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拍品專文
This is a three-dimensional object in which the front and back faces of a two-dollar bill have been stapled to either side of the same stretcher bars. It seems likely that Warhol himself assembled the painting in this manner.
Warhol's Two Dollar Bill (Front and Back), 1962, embodies Warhol's idea of art as commodity. Part of a larger series of iconic and distinctly American currency paintings and drawings, Two Dollar Bill (Front and Back) was executed as part of a series between 1962 and 1964. This series comprises many different works in which actual paper money or the image of paper money was manipulated in various ways: sometimes bills were rolled, while others were flattened or curved. All of these works were beautifully executed and engaged in the ongoing debate in New York between high and low art. In what would become characteristically Warhol, Two Dollar Bill (Front and Back), elevated the most base subject matter into the realms of high art.
Warhol's artistic experimentation with the dollar bill eventually led him to adopt the process of silkscreening in the spring of 1962. Warhol wanted to manipulate the dollar bill and reproduce it in various and multiple ways in a grid format; he realized that his method of cutting a stencil or carving an eraser (as was done for his postage and trading stamps) was too difficult and tedious. Because reproducing a photograph of a dollar bill would constitute forgery, Warhol made a screen from a drawing of a bill. Always playing with boundaries, silkscreening offered Warhol a medium within which he could continue to push the limits and create some of his most influential works.
Warhol's Two Dollar Bill (Front and Back), 1962, embodies Warhol's idea of art as commodity. Part of a larger series of iconic and distinctly American currency paintings and drawings, Two Dollar Bill (Front and Back) was executed as part of a series between 1962 and 1964. This series comprises many different works in which actual paper money or the image of paper money was manipulated in various ways: sometimes bills were rolled, while others were flattened or curved. All of these works were beautifully executed and engaged in the ongoing debate in New York between high and low art. In what would become characteristically Warhol, Two Dollar Bill (Front and Back), elevated the most base subject matter into the realms of high art.
Warhol's artistic experimentation with the dollar bill eventually led him to adopt the process of silkscreening in the spring of 1962. Warhol wanted to manipulate the dollar bill and reproduce it in various and multiple ways in a grid format; he realized that his method of cutting a stencil or carving an eraser (as was done for his postage and trading stamps) was too difficult and tedious. Because reproducing a photograph of a dollar bill would constitute forgery, Warhol made a screen from a drawing of a bill. Always playing with boundaries, silkscreening offered Warhol a medium within which he could continue to push the limits and create some of his most influential works.