"In the future everyone will be famous for 15 minutes"

"An artist is someone who produces things that people don't need to have but that he - for some reason - thinks it would be a good idea to give them."


Andy Warhol was born Andrew Warhola in Pittsburgh, Pennsylvania, in 1928. In 1945 he entered the Carnegie Institute of Technology (now Carnegie Mellon University) where he majored in pictorial design. Upon graduation, Warhol moved to New York where he found steady work as a commercial artist. He worked as an illustrator for several magazines including Vogue, Harper's Bazaar and The New Yorker and did advertising and window displays for retail stores such as Bonwit Teller and I. Miller.

The Factory

The Factory was Andy Warhol's original New York City studio from 1963 to 1968, although his later studios were known as The Factory as well. The Factory was located on the fifth floor at 231 East 47th Street, in Midtown Manhattan. The rent was "only about one hundred dollars a year".

Famed for its groundbreaking parties, the Factory was the hip hangout for artsy types, amphetamine users, and the Warhol superstars. This is where Warhol's workers would make silkscreens and lithographs. In 1968, Andy moved the Factory to the sixth floor of 33 Union Square West, near Max's Kansas City.

Speaking in 2002, John Cale said "It wasn't called the Factory for nothing. It was where the assembly line for the silkscreens happened. While one person was making a silkscreen, somebody else would be filming a screen test. Every day something new."

By the time Warhol had become famous, he was working day and night on his paintings. To create his art, Warhol used silkscreens so that he could mass-produce images the way capitalist corporations mass produce consumer goods. In order to continue working the way he did, he assembled a menagerie of porn stars, drag queens, drug addicts, musicians, and free-thinkers that became known as the Warhol superstars, to help him. These "art-workers" helped him create his paintings, starred in his films, and basically developed the atmosphere that the Factory has become legendary for.

The original Factory was often referred to by those who frequented it as the Silver Factory. Covered with tin foil and silver paint, the Factory was decorated by Warhol's friend Billy Name, who was also the in-house photographer at the Factory. Warhol would often bring in silver balloons to drift around the ceiling.

Upon visiting Billy Name's apartment, which had been decorated in a similar manner, Warhol fell in love with the idea and asked him to do the same for his recently purchased loft. The silver represented the decadence of the scene, as well as the proto-glam of the early seventies. By combining the industrial structure of the unfurnished studio with the glitter of silver and what it represented, Warhol was commenting on American values, as he did so often in his art. The years spent at the Factory were known as the Silver Era, not solely because of the design, but because of the decadent and carefree lifestyle full of money, parties, drugs and fame.

Aside from his two-dimensional art, Andy also used the Factory as a base to make shoes, films, commissions, sculptures and just about everything else that the Warhol name could be attached to and sold. His first commissions consisted of a single silkscreen of the person for $25,000, with additional canvases in other colors for $5,000 each. He later made that $20,000. Warhol used a large portion of his income to finance the lifestyle of his Factory friends, practically showering them with resources.
The Factory became a meeting place of artists and musicians such as Lou Reed, Bob Dylan, Truman Capote and Mick Jagger. Other, less frequent visitors included Salvador Dalí and Allen Ginsberg. Warhol became the manager of Reed's influential New York rock band The Velvet Underground in 1965, and designed the famous cover for The Velvet Underground & Nico, the band's debut album. The album cover consisted of a plastic yellow banana that the listener could actually peel off to reveal a pink-hued version of the banana.


Similarly for Jagger, Warhol designed the album cover for the Rolling Stones' album Sticky Fingers. The well endowed male crotch on the front was one of the Factory regulars. Warhol took shots of several friends and kept the identity of the chosen crotch a secret, although many speculate that it was either Joe Dallesandro or Corey Tippin. The photograph contained an unzippable fly. Both album covers are widely regarded as some of the greatest album art of all time.

Warhol included the Velvet Underground in the Exploding Plastic Inevitable, a mix of art rock, Warhol films and belly dancers. They used the Factory as a place to rehearse.

Walk on the Wild Side, Lou Reed's best known song from his solo career, was released on his first commercially successful solo album Transformer. The song is about the superstars he hung out with at the Factory. He mentions Holly Woodlawn, Candy Darling, Joe Dallesandro, Jackie Curtis and Joe Campbell (referred to in the song by his Factory nickname Sugar Plum Fairy).

Sexual Radicals

Andy Warhol commented on mainstream America through his art while disregarding its strict social views. Nudity, graphic sexuality, drug use, same-sex relations and transgender characters appear in some form in almost all of his work filmed at the Silver Factory. Considered socially unacceptable, even appalling at the time, theaters showing his underground films were sometimes raided and the staff arrested for obscenity.

