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Andy Warhol

2007 Schools Wikipedia Selection. Related subjects: Artists

   Andy Warhol
   Warhol in 1977
   Birth name   Andrew Warhola
           Born August 6, 1928
                Pittsburgh, Pennsylvania, USA
           Died February 22, 1987
                New York City, New York
    Nationality American
          Field Painting, Cinema
       Training Carnegie Mellon University
       Movement Pop Art
   Famous works Campbell's Soup Can (1968), Chelsea Girls (1966),
                Exploding Plastic Inevitable (1966)

   Andy Warhol ( August 6, 1928 — February 22, 1987) was an American
   artist, a central figure in the movement known as Pop Art. After a
   successful career as a commercial illustrator, Warhol became famous
   worldwide for his work as a painter, an avant-garde filmmaker, a record
   producer, an author and a public figure known for his presence in
   wildly diverse social circles that included bohemian street people,
   distinguished intellectuals, Hollywood celebrities and wealthy
   aristocrats.

   A controversial figure during his lifetime (his work was often derided
   by critics as a hoax or "put-on"), Warhol has been the subject of
   numerous retrospective exhibitions, books and documentary films since
   his death in 1987. He is generally acknowledged as one of the most
   influential artists of the twentieth century.

Biography

Childhood and early career

   Warhol was born Andrew Warhola in Pittsburgh, Pennsylvania, USA. His
   parents, Andrej (Andrew) Warhola (the surname was spelled Varchola in
   Europe, and was modified after emigrating to America) and Ulja (Julia)
   Justyna Zavacka, were working-class immigrants of Rusyn (Ruthenian)
   ethnicity from Mikova in northeast Slovakia. Despite stories
   circulating about Warhol's father working in coal mines, Andrej Warhola
   actually worked in construction in Pennsylvania, and the family lived
   at 55 Beelen Street. The family was Byzantine Catholic.

   In third grade, Warhol came down with St. Vitus' disease, an affliction
   of the nervous system causing involuntary movements which is believed
   to be a complication of scarlet fever. This disease led to a
   blotchiness in pigmentation of his skin and, as a child, he became
   somewhat of a hypochondriac, developing a fear of hospitals and medical
   doctors. Because he was at times bed-ridden as a child, he became an
   outcast among his school-mates and bonded with his mother very strongly
   (Guiles, 1989). When in bed he used to draw, listen to the radio and
   collect pictures of movie stars around his bed. Looking back later,
   Warhol described the period of his sickness as very important in the
   development of his personality and in the forming of his skill-set and
   preferences.

   Warhol showed an early artistic talent and studied commercial art at
   Carnegie Mellon University in Pittsburgh (Carnegie Tech, at the time).
   In 1949, he moved to New York City and began a successful career in
   magazine illustration and advertising. He became well-known mainly for
   his whimsical ink drawings of shoes done in a loose, blotted ink style.
   These figured in some of his earliest showings in New York at the
   Bodley Gallery.

The 1960s

   During the 1960s, Warhol transformed himself from an advertising
   illustrator into one of the most famous American artists of the day. In
   many ways, Andy Warhol and his circle helped define the decade.

   It was during the 1960s that Warhol began to make paintings of famous
   American products such as Campbell's Soup Cans from the Campbell Soup
   Company and Coca-Cola, as well as paintings of celebrities like Marilyn
   Monroe, Troy Donahue, and Elizabeth Taylor. He founded " The Factory",
   his studio, during these years, and gathered around himself a wide
   range of artists, writers, musicians and underground celebrities. He
   switched to silkscreen prints, which he produced serially, seeking not
   only to make art of mass-produced items but to mass produce the art
   itself. In declaring that he wanted to be "a machine", and in
   minimizing the role of his own creative insight in the production of
   his work, Warhol sparked a revolution in art - his work quickly became
   very controversial, and popular.

   Warhol's work from this period revolves around American Pop (Popular)
   Culture. He painted dollar bills, celebrities, brand name products, and
   images from newspaper clippings - many of the latter were iconic images
   from headline stories of the decade (e.g. photographs of mushroom
   clouds, and police dogs attacking civil rights protesters). His
   subjects were instantly recognizable, and often had a mass appeal -
   this aspect interested him most, and it unifies his paintings from this
   period. Take, for example, Warhol's comments on the appeal of Coke:

     What's great about this country is that America started the
     tradition where the richest consumers buy essentially the same
     things as the poorest. You can be watching TV and see Coca Cola, and
     you know that the President drinks Coca Cola, Liz Taylor drinks Coca
     Cola, and just think, you can drink Coca Cola, too. A coke is a coke
     and no amount of money can get you a better coke than the one the
     bum on the corner is drinking. All the cokes are the same and all
     the cokes are good. Liz Taylor knows it, the President knows it, the
     bum knows it, and you know it.

