Andy Warhol
Andy Warhol | |
---|---|
Born | Andrew Warhola Jr. August 6, 1928 Pittsburgh, Pennsylvania, U.S. |
Died | February 22, 1987 New York City, U.S. | (aged 58)
Resting place | St. John the Baptist Byzantine Catholic Cemetery, Bethel Park, Pennsylvania |
Education | Carnegie Institute of Technology (Carnegie Mellon University) |
Known for | Printmaking, painting, cinema, photography |
Notable work |
|
Style | Pop art, contemporary art |
Movement | Pop art |
Signature | |
Andy Warhol (
Born and raised in
In the late 1960s, he managed and produced the
Warhol has been the subject of numerous
Biography
Early life and beginnings (1928–1949)
Warhol was born on August 6, 1928, in Pittsburgh, Pennsylvania.[8] He was the fourth child of Ondrej Warhola (Americanized as Andrew Warhola Sr.; 1889–1942)[9][10] and Julia (née Zavacká, 1891–1972),[11] whose first child was born in their homeland of Austria-Hungary and died before their move to the US.
His parents were working-class
In third grade, Warhol had Sydenham's chorea (also known as St. Vitus' Dance), the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever which causes skin pigmentation blotchiness.[15] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[16]
As a teenager, Warhol graduated from
1950s
Warhol's early career was dedicated to commercial and advertising art, where his first commission had been to draw shoes for
In 1952, Warhol had his first solo show at the
Warhol habitually used the expedient of tracing photographs projected with an epidiascope.[27] Using prints by Edward Wallowitch, his "first boyfriend",[28] the photographs would undergo a subtle transformation during Warhol's often cursory tracing of contours and hatching of shadows. Warhol used Wallowitch's photograph Young Man Smoking a Cigarette (c. 1956),[29] for a 1958 design for a book cover he submitted to Simon and Schuster for the Walter Ross pulp novel The Immortal, and later used others for his series of paintings.[30][31]
With the rapid expansion of the
1960s
Warhol was an early adopter of the
In May 1962, Warhol was featured in an article in
In November 1962, Warhol had an exhibition at Eleanor Ward's
In December 1962, New York City's Museum of Modern Art hosted a symposium on pop art, during which artists such as Warhol were attacked for "capitulating" to consumerism. Critics were appalled by Warhol's open acceptance of market culture, which set the tone for his reception.[44]
In early 1963, Warhol rented his first studio, an old firehouse at 159 East 87th Street.[45] At this studio, he created his Elvis series, which included Eight Elvises (1963) and Triple Elvis (1963).[46] These portraits along with a series of Elizabeth Taylor portraits were shown at his second exhibition at the Ferus Gallery in Los Angeles.[47] Later that year, Warhol relocated his studio to East 47th Street, which would turn into The Factory.[48] The Factory became a popular gathering spot for a wide range of artists, writers, musicians and underground celebrities.[49]
Warhol had his second exhibition at the Stable Gallery in the spring of 1964, which featured sculptures of commercial boxes stacked and scattered throughout the space to resemble a warehouse.[50] For the exhibition, Warhol custom ordered wooden boxes and silkscreened graphics onto them. The sculptures—Brillo Box, Del Monte Peach Box, Heinz Tomato Ketchup Box, Kellogg's Cornflakes Box, Campbell's Tomato Juice Box and Mott's Apple Juice Box—sold for $200 to $400 depending on the size of the box.[51]
A pivotal event was The American Supermarket exhibition at Paul Bianchini's Upper East Side gallery in the fall of 1964.[52] The show was presented as a typical small supermarket environment, except that everything in it—from the produce, canned goods, meat, posters on the wall, etc.—was created by prominent pop artists of the time, among them sculptor Claes Oldenburg, Mary Inman and Bob Watts.[52] Warhol designed a $12 paper shopping bag—plain white with a red Campbell's soup can.[52] His painting of a can of a Campbell's soup cost $1,500 while each autographed can sold for three for $18, $6.50 each.[52][53] 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 art is.[54]
In 1967 Warhol established Factory Additions for his printmaking and publishing enterprise.[55]
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; this was particularly true in the 1960s. One of the most important collaborators during this period was
During the 1960s, Warhol also groomed a retinue of
1968 assassination attempt
On June 3, 1968,
Amaya received only minor injuries and was released from the hospital later the same day. Warhol was seriously wounded by the attack and barely survived; he was released after nearly two months.[15] He had physical effects for the rest of his life, including being required to wear a surgical corset.[15] The shooting had a profound effect on Warhol's life and art.[62][63][64]
Solanas was arrested the day after the assault, after turning herself in to police. By way of explanation, she said that Warhol "had too much control over my life". She was subsequently diagnosed with
Warhol had this to say about the attack:[65]
Before I was shot, I always thought that I was more half-there than all-there—I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television—you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television.