However, by making the films, Warhol created a sexually lenient environment at the Factory for the happenings that they staged, such as fake drag weddings, porn theater rentals, and vulgar plays. A large amount of free love took place in the scene, as sexuality in the 1960's was becoming more open. The Factory is where Lou Reed had sex with Billy Name, as did Warhol and many others. Sex was practically a must for anyone hanging around, and was encouraged by Warhol, who used footage of sexual acts between his friends in his work.

Also part of 'the scene' at the factory were Holly Woodlawn, Jackie Curtis, and Candy Darling. As an artist, Andy Warhol frequently used these girls and other sexual non-conformists in his films, plays, and on-goings. While drag queens and transsexuals had previously been viewed by society as just freaks and depressing weirdos, Andy Warhol made them sexual radicals.

Because of the constant drug use and the presence of sexually liberal artists and radicals, drugged orgies were a frequent happening at the Factory. Andy met friend Ondine at an orgy in 1962.

Ondine "I was at an orgy, and he [Warhol] was, ah, this great presence in the back of the room. And this orgy was run by a friend of mine, and, so, I said to this person, 'Would you please mind throwing that thing [Warhol] out of here?' And that thing was thrown out of there, and when he came up to me the next time, he said to me, 'Nobody has ever thrown me out of a party.' He said, 'You know? don't you know who I am?' And I said, 'Well, I don't give a good flying fuck who you are. You just weren't there. You weren't involved...'" [2]


Still from CouchWarhol would often arrange three or four friends on the red couch they had in the middle of the Factory, and film them having sex. Couch and Blow Job are two examples.

The Couch
Not only was Billy Name responsible for the silver look of the Factory, but he also found The Factory's beloved red couch. He discovered it on the sidewalk of 47th street during one of his "midnight outings." He dragged it back to the Factory, where it quickly became a favorite place for Factory guests to crash, usually after coming down from speed. During its stay at the Factory, the couch became a focal point for many photographs and films from the Silver era, including "Couch" and "Blowjob". Ironically, it was stolen in 1968 during the move when they left it on the sidewalk for a short while.


List of Films created in the The Factory
Warhol started shooting movies in the Factory around 1963, when work began on Kiss. Warhol would screen movies at the Factory for his friends before they were released for public audiences. When Warhol could not find traditional theaters to show some of his more provocative films, he would sometimes turn to night-clubs or porn theaters. Here is listed all movies filmed entirely or partly at The Factory. Warhol also shot other films not on this list, however many have been lost or were never completed.

1963
Kiss
Rollerskate
Haircut no. 1
Haircut no. 2
Haircut no. 3
1964
Handjob
Blow Job
Screen Tests (1964-1966)
Jill Johnson Dancing
Eat
Couch
Henry Geldzahler
Shoulder
Taylor Mead's Ass
Mario Banana
Harlot
13 Most Beautiful Women
13 Most beautiful Boys
50 Fantastics and 50 Personalities
1965
John and Ivy
Screen Test #1
Screen Test #2
Drink
Suicide (Screen Test #3)
Horse
Vinyl
Bitch
Poor Little Rich Girl
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Face
Afternoon
Beauty No.1
Beauty No.2
Space
Factory Diaries
Outer and Inner Space
Prison
The Fugs and the Holy Modal Rounders
My Hustler
Camp
More Milk, Yvette
Lupe
1966
Ari and Mario
Eating Too fast
The Velvet Underground & Nico: A Symphony of Sound
Hedy
The Beard
Salvador Dalí
Superboy
The Chelsea Girls
The Bob Dylan Story
The Kennedy Assassination
Mrs. Warhol
Kiss the Booy
The Andy Warhol Story
A Christmas Carol
1967
Imitation of Christ
I, a Man
The Loves of Ondine
Bikeboy
Tub Girls
Nude Restaurant
Sunset
1968
Lonesome Cowboys
Flesh
Blue Movie
Trash (1968-1969)
Women in Revolt (1968-1971)
Later movies were filmed away from the Factory, or in another one of Warhol's New York apartments.

Video about Edie

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Edie Sedgwick

One of Andy Warhol's friends, Edie Sedgwick. She was one of the many famous people who hung out at the factory.

Edith Minturn "Edie" Sedgwick (April 20, 1943 – November 15, 1971) was an American socialite, debutante and heiress who starred in many of Andy Warhol's short films in the 1960s.


In January 1965, Sedgwick met Andy Warhol at Lester Persky's apartment. She began going to the Factory regularly in March with Chuck Wein. During one of these visits, Warhol put her into Vinyl. She made short cameo appearances in Warhol's film, Horse, when she and Ondine entered the Factory toward the end of the film.



On April 30, 1965, Warhol took both Sedgwick and Wein (as well as Gerard Malanga) with him to the opening of his exhibit at the Sonnabend Gallery in Paris. Upon returning to New York City, Warhol told his scriptwriter, Ron Tavel, that he wanted to make Sedgwick the queen of the Factory and asked him to write a script for her: "Something in a kitchen. White and clean and plastic." The result was Kitchen, with Sedgwick, Rene Ricard and Roger Trudeau. It was shot at soundman Buddy Wirtschafter's studio apartment.


