work ran as part of an article on the history of the Empire State Building ( Bourdon, 154).
The record of the deceased, and her use of the building as a springboard into eternity, now
belongs to the story of the skyscraper and the allure prominent architecture holds for even
the clinically depressed.
Compare this class of photography to Andreas Serrano's "Morgue" portraits. In
Serrano's work the end of life does not mean the dead are no longer human.
For this reason, in an inadvertent homage to Warhol's ability to make any image truly
abstract, surveys of the artist's career by Carter Ratcliff and Eric Shanes include Death and
Disaster paintings that are printed upside-down or reversed.
This rainbow of colors also calls to mind, given Warhol's start in commercial art, the
multiple editions of the same painting, done in a variety of tones, available at starving artist
sales. For all patrons and interiors, a painting to match.
Bockris Victor. The Life and Death of Andy Warhol. New York: Bantam, 1989.
Bourdon David. Warhol. New York: Abrams, 1989.
Burgin Victor. The End of Art Theory: Criticism and Postmodernity. Atlantic Highlands,
NJ: Humanities Press International, 1986.
Coplans John. Andy Warhol. Greenwich, CT: New York Graphic Society, 1970.
Honnef Klaus. Andy Warhol 1928-1987: Commerce into Art. Trans.
Carole Fahy and
I. Burns. Kohn
, Germany: Benedikt Taschen, 1993.
Karp Ivan. "Anti-Sensibility Painting". Artforum ( Sept. 1963): 26-27.
Krauss Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, MA: MIT, 1986.
Nash Jay Robert. Darkest Hours. Chicago, IL: Nelson-Hall, 1976.
Painter, Ruth Robbin, and
Wendell W. Kilgore. "Food Additives" in Toxicology: The
Basic Science of Poisons. Eds.
Louls J. Casarett and
John Doull. New York: Macmillan, 1975, 555-569.