Document ID: ./input/supremecourt_opinions/opinions/22pdf/21-869_87ad.pdf
Page Number: 58.0

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

7 

KAGAN, J., dissenting 

in  American  life.  With  misaligned,  “Day-Glo”  colors  sug-
gesting  “artificiality  and  industrial  production,”  Warhol 
portrayed the actress as a “consumer product.”  The Metro-
politan Museum of Art Guide 233 (2012); The Metropolitan
Museum of Art, Marilyn (2023) (online source archived at 
https://www.supremecourt.gov).  And  in  so  doing,  he  “ex-
posed the deficiencies” of a “mass-media culture” in which
“such superficial icons loom so large.”  1 App. 208, 210 (in-
ternal quotation marks omitted).  Out of a publicity photo
came both memorable portraiture and pointed social com-
mentary.

As with Marilyn, similarly with Prince.  In 1984, Vanity
Fair commissioned Warhol to create a portrait based on a 
black-and-white  photograph  taken  by  noted  photographer 
Lynn Goldsmith: 

As he did in the Marilyn series, Warhol cropped the photo,
so that Prince’s head fills the whole frame: It thus becomes 
“disembodied,” as if “magically suspended in space.”  Id., at