     – The Philosophy of Andy Warhol: (From A to B and Back Again), 1975,
     ISBN 0-15-671720-4

   This quotation both expresses his affection for popular culture, and
   evidences an ambiguity of perspective that cuts across nearly all of
   the artist's statements about his own work.

   New York's Museum of Modern Art hosted a Symposium on Pop Art in
   December 1962, during which artists like Warhol were attacked for
   "capitulating" to consumerism. Critics were scandalized by Warhol's
   open embrace of market culture. This symposium set the tone for
   Warhol's reception - though throughout the decade it became more and
   more clear that there had been a profound change in the culture of the
   art world, and that Warhol was at the centre of that shift.

   A pivotal event was the 1964 exhibit "The American Supermarket", a show
   held in Paul Bianchini's Upper East Side gallery. The show was
   presented as a typical small supermarket environment, except that
   everything in it—the produce, canned goods, meat, posters on the wall,
   etc.—was created by six prominent pop artists of the time, including
   the controversial (and like-minded) Billy Apple, Mary Inman, and Robert
   Watts. Warhol's painting of a can of Campbell's soup cost $1,500, while
   each autographed can sold for $6. The exhibit was one of the first mass
   events that directly confronted the general public with both Pop Art
   and the perennial question of what is art.

   As an advertisement illustrator in the 1950s Warhol used assistants to
   increase his productivity. Collaboration would remain a defining (and
   controversial) aspect of his working methods throughout his career - in
   the 1960s, however, this was particularly true. One of the most
   important collaborators during this period was Gerard Malanga. Malanga
   assisted the artist with producing silkscreens, films, sculpture, and
   other works at " The Factory", Warhol's aluminium foil-and-silver-paint
   lined studio on 47th Street (later moved to Broadway). Other members of
   Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel,
   Mary Woronov, Pietro Psaier, Billy Name, and Brigid Berlin (from whom
   he apparently got the idea to tape record his phone conversations).
   During this decade, Warhol also groomed a retinue of bohemian
   eccentrics upon whom he bestowed the designation " Superstars",
   including Edie Sedgwick, Viva, and Ultra Violet. These people all
   participated in the Factory films, and some, like Berlin, remained
   friends with Warhol until his death. Important figures in the New York
   underground art/cinema world (e.g. writer John Giorno, film-maker Jack
   Smith) also appear in Warhol films of the 1960s, revealing Warhol's
   connections to a diverse range of artistic scenes during this period.
   By the end of the decade Andy Warhol was himself a celebrity, appearing
   frequently in newspapers and magazines alongside Factory cohorts like
   Sedgwick.

Shooting

   On June 3, 1968, Valerie Solanas turned up at Warhol's studio. She then
   shot the artist and Mario Amaya.

   Before the shooting, Solanas had been a marginal figure in the factory
   scene. She founded a "group" (she was its only member) called the
   "Society for Cutting Up Men" (S.C.U.M.) and authored the scabrous
   S.C.U.M. Manifesto, a radical feminist attack on patriarchy. Solanas
   appears in the 1968 Warhol film, "I, A Man." Earlier on the day of the
   attack, Solanas had been turned away from the Factory after asking for
   the return of a script she had given to Warhol. The script, apparently,
   had been misplaced.

   Warhol was seriously wounded by the attack and barely survived (doctors
   cut open his chest and massaged his heart to help stimulate its
   movement again). He suffered physical effects for the rest of his life
   (he had to wear a corset, for example, to support his abdomen). The
   shooting had a profound effect on Warhol's life and art.

   Solanas was arrested the day after the assault (coincidentally, the day
   that Robert F. Kennedy was shot). By way of explanation, she said that
   "He had too much control over my life." After the shooting, the Factory
   scene became much more tightly controlled, and for many this event
   brought the "Factory 60s" to an end.

The 1970s

   Compared to the success and scandal of Warhol's work in the 1960s, the
   1970s would prove a much quieter decade. This period, however, saw
   Warhol becoming more entrepreneurial. According to Bob Colacello,
   Warhol devoted much of his time to rounding up new, rich patrons for
   portrait commissions — including Mick Jagger, Liza Minnelli, John
   Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson. Warhol's
   famous portrait of Chinese Communist dictator Mao Zedong was created in
   1973. He also founded, with Gerard Malanga, Interview magazine, and
   published The Philosophy of Andy Warhol (1975). In this book he
   presents his ideas on the nature of art: "Making money is art, and
   working is art and good business is the best art."

