Glamorous, young, and stylish. Andy Warhol’s “Red Jackie” (1964) is a visual throwback to the idealistic days of Camelot and the youthful aspirations of a country with seemingly limitless possibilities. But by Spring of 1964, when Andy Warhol completed this now iconic portrait of the former First Lady Jackie Kennedy, all was in shambles. The young and handsome president lay dead, the country in the grip of a paralyzing wave of mourning. Television’s endless loop of grief and grainy images of somber adulation triggered a new conceptual perspective for the young artist. Warhol became increasingly transfixed by the idea of death as the architect of idols. Earlier, in 1962, he produced a series of portraits of Marilyn Monroe, who was found dead of an overdose of barbituratesjust months before and whose serialized screenprints are now amongst Warhol’s most recognized imagery. Although Warhol produced eight pictures that showed Jackie before and right after her husband’s assassination, the image for “Red Jackie” was culled from an official portrait for the Kennedy presidential campaign which showed a confidentially smiling young Jackie at the family compound at Hyannis Port in 1960. Warhol cropped the image, restyled the hair, and re-adjusted the angle of Jackie’s head to align the image with his earlier serialized portraits of Marilyn Monroe. Warhol’s color choice of a deeply saturated red that matches the lips of the subject and which is offset by a halo of jet-black hair and turquoise accents, adds to the idea of a secular saint. For Warhol already had his pulse on popular culture and instinctively understood the essence of social media today: that for the making of an American Icon one needs to simplify the imagery of a young and glamorous subject and then hammer the same message home repeatedly until the masses have accepted it as divine truth. At Levy Gorvy through June 15.