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Mao (F & S. II 96)
"This screenprint critiques how mass media and consumerism can commodify even the most powerful of symbols."
Warhol was fascinated by how society consumes images, and in the Mao series (1972) , he explores the intersection of consumer culture and political power. By placing Mao’s image in vibrant, pop-art colours, Warhol reduces the seriousness associated with a political leader, presenting him almost like a brand. This screenprint critiques how mass media and consumerism can commodify even the most powerful of symbols.
The series was created shortly after Nixon’s 1972 trip to China, a pivotal event in Cold War politics that symbolised a thaw in U.S.-China relations. Warhol’s Mao reflects this cultural exchange, bringing a figure emblematic of communist ideals into the context of Western pop culture, creating a visual dialogue between two opposing ideological worlds. Warhol applies his signature vibrant palette, transforming Mao’s sombre, official portrait into a lively, almost playful series. The use of non-traditional colours—like bright pinks, greens, and purples—adds an air of irreverence, suggesting a critique of the seriousness with which leaders are often portrayed. Warhol’s silkscreen technique enabled the mass production of Mao’s image, reinforcing the theme of replication central to both propaganda and celebrity culture. This process also allowed Warhol to play with colour and texture, creating numerous variations of Mao that capture a sense of both uniformity and individual uniqueness.
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Buy or sell Mao (F & S. II 96) by Andy Warhol at Andipa Editions
Buy Andy Warhol Mao (F & S. II 96)
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