In 1969, Warhol and British journalist John Wilcock founded Interview.[66]
1970s
In 1970, screens and film matrixes that had been used to produce original Warhol works in the 1960s were taken to Europe for the production of Warhol screenprints under the name "Sunday B Morning". Warhol signed and numbered one edition of 250 before subsequent unauthorized unsigned versions were produced.[67] The unauthorized works were the result of a falling out between Warhol and some of his New York City studio employees who went to Brussels where they produced work stamped with "Sunday B Morning" and "Add Your Own Signature Here".[68] Since the works began as a collaboration, Warhol facilitated exact duplication by providing the photo negatives and precise color codes.[69] Some of the unauthorized productions bore the markings "This is not by me, Andy Warhol".[67] The most famous unauthorized reproductions are 1967 Marilyn Monroe portfolio screenprints. These "Sunday B Morning" Marilyn Monroe prints were among those still under production as of 2013.[70] Art galleries and dealers also market Sunday B Morning reprint versions of several other screenprint works including Flowers, Campbell's Soup I, Campbell's Soup Cans II,Gold Marilyn Monroe Mao and Dollare bill prints.[71] Although the original Sunday B Morning versions had black stamps on the back, by the 1980s, they switched to blue.[72]
Warhol had a retrospective exhibition at the Whitney Museum of American Art in 1971.[73] His famous portrait of Chinese Communist leader Mao Zedong was created in 1973. In 1975, he published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."[74]
Compared to the success and scandal of Warhol's work in the 1960s, the 1970s were a much quieter decade, as he became more entrepreneurial. He socialized at various nightspots in New York City, including
According to
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 "
Warhol was also being criticized for becoming merely a "business artist".[80] Critics panned his 1980 exhibition Ten Portraits of Jews of the Twentieth Century at the Jewish Museum in Manhattan, which Warhol—who was uninterested in Judaism and Jews—had described in his diary as "They're going to sell."[80] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times", contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."[80]
In 1981, Warhol worked on a project with Peter Sellars and Lewis Allen that would create a traveling stage show called, A No Man Show, with a life-sized animatronic robot in the exact image of Warhol.[84] The Andy Warhol Robot would then be able to read Warhol's diaries as a theatrical production.[85][86] The play would be based on Warhol's books The Philosophy of Andy Warhol and Exposures.[87] Warhol was quoted as saying, "I'd like to be a machine, wouldn't you?"[88]
Warhol also had an appreciation for intense
Before the 1984
In 1984, Vanity Fair commissioned Warhol to produce a portrait of Prince, in order to accompany an article that celebrated the success of Purple Rain and its accompanying movie.[92] Referencing the many celebrity portraits produced by Warhol across his career, Orange Prince (1984) was created using a similar composition to the Marilyn "Flavors" series from 1962, among some of Warhol's first celebrity portraits.[93] Prince is depicted in a pop color palette commonly used by Warhol, in bright orange with highlights of bright green and blue. The facial features and hair are screen-printed in black over the orange background.[94][95][96]
In September 1985, Warhol's joint exhibition with Basquiat, Paintings, opened to negative reviews at the
In January 1987, Warhol traveled to Milan for the opening of his last exhibition, Last Supper, at the Palazzo delle Stelline.[100] The next month, Warhol and jazz musician Miles Davis modeled for Koshin Satoh's fashion show at the Tunnel in New York City on February 17, 1987.[101][102]
Death
Warhol died in Manhattan at 6:32 a.m. on February 22, 1987, at age 58. According to news reports, he had been making a good recovery from
Shortly before Warhol's death, doctors expected Warhol to survive the surgery, though a re-evaluation of the case about thirty years after his death showed many indications that Warhol's surgery was in fact riskier than originally thought.