   Warhol used to socialize at Serendipity 3 and, later in the 70s, Studio
   54, nightspots in New York City. He was generally regarded as quiet,
   shy, and as a meticulous observer. Art critic Robert Hughes called him
   "the white mole of Union Square".

The 1980s

   Warhol had a re-emergence of critical and financial success in the
   1980s, partially due to his affiliation and friendships with a number
   of prolific younger artists, who were dominating the " bull market" of
   '80s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle
   and the so-called Neo-Expressionists, as well as Francesco Clemente,
   Enzo Cucchi and members of the Transavantguardia movement, which had
   become influential. In 1985, Andy Warhol was selected as one of the
   Absolut Vodka artists, and several of his paintings incorporating the
   Absolut Vodka bottle in it were used in advertisements, bringing his
   art to the attention of a broader audience.

   Warhol also had an appreciation for intense Hollywood glamor. He once
   said: "I love Los Angeles. I love Hollywood. They're so beautiful.
   Everything's plastic, but I love plastic. I want to be plastic."

Sexuality

   Warhol was one of the first major American artists to be open about his
   homosexuality. Many people think of Warhol as " asexual" and merely a "
   voyeur", but these notions have been debunked by biographers (such as
   Victor Bockris), explored by other members of the factory scene such as
   Bob Colacello (in his book Holy Terror: Andy Warhol Close Up), and by
   scholars like art historian Richard Meyer (in his book Outlaw
   Representation). The question of how his sexuality informed Warhol's
   work and shaped his relationship to the art world is a major subject of
   scholarship on the artist, and is an issue that Warhol himself
   addressed in interviews, in conversation with his contemporaries, and
   in his publications (e.g. Popism: The Warhol Sixties).

   Throughout his career, Warhol produced erotic photography and drawings
   of male nudes. Many of his most famous works (portraits of Liza
   Minnelli, Judy Garland, Elizabeth Taylor, and films like Blow Job, My
   Hustler and Lonesome Cowboys) draw from gay underground culture and/or
   openly explore the complexity of sexuality and desire. Many of his
   films premiered in gay porn theaters. That said, some stories about
   Warhol's development as an artist revolve around the obstacle his
   sexuality initially presented as he tried to launch his career. The
   first works that he submitted to a gallery in the pursuit of a career
   as an artist were homoerotic drawings of male nudes. They were rejected
   for being too openly gay. In Popism, furthermore, the artist recalls a
   conversation with the film maker Emile de Antonio about the difficulty
   Warhol had being accepted socially by the then-more-famous (but
   closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio
   explained that Warhol was "too swish and that upsets them." In response
   to this, Warhol writes, "There was nothing I could say to that. It was
   all too true. So I decided I just wasn't going to care, because those
   were all the things that I didn't want to change anyway, that I didn't
   think I 'should' want to change ... Other people could change their
   attitudes but not me". In exploring Warhol's biography, many turn to
   this period - the late 1950s and early 1960s - as a key moment in the
   development of his persona. Some have suggested that his frequent
   refusal to comment on his work, to speak about himself (confining
   himself in interviews to responses like "Uhm, No" and "Uhm, Yes", and
   allowing others often to speak for him), and even the evolution of his
   Pop style can be traced to the years when Warhol was first dismissed by
   the inner circles of the New York art world.

Religious beliefs

   Warhol was a practicing Byzantine Rite Catholic. He regularly
   volunteered at homeless shelters in New York, particularly during the
   busier times of the year, and described himself as a religious person.
   Many of his later works contain almost-hidden religious themes or
   subjects, and a body of religious-themed works was found posthumously
   in his estate. Warhol also regularly attended mass during his life, and
   the pastor of Warhol's church, Saint Vincent's, said that the artist
   went there almost daily. His art is noticably influenced by the eastern
   Christian iconographic tradition which were so evident in his places of
   worship.

   Warhol's brother has described the artist as "really religious, but he
   didn't want people to know about that because [it was] private".
   Despite the private nature of his faith, in Warhol's eulogy John
   Richardson depicted it as devout: "To my certain knowledge, he was
   responsible for at least one conversion. He took considerable pride in
   financing his nephew's studies for the priesthood".

