In June, 1968, Andy Warhol was shot point-blank at his Manhattan studio, the Factory. He spent two months in the hospital recovering. The shooting was a turning point in his life, and his religious life.
at the Brooklyn Museum, and it invites the main question raised by Warhol’s work that uses religious imagery: What did Warhol make of all this stuff? It’s the question that people have asked about all his work since the beginning. One view is that he was detached and affectless, multiplying images mechanically until their aura was enhanced rather than diminished. Another is that he was fundamentally irreverent, making movies called “Blow Job” and “Taylor Mead’s Ass” to flout conventional mores.
By decade’s end, Warhol would be dubbed the Pope of Pop, and among the images that gained him fame were those with religious associations. The “Mona Lisa” series was made in 1963 after the Metropolitan Museum of Art—with the First Lady Jackie Kennedy’s intercession—brought da Vinci’s “Mona Lisa” from the Louvre to New York.
As a boy, Warhol spent Sunday mornings gazing at Christ, the Virgin Mary, and the saints at a Byzantine Catholic church in Pittsburgh. In 1984, the art dealer Alexander Iolas offered Warhol a million dollars to make new work to be shown in Milan, in a grand building catercornered from the Santa Maria delle Grazie—where Leonardo’s “The Last Supper” was on view. Warhol took the commission, wowed by the fee.
Two of those horizontal, nearly life-size “Last Suppers” are mounted opposite each other toward the end of the exhibition. One is pink; the other is yellow. Each is a double: two sets of the twelve apostles, in action, flanking Christ, whose eyes are downcast—the rare Warhol protagonist who doesn’t face the viewer.
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