Warhol's brothers took his body back to Pittsburgh, where an open-coffin wake was held at the Thomas P. Kunsak Funeral Home. The solid bronze casket had gold-plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was laid out 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 on February 27, 1987. The eulogy was given by Monsignor Peter Tay. Yoko Ono and John Richardson were speakers. The coffin was covered with white roses and asparagus ferns.
After the liturgy, the coffin was driven to
Art works
Paintings
By the beginning of the 1960s, pop art was an experimental form that several artists were independently adopting; some of these pioneers, such as
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 handmade from the artistic process. Warhol frequently used
Warhol's first pop art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bonwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.[113] It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On November 23, 1961, Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.[114] For his first major exhibition, Warhol painted his famous cans of Campbell's soup, which he claimed to have had for lunch for most of his life.
It was during the 1960s that Warhol began to make paintings of iconic American objects such as dollar bills, mushroom clouds, electric chairs, Campbell's soup cans, Coca-Cola bottles, celebrities such as Marilyn Monroe, Elvis Presley and Elizabeth Taylor, as well as newspaper headlines or photographs of police dogs attacking African-American protesters during the Birmingham campaign in the civil rights movement. His work became popular and controversial. Warhol had this to say about Coca-Cola:
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.[115]
In 1962, Warhol created his famous Marilyn series. The Flavor Marilyns were selected from a group of fourteen canvases in the sub-series, each measuring 20" x 16". Some of the canvases were named after various candy Life Savers flavors, including Cherry Marilyn, Lemon Marilyn and Licorice Marilyn. The others are identified by their background colors.[116]
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 in the 1962–63 Death and Disaster series.[117]
In 1979, Warhol was commissioned to paint a
Some of Warhol's work, as well as his own personality, has been described as being Keatonesque. Warhol has been described as playing dumb to the media. He sometimes refused to explain his work. He has suggested that all one needs to know about his work is "already there 'on the surface'".[123]
His Rorschach inkblots 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, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color 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.[124]
Warhol's 1982 portrait of Basquiat,
In 1984, Warhol was commissioned by collector and gallerist
Artist Maurizio Cattelan describes that it is difficult to separate daily encounters from the art of Andy Warhol: "That's probably the greatest thing about Warhol: the way he penetrated and summarized our world, to the point that distinguishing between him and our everyday life is basically impossible, and in any case useless." Warhol was an inspiration towards Cattelan's magazine and photography compilations, such as Permanent Food, Charley, and Toilet Paper.[135]
In the period just before his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz.[136]
Drawings
"Though he is often associated with printmaking—specifically silkscreen—Warhol was also an incredibly talented illustrator and draughtsman, and drawing was an integral part of his practice throughout his career. His early drawings on paper bare a resemblance to both continuous line and blind contour drawing techniques, giving his work a sense of ease and immediacy. While working primarily within commercial advertisement, he pioneered the blotted line technique, which synthesized graphite drawing on paper with elements of printmaking. Warhol continued his practice of drawing through the last years of his life and career, and the work from this later period exemplifies a long and storied career's worth of honed skill and technique."[137]
Art market
The value of Andy Warhol's work has been on an endless upward trajectory since his death in 1987. In 2014, his works accumulated $569 million at auction, which accounted for more than a sixth of the global art market.[138] However, there have been some dips. According to art dealer Dominique Lévy: "The Warhol trade moves something like a seesaw being pulled uphill: it rises and falls, but each new high and low is above the last one."[139] She attributes this to the consistent influx of new collectors intrigued by Warhol. "At different moments, you've had different groups of collectors entering the Warhol market, and that resulted in peaks in demand, then satisfaction and a slow down," before the process repeats another demographic or the next generation.[139]
In 1998, Orange Marilyn (1964), a depiction of Marilyn Monroe, sold for $17.3 million, which at the time set a new record as the highest price paid for a Warhol artwork.[140] In 2007, one of Warhol's 1963 paintings of Elizabeth Taylor, Liz (Colored Liz), which was owned by actor Hugh Grant, sold for $23.7 million at Christie's.[141][142]