Death

   At the relatively young age of 58, Warhol died in New York City at 6:32
   a.m. on February 22, 1987. According to news reports, he had been
   making good recovery from a routine gallbladder surgery at New York
   Hospital before dying in his sleep from a sudden heart attack. The
   hospital staff had failed to adequately monitor his condition and
   overloaded him with fluids after his operation, causing him to suffer
   from a fatal case of water intoxication, which prompted Warhol's
   lawyers to sue the hospital for negligence. Prior to his diagnosis and
   operation, Warhol delayed having his recurring gallbladder problems
   checked, as he was afraid to enter hospitals and see doctors.

   Warhol's body was taken back to Pittsburgh by his brothers for burial.
   The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin
   ceremony. The coffin was a solid bronze casket with gold plated rails
   and white upholstery. Warhol wore a black cashmere suit, a paisley tie,
   a platinum wig, and sunglasses. He was holding a small prayer book and
   a red rose.

   The funeral liturgy was held at the Holy Ghost Byzantine Catholic
   Church on Pittsburgh's North Side. The eulogy was given by Monsignor
   Peter Tay. Fellow artist Yoko Ono also made an appearance. The coffin
   was covered with white roses and asparagus ferns.
   Warhol's grave at St. John the Baptist Byzantine Catholic Cemetery.
   Warhol's grave at St. John the Baptist Byzantine Catholic Cemetery.

   After the liturgy, the coffin was driven to St. John the Baptist
   Byzantine Catholic Cemetery in Bethel Park, a south suburb of
   Pittsburgh. At the grave, the priest said a brief prayer and sprinkled
   holy water on the casket. Before the coffin was lowered, Paige Powell
   dropped a copy of Interview magazine, an Interview t-shirt, and a
   bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol
   was buried next to his mother and father.

   Weeks later a memorial service was held in Manhattan for Warhol on
   April Fool's Day at St. Patrick's Cathedral, New York.

   Warhol had so many possessions that it took Sotheby's nine days to
   auction his estate after his death; the auction grossed more than US$20
   million. His total estate was worth considerably more, in no small part
   due to shrewd investments over the years.

   On the twentieth anniversary of his death The Gershwin Hotel in New
   York City held a week-long series of events commemorating Warhol's art
   and his superstars. There was an award ceremony, a fashion show, and
   Blondie performed at the closing party. At the same time, The
   Carrozzini von Buhler Gallery in New York City held an exhibit titled,
   Andy Warhol: In His Wake. The exhibit featured the art of Warhol's
   superstars Ultra Violet, Billy Name, Taylor Mead, and Ivy Nicholson as
   well as art by a younger generation of artists who have been inspired
   by Warhol. One interactive sculpture in the exhibit, The Great Warhola,
   by Cynthia von Buhler, depicted Warhol as an arcade fortune-telling
   machine. The gallery was transformed to look like Warhol's silver
   factory. Factory Girl, a film about the life of Edie Sedgwick, starring
   Sienna Miller, was also released one week before the anniversary of
   Warhol's death.

Works

Paintings

   By the beginning of the 1960s, Warhol was a very successful commercial
   illustrator. His detailed and elegant drawings for I. Miller shoes were
   particularly popular. These illustrations consisted mainly of "blotted
   ink" drawings ( monoprints)—a technique which he applied in much of his
   early art. Although many artists of this period worked in commercial
   art, most did so discreetly. Warhol was so successful, however, that
   his profile as an illustrator seemed to undermine his efforts to be
   taken seriously as an artist.

   In the early 1960s Warhol tried to exhibit some of his drawings using
   these techniques in a gallery, only to be turned down. He began to
   rethink the relationship between his commercial work and the rest of
   his art. Instead of treating these things as opposites, he merged them,
   and began to take commercial and popular culture more explicitly as his
   topic.

   Pop Art was an experimental form that several artists were
   independently adopting; some of these pioneers, such as Roy
   Lichtenstein, would later become synonymous with the movement. Warhol,
   who would become famous as the "Pope of Pop", turned to this new style,
   where popular subjects could be part of the artist's palette. His early
   paintings show images taken from cartoons and advertisements,
   hand-painted with paint drips. Those drips emulated the style of
   successful abstract expressionists (such as Robert Rauschenberg).
   Eventually, Warhol pared his image vocabulary down to the icon
   itself—to brand names, celebrities, dollar signs—and removed all traces
   of the artist's "hand" in the production of his paintings.

