After Warhol – Saturday 22 November to Saturday 20 December


After Warhol

Saturday 22 November – Saturday 20 December


Alongside our PRESENT exhibition, we will be displaying a suite of ‘Marilyn’ prints from the Sunday B Morning portfolio of 1970 and exploring the intentions behind their production. Made after Andy Warhol’s infamous series, these striking screen prints will also be available to purchase.


“No one would know whether my picture was mine or somebody else’s.” “It would turn art history upside down?” “Yes.” (Gene Swenson’s interview with Warhol, “What is Pop Art?,” Artnews, November 1963)   American artist Andy Warhol first screen printed the above image- originally a publicity shot for a film- in 1962, shortly following the death of Marilyn Monroe. Warhol eventually produced a series of ten varying Marilyn screen prints in editions of 250, distinct only in his choice of colour palette for each one. Published in a portfolio by his company Factory Additions, these authorized prints are the most sought after and expensive Marilyns, selling at auction anywhere from $100,000 to over $1,500,000 for a complete portfolio. In 1970, Warhol’s screens were used by a group of his friends to create a new set of Marilyns, which matched the originals in quality but not in colour. Stamping each print with ‘Published by Sunday B. Morning’ the collective created an edition of 250 new Marilyn portfolios. Though these prints are unauthorized, they were included in the comprehensive Andy Warhol Catalogue Raisonné and are now considered collectibles in their own right, though are much lower in price. At West Yorkshire Print Workshop, nine Sunday B. Morning Marilyn screen prints will be on display and available for purchase. The meaning behind the group’s name ‘Sunday B. Morning’ remains a mystery to this day. Andy Warhol was an artist who embraced American popular culture as well as commercial processes, often exploiting the possibilities of screen printing by experimenting with shifting colours and off-register effects. He developed over time a ‘hands-off’ approach, rejecting the notion of authorship as an essential feature of authenticity and originality. An artist, according to Warhol, did not need be physically linked to an art object in order to be its originator; the conceptual link was sufficient. It was due to these beliefs, and the consequentially boundless reproduction of many of his artworks, that he is considered one of the most renowned and yet most controversial artists of the twentieth century. His legacy is significant in our consideration of the appropriated image and commercial art practices, particularly since the growth of digital imaging.