With this canvas, Coca-Cola [3], Warhol becomes Warhol.
Andy Warhol, Coca-Cola [3], 1962, casein on canvas, 176.2 x 137.2 cm (jointly owned by Art Bridges and Crystal Bridges Museum of American Art) © The Andy Warhol Foundation for the Visual Arts), a Seeing America video
[0:00] [music]
Dr. Steven Zucker: [0:04] We’re in the Crystal Bridges Museum of American Art, looking at a large painting from 1962 called “Coca-Cola [3] “.
Alejo Benedetti: [0:14] This is Andy Warhol’s moment. This is him thinking, “I want to do a painting of something that stands in for who we are as Americans,” and there’s no bigger icon than Coca-Cola.
Dr. Zucker: [0:24] It is big. It’s about six feet tall. It’s the size of a full-length portrait of George Washington. Although this is painted with a brush by hand, it’s not painted the way that an 18th-century portrait would be painted. It’s painted in an incredibly flat way, as if to mimic the process of printing.
Alejo: [0:43] It’s all about the removal of the artist’s hand. It’s not about making this beautiful painting in the traditional sense.
Dr. Zucker: [0:50] Art had always been about the exceptional. Art had always been about the unique. Here, Warhol has flipped that on its head and is painting the most ordinary.
Alejo: [1:00] This is what excited him, this idea that the everyday is exceptional. And so he turns to the most iconic thing and paints it in a way that removes the artist’s hand, makes it seem very ordinary. In doing that, he’s also making it tremendously accessible.
Dr. Zucker: [1:16] And democratic. This is an art that is in everybody’s experience. There is nothing rare here. We’ve all held a Coke bottle. We’ve all heard the sound when you pop the top of a Coke bottle. You can hear the bubbles. This is doing what advertising does, but it’s relocated it into the intellectual realm of art and art history.
Alejo: [1:35] It’s so accessible to everyone. That is why it’s powerful. That is why he gravitated towards it.
Dr. Zucker: [1:41] “No matter how much money you have, you can’t buy a better Coke. Your Coke is the same Coke as Liz Taylor’s. Your Coke is the same Coke as the bum on the corner.” He’s taking a subject that is of our everyday experience, and he’s putting it on canvas. He’s putting it within a frame.
[1:58] He’s asking us to look at it differently, even though the bottle itself, its shape, its lines, its forms are things that we’re completely familiar with.
Alejo: [2:07] This is a pivotal moment. He’s just ended his career as a commercial artist, doing illustrations for fashion and for other advertisements. He decides he wants to operate in the fine art world. For him, that’s this huge transition. The way that he’s going to do it is by exploring these iconic symbols and iconic brands.
[2:27] In 1961, 1962, he does a series of Coke bottles. This is number three. The first two were very abstract, very gestural. You see the artist’s hand. This is the moment when Andy Warhol becomes the Warhol that we know.
Dr. Zucker: [2:40] That’s because he had gotten rid of the handmade. He had gotten rid of the painterly, process-oriented canvas. He’s showing us here a painting that seems as if it had been printed by a machine. So we’re not looking at a representation of a Coke bottle. We’re looking at a representation of an ad for a Coke bottle that has within it its own representation of a Coke bottle.
Alejo: [3:01] This is also one of the first works that he’s done in that vein, and so it’s not perfect. If you look at it, you can see moments where he’s made a little mistake. He goes back in, and he covers it up with some paint.
[3:13] Then, down at the very bottom, you can see there are little drips of paint. That’s something that, later on, as he moves into a mechanical process using screen printing, the signs of the artist’s hand, that goes away. But then that also makes it more democratic.
Dr. Zucker: [3:27] Warhol was not the first artist to use Coke bottles in his art. Robert Rauschenberg had done it a few years earlier. In fact, by 1962, by the time this painting was made, Warhol had purchased a Rauschenberg. This is an artist who is knowledgeable about new directions in American art.
Alejo: [3:42] This is the late ’50s. This is the early ’60s. There’s this culture of excess. There’s so much stuff around. Naturally, artists are going to look at what’s around them.
Dr. Zucker: [3:53] Warhol is creating an art that is celebrating consumer culture, that is representing the visual stimulus that people are receiving constantly in their daily lives. Every time you open a magazine, see an advertisement in a bus or a subway or on a billboard, Coca-Cola is there.
Alejo: [4:09] It’s so ever-present. This idea of branding and creating a symbol, and the power of a symbol becomes essential to his work, and so much to the point that he himself becomes the Andy Warhol brand. We immediately understand that shock of crazy hair.
Dr. Zucker: [4:24] Creating a cult of fame, creating a performance art out of fame itself. Art had for so long been about beauty. It had been about creating with fine craftsmanship, the complexity of the human body. Here, it feels absurdly flat, as if it’s not only the canvas surface that’s two-dimensional, but the subject itself is two-dimensional.
Alejo: [4:45] There’s some folks who feel it needs to be amazingly done. That technical skill needs to be outstanding for it to be a good work of art or a powerful work of art. Part of the conversation that we can have about a work like this is that what he’s doing is smart. What he’s doing has all of this potency of powerful ideas.
[5:03] It’s less about how perfectly he can put it onto canvas. It’s more about all the other conversations that are had as a result of that.
[5:11] [music]