   To him, part of defining a niche was defining his subject matter.
   Cartoons were already being used by Lichtenstein, typography by Jasper
   Johns, and so on; Warhol wanted a distinguishing subject. His friends
   suggested he should paint the things he loved the most. In his
   signature way of taking things literally, for his first major
   exhibition he painted his famous cans of Campbell's Soup, which he
   claimed to have had for lunch for most of his life.

   He loved celebrities, so he painted them as well. From these beginnings
   he developed his later style and subjects. Instead of working on a
   signature subject matter, as he started out to do, he worked more and
   more on a signature style, slowly eliminating the hand-made from the
   artistic process. Warhol frequently used silk-screening; his later
   drawings were traced from slide projections. Warhol went from being a
   painter to being a designer of paintings. At the height of his fame as
   a painter, Warhol had several assistants who produced his silk-screen
   multiples, following his directions to make different versions and
   variations.

   Warhol produced both comic and serious works; his subject could be a
   soup can or an electric chair. Warhol used the same
   techniques—silkscreens, reproduced serially, and often painted with
   bright colors—whether he painted celebrities, everyday objects, or
   images of suicide, car crashes, and disasters (as part of a 1962-1963
   series called "Death and Disaster"). The "Death and Disaster" paintings
   (such as "Red Car Crash", "Purple Jumping Man", "Orange Disaster")
   transform personal tragedies into public spectacles, and signal the
   prominence of images of disaster in the media, showing how the mass
   reproduction of these images numbs the public.

   The unifying element in Warhol's work is his deadpan Keatonesque
   style—artistically and personally affectless. This was mirrored by
   Warhol's own demeanor, as he often played "dumb" to the media, and
   refused to explain his work. The artist was famous for having said that
   all you need to know about him and his works is already there, "on the
   surface." Before this blankness, the lack of signifiers of sincerity,
   the viewer is tempted to read beyond the surface to try and discover
   what the 'real Andy' thinks. Is Andy horrified by death or does he
   think it is funny? Are his soup can paintings a cynical joke about the
   cheapness of mass culture, or are they homages to the simple comforts
   of home? His refusal to speak to how his work ought to be read made it
   all the more interesting—he left its interpretation entirely up to his
   audience.

   One might say that Warhol's work as a Pop Artist was always somewhat
   conceptual. His series of do it yourself paintings and Rorschach blots
   are intended as pop comments on art and what art could be. His cow
   wallpaper (literally, wallpaper with a cow motif) and his oxidation
   paintings (canvases prepared with copper paint that was then oxidized
   with urine) are also noteworthy in this context. Equally noteworthy is
   the way these works—and their means of production—mirrored the
   atmosphere at Andy's New York "Factory." Biographer Bob Colacello
   provides some details on Andy's "piss paintings":

     Victor... was Andy's ghost pisser on the Oxidations. He would come
     to the Factory to urinate on canvases that had already been primed
     with copper-based paint by Andy or Ronnie Cutrone, who was a second
     ghost pisser, much appreciated by Andy, who said that the vitamin B
     that Ronnie took made a prettier colour when the acid in the urine
     turned the copper green. Did Andy ever use his own urine? My diary
     shows that when he first began the series, in December 1977, he did,
     and there were many others: boys who'd come to lunch and drink too
     much wine, and find it funny or even flattering to be asked to help
     Andy 'paint.' Andy always had a little extra bounce in his walk as
     he led them to his studio...

     – Holy Terror—Andy Warhol Close Up, New York, Harper/Collins, 1990,
     p. 343

   One could say that these "piss paintings" could be seen as a parody of
   Abstract Expressionism and Jackson Pollock (who was famous for pouring
   paint all over his canvases, often directly from the can). One could
   also find in them a reflection of some subsets of the gay underworld of
   New York of that era, including fascination with and sexual focus on
   urine and excretory matter in general. Demi-monde New York nightclubs
   of that period include "The Toilet," a spot featuring public urination
   acts (to include being doused by others, or drinking their urine) and
   others of a similar nature, such as "The Anvil." Andy visited these
   spots, although he was not recorded as a subject of undinistic
   practices, but rather, as so often, as an observer. In any case, he was
   wholly familiar with the undinistic, urologic, and other "watersports"
   practices of the day.

   Warhol's paintings have left a profound legacy in contemporary art,
   influencing artists such as Dexter Dalwood, Will Teather and Elizabeth
   Peyton.

