bunkamura Museum of Art, Tokyo, April 1 - May 21, 2000; Daimaru Museum, Umeda-Osaka, May 24 - June 11, 2000; Hiroshima City Museum of Contemporary Art, June 17 - July 30, 2000; Kawamura Memorial Museum of Art, August 5 - October 1, 2000; Nagoya City Art Museum, October 7 - December 17, 2000; and Niigata City Art Museum, Andy Warhol January 4 - February 12, 2001 Literature G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné, Vol.02A, Paintings and Sculptures 1964-1969, New York, 2004, Brillo cat. no. 694 Catalogue Essay Andy Warhol is one of the preeminent artists of the 20th century, the 1960s marking the years in which he created some of the most iconic works of art ever produced. In 1963, Warhol moved to a new studio which quickly became known as “The Factory.” The name of the studio was emblematic of the type of work Warhol produced there, using popular images of celebrities and mass-produced objects to challenge the status quo of what was considered art. The works depicted subjects at the forefront of popular and consumer culture such as Marilyn Monroe Jacqueline Kennedy, Campbell’s soup cans, and the Brillo Box. Warhol will forever be known as the man who blurred the line between mass-produced consumer objects and the canon of fine art, changing the conventions of art and the market in which it exists. Warhol continued to utilize mainstream figures andobjects in his work until his death in 1987. Pop art challenged the tradition of aesthetics by transforming images of mass-produced commodities of popular culture into fine art displayed in a gallery. By completely dislocating the image from its context and isolating it as an autonomous object, a commodity became a receptor of thought and reconsideration. Andy Warhol was the leading figure of this revolution in thought and aesthetics. Pop artists were using paint and mediums in entirely new ways to challenge the essence of art, dripping it, splashing it, and even entirely submerging objects with images in order to cast them in new light. Objects that would normally be ignored for their banality were screaming for attention through their unusual display. It was an attempt to expose the truth of a mass consumer culture. Warhol posed questions that could no longer be ignored. In 1964 Warhol exhibited his first series of Brillo Boxes at a solo show at New York’s Sable Gallery alongside other boxes meant to replicate the packaging for Del Monte Peach Halves, Campbell’s Tomato Soup, and Heinz’s Ketchup. Each of the boxes was constructed of wood in the dimensions of the actual box with the label from the respective brand silk-screened on its surfaces. To the viewer, the boxes looked just as one would find them in any store. Warhol also utilized unusual methods of display for both the Campbell’s Soup Cans and the Brillo Boxes in order to link them back to the original product as much as possible. The Soup Cans were displayed in a continuous row, as they would be in a grocery store shelf. The Brillo Boxes were a three dimensional extension of what Warhol had done with the Campbell’s Soup Cans, stacked in columns just as if they were for sale. By displaying his works in a nontraditional format Warhol was removing them even more from the realm of the traditional art world. The utilization of such ubiquitous household brands revealed the “comm
Andy Warhol Brillo Soap Pads Box 1964 Silkscreen ink and house paint on plywood. 17 x 17 x 14 in. (43.2 x 43.2 x 35.6 cm). Signed and dated "Andy Warhol 64" on the underside.
Provenance Bruno Bischofberger, Zürich; Private Collection, Vienna; Private Collection, Antwerp Exhibited Tokyo, Mitsukoshi Ltd., Andy Warhol January 8 - January 20, 1991; Tel Aviv Museum of Art, Andy Warhol August 27 - October 27, 1992; Vienna, KunstHausWien, Andy Warhol February 22 - May 30, 1993; Helsinki Kunsthalle, Andy Warhol August 23 - November 16, 1997; Warsaw, The National Museum, March 6 - May 3, 1998; and The National Museum in Cracow, Andy Warhol May 19 - July 12, 1998; Rio de Janeiro, Centro Cultural Banco do Brasil, Warhol, October 12 - December 12, 1999; Kochi, The Museum of Art, Kochi, February 6 - March 26, 2000; The Bunkamura Museum of Art, Tokyo, April 1 - May 21, 2000; Daimaru Museum, Umeda-Osaka, May 24 - June 11, 2000; Hiroshima City Museum of Contemporary Art, June 17 - July 30, 2000; Kawamura Memorial Museum of Art, August 5 - October 1, 2000; Nagoya City Art Museum, October 7 - December 17, 2000; and Niigata City Art Museum, Andy Warhol January 4 - February 12, 2001 Literature G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné, Vol.02A, Paintings and Sculptures 1964-1969, New York, 2004, Brillo cat. no. 694 Catalogue Essay Andy Warhol is one of the preeminent artists of the 20th century, the 1960s marking the years in which he created some of the most iconic works of art ever produced. In 1963, Warhol moved to a new studio which quickly became known as “The Factory.” The name of the studio was emblematic of the type of work Warhol produced there, using popular images of celebrities and mass-produced objects to challenge the status quo of what was considered art. The works depicted subjects at the forefront of popular and consumer culture such as Marilyn Monroe Jacqueline Kennedy, Campbell’s soup cans, and the Brillo Box. Warhol will forever be known as the man who blurred the line between mass-produced consumer objects and the canon of fine art, changing the conventions of art and the market in which it exists. Warhol continued to utilize mainstream figures andobjects in his work until his death in 1987. Pop art challenged the tradition of aesthetics by transforming images of mass-produced commodities of popular culture into fine art displayed in a gallery. By completely dislocating the image from its context and isolating it as an autonomous object, a commodity became a receptor of thought and reconsideration. Andy Warhol was the leading figure of this revolution in thought and aesthetics. Pop artists were using paint and mediums in entirely new ways to challenge the essence of art, dripping it, splashing it, and even entirely submerging objects with images in order to cast them in new light. Objects that would normally be ignored for their banality were screaming for attention through their unusual display. It was an attempt to expose the truth of a mass consumer culture. Warhol posed questions that could no longer be ignored. In 1964 Warhol exhibited his first series of Brillo Boxes at a solo show at New York’s Sable Gallery alongside other boxes meant to replicate the packaging for Del Monte Peach Halves, Campbell’s Tomato Soup, and Heinz’s Ketchup. Each of the boxes was constructed of wood in the dimensions of the actual box with the label from the respective brand silk-screened on its surfaces. To the viewer, the boxes looked just as one would find them in any store. Warhol also utilized unusual methods of display for both the Campbell’s Soup Cans and the Brillo Boxes in order to link them back to the original product as much as possible. The Soup Cans were displayed in a continuous row, as they would be in a grocery store shelf. The Brillo Boxes were a three dimensional extension of what Warhol had done with the Campbell’s Soup Cans, stacked in columns just as if they were for sale. By displaying his works in a nontraditional format Warhol was removing them even more from the realm of the traditional art world. The utilization of such ubiquitous household brands revealed the “comm
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