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  3. Mao (FS II.96)
Andy Warhol, Mao (FS II.96), 1972
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Category: Print

Andy Warhol
Mao (FS II.96)

, 1972
Screenprint on Beckett High white paper
91.4 × 91.4 cm (36 x 36 in)
Edition of 250

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 Details AWA-30-1638523285-X-250 Edition NN of 250 Excellent
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About Andy Warhol

With his uncanny ability to tap into the Zeitgeist, Andy Warhol changed the course of art history forever and altered the way contemporary life is perceived. Using mass-produced techniques to fabricate his work, the artist challenged long established beliefs about the nature of art and abolished the distinction between popular culture and high art. The child of Czechoslovakian migrants, Andy Warhol was born in Pittsburgh in 1928 and… Read more

About the artwork

Warhol said of communist China, “they don’t believe in creativity. The only picture they ever have is of Mao Zedong”. Warhol, whose work famously covered groceries, symbols, and celebrities, must have found this austerity of imagery in China bizarre. Warhol’s portraits generally reflect a fascination with celebrity, insofar as celebrity is the commodification of identity. The irony of giving a communist leader this treatment may be intentional. By giving Mao Zedong the celebrity print treatment, Warhol’s philosophy absorbs even its ideological opponents. But Warhol’s depiction of Mao may run even deeper. Warhol described the “only picture” of Mao Zedong as “like a silkscreen”. Indeed, Warhol used a Chinese picture as the basis for this print. In the series, Warhol bridges the gap between Chinese propaganda and silkscreen. Of course, Warhol’s unorthodox use of color separates his silkscreens from the socialist realism of Mao’s original propaganda picture, and Mao (FS II.96) is certainly no exception.

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