In 2007, Stefan Edlis and Gael Neeson sold Warhol's Turquoise Marilyn (1964) to financier Steven A. Cohen for $80 million.[143] In May 2007, Green Car Crash (1963) sold for $71.1 million and Lemon Marilyn (1962) sold for $28 million at Christie's post-war and contemporary art auction.[144] In 2007, Large Campbell's Soup Can (1964) was sold at a Sotheby's auction to a South American collector for 7.4 million.[145] In November 2009, 200 One Dollar Bills (1962) at Sotheby's for $43.8 million.[146]
In 2008, Eight Elvises (1963) was sold by
In May 2010, a purple self-portrait of Warhol from 1986 that was owned by fashion designer
In November 2013, Warhol's rarely seen 1963 diptych, Silver Car Crash (Double Disaster), sold at Sotheby's for $105.4 million, a new record for the artist.[156][157] In November 2013, Coca-Cola (3) (1962) sold for $57.3 million at Christie's.[158] In May 2014, White Marilyn (1962) sold for $41 million at Christie's.[159] In November 2014, Four Marlons (1964), which depicts Marlon Brando, sold for $69.6 million at Christie's.[160] In May 2015, Silver Liz (diptych), painted in 1963, sold for $28 million and Colored Mona Lisa (1963) sold for $56.2 million at Christie's.[161][162] In May 2017, Warhol's 1962 painting Big Campbell's Soup Can With Can Opener (Vegetable) sold for $27.5 million at Christie's.[163] In 2017, billionaire hedge-fund manager Ken Griffin purchased Orange Marilyn privately for around $200 million.[164] In March 2022, Silver Liz (Ferus Type) sold for 2.3 billion yen ($18.9 million) at Shinwa Auction, which set a new record for the highest bid ever at auction in Japan.[165] In May 2022, Shot Sage Blue Marilyn (1964) sold for $195 million at Christie's, becoming the most expensive American artwork sold at auction.[166]
Collectors
Among Warhol's early collectors and influential supporters were Emily and Burton Tremaine. Among the over 15 artworks purchased,[167] Marilyn Diptych (now at Tate Modern, London)[168] and A boy for Meg (now at the National Gallery of Art in Washington, DC),[169] were purchased directly out of Warhol's studio in 1962. One Christmas, Warhol left a small Head of Marilyn Monroe by the Tremaine's door at their New York apartment in gratitude for their support and encouragement.[170]
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Exploding Plastic Inevitable' (show) - the Velvet Underground & Nico, 1966, poster
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The Souper Dress, 1967, screen-printed paper dress based on Warhol's Campbell's Soup Cans
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BMW Group - 4 M1, 1979, painted car
Works
Filmography
Warhol attended the 1962 premiere of the static composition by La Monte Young called Trio for Strings and subsequently created his famous series of static films. Filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, claims Warhol's static films were directly inspired by the performance.[171] Between 1963 and 1968, he made more than 60 films,[172] plus some 500 short black-and-white "screen test" portraits of Factory visitors.[173]
One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film
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. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
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. The 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. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.
Warhol was a fan of filmmaker Radley Metzger's film work[174] and commented that Metzger's film, The Lickerish Quartet, was "an outrageously kinky masterpiece".[175][176][177] Blue Movie—a film in which Warhol superstar Viva makes love in bed with Louis Waldon, another Warhol superstar—was Warhol's last film as director.[178][179] The film, a seminal film in the Golden Age of Porn, was, at the time, controversial for its frank approach to a sexual encounter.[180][181] Blue Movie was publicly screened in New York City in 2005, for the first time in more than 30 years.[182]
In the wake of the 1968 shooting, a reclusive Warhol relinquished his personal involvement in film making. His acolyte and assistant director,
In the early 1970s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.
Music
In the mid-1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). While managing The Velvet Underground, Andy would have them dressed in all black to perform in front of movies that he was also presenting.[183] In 1966, he "produced" their first album The Velvet Underground & Nico, as well as providing its 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
Warhol designed many album covers for various artists starting with the photographic cover of
In 1984, Warhol co-directed the music video "Hello Again" by the Cars, and he appeared in the video as a bartender.[186][187] In 1986, Warhol co-directed the music video "Misfit" by Curiosity Killed the Cat and he made a cameo in video.[188][189][190]
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 Arches 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 No. 4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987,[191] and the original was auctioned in May 2006 for US$35,000 by Doyle New York.[192]
Other self-published books by Warhol include:
- A Gold Book
- Wild Raspberries
- Holy Cats
Warhol's book A La Recherche du Shoe Perdu (1955) marked his "transition from commercial to gallery artist".