After Kitchen, Wein replaced Tavel, being credited as writer and assistant director for the filming of Beauty No. 2, in which Sedgwick appeared with "Gino [Piserchio], a hunk in jockey shorts". Beauty No. 2 premiered at the Cinematheque on July 17th and her onscreen appearance was compared to Marilyn Monroe's. During this time she became Warhol's Girl of the Year. The pair would often dress alike, and Sedgwick frequently called herself Miss Warhol. The friendship did not last beyond 1966 when Warhol and Sedgwick made an acrimonious public split. As a result of her popularity, she was getting a lot of advice from people to leave him and become a real actress.

Warhol filmed Sedgwick for The Chelsea Girls but when she left the Factory, he edited her out of the film, ostensibly at her request. Her footage was replaced with a shot of Nico with colored lights projected on her face with Velvet Underground music in the background.

When she married Michael Post on July 24, 1971, she supposedly began drinking and taking pills until October when pain medication was given to her to treat a physical illness. She remained under the care of Dr. Wells who prescribed her barbiturates, but she would demand more pills or say she had lost them in order to get more, often combining them with alcohol.

On the night of November 15, 1971, Sedgwick went to a fashion show at the Santa Barbara Museum, a segment of which was filmed for the television show An American Family. After the fashion show, she attended a party and was supposedly attacked by a drunken guest who called her a heroin addict. She phoned Post, who arrived at the party and saw that she was unwell.

He eventually left the party and took her back to their apartment. Before they both fell asleep, he gave her the medication that had been prescribed for her. When he awoke the following morning at 7:30, she was dead, aged 28. The coroner registered her death as "Accident/Suicide" due to a Barbiturate overdose.

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Interview on Edie
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"During the 1960s, I think, people forgot what emotions were supposed to be. And I don't think they've ever remembered"

The 1960s was an extremely prolific decade for Warhol. Appropriating images from popular culture, Warhol created many paintings that remain icons of 20th-century art, such as the Campbell's Soup Cans, Disasters and Marilyns. In addition to painting, Warhol made several 16mm films which have become underground classics such as Chelsea Girls, Empire and Blow Job.

Once upon a time ago, Andy got shot.

The Shooting

On June 3, 1968, Valerie Solanas shot Warhol in the chest. Solanas had previously founded a "group" (she was its only member) called the "Society for Cutting Up Men" (S.C.U.M.) and authored the S.C.U.M. Manifesto, a work of radical feminist literature that has since found something of a following both from those who take it seriously and those who find it inadvertently humorous. Arrested the day after the assault (coincidentally, the day that Robert F. Kennedy was shot), she said, "He had too much control over my life." Warhol was seriously wounded and suffered physical effects for the rest of his life. He had, for instance, to wear a corset to support himself. The shooting had a profound effect on Warhol's life and art, and The Factory scene became much more tightly controlled.

"An artist is someone who produces things that people don't need to have but that he - for some reason - thinks it would be a good idea to give them"

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. 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.

"I never think that people die. They just go to department stores"

"I always wished I had died, and I still wish that, because I could have gotten the whole thing over with."

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 monitor his condition and overloaded him with fluids after his operation, prompting 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 is interred at St. John the Baptist Byzantine Catholic Cemetery in Castle Shannon, a south suburb of Pittsburgh. Yoko Ono was among the speakers at his memorial service at St. Patrick's Cathedral.

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

"I always thought I'd like my own tombstone to be blank. No epitaph, and no name. Well, actually, I'd like it to say 'figment' "

"Once you 'got' Pop, you could never see a sign again the same way again. And once you thought Pop, you could never see America the same way again"

Paintings

The famous Marilyn Monroe.


When he decided to pursue a career as an artist, Warhol already had established a reputation as a commercial illustrator mostly doing illustrations of shoes. In school he had created paintings, but his work afterward had mainly consisted of "blotted ink" illustrations for warehouses and magazines. He felt he was not being taken seriously as an illustrator and wanted to become a true artist.

When he started painting, he wanted to find a target for himself. At the time Pop Art, as it was later named, was already an experimental form. Warhol 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 added paint drips. He added these drips to give his paintings a seriousness by emulating the style of the abstract expressionists that were popular at the time. He wanted to be taken seriously or to sell his paintings, which may have had the same meaning to Warhol.

To him, part of defining a niche was defining his subject matter. Cartoons were already being used by the artist Roy 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 had for lunch most of his life. Warhol loved money, so he later painted money. 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 employed silk-screening; his later drawings were traced from slide projections. In other words, 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, in different versions and variations following his directions.