Films

   Warhol worked across a wide range of media — painting, photography,
   drawing, and sculpture. In addition, he was a highly prolific
   filmmaker. Between 1963 and 1968, he made more than sixty films. One of
   his most famous films, Sleep (1963), monitors poet John Giorno sleeping
   for six hours. The 35-minute film Blow Job (1963) is one continuous
   shot of the face of DeVerne Bookwalter supposedly receiving oral sex,
   although the camera never tilts down to see this. Another, Empire
   (1964), consists of eight hours of footage of the Empire State Building
   in New York City at dusk.

   Batman Dracula is a 1964 film that was produced and directed by Warhol,
   without the permission of DC Comics. It was screened only at his art
   exhibits. A fan of the Batman series, Warhol's movie was an "homage" to
   the series, and is considered the first appearance of a blatantly campy
   Batman. No prints of the film are known to exist.

   Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular
   dystopian novel A Clockwork Orange. Others record improvised encounters
   between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick,
   Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis.
   Legendary underground artist Jack Smith appears in the film Camp.

   His most popular and critically successful film was Chelsea Girls
   (1966). The film was highly innovative in that it consisted of two 16
   mm films being projected simultaneously, with two different stories
   being shown in tandem. From the projection booth, the sound would be
   raised for one film to elucidate that "story" while it was lowered for
   the other. Then it would be the other film's turn to bask in the glory
   of sound. The multiplication of images evoked Warhol's seminal
   silk-screen works of the early 1960s. The influence of the film's
   split-screen, multi-narrative style could be felt in such modern work
   as Mike Figgis' Timecode and, however indirectly, the early seasons of
   24.

   Other important films include Bike Boy (1967-1968), My Hustler (1965)
   and Lonesome Cowboys (1968), a raunchy pseudo- Western. These and other
   titles document gay underground and camp culture, and continue to
   feature prominently in scholarship about sexuality and art - see, for
   example, Mathew Tinkom's Working Like a Homosexual (Duke University
   Press, 2002) or Juan Suarez's Bike Boys, Drag Queens, and Superstars
   (Indiana University Press, 1996). Blue Movie, a film in which Warhol
   superstar Viva makes love and fools around in bed with a man for 33
   minutes of the film's playing-time, was Warhol's last film as director.
   The film was at the time scandalous for its frank approach to a sexual
   encounter. For many years Viva refused to allow it to be screened. It
   was publicly screened in New York in 2005 for the first time in over
   thirty years.

   After his June 3, 1968 shooting, a reclusive Warhol relinquished his
   personal involvement in filmmaking. His acolyte and assistant director,
   Paul Morrissey, took over the film-making chores for the Factory
   collective, steering Warhol-branded cinema towards more mainstream,
   narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat.
   All of these films, including the later Andy Warhol's Dracula and Andy
   Warhol's Frankenstein, were far more mainstream than anything Warhol as
   a director had attempted. These latter "Warhol" films starred Joe
   Dallesandro, who was more of a Morrissey star than a true Warhol
   superstar.

   In order to facilitate the success of these Warhol-branded,
   Morrissey-directed movies in the marketplace, all of Warhol's earlier
   avant-garde films were removed from distribution and exhibition by
   1972.

   Another film, Bad, made significant impact as a "Warhol" film yet was
   directed by Jed Johnson. Bad starred the infamous Carroll Baker and a
   young Perry King.

   The first volume of a catalogue raisonne for the Factory film archive,
   edited by Callie Angell, was published in the spring of 2006.

Factory in New York

     * Factory: 231 East 47th street 1963-1967
     * Factory: 1342 Lexington Avenue (the first Factory)
     * Factory: 860 Broadway (in front of 33 Union Square) 1973-1984 (the
       building has now been completely remodeled and was for a time
       (2000-2001) the headquarters of the dotcom consultancy Scient)
     * Factory: 22 East 33rd Street 1984-1987 (the building no longer
       exists)
     * Factory: 33 Union Square 1967-1973 (Becker Building)
     * Home: 57 East 66th street (Warhol's last home)
     * Last personal studio: 158 Madison Avenue
     * Home: 242 Lexington Avenue

