Few American artists have shaped modern visual culture as profoundly as Andy Warhol (1928–1987), whose experimentation with mass media helped define what it means to be an artist in an image-saturated age. Photography was central to Warhol’s philosophy and his obsession with self-representation. He carried a camera with him wherever he went, taking hundreds of thousands of photographs during his career. Warhol purchased his first Polaroid in the mid-1960s, and by the early 1970s, it would become his tool of choice: both the Big Shot model, ideal for close-ups with its fixed lens and bright flash, and the more versatile, portable SX-70. This technology was instrumental to his process—forming the first stages of his commissioned silkscreen portraits and a mode through which he could document compulsively, treating his own life as material.

Andy Warhol Family Album presents a collection of Polaroids from 1972 to 1973 that captures Warhol’s immediate world of collaborators, celebrities, and friends. These photographs come from one of six Holson albums containing hundreds of snapshots Warhol maintained as a personal archive and named for the brand’s generic product type: the “family album.” Together the images—ranging from posed portraits and candid shots of guests visiting his home in Montauk, Long Island, to documentation of his travels to Europe and even pictures of his dog Archie—offer a varied glimpse into Warhol’s day-to-day life.

About the artist

More than any other artist of his generation, Andy Warhol understood how photographic images reflect and shape the way we see the world. Working across multiple mediums—painting, drawing, printmaking, photography, film, video, and installation—he pushed beyond the boundaries by which each is defined, his art and name becoming synonymous with Pop. But his influence extended far beyond the 1960s: indeed, Warhol’s work foreshadows the ease and ubiquity with which we create and consume images in the digital era.

Born Andrew Warhola and raised in Pittsburgh, Warhol attended the Carnegie Institute of Technology and received his BFA in 1949. That same year he moved to New York, where he became a highly successful commercial illustrator, drawing advertisements for shoes and designing window displays for department stores. In the early 1960s he decided to concentrate on making fine art. Appropriating an image from a National Enquirer ad for plastic surgery (Warhol previously had plastic surgery on his own nose), he made four different paintings titled Before and After . Although he painted these works by hand, Warhol used an opaque projector to enlarge the ad and trace it onto the canvas—one of the techniques he employed as a commercial illustrator. Unlike his Abstract Expressionist forebears, Warhol wanted to achieve an art that could be “noncommittal, anonymous,” and so he progressively eliminated evidence of the brush in each variation of the subject until all visible traces of the artist’s hand were removed from Before and After, 4 . From the start, Warhol selected images that were familiar but could be interpreted in multiple ways. For instance, Before and After, 4 references the transformational powers of plastic surgery as well as the assimilating desire to conform to expected notions of beauty.

Green Coca-Cola Bottles signals Warhol’s shift toward the processes of mechanical reproduction. Here he created a single woodblock stamp to imprint a grid of 112 signature silhouettes of Coca-Cola bottles, but within a year he would shift to the more efficient silkscreen technique for which he became famous. The rows in this painting might suggest an assembly line as well as a grocery store shelf, or anticipate the linear and modular configurations of Minimalism. This serial arrangement of the bottles, in combination with the conspicuous placement of the logo, underscores Warhol’s summation of the democratizing effect of such products: “A Coke is a Coke,” he explained, “and no amount of money can get you a better Coke than the one the bum on the corner is drinking.”

Warhol selected subjects that had an immediacy and relevance to contemporary culture for his silkscreen paintings, often using images culled from the news. The nine blue and gray canvases of Nine Jackies feature three different photographs of Jacqueline Kennedy from events surrounding the assassination of her husband, President John F. Kennedy. Arranged in rows, the first image was taken in Dallas just prior to the assassination; the second during his funeral; and the third as Lyndon B. Johnson was being sworn in as president on Air Force One. The filmic nature of the arrangement emphasizes the stillness of the images; frozen in time and presented out of temporal sequence, they impart a sense of the public’s grief and confusion. It is a history painting in which the story has gone horribly wrong.