In 1971 Polaroid introduced the Big Shot camera; featuring an integrated flash, viewfinder and fixed focus lens, it was aimed at shooting portraits – and was enthusiastically taken up by artist Andy Warhol. The camera was discontinued in 1973 but Warhol kept using it until his death in 1987, capturing shots of actors, artists, politicians, clubbers, and Factory hangers-on. He also used it to photograph himself, creating a self-portrait in 1979 in what he called his “fright wig” that measures a whopping 81.3cm x 55.9cm.
In 1982, Warhol captured a series of Polaroid photographs of actress and activist Jane Fonda. These images were used as references for his silkscreen portraits, one of which became a striking representation of Fonda.
Warhol’s portrait of Jane Fonda was also used as a fundraiser for her then-husband Tom Hayden’s political career. The screenprint, titled “Jane Fonda 268,” was produced in an edition of 100, with some prints signed by both Warhol and Fonda.
During the 1970s and 1980s, Fonda was vocal about her anti-war stance, women’s rights, and other social causes. Her activism made her a controversial figure, much like Warhol’s provocative art.
Warhol’s work often celebrated and critiqued celebrity culture, creating a space where figures like Fonda could be immortalized as symbols of their era.
Though their relationship was largely professional, Warhol’s diary entries occasionally reference Fonda, suggesting a mutual respect and shared understanding of their places in pop culture. Both were pioneers in their respective fields, using their platforms to influence society in their own ways.
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