Filmography

     * Blow Job (1963)
     * Eat (1963)
     * Haircut (1963)
     * Kiss (1963)
     * Naomi's Birthday Party (1963)
     * Sleep (1963)
     * 13 Most Beautiful Women (1964)
     * Batman Dracula (1964)
     * Clockwork (1964)
     * Couch (1964)
     * Drunk (1964)
     * Empire (1964)
     * The End of Dawn (1964)
     * Lips (1964)
     * Mario Banana I (1964)
     * Mario Banana II (1964)
     * Messy Lives (1964)
     * Naomi and Rufus Kiss (1964)
     * Tarzan and Jane Regained... Sort of (1964)
     * The Thirteen Most Beautiful Boys (1964)
     * Beauty #2 (1965)
     * Bitch (1965)
     * Camp (1965)
     * Harlot (1965)
     * Horse (1965)
     * Kitchen (1965)
     * The Life of Juanita Castro (1965)
     * My Hustler (1965)
     * Poor Little Rich Girl (1965)
     * Restaurant (1965)
     * Space (1965)
     * Taylor Mead's Ass (1965)
     * Vinyl (1965)
     * Screen Test (1965)
     * Screen Test #2 (1965)
     * Ari and Mario (1966)
     * Hedy (film) (1966)
     * Kiss the Boot (1966)
     * Milk (1966)
     * Salvador Dalí (1966)
     * Shower (1966)
     * Sunset (1966)
     * Superboy (1966)
     * The Closet (1966)
     * Chelsea Girls (1966)
     * The Beard (film) (1966)
     * More Milk, Yvette (1966)
     * Outer and Inner Space (1966)
     * The Velvet Underground and Nico (1966)
     * The Andy Warhol Story (1967)
     * Tiger Morse (1967)
     * **** (1967)
     * The Imitation of Christ (1967)
     * The Nude Restaurant (1967)
     * Bike Boy (1967)
     * I, a Man (1967)
     * San Diego Surf (1968)
     * The Loves of Ondine (1968)
     * Blue Movie (1969)
     * Lonesome Cowboys (1969)
     * L'Amour (1972)
     * Flesh (film) (1968)
     * Flesh for Frankenstein (1973)
       aka Andy Warhol's Frankenstein (USA)
     * Blood for Dracula (1974)
       aka Andy Warhol's Dracula (USA)

Music

   Warhol adopted the band the Velvet Underground as one of his projects
   in the 1960s, "producing" their first album The Velvet Underground and
   Nico as well as providing the album art. His actual participation in
   the album's production amounted to simply paying for the studio time.
   After the band's first album, Warhol and band leader Lou Reed started
   to disagree more about the direction the band should take, and the
   contact between them faded. On December 16, 2006 collector Warren Hill
   successfully sold an acetate demo LP version, which he had retrieved on
   a flea market for $0.75, on eBay for $25,200.

   Warhol designed the cover art for The Rolling Stones albums Sticky
   Fingers (1971) and Love You Live (1977). In 1975, Warhol was
   commissioned to do several portraits of the band's frontman Mick
   Jagger.

   In 1990 Reed recorded the album Songs for Drella (one of Warhol's
   nicknames was Drella, a combination of Dracula and Cinderella) with
   fellow Velvet Underground alumnus John Cale. On Drella, Reed apologizes
   and comes to terms with his part in their conflict.

   Warhol was also friendly with many musicians, including Bob Dylan and
   John Lennon - he designed the cover to Lennon's 1986 posthumously
   released Menlove Avenue. Warhol also appeared as a bartender in The
   Cars' music video for their single "Hello Again," and Curiosity Killed
   The Cat's video for their "Misfit" single (both videos, and others,
   were produced by Warhol's video production company).

   Warhol strongly influenced the new wave/ punk rock band Devo, as well
   as David Bowie. Bowie recorded a song entitled " Andy Warhol" for his
   1971 Hunky Dory album.

Books and print

   Beginning in the early 1950s Warhol produced several unbound portfolios
   of his work.

   The first of several bound self-published books by Warhol was 25 Cats
   Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on
   Artches brand watermarked paper using his blotted line technique for
   the lithographs. The original edition was limited to 190 numbered, hand
   colored copies, using Dr. Martin's ink washes. Most of these were given
   by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry"
   on the front cover, was given to Geraldine Stutz, who at the time was
   with I. Miller Shoes. Later the president of Henri Bendel and then
   while head of Panache Press an imprint of Random House she used this
   copy for a facsimile printing in 1987. Her estate consigned the
   original limited edition to Doyle New York where it sold in May of 2006
   for US $35,000.

   Other self-published books by Warhol include:
     * Gold Book
     * Wild Raspberries
     * Holy Cats

   Later Warhol "wrote" several books that were commercially printed.
     * A, a novel (1968, ISBN 0-8021-3553-6) is a literal transcription -
       containing spelling errors and phonetically written background
       noise and mumbling - of audio recordings of Ondine and several of
       Andy Warhol's friends hanging out at the Factory, talking, going
       out.
     * The Philosophy of Andy Warhol; from A to B and back again (1975,
       ISBN 0-15-671720-4) - according to Pat Hackett's introduction to
       The Andy Warhol Diaries, Pat Hackett did the transcriptions and
       text for the book based on daily phone conversations, sometimes
       (when Warhol was traveling) using audio cassettes that Andy Warhol
       gave her. Said cassettes contained conversations with Brigid Berlin
       (also known as Brigid Polk) and former Interview magazine editor
       Bob Colacello.
     * Popism: The Warhol Sixties (1980, ISBN 0-15-672960-1), authored by
       Warhol and Pat Hackett is a retrospective view of the sixties and
       the role of Pop Art.
     * The Andy Warhol Diaries (1989, ISBN 0-446-39138-7, edited by Pat
       Hackett) is an edited diary that was dictated by Warhol to Hackett
       in daily phone conversations. Warhol started keeping a diary to
       keep track of his expenses after being audited, although it soon
       evolved to include his personal and cultural observations.

   Warhol created the fashion magazine Interview that is still published
   today. The loopy title script on the cover is thought to be either his
   own handwriting or that of his mother, Julia Warhola, who would often
   do text work for his early commercial pieces.

Producer and product

   In many ways Warhol refined and expanded the idea of what it means to
   be an artist. Warhol frequently took on the position of a producer,
   rather than a creator - this is true not only of his work as a painter
   (he had assistants do much of the work of producing his paintings), it
   is true of his film-making and commercial enterprises as well. He liked
   to coin an idea and then oversee or delegate its execution. As he
   refined this element of his work The Factory evolved from an atelier
   into an office. He became (and still is) the public face of a company,
   and a brand.

   He founded the gossip magazine Interview, a stage for celebrities he
   "endorsed" and a business staffed by his friends. He collaborated with
   others on all of his books (some of which were written with Pat
   Hackett.) He adopted the young painter Jean-Michel Basquiat, and the
   band The Velvet Underground, presenting them to the public as his
   latest interest, and collaborating with them. One might even say that
   he produced people (as in the Warholian "Superstar" and the Warholian
   portrait). He endorsed products, appeared in commercials, and made
   frequent celebrity guest appearances on television shows and in films
   (he appeared in everything from Love Boat to Saturday Night Live and
   the Richard Pryor movie, Dynamite Chicken).

   In this respect Warhol was a fan of "Art Business" and "Business Art" -
   he, in fact, wrote about his interest in thinking about art as business
   in The Philosophy of Andy Warhol from A to B and Back Again. This was a
   radical new stance, as artists traditionally positioned themselves
   against commercialism. Warhol and other pop-artists helped redefine the
   artist's position as professional, commercial, and popular. He did this
   using methods, imagery and talents that were (or at least seemed to be)
   available to everyone. Perhaps that has been the most meaningful result
   of (his) Pop Art: a philosophical and practical incorporation of art
   into popular culture and society, and art offered to us as a product of
   that society.

Museums

   The Andy Warhol Museum is located in Pittsburgh, Pennsylvania. It is
   the largest American art museum dedicated to a single artist, holding
   more than 12,000 works by the artist himself.

   Among others, Andy's brother, John Warhol and the Warhol Foundation in
   New York, established in 1992 the Warhol Family Museum of Modern Art in
   the remote town of Medzilaborce, Slovakia. Andy's parents were born 15
   kilometers away in the village of Mikova. The museum houses several
   originals donated mainly by the Andy Warhol Foundation in New York and
   also personal items donated by Warhol's relatives.

Films portraying Warhol

   Andy Warhol is portrayed by Crispin Glover in Oliver Stone's film The
   Doors (1991). He is also played by David Bowie in Basquiat, a film by
   Julian Schnabel. In the film I Shot Andy Warhol, directed by Mary
   Harron (1996), the actor Jared Harris portrayed Warhol. Sean Gregory
   Sullivan depicted Warhol in the film 54 (1998). The latest film actor
   to portray the artist is Guy Pearce in the 2007 film, Factory Girl.

   Andy Warhol: A Documentary Film is a reverential four-hour 2006 movie
   by Ric Burns.

   Gus Van Sant was planning a version of Warhol's life with River Phoenix
   in the lead role just before the latter's death in the early 1990s (as
   discussed in an interview with the two, included in the published My
   Own Private Idaho script book).

Official links of Andy Warhol

     * The Andy Warhol Foundation
     * The Warhol

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