After gaining fame, Warhol "wrote" several books that were commercially published:
- ISBN 978-0-8021-3553-7) 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.[citation needed]
- ISBN 978-0-15-671720-5)—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.[194] Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.[citation needed]
- ISBN 978-0-15-672960-4), authored by Warhol and Pat Hackett, is a retrospective view of the 1960s and the role of pop art.
- ISBN 978-0-446-39138-2), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[195]
Warhol created the fashion magazine Interview that is still published. 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.[196]
Other media
Although Andy Warhol is most known for his paintings and films, he authored works in many different media.
- Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.[197] In April 2012 a sketch of 1930s singer Rudy Vallee claimed to have been drawn by Andy Warhol was found at a Las Vegas garage sale. The image was said to have been drawn when Andy was nine or 10.[198] Various authorities have challenged the image's authenticity.[citation needed]
- Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of the large, branded cardboard boxes used to hold 24 packages of Brillo soap pads. The original Brillo design was by commercial artist James Harvey. Warhol's sculpture was part of a series of "grocery carton" works that also included Heinz ketchup and Campbell's tomato juice cases.[199] Other famous works include the Silver Clouds—helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–1969) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).[200]
- Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his Invisible Sculpture, a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[citation needed]
- Time Capsules: In 1973, Warhol began saving ephemera from his daily life—correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food—which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.[201]
- Television: Andy Warhol dreamed of a television special about a favorite subject of his – fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".[202]
- Fashion: Warhol is quoted for having said: "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"[203] One of his best-known superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.[citation needed] Warhol himself has been described as a modern dandy, whose authority "rested more on presence than on words".[204]
- Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.[205]
- Theater: Warhol's play Mamas and the Papas.
- Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera, The Big Shot, that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous number of photographs of Factory visitors, friends, acquired by Stanford University.[207][208]
- Music: In 1963, Warhol founded The Druds, a short-lived avant-garde noise music band that featured prominent members of the New York proto-conceptual art and minimal art community.[209]
- Computer: Warhol used Amiga computers to generate digital art, including You Are the One, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.[210]
Personal life
Sexuality
In 1980, Warhol told an interviewer that he was still a virgin. Biographer Bob Colacello, who was present at the interview, felt it was probably true and that what little sex he had was probably "a mixture of
Warhol's muse BillyBoy also denied that he was only a voyeur and said they had sex to orgasm: "When he wasn't being Andy Warhol and when you were just alone with him he was an incredibly generous and very kind person. What seduced me was the Andy Warhol who I saw alone. In fact when I was with him in public he kind of got on my nerves....I'd say: 'You're just obnoxious, I can't bear you.'"[215] Warhol's lovers included John Giorno,[216] Billy Name,[217] Charles Lisanby,[218] and Jon Gould. Gould was the most photographed subject of Warhol's later career and worked as an American film executive at Paramount Pictures.[219] Warhol's longest-lasting relationship was with Jed Johnson, who was his collaborator and later achieved fame as an interior designer.[220] Warhol and Johnson "functioned as husband and husband, sharing a bed and a domestic life" for 12 years.[221]
The fact that Warhol's homosexuality influenced his 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 1960s). Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli,
The first works that Warhol submitted to a fine art gallery, homoerotic drawings of male nudes, were rejected for being too openly gay.[28] In Popism, furthermore, the artist recalls a conversation with the filmmaker 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".[28][223] 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 "Um, no" and "Um, yes", and often allowing others 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.[224]
Religion
Warhol was a practising Ruthenian Catholic. He regularly volunteered at homeless shelters in New York City, particularly during the busier times of the year, and described himself as a religious person.[226] Many of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). In addition, a body of religious-themed works was found posthumously in his estate.[226]
Warhol regularly attended
Warhol's art is noticeably influenced by the
Collections
Warhol was an avid collector. His friends referred to his numerous collections, which filled not only his four-story townhouse, but also a nearby storage unit, as "Andy's Stuff". The true extent of his collections was not discovered until after his death, when The Andy Warhol Museum in Pittsburgh took in 641 boxes of his "Stuff".
