Andy Warhol

File:Helmut Newton- Andy Warhol.jpg

Andy Warhol, photographed by Helmut Newton

Andrew Warhola, better known as Andy Warhol (August 6, 1928 — February 22, 1987), was an American artist, avant-garde filmmaker, writer and celