Bow Ties

1960 · Drawing

May one see it?

Not receiving at present

Whitney Museum of American Art

New York, United States

It belongs to the collection, but is not on display at present.

Checked: 7 days ago
Source: The museum's own collection data

On the map Museum page

Particulars

Accession number: 65.37a-b

Sources

Whitney Museum of American Art: the museum's own open data · fetched 7 days ago
Image: Whitney Museum of American Art — © the artist or rights holder

Meanwhile, in the life of Andy Warhol

The whole life

1961
Leo Castelli turns him down
In 1961 Warhol sold paintings directly to the collector Robert Scull and attracted major buyers, but the dealer Ivan Karp could not find him a gallery: Leo Castelli declined, feeling the work was too close to Roy Lichtenstein's.
December 1961
The decision to paint money
After seeing Claes Oldenburg's installation The Store in December 1961, Warhol went home frustrated, feeling his comic-strip paintings were no longer original enough. He accepted Muriel Flatow's tongue-in-cheek advice, given for $50, to paint what he liked most — money — and began painting dollar bills.
1961–1962
Mastering silkscreen
Seeking technical advice, Warhol turned to Floriano Vecchi of Tiber Press, who showed him the basics of silkscreen printing: transferring designs to acetate, preparing screens and pulling ink with a squeegee. The experiments became a turning point and soon led to some of his earliest silkscreen works.
9 July 1962
Soup cans at the Ferus Gallery
The Los Angeles dealer Irving Blum, surprised that Warhol had no gallery, offered him a solo show at the Ferus Gallery. Warhol sent 32 canvases, one for each variety of Campbell's soup; the exhibition opened on 9 July 1962 and marked his West Coast debut.
October 1962
“The New Realists” at the Sidney Janis Gallery
Invited by the dealer Sidney Janis, Warhol took part in the exhibition The New Realists, showing 200 Soup Cans, Big Campbell's Soup Can 19c (Beef Noodle) and Do It Yourself (Flowers). The show was widely seen as a turning point for the acceptance of Pop art: The New Yorker likened its effect on the New York art world to an “earthquake”.
6 November 1962
First solo Pop show in New York
The filmmaker Emile de Antonio introduced Warhol to Eleanor Ward of the Stable Gallery, who agreed to a show in exchange for a painting of a two-dollar bill; the eighteen new works included Marilyn Monroe Twenty Times and Red Elvis. Michael Fried wrote in Art International that of all the painters working in the service of a popular iconography, Warhol was probably the most single-minded and the most spectacular.