ANDY WARHOL ORANGE CAR CRASH THE VELVET UNDERGROUND & NICO STUDIO AND LIVE 1966/1968 ORIGINAL WHITE LABEL VINYL PRESSING

Very rare Velvet Underground album, this is the original pressing beautiful Warhol Orange Car Crash cover suitable for display and record near mint.  Image from Andy Warhol's car crash series, the original titled "5 Deaths (Orange) 1963" (more information below). The ultimate addition to any Warhol collection and a very rare piece that will continue to grow in value.
Andy Warhol, Five Deaths (Orange), 1963, synthetic polymer and silkscreen on linen  Portland Art Museum In 1962, after seeing - and subsequently painting - the New York Mirror headline “129 DIE IN JET!,” Andy Warhol focused his efforts on what is now known as his Death and Disaster series. Initially produced by hand painting, Warhol soon took to reproducing photographs of car accidents, electric chairs and other horrific images appropriated from daily newspapers and supermarket tabloids through the mechanized silkscreen process. Presented in a serialized, repeated format, the gruesome paintings both shocked viewers and divided critics. Some viewed Warhol’s work as a form of critique drawing on thematic issues such as the spectacle of violence. Others saw Warhol’s images as a simulacrum - all surface, with no meaning or reference - an argument ambiguously confirmed by Warhol himself who claimed, “If you want to know about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.”1   Five Deaths (Orange) provides an example of this controversial work. In contrast to the majority of his Disaster series, Five Deaths is composed of a single image rather than being repeated across the canvas. Created using the silkscreen reproduction process, the image has been rendered a bit blurry in places, adding a sense of deterioration to the already gruesome scene. The appropriated photograph depicts a Los Angeles car accident, the overturned car weighing down upon five victims, two of whom appear to still be alive despite the painting’s title alluding otherwise. Their haunting faces smudged dark with what is presumed to be blood, we in turn are haunted by the location of the other victims, which we can only distinguish through arms and legs trapped within the overturned car. Intensified by the glaring shade of orange Warhol has chosen, the image screams at us in alarm, yet we cannot look away, victims of our own morbid curiosity. 1. Burton, et al., Pop Art: Contemporary Perspectives, 103 (originally printed in East Village Other).