in a brown paper bag, Warhol introduced himself and showed his work to anyone that could help him out. Eventually, he got a job with Glamour magazine, doing illustrations for an article called "Success is a Job in New York," along with doing a

Pop Art emerged in the US in the early 1960's, at first completely unacknowledged. During it's beginning, Pop Art was often seen as an insult to the roles of such artists as Pollock and de Kooning, who were leading a revival of Abstract Expressionist, "an abrupt and conspicuous dialectical reaction to a great wave of abstraction," at mid-century. Emerging with considerable fanfare, mainly condemnation, but by 1963-64, it suddenly began being extensively exhibited, published, and consumed as a cultural phenomenon By the early 60's, Warhol became determined to establish himself as a serious painter, as well as to gain the respect of such famous artists of the time such as Jasper Johns and Robert Rauschenberg, whose work he had recently come to know and admire. He began by painting a series of pictures based on crude advertisements and on images from comic strips. These first such works, such as 'Saturday's Popeye' (1960) and 'Water Heater"(1960), were loosely painted in !

to reinforce the obsessive ways that our thoughts keep returning to a tragedy, and "stress the flash of fame these little known (suicides) victims achieve in death. This can be said to be consistent with Warhol's claim that everyone "will be famous for 15 minutes." In this, does he mean by tragedy? Others claim the initial context for these subjects was journalistic- as an artist trained in drawing and pictorial design, he was obviously predisposed to consider the front page of the news and other media items in visual, artistic terms-as a "media junkie" who continually pursued and collected printed matter, he was drawn into a network of "sensationalized intimacies with the protagonists of the news." Regardless, there is a tie between these images and his celebrity portraits. Warhol took up the theme of suicide shortly after his first meditations on Marilyn Monroe's death. While doing those works, he said to have realized that "everything I was doing must have been death." Thu!

ly visible, showing a sign reading "SILENCE," which symbolizes the emptiness of the execution chamber. The image, the chamber empty, showing only the sign, represents death as an absence and complete silence, a complete void. This notion was characteristic of Warhol, who once said "I never understood why when you died, you didn't just vanish and everything could just keep going the way it was, only you just wouldn't be there," and who often stated that he wanted a blank tombstone when he died. Many wonder why Warhol chose such imagery to focus on, and he himself gives little reason. For some of these works, in which he shows images repeated relatively unchanged, he was attempting to lessen the shock of the viewer, recognizing such events for their face value, as everyday occurrences. "When you see a gruesome picture over and over again,

Some common words found in the essay are:
According Warhol, Broadcasting Company, Technology Pittsburgh, President Kennedy's, Liechtenstein Warhol, Atomic Bomb, Industrial Revolution, Pop Art, Death Disaster, Abstract Expressionist, death disaster, pop art, soup cans, death disaster paintings, subject matter, background color, disaster paintings, choice subject matter, fashion magazines, art world, atomic bomb, choice subject,
Approximate Word count = 1892
Approximate Pages = 8 (250 words per page double spaced)