Andy Warhol's Silver Elvises: Meaning through Context at the Ferus Gallery in 1963 Author(s): David McCarthy Source: The Art Bulletin, Vol. 88, No. 2 (Jun., 2006), pp. 354-372 Published by: College Art Association Stable URL: http://www.jstor.org/stable/25067249 . Accessed: 18/09/2011 11:24 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org Andy Warhol's Silver Elvises: Meaning through Context at the Ferus Gallery in 1963 David McCarthy In the of to west. He of Elizabeth made at the same spring 1963 Andy Warhol looked the bust-length images Taylor had as one of the most of the time. onto the series bla recently emerged prominent Silk-screened silver backgrounds, solo on Pop artists, with important shows either coast, and tantly targets Hollywood, whose larger-than-life personalities now at a and of romance anticipated his second exhibition the prestigious inhabited mythic, often formulaic, world Ferus in Los the environ and action on-screen. of costume Gallery Angeles. Contemplating The specificity Presley's ment ties the series to the of the which in which his latest work would be unveiled, and build thoroughly genre Western, ing on the encouraging reception of his images of Hollywood Warhol both honored and lampooned throughout his ca stars at in York reer.