Analysis of Andy Warhol’s Coke Bottles Essay

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Analysis of Andy Warhol’s Coke Bottles

Andy Warhol (1928?-1987) was my natural choice when I wanted to look
into packaging. He was finely tuned to the tedium of modern
mass-culture, conveying and indeed revelling in the banality of the
images proliferating around him: for example Campbell's Soup Cans
(Chicken with Rice, Beans with Bacon) (1962), Liz (1964) and Brillo
Box (Soap Pads) (1964).

He is probably the most famous member of the Pop Art movement.
Virtually any image that was in the public domain was a prime target
for the Warhol treatment.

I, consequently, had a plethora of work from this artist. I wanted to
carry Coca-Cola’s prominence from my last piece of work into this one.
That is why I want to concentrate on Warhol’s fascination with the
Coca-Cola Contour bottle.

I want to create a piece of work reminiscent to Warhol’s Coca-Cola
silkscreen prints such as 210 Coke Bottles (1962) and Three
Coca-Cola/Coke Bottles (1962). Yet, I also want to incorporate his
style from earlier works (that won him a Carnegie Gold Medal), which
use the blotted line technique that employs watercolour and gold leaf.
These two mediums as well as silkscreen printing appeal to me very
much; thus, this would help me create a work that transcends his
career and the techniques he used while concentrating on the theme of

The Coca-Cola bottle was the idea of Benjamin F. Thomas who thought
that Coca-Cola, a new and fast growing beverage should have an
idiosyncratic bottle. Thus, he wrote a short brief about this
proposal, which was read by Alexander Samuelsson, a Swedish innovator
whose passion was working with glass.


... middle of paper ...

...ther they are images purloined from
mass-culture or depictions of atrocities such as car crashes. Warhol
raised monotony to new heights, as he said at the time, "I like boring

Warhol always said that “If you want to know all about Andy Warhol,
just look at the surface of my paintings and films and me, and there I
am. There's nothing behind it.” I find that quite sad and actually
quite depressing but I feel there is more to Warhol than he says; he
calls himself “very superficial”, but artworks such as Tuna Fish
Disaster (1963) and Electric Chair (1971) show a much darker, eerie
mindset. The use of fresh, fluorescent colours such as hot pinks and
acid blues tinting pictures of electric chairs or car crashes (many
times repeated) really puts Warhol as one of the most important
artists of the 20th century.

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