Warhol produced both 'comic' (e.g., soup cans) and 'serious' (e.g., electric chairs) works. 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 (e.g. "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, indicating how we become numbed to such images through mass reproduction.

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. Before this blankness, the lack of signifiers of sincerity, the viewer is forced to attempt to read behind the surface to what the 'real Andy' thinks. Is Andy horrifed by death or does he think it is funny? Are soup cans in art galleries about the cheapness of mass culture, a cynical joke about the American collector's artistic nationalism (and aim for their wallet), or his genuine love for his mother (who maternally fed him canned soup)? His refusal to speak to how these works ought to be read made these works all the more interesting - he left the interpretation of these works 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.
Warhol took so many things as his subject (from soup cans to celebrities to electric chairs) that some might think he simply appropriated popular images, and gave them a "Warhol look". Sometimes, however, there was a personal connection between the artist and his subjects. For instance, his paintings of cans of Campbell's Soup not only function as deadpan comments on commercial industry and advertisement, they also pay homage to an intrinsic part of Warhol's life and memories. As a child his mother had given him this soup when he was sick, and Warhol loved it very much as an adult. For him (and for many other Americans) the soup represented a feeling of being "home". Like the "piss paintings", the soup cans also function as a joke about Abstract Expressionism, which some people described as "soupy" paintings, because of the way that artists like Pollock spilled and splashed paint on their canvases. Other works similary function as statements about art. Warhol painted dollar signs and dollar bills, for example, as allegorical comments on the relationship between art and money. Art appears here as a commodity: the paintings of dollar signs or dollar bills represent the "secret" of art - that it is all about money. These works thus do more than merely depict dollar bills. They touch on our ideas about artistic value, and the relationship between art and the market.

"When I got my first television set, I stopped caring so much about having close relationships"

Andy's 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), shows a man (John Giorno, with whom Warhol had a relationship) sleeping for six hours. The 41-minute film Blow Job (1963) is one continuous shot of the face of Tom Baker, receiving oral sex from Willard Maas. 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 exibits. A fan of the Batman serials, Warhol's movie was a "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 (TV series).

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 raisonné for the Factory film archive, edited by Callie Angell, was published in the spring of 2006.

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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)
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 for Frankenstein (1973)
aka Andy Warhol's Frankenstein (USA)
Blood for Dracula (1974)

The Velvet Underground

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.
The musicians on the album consisted of the first professional line up of the Velvet Underground, Lou Reed, John Cale, Sterling Morrison and Maureen "Moe" Tucker, plus Nico singing lead on three tracks ("Femme Fatale", "All Tomorrow's Parties" and "I'll Be Your Mirror") and back up on "Sunday Morning". Nico was added on the instigation of their mentor, Andy Warhol.





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.

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). He had a crush on Duran Duran's Nick Rhodes, with whom he met fairly often.

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


The Velvet Underground Video

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The Velvet Underground concert- Femme Fatale
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Check out The Velvet Undergound Unofficial Website
http://www.velvetunderground.com/

The Works of Andy

Books published by Warhol.


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 Art ches 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.[2] 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 Rasberries
Holy Cats
Later Warhol "wrote" several books that were commercially printed.

A, a novel (1968) 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,) - 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), authored by Warhol and Pat Hackett is a retrospective view of the sixties and the role of Pop Art.
The Andy Warhol Diaries (1989) 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.

"Making money is art and working is art and good business is the best art"

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.

Films portraying Warhol

Andy Warhol is portrayed by Crispin Glover in Oliver Stone's film The Doors (1991). Warhol is also represented 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 2006 film, Factory Girl.

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

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).

Bizarre Personality

Warhol was a homosexual with a slightly bizarre personality. In the fifties he dyed his hair straw-blond. Later he replaced his real hair by blond and silver-grey wigs.
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The pop artist loved cats, and images of them can be found on quite a few of his art works. One of Andy's friends described him as a true workaholic. Warhol was obsessed by the ambition to become famous and wealthy. And he knew he could achieve the American dream only by hard work.

In his last years Warhol promoted other artists like Keith Haring or Robert Mapplethorpe.

Andy Warhol died February 22, 1987 from complications after a gall bladder operation. More than 2000 people attended the memorial mass at St.Patrick's Cathedral. The pop art icon Warhol was also a religious man - a little known fact.

Two years later, in May 1994 the Andy Warhol Museum opened in his home town Pittsburgh in Pennsylvania.

Andy's influence towards society

Andy Warhol Foundation for the Visual Arts was established in 1987 after he died. In accordance with Andy Warhol's will, its mission is the study of the visual arts.The Foundation is focused primarily on supporting work of a challenging and often experimental nature, while noting that the interpretation of those terms may vary from place to place and culture to culture. In this regard the Foundation encourages curatorial research leading to new scholarship in the field of contemporary art.