Warhol's collections included a Coca-Cola memorabilia sign, and 19th century paintings along with airplane menus, unpaid invoices, pizza dough, pornographic pulp novels, newspapers, stamps, supermarket flyers and cookie jars, among other eccentricities.[227] It also included significant works of art, such as George Bellows's Miss Bentham.[228] One of his main collections was his wigs. Warhol owned more than 40 and felt very protective of his hairpieces, which were sewn by a New York wig-maker from hair imported from Italy. In 1985, a girl snatched Warhol's wig off his head. It was later discovered in Warhol's diary entry for that day that he wrote: "I don't know what held me back from pushing her over the balcony."
In 1960, he had bought a drawing of a light bulb by Jasper Johns.[229] Another item found in Warhol's boxes at the museum in Pittsburgh was a mummified human foot from Ancient Egypt. The curator of anthropology at Carnegie Museum of Natural History felt that Warhol most likely found it at a flea market.[230]
Warhol collected many books, with more than 1,200 titles in his collection. Of these, 139 titles have been publicly identified through a 1988 Sotheby's Auction catalog, The Andy Warhol Collection and can be viewed online.[231] His book collection reflects his eclectic taste and interests, and includes books written by and about some of his acquaintances and friends. Some of the titles in his collection include The Two Mrs. Grenvilles: A Novel by Dominick Dunne, Artists in Uniform by Max Eastman, Andrews' Diseases of the Skin: Clinical Dermatology by George Clinton Andrews, D.V. by Diana Vreeland, Blood of a Poet by Jean Cocteau, Watercolours by Francesco Clemente, Little World, Hello! by Jimmy Savo, Hidden Faces by Salvador Dalí and The Dinah Shore Cookbook.[232]
Legacy
In 2002, the
A crater on Mercury was named after Warhol in 2012.[236]
In 2013, to honor the 85th anniversary of Warhol's birthday, The Andy Warhol Museum and EarthCam launched a collaborative project titled Figment, a live feed of Warhol's gravesite.[237][238]
Warhol Foundation
Warhol's will dictated that his entire estate—with the exception of a few modest legacies to family members—would go to create a foundation dedicated to the "advancement of the visual arts". 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.
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts began. The foundation serves as the estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature".[239]
The
The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[243]
The Foundation is in the process of compiling its catalogue raisonné of paintings and sculptures in volumes covering blocks of years of the artist's career. Volumes IV and V were released in 2019. The subsequent volumes are still in the process of being compiled.[244]
The Foundation remains one of the largest grant-giving organizations for the visual arts in the US.[245]
Many of Warhol's works and possessions are on display at the Andy Warhol Museum in Pittsburgh. The foundation donated more than 3,000 works of art to the museum.[246]
Revelation in Brooklyn
From November 19, 2021 – June 19, 2022, the Brooklyn Museum displayed the Andy Warhol: Revelation exhibition.[247] Revelation examines themes such as life and death, power and desire, the role and representation of women, Renaissance imagery, family and immigrant traditions and rituals, depictions and duplications of Christ and the Catholic body and queer desire. Among the more than one hundred objects on view were rare source materials and newly discovered items that provide a fresh and intimate look at Warhol's creative process, as well as major paintings from his epic Last Supper series (1986), the experimental film The Chelsea Girls (1966), an unfinished film depicting the setting sun commissioned by the de Menil family and funded by the Roman Catholic Church and drawings created by Warhol's mother, Julia Warhola, when she lived with her son in New York City.[248]
In pop culture
Warhol founded 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.) One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). Warhol endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from
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.[194]
Films
Warhol appeared as himself in the film Cocaine Cowboys (1979)[252] and in the film Tootsie (1982).
