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Page Number: 56

Cite as:  598 U. S. ____ (2023) 

5 

KAGAN, J., dissenting 

gold  frames”—disconnected  from  the  everyday  world  of 
products and personalities—Warhol’s paintings landed like
a thunderclap.  A. Danto, Andy Warhol 36 (2009).  Think 
Soup Cans or, in another vein, think Elvis.  Warhol had cre-
ated “something very new”—“shockingly important, trans-
formative art.”  B. Gopnik, Warhol 138 (2020); Gopnik, Ar-
tistic Appropriation. 

To see the method in action, consider one of Warhol’s pre-
Prince celebrity silkscreens—this one, of Marilyn Monroe. 
He began with a publicity photograph of the actress.  And 
then he went to work.  He reframed the image, zooming in
on Monroe’s face to “produc[e] the disembodied effect of a 
cinematic close-up.”  1 App. 161 (expert declaration). 

At that point, he produced a high-contrast, flattened image
on a sheet of clear acetate.  He used that image to trace an 
outline on the canvas.  And he painted on top—applying ex-
otic colors with “a flat, even consistency and an industrial
appearance.”  Id.,  at  165.    The  same  high-contrast  image
was then reproduced in negative on a silkscreen, designed