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Thursday, 7 February, 2002, 14:13 GMT
Andy Warhol: Press views
Marilyn Diptych, 1962
Andy Warhol's images are well known to many
Press reviews of The Andy Warhol Retrospective at the Tate Modern in London

The Guardian

You leave wanting more. But here's the conundrum: do you leave wanting more Warhols, or is it rather something that Warhol lacks? It could be that Warhol's art just leaves you feeling empty and somehow saddened by the feeling that there's nothing much behind the skin of things, no one there behind the masks of self-image, the paint put on like make-up, the lipstick misapplied. What's missing in Warhol is what's lost in the modern world, and that's the subject of his art.

The Times

This show aims for range rather than repetition (despite Warhol's love of multiples). It gives generous space to post-sixties paintings in which, by common consent, his talents were on the wane. Certainly some 30 foot of camouflage pattern prove little except that Tate Modern is very big. But at the heart of this exhibition, like magnets to the post-modern imagination, are the quintessentially Warholian icons. Here are the soup cans and dollar bills, the Coke bottles and Brillo boxes, the Marilyns and Jackies, the Elvises and the Liz. But why see them in the original?

The Daily Telegraph

To walk through this show is to see at once that Warhol's ultimate subject was America itself, beginning with the cheerful commercial faade of Pop prosperity presented in billboards and advertisements, and moving on to a place of trauma and tragedy in the unbearably beautiful portraits of Jacqueline Kennedy, for me among the greatest portraits in the whole of American art.

The BBC's Rosie Millard
"Warhol show brings 15 more minutes of fame"
See also:

06 Feb 02 | Reviews
The familiar face of Warhol
03 Aug 01 | Reviews
Warhol's style and substance
28 Jul 01 | Arts
Rare Warhol films screened
27 Aug 99 | The Company File
Farewell to an American classic
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