After his death, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by Jared Harris in Mary Harron's film I Shot Andy Warhol (1996) and by David Bowie in Julian Schnabel's film Basquiat (1996). Bowie recalled how meeting Warhol in real life helped him in the role, and recounted his early meetings with him:
I met him a couple of times, but we seldom shared more than platitudes. The first time we saw each other an awkward silence fell till he remarked my bright yellow shoes and started talking enthusiastically. He wanted to be very superficial. And seemingly emotionless, indifferent, just like a dead fish. Lou Reed described him most profoundly when he once told me they should bring a doll of Andy on the market: a doll that you wind up and doesn't do anything. But I managed to observe him well, and that was a helping hand for the film [Basquiat...] We borrowed his clothes from the museum in Pittsburgh, and they were intact, unwashed. Even the pockets weren't emptied: they contained pancake, white, deadly pale fond de teint which Andy always smeared on his face, a check torn in pieces, someone's address, lots of homeopathic pills and a wig. Andy always wore those silver wigs, but he never admitted it were wigs. One of his hairdressers has told me lately that he had his wigs regularly cut, like it were real hair. When the wig was trimmed, he put on another next month as if his hair had grown.[253]
Warhol appears as a character in
In the movie Highway to Hell a group of Andy Warhols are part of the Good Intentions Paving Company where good-intentioned souls are ground into pavement.[255] In the film Men in Black 3 (2012) Andy Warhol turns out to really be undercover MIB Agent W (played by Bill Hader). Warhol is throwing a party at The Factory in 1969, where he is looked up by MIB Agents K and J (J from the future). Agent W is desperate to end his undercover job ("I'm so out of ideas I'm painting soup cans and bananas, for Christ sakes!", "You gotta fake my death, okay? I can't listen to sitar music anymore." and "I can't tell the women from the men.").
Andy Warhol (portrayed by
Documentaries
- Absolut Warhola (2001) was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.[258]
- Peabody Award in 2006.[260]
- Andy Warhol: Double Denied (2006) is a 52-minute movie by Ian Yentob about the difficulties authenticating Warhol's work.[261]
- Andy Warhol's People Factory (2008), a three-part television documentary directed by Catherine Shorr, features interviews with several of Warhol's associates.[262][263]
- docuseries directed by Andrew Rossi, was released on Netflix chronicling Warhol's life from the vantage point of his diaries.[264]
Television
Warhol appeared as a recurring character in TV series Vinyl, played by John Cameron Mitchell.[265] Warhol was portrayed by Evan Peters in the American Horror Story: Cult episode "Valerie Solanas Died for Your Sins: Scumbag". The episode depicts the attempted assassination of Warhol by Valerie Solanas (Lena Dunham).[266]
In early 1969, Andy Warhol was commissioned by
Two additional commercials for Braniff were created that featured famous persons entering a Braniff jet and being greeted by a Braniff hostess, while espousing their like for flying Braniff. Warhol was also featured in the first of these commercials that were also produced by Lois and were released in the summer of 1969. Lois has incorrectly stated that he was commissioned by Braniff in 1967 for representation during that year, but at that time Madison Avenue advertising doyenne Mary Wells Lawrence, who was married to Braniff's chairman and president Harding Lawrence, was representing the Dallas-based carrier at that time. Lois succeeded Wells Rich Greene Agency on December 1, 1968. The rights to Warhol's films for Braniff and his signed contracts are owned by a private trust and are administered by Braniff Airways Foundation in Dallas, Texas.[267]
Music
Warhol strongly influenced the
Books
A biography of Andy Warhol written by art critic Blake Gopnik was published in 2020 under the title Warhol.[268][269][270]
Comic books
Warhol is featured as a character in the Miracleman series of comics. It is first mentioned that he was resurrected by the alien scientist Mors and subsequently convinces the latter to mass-produce copies of himself.[271] Later on, 18 copies of Warhol are seen in the underworld beneath the pyramid structure Olympus, where they produce pop art relating to the new superhuman regime. One Warhol clone numbered 6 is assigned to and develop a friendship with a clone of Emil Gargunza (Miracleman's creator) before the latter's betrayal and attempted escape.[272]
Video games
Warhol (played by Jeff Grace) makes a cameo appearance in the 2022 video game Immortality.[273][274]
See also
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From 1976 until his death in 1987, Andy Warhol (U.S.A., 1928–1987) was never without his camera. He snapped photos at discos, dinner parties, flea markets, and wrestling matches. Friends, boyfriends, business associates, socialites, celebrities, and passersby all captured Warhol's attention. Drawing on a trove of over 3,600 contact sheets featuring 130,000 photographic exposures acquired in 2014 from The Andy Warhol Foundation for the Visual Arts, Inc., the images document Warhol's daily life.