Link to the Andy Warhol Foundation

John Fitzgerald Kennedy and Jacqueline Bouvier Kennedy

Andy Warhol's portfolio of 14 color screenprints made from images seen in newspapers and on television offer a stark perspective on the assassination of President John F. Kennedy.

The assassination of President John F. Kennedy in Dallas on November 22, 1963, shocked the nation and the world. In his portfolio Flash - - - - November 22, 1963, pop artist Andy Warhol recounted the four days from the assassination of the President to his funeral on November 25, 1963. The artist's subject was not so much the events themselves as the continuous barrage of print and broadcast media coverage. Warhol was fascinated by the omnipresent emotional power of the media, later recalling that "It seemed like no matter how hard you tried, you couldn't get away from the thing."

In Flash, Warhol explored the traumatic public experience of the Kennedy assassination, making his prints from the same photographs shown incessantly on television and in newspapers. Americans knew these emotionally charged images all too well: the smiling President and First Lady during the Dallas motorcade just before the fatal shots were fired, Lee Harvey Oswald in the Dallas police station, Oswald's rifle gripped by a Dallas detective. The equally familiar words of the wire service reports echoed in the stark narrative accompanying the portfolio.

Andy's Work

”The MoMA in Berlin” Receives Company:
Andy Warhol: Motion Pictures / Design Seen at MoMA



From Warhol to the Wiggle Side Chair: The Museum of Modern Art in New York not only has the most famous collection of Modernist paintings, drawings, and sculptures; it also has the most important film department of any museum worldwide, while its collection of 20th-century industrial products is every bit as significant. Visitors who have missed these areas in ”The MoMA in Berlin” should look out for two new exhibitions opening in the German capital.


Mary Lea Bandy, artistic director of the film department of the Museum of Modern Art, presides over several thousand videos and 19,000 films. On the occasion of MoMA’s guest appearance in the Neue Nationalgalerie, Berlin, which features its painting and sculpture collection, she was invited by one of the most active art institutions in Berlin to develop an experimental form of presentation for Andy Warhol’s art works on film. The point of departure for the unusual exhibition in the Kunst-Werke is Warhol’s Screentests, short films three to four minutes in length that show moving portraits of the Factory superstars as well as famous personalities such as Salvador Dali, ”Baby” Jane Holzer, and Dennis Hopper . Over 500 of these ”screenings” were made between 1964 and 1965. With his Screentests , Warhol didn’t only ironically adopt Hollywood’s casting system for the underground; he also wanted the works to be understood as ”moving stills,” as portraits in a painterly sense. It’s impossible to overlook the conceptual proximity between his silkscreen portraits and the unmoving camera positions of the ”plotless” screentests. Andy Warhol: Motion Pictures now offers viewers the possibility to experience this proximity directly.


Andy Warhol. Screen Test: "Baby" Jane Holzer. 1964. Film: 16mm, approx. 4 min. © The Andy Warhol Museum, Pittsburgh. Gift of The Andy Warhol Foundation for the Visual Arts

In the Kunst-Werke, Warhol’s films are presented like paintings, and the viewer is free to move among them. A selection of Screentests is shown in continuous projection together with other Warhol films ( Eat, Kiss, Sleep, Empire) presented on ultra-flat screens let into the wall. In order to underscore the museum-like impression, Mary Lea Bandy is also showing a part of the works in classically fashioned wooden frames. The result is an initial impression of a painting gallery before the viewer notices the moving images among the works. The exhibition concept has already created controversy among critics. Anyone interested in getting an impression of Warhol’s films shouldn’t let this opportunity slip by. ”Nothing can substitute the experience of walking among these images,” the Sueddeutsche Zeitung wrote in spite of its reservations concerning the show’s concept, ”and maybe, in this way, they will be accessible to many for the first time.”

The exhibition Design Seen at MoMA invites the visitor to another experience entirely. Berlin’s Kunstgewerbemuseum – founded in 1867 as the first craft museum of its kind in Germany – possesses a design collection that includes around 2,500 serially manufactured products from the 20th-century international avant-garde. The design collection concentrates on objects in the areas of furnishing, decoration, jewelry, and fashion whose design and manufacture took place under equally high standards of functionalism and aesthetics. Hence, the museum is an ideal location for the show, augmenting the MoMA exhibition in The New National Gallery by presenting modern design from its own collection with an equivalent in MoMA’s design department.

Warhol's Wife

Andy Warhol's intimate relationship with a special something.

A commonly held stereotype of Andy Warhol is that he never said anything except 'oh … oh really'. Laconic one liners such as 'I never fall apart because I never fall together', and 'Just being alive is working at a part you don't want to do', were a verbal smokescreen, disguising a man who, like Lewis Carroll, constructed his own Wonderland full of mirrors and metaphors. Warhol — who cited 'being shy at the office' as the hardest physical work he had had to do — has left us a legacy in the archives in Pittsburgh, thousands of audio tapes harvested from his crop of disparate celebrities, acquaintances, friends and obsessive talkers. In contrast to his many self-portraits the audio tapes are a multi-faceted representation of the artist, which, far from being flat and repetitive, could be articulate, playful, humorous, inquisitive, dismissive, laconic, ironic, or bored.

