The chair itself is luminous, bathed in a clear wash of light that seems to come from a skylight overhead. The still space is framed right and left by three shadowy black doorways, functioning like ominous sentinels guarding the scene. The horizontal geometry created by the sprinklers, the wall, and the floor is calm. The austere, isolated chair sits on a rectangular floorplate. The famous "silence" sign is framed against a black door. The image is silent and expectant. I INTRODUCTION In June 2003, the Andy Warhol Museum in Pittsburgh mounted an exhibition of Warhol's iconic Electric Chair print series-ten large-scale prints along with several smaller prints and paintings-as a catalyst to generate discourse on the issue of capital punishment. 2 The project, Andy Warhol's Electric Chairs: Reflecting on Capital Punishment in America, which came two years after the execution of Timothy McVeigh and shortly after the decision by Illinois Governor George Ryan to commute all death sentences in that state, 3 raised significant questions about the social utility and morality of the death penalty.

No abstract

No abstract

No abstract

No abstract