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Further reading
- "A symposium on Pop Art". Arts Magazine, April 1963, pp. 36–45. The symposium was held in 1962, at The Museum of Modern Art, and published in this issue the following year.
- Bockris, Victor (1997). Warhol: The Biography. New York: Da Capo Press. ISBN 978-0-306-81272-9.
- Celant, Germano. Andy Warhol: A Factory. Kunstmuseum Wolfsbug, 1999. ISBN 978-3-7757-0773-2
- Colacello, Bob (1990). Holy Terror: Andy Warhol Close Up. New York: HarperCollins. ISBN 978-0-06-016419-5.
- Danto, Arthur C. (2009). Andy Warhol. Yale University Press. ISBN 978-0-300-13555-8.
- Dillenberger, Jane D. (2001). The Religious Art of Andy Warhol. New York: ISBN 978-0-8264-1334-5. Archivedfrom the original on May 11, 2015. Retrieved January 5, 2016.
- Doyle, Jennifer, Jonathan Flatley, and José Esteban Muñoz, eds (1996). Pop Out: Queer Warhol. Durham: Duke University Press.
- Duncan Fallowell, 20th Century Characters, ch. Andy Lives (London, Vintage, 1994)
- Foster, Hal (1996). The Return of the Real. An October Book, MIT Press.
- Garrels, Gary (1989). The Work of Andy Warhol: Discussions in Contemporary Culture, no. 3. Beacon NY: Dia Art Foundation.
- Guiles, Fred Lawrence (1989). Loner at the Ball: The Life of Andy Warhol. New York: Bantam. ISBN 978-0-593-01540-7.
- James, James, "Andy Warhol: The Producer as Author", in Allegories of Cinema: American Film in the 1960s (1989), pp. 58–84. Princeton: Princeton University Press.
- ISBN 978-0-670-03000-2.
- Krauss, Rosalind E."Warhol's Abstract Spectacle". In Abstraction, Gesture, Ecriture: Paintings from the Daros Collection. New York: Scalo, 1999, pp. 123–33.
- Lippard, Lucy R., Pop Art, Thames and Hudson, 1970 (1985 reprint), ISBN 978-0-500-20052-0
- Livingstone, Marco; Dan Cameron; ISBN 978-0-8478-1475-6.
- Michelson, Annette (2001). Andy Warhol (October Files). Cambridge MA: The MIT Press.
- Scherman, Tony, & David Dalton, POP: The Genius of Andy Warhol, New York, NY: HarperCollins, 2009
- Suarez, Juan Antonio (1996). Bike Boys, Drag Queens, & Superstars: Avant-Garde, Mass Culture, and Gay Identities in the 1960s Underground Cinema. Indianapolis: Indiana University Press.
- ISBN 978-0-679-42372-0. Archived from the originalon August 29, 2010.
- Warhol, Andy (1975). The Philosophy of Andy Warhol: (From A to B and Back Again). Hardcore Brace Jovanovich. ISBN 978-0-15-189050-7.
- Warhol, Andy; Hackett, Pat (1980). POPism: The Warhol Sixties. Hardcore Brace Jovanovich. ISBN 978-0-15-173095-7.
- Warhol, Andy; Hackett, Pat (1989). The Andy Warhol Diaries. Warner Books. ISBN 978-0-446-39138-2.
- ISBN 978-0-88001-298-0.
External links
- 49 artworks by or after Andy Warhol at the Art UK site
- Andy Warhol at the National Gallery of Art
- Warhol Foundation in New York City
- Andy Warhol Collection in Pittsburgh
- The work of Andy Warhol spoken about by David Cronenberg
- Warholstars: Andy Warhol Films, Art and Superstars
- Warhol & The Computer
- Andy Warhol biography
- A Piece of Work podcast, WNYC Studios/MoMA, Tavi Gevinson and Abbi Jacobson discuss Andy Warhol's Campbell's Soup Cans
- Andy Warhol's Personal Book Shelf