Warhol acquired his first tape recorder (a reel to reel) in the mid 50s. In the summer of 1965 he engineered a deal with Norelco to acquire one of their cassette audio recorders. This acquisition began his relationships with faithful machines that were both surrogates and mediators. He referred to the tape recorder as his 'wife' and quipped that 'when I say "we" I mean my tape recorder and me'. He declared that his tape recorder finished whatever emotional life he had; an interesting problem 'was an interesting tape'. Terrified by death, driven by curiosity about how people lived their lives, Warhol stockpiled a knowledge system, an anthropological and sociological portrait of 'lived lives'.

Warhol hated waste, he loathed throwing things away, he collected and stored. He made it his business to listen to people and he turned those conversations into work. 'Leftovers', throwaway lines and banality could become novels and plays and fuel ideas for enterprises such as Interview magazine (launched in 1969 as a film journal). His first novel A: a novel, published in 1968 a few months after he had been shot by Valerie Solanas, was constructed from transcripts taken from four different sessions that recorded a day in the life of Ondine, one of his most celebrated talkers. The book was Warhol's knowing response to James Joyce's Ulysses, and according to Billy Name (his factory photographer) the title was a homage to ee cummings. Warhol's drive had been his curiosity to see what people do, particularly those who without sleep were 'hitting their ninth day and it's glorious'. The partial erasure and misregistering of what is being said are consistent with Warhol's artistic methods at the time. Listening to some of the taping sessions for the book with the cacophony of opera in the background and a multiplicity of audio layers and voices illustrates that, however faithfully transcribed, it is the voices that remain poignantly present. Victor Bockris observed that 'the book found its own voice' when four different women transcribed the 24 one-hour tapes. A: a novel was not the first book that Warhol published that was related to sound. The Index Book, published in 1967, physically included sounds of the silver factory (his first Factory space at 231 East 47th Street) recorded as various people look through the book. Nico (of the Velvet Underground) asks, perplexed, 'What is this supposed to be that plastic?' She is told 'it's a record, we're making it at this very moment.' 'Oh you're making it', she responds dubiously, 'What is supposed to be on it? … oh us talking right … coughing.'

Warhol professed to prefer talkers to beauties; he spoke for hours on the telephone, often with Brigid Berlin, one of his 'lifers' who taped him taping her. 'So once I said "well that means that there are two originals" and there can never be two originals of anything.' One of Brigid's taped monologues appears in The Philosophy of Andy Warhol (From A to B and back again) as 'The Tingle' about her obsessive cleaning habits. Warhol is fascinated by her daily 'stream of consciousness' thoughts, from 'high society', related to Warhol in her conspiratorial tones. When she began obsessively taping her socialite mother on the telephone from her room in the George Washington hotel, Bob Colacello accused Andy of listening to the tapes like 'a thirsty man'.

Warhol turned his shy nature into a trope, often frustrating the desires of interviewers, but he confessed that he wished he wasn't so shy in public 'They asked me questions [the Overseas Press Corps] all directed at me and I wasn't prepared, so I just said "yes" or "no". But afterwards I regretted doing my same old shy act, when I should have used the situation for practice — I'd love to be able to talk more and give little speeches. I want to work on that.'

In the Andy Warhol Diaries — which he dictated in monologue mode to Pat Hackett on the telephone each morning and were edited and published after his death — he often talked about taping and his desires and ambitions in his quest for the voice. 'Someone called Bianca and she was on the phone for an hour talking about her problems and I wished I had listened or taped', or 'I pointed my tape recorder in Jackie's direction and I hope I got a little breathy talk'. The diaries also reveal him chasing interviews for Interview magazine, with its concept of celebrities interviewing other celebrities and transcribed with every 'um' and 'er' intact. Bob Colacello, Interview's editor, admits that keeping Warhol company was very hard work: you were expected to provide him with a steady stream of gossip, ideas and jokes in exchange for the occasional 'Gee', 'Wow' or 'Really'. The ultimate chore was 'confession' which usually 'began with Andy asking "what did you do last night?".' Warhol admitted that he loved it when something dramatic happened for the tape. 'I told him I wanted to tape them (Bill Copley and his girlfriend) fighting … They don't fight in public but he'll do it for art.' Sometimes, commented Colacello, the diplomatic dance between Warhol and potential Interview subjects got very complicated. When Warhol taped John and Yoko for his editorial with them, he asked 'not a dumb question but a non question'.

Andy: We thought maybe you could just talk to yourself on the tape and ask yourself your questions.
Yoko Ono: Good idea.

