Red Jackie 1964 Acrylic and silkscreen ink on linen / 3.6 ‘Andy Warhol’ Tour r ive 101.6 x 101.9 x 2.5cm / The Andy Warhol R Lounge Museum, Pittsburgh / Founding

3.5 Collection, Contribution The Andy Level 3 Warhol Foundation for the Visual Arts, lk 3.4 Wa Inc. / © The Andy Warhol Foundation Pavilion Warhol and for the Visual Arts Inc. 3.3

y n o lc a B e g n u o L Pavilion contemporary Jackie 1964 Media 3.2 Acrylic and silkscreen ink on linen / 3.1 50.8 x 40.6cm / The Andy Warhol Museum, Pittsburgh / Founding America: Collection, Contribution The Andy Gallery 3.1, 3.3, 3.4 / Contemporary Art Warhol Foundation for the Visual Arts, Gallery 3.2 / Anish Kapoor Inc. / © The Andy Warhol Foundation Gallery 3.5–3.6 / Indigenous Australian Art ‘Death and Sand : Savanna : Salt for the Visual Arts Inc.

Three Marilyns 1962 disaster’ series Acrylic, silkscreen ink, and graphite on linen / 35.6 x 85.1cm / The Andy Warhol Museum, Pittsburgh / Founding Collection, Contribution The Andy Level 2 Warhol Foundation for the Visual Arts, Inc. / © The Andy Warhol Foundation

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Foye 2.3 r Electric Chair 1967 Medi A lcovea

2.2 Acrylic screenprinted onto canvas / 137.2 x 185.1cm / National Gallery of The ‘andy warhol’ exhibition has been organised by the Queensland Art Gallery and The Andy Warhol Museum, one 2.1 Australia, Canberra / © The Andy of the four Carnegie Museums of Pittsburgh. / Funding for insurance has been provided through the Queensland Warhol Foundation for the Visual Arts Government Exhibition Indemnity Scheme, administered by Arts Queensland. Gallery 2.1 / The Leisure Class Inc. Gallery 2.2 / Cinema A PRINCIPAL PARTNERS Gallery 2.3 / Cinema B White Burning Car III 1963 Silkscreen ink on linen / 255.3 x 200cm / The Andy Warhol Museum, Pittsburgh / Founding Collection, Contribution Dia

er v om Ri Ro Center for the Arts / © The Andy MAJOR SPONSORS 1.4 Warhol Foundation for the Visual Arts 1.3 Level 1 Inc. 1.2

r 1.1 oye F Cafe Skull 1976 Acrylic and silkscreen ink on linen / ge TIX n ou L in r a M 182.9 x 203.2cm / The Andy Warhol ma oye F Cine ey l e n e a nc Museum, Pittsburgh / Founding St ac l tra P n e Collection, Contribution Dia Center ry

lle e rn Ga Storode for the Arts / © The Andy Warhol M Foundation for the Visual Arts Inc. Gallery 1.1–1.3 / Andy Warhol Gallery 1.4 / Children’s Art Centre, The Silver Factory: The Last Supper 1986 SUPPORTING SPONSORS Andy Warhol for Kids Acrylic and silkscreen ink on linen / 294.6 x 990.6 x 5.1cm / The Andy Warhol Museum, Pittsburgh / Founding Collection, Contribution The Andy P1 r e Rive Caf Warhol Foundation for the Visual Arts, P2 Inc. / © The Andy Warhol Foundation for the Visual Arts Inc.

Park Level

Prepared by Access, Education and Regional Services, Queensland Art Gallery / Gallery of Modern Art © Queensland Art Gallery 2007 / All Andy Warhol art works © The Andy Warhol Foundation for the Visual Arts Inc.

Gallery P1 & P2 / Children’s Art Centre, The Silver Factory: Andy Warhol for Kids

Restrooms First Aid Gallery Store Te lephone Stanley Place South Bank Brisbane Parents Room Cloak Room Information Cafe +61 (0) 7 3840 7303 | www.qag.qld.gov.au Cinema Tickets Library Red Jackie 1964 / Jackie 1964 Electric Chair 1967 The Last Supper 1986 Warhol began his series of Jackie silkscreen paintings in early 1964 after Warhol’s first paintings of electric chairs appeared in 1963, when the death During the early 1980s Warhol adopted traditional themes such as still lifes, US president John F Kennedy’s assassination in November 1963. The images penalty was a contentious issue of public debate. His Electric Chair works religious subjects and self-portraits. His Last Supper works engage with were based on eight grainy newspaper photographs of the President’s include large serial compositions or groups of multiple smaller canvases or death through an overtly religious theme and were some of the last paintings widow. Like Marilyn Monroe and Elizabeth Taylor, Jackie radiated a sense screenprints, printed on monochromatic backgrounds of silver, orange, Warhol completed. Warhol has provocatively reduced these iconic works to of tragic mystery, accentuated by the funeral and shadowy tones of the lavender, blue or red. GoMA / Gallery 1.1 schematic outline drawings and introduced advertising — reminding us that paintings. GoMA / Gallery 1.1 traditions, beliefs and histories can also be commodities. GoMA / Gallery 1.3

Three Marilyns 1962 White Burning Car III 1963 Skull 1976 Warhol’s experimentation with photo-silkscreening occurred in the same Warhol gathered images for his ‘Death and Disaster’ series from Historically, the human skull in art has symbolised mortality. Warhol’s choice year as Marilyn Monroe’s death in 1962. Both events marked significant contemporary press cuttings in magazines and newspapers, as well as of the skull as subject is consistent with his ongoing preoccupation with points in his career — the Marilyn images herald his fascination with death photographs from the 1950s such as those used for his Marilyn and Electric death. A plastic replica skull was photographed in black and white to create and tragedy, while the photo-silkscreen method was to become Warhol’s Chair paintings. Warhol’s selection of pre-existing images of people or events a dramatic and prominent shadow. The shadow reads as a void — a space of signature technique. A carefully selected and cropped publicity shot from was central to acknowledging the ‘reality’ of the dramatically expanding nothing. GoMA / Gallery 1.3 1953 was used for his silkscreens of the star. GoMA / Gallery 1.1 media environment of the 1960s, and the extent to which it penetrated the social, political and cultural life of America. GoMA / Gallery 1.1