Andy Warhol Exhibition

Andy Warhol Exhibition, Lakeside Arts

When I first walked into the gallery, I immediately noticed how dim and warm the space felt. The lighting created a quiet atmosphere. In the first room, all of the matching frames were perfectly aligned, parallel, and very neat. It felt controlled and intentional.

The first work I was drawn to was the man and woman with two chairs. I loved the colour scheme. The ochre yellow, the cherry tones, and the teal worked beautifully together. Warhol’s colour palette is something I have always admired. The combinations feel bold but balanced.

Man and Woman and Two Chairs, 1960-2

Baboon, 1957

I was also really interested in Baboons. One was finished in gold leaf and the other in ink and graphite. I noticed the graphite had not been fully rubbed out. That detail made the drawing feel more raw and process-led. Other works in this room, such as Boy with Stars and Stripes, Boy with Flowers, Cat Resting, Rooster, and the Coca-Cola Bottle, were all done in ink. They appeared very flat. I found myself wondering whether these were preparatory drawings for prints. They had that clean, graphic quality that felt ready to be transferred into another medium.

In the second room, the ceilings were much lower, which made the space feel more intimate. This is where his well-known works were displayed, including the repetitive Marilyn Monroe prints. They were the first thing I noticed. Seeing them in person made me appreciate the power of repetition. Warhol was able to turn celebrity into an icon through colour and duplication.

Brooke Hayward, 1973

Marilyn Monroe, 1962

I was also struck by how he captured the essence of David Hockney and Mick Jagger with such simple line drawings. With very few marks, he managed to communicate their likeness and personality. That takes real skill.

David Hockney, 1974 (left) Mick Jagger, 1975 (right)

One of the most interesting moments for me was standing in front of Cow (1976). The process immediately reminded me of the print work I created for my end of Year 2, where I used bitmap in Photoshop to create a comic-style effect from a black and white photograph. When you apply bitmap to an image, it removes the grey tones and reduces it into tiny squares. Looking at Cow, I questioned how Warhol achieved a similar visual effect in 1976, long before digital editing software existed.

Cow, 1976

Cow, 1976 (close up)

After speaking with tutors and classmates, we discussed the possibility that he may have repeatedly photocopied an image until the quality degraded, creating that flattened, high-contrast look. Next to Cow were the repeated prints of the Electric Chair. Interestingly, this image used tiny circular dots rather than square forms. This made me think about halftone printing processes, where images are broken down into dots to simulate tone. It left me with more technical questions about his screen-printing methods.

Untitled, 1971

Untitled, 1971 (close up)

In the main room, I noticed several large-scale works. Some images were repeated six times and stitched together, emphasising Warhol’s fascination with reproduction and mass production. I also saw collaborative works with Jean-Michel Basquiat, which added another layer of energy and dialogue within the exhibition.

Grace Being Painted by Keith, 1986

Grace Being Painted by Keith, 1986 (close up)

Overall, I really enjoyed this exhibition. I didn’t expect to enjoy it as much as I did. What I appreciated most was leaving with questions. As an artist, I find that exciting. I am particularly interested in researching how Warhol created his bitmap-like effects using analogue processes. It connects directly to my own practice and reminds me that digital aesthetics often have roots in traditional printmaking methods.