The audio tapes are a Holy Grail and their purpose appears to have been to use the raw material as books or scripts for plays. They are part of Warhol's artistic œuvre. He hated it if he forgot his tape recorder or mislaid it, particularly if there were celebrity voice portraits to capture. Eddy Devolder in his Conversation with Andy Warhol acknowledged that after each of his questions he remained 'absolutely silent, moving the small cassette-player which has been running since his arrival towards the microphone of my large tape-recorder'. Devolder questions Warhol, 'Does the cassette-player represent an artistic tool by which daily life is transformed into narrative?'… but receives no answer. 'Am I supposed to infer that his silence stands for a reply and that the empty tape running between the two questions is the actual spokesman.'

The enigma that is Warhol, his working methods and multifaceted character, emerge slowly and in real time from the tape archive, the lure of Citizen Kane's whispered 'rosebud' both a cautionary tale and a challenge.

This article by Jean Wainwright was originally published in March 2002 / No 254, pp39-40.

Andy Warhol Museums

This is a list of all the museums and public art galleries from Andy Warhol.



Andy Warhol Museum, Pittsburgh, Pennsylvania

Butler Institute of American Art, Ohio
Paul Jenkins, 1979

Detroit Institute of Arts, Michigan

Fine Arts Museums of San Francisco
11 works by Andy Warhol

Guggenheim Museum, New York City

J. Paul Getty Museum, Los Angeles
13 works online by Warhol

Andy Warhol at the Metropolitan Museum of Art, New York City
Self-portrait, 1979
Last Self-Portrait, 1986

Andy Warhol at the Metropolitan Museum of Art, New York City
Vegetarian Vegetable, from Campbell's Soup II, 1969

Museum of Fine Arts, Houston, Texas
Self-Portrait, 1986

Museum of Fine Arts, Boston
Paintings collection online

Museum of Modern Art, New York City
14 works online

Museum of Modern Art, New York City
Tomato Soup, 1968
Marilyn Monroe, 1967
(In the "Screenprint" section)

National Galleries of Scotland, Edinburgh
3 works online

Andy Warhol at the National Gallery of Art, Washington D.C.
2 works by Andy Warhol

National Gallery of Australia, Canberra
2 works by Warhol

National Gallery of Australia, Canberra
After image: screenprints of Andy Warhol

National Gallery of Canada, Ottawa
Many works, including 10 variations on Mao Tse-tung

Norton Simon Museum, Pasadena, California

San Francisco Museum of Modern Art

Yale University Art Gallery, New Haven, Connecticut
Flowers

Ackland Art Museum at the University of North Carolina
Liz, 1964-65

Ackland Art Museum at the University of North Carolina
Endangered Species Series (Bighorn Ram)

Allen Art Museum at Oberlin College, Ohio
Brillo Boxes
(Link to detail image was broken when last checked. Use this link instead.)

Art Institute of Chicago
Mao

Art Institute of Chicago
Mao, 1973

Astrup Fearnley Museet for Moderne Kunst, Norway

Baltimore Museum of Art
Self-Portrait, 1986

Beyeler Foundation Collection, Switzerland

Birmingham Museum of Art, Alabama
Jackie II

Block Museum of Art at Northwestern University, Illinois
3 works online (Note that this site opens each work in a new window)

Brigham Young University Museum of Art, Utah NEW!

Bruce Museum of Arts and Science, Connecticut

Chazen Museum of Art at the University of Wisconsin
Marilyn Monroe, 1967

Cheekwood Museum of Art, Tennessee
Portrait of Jamie with Tan Background, 1976

Chrysler Museum, Norfolk, Virginia

Cleveland Museum of Art, Ohio

Corcoran Gallery of Art, Washington D.C.
Mao

DaimlerChrysler Collection, Berlin
Cars, 1986/87

Daros Exhibitions, Zurich, Switzerland
Do-It-Yourself (Flowers), 1962
Blue Liz as Cleopatra, 1963

David Winton Bell Gallery at Brown University, Providence, Rhode Island
Mao Tse-Tung, 1972

Dayton Art Institute, Ohio
American Indian Series (Russell Means)

Dayton Art Institute, Ohio
American Indian Series (Russell Means), 1976

Dia:Beacon, Beacon, New York

Dia:Chelsea, New York City
The Last Supper Paintings

Dia:Chelsea, New York City
Shadows

Fleming Museum at the University of Vermont

Fonds Regional d'Art Contemporain (FRAC) Bourgogne, Dijon, France

Fukuoka Art Museum, Fukuoka, Japan NEW!
Elvis

Galleria Civica di Modena, Italy (in Italian)

GAM - Galleria Civica d'Arte Moderna e Contemporanea, Turin
Orange Car Crash (Orange Disaster) (5 Death 11 Times in orange), 1963

Greenville County Museum of Art, South Carolina
Untitled (Race Riot), 1963

Groninger Museum, Groningen, Netherlands

Hirshhorn Museum and Sculpture Garden, Washington D.C.
Flowers, 1964
Self-Portrait, 1986

Hood Museum of Art, New Hampshire

Hunter Museum of American Art, Tennessee
Jimmy Carter, 1976

Kemper Museum of Contemporary Art, Kansas City, Missouri
Dennis Hopper, 1970

Kunst Indeks Danmark - database of artworks in Danish museums
- Works viewable online are marked with a red "X"
- Click "English" for the English-language version of the website

Kunsthaus Zurich

Kunstmuseum Basel, Switzerland (mostly in German)

Kunstmuseum St.Gallen, Switzerland (mostly in German)
Campbell's Condensed Tomato Soup, 1962

Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany

Andy Warhol in the Los Angeles County Museum of Art Database

Ludwig Forum für Internationale Kunst, Aachen, Germany (in German)
Saturday's Popeye, 1960

Ludwig Forum für Internationale Kunst, Aachen, Germany (in German)
Campbell's Soup Can I, 1968

Ludwig Museum of Contemporary Art, Budapest

MacKenzie Art Gallery, Saskatchewan

Midwest Museum of American Art, Elkhart, Indiana
Grasshopper Heaven from the Bottom of My Garden, 1956

Milwaukee Art Museum, Wisconsin

Modern Art Museum of Fort Worth, Texas

Montclair Art Museum, New Jersey
Twelve Cadillacs, 1962

Musée d'art et d'histoire, Geneva (mostly in French)
Silver Liz as Cleopatra, 1963

Museum of Contemporary Art, Chicago NEW!
Troy Diptych

Museum of Contemporary Art, Los Angeles

Museum of Fine Arts, Santa Fe, New Mexico

Museum of the Rhode Island School of Design
Race Riot (image 6)

Andy Warhol at the National Gallery of Art, Washington D.C.
Gemini G.E.L. prints

Andy Warhol at the National Portrait Gallery, Washington D.C.
Jamie Wyeth, drawing, 1976

Oklahoma City Art Museum, Oklahoma NEW!
Campbell's Soup II (Cheddar Cheese), 1969

Palazzo Forti, Verona (in Italian)
Shoe Bright, Shoe Light, First Shoe I've Seen, 1955

Pennsylvania Academy of the Fine Arts, Philadelphia
Endangered Species: Orangutan

Pomona College Museum of Art, California
Click on "View objects by this artist"

Portland Art Museum, Oregon NEW!
Marilyn, 1967

Princeton University Art Museum, New Jersey
Blue Marilyn, 1962

Randers Kunstmuseum, Denmark
Marilyn Monroe, 1967

S.M.A.K. (Stedelijk Museum voor Actuele Kunst), Ghent, Belgium

Samuel Dorsky Museum of Art, New Paltz, New York
Jackie Kennedy, silkscreen, 1965

Schleswig-Holstein Museums, Germany
1 work online

Sheldon Art Gallery, Lincoln, Nebraska
Myths: Mickey Mouse
Vegetarian Vegetable (from the Campbell's Soup II Series)

Smart Museum of Art at the University of Chicago

Andy Warhol at the Smithsonian American Art Museum, Washington D.C.

Southern Alleghenies Museum, Pennsylvania

Staatsgalerie Stuttgart (in German)

Staatsgalerie Stuttgart (in German)

State Museums of Berlin (mostly in German)

Tate Gallery, London, UK

Tehran Museum of Contemporary Art, Iran
Mick Jagger (4 versions)
Suicide (Purple Jumping Man)

The Art Gallery at the University of Maryland
4 portraits of athletes (keep clicking "next")

The Contemporary Museum, Honolulu, Hawaii
Electric Chair, 1971

The Newark Museum, New Jersey
Campbell's Tomato Juice, 1964

Turman Gallery at Indiana State University

University of Kentucky Art Museum
Self-Portrait, 1966

University of Maine Museum of Art
Botticelli: The Birth of Venus, screenprint, 1984

Virginia Museum of Fine Arts, Richmond
Triple Elvis, 1964

Wadsworth Atheneum Museum of Art, Connecticut
Red Marilyn Monroe

Walker Art Center, Minnesota

Walker Art Center, Minnesota

Williams College Museum of Art, Massachusetts
Self Portrait, 1986

Williams College Museum of Art, Massachusetts
Superb reproduction of Warhol's Self Portrait, 1986, from a museum press release

Here is where you can find the websites: http://www.artcyclopedia.com/artists/warhol_andy.html


This is a short video on one of Andy's museums.


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Interview about Andy Warhol

This is an interview with two men who friends with Andy Warhol.

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Andy's Interview

Interview on Andy Warhol

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Andy had a unique character. He didn't talk muh during interviews. Look at the next little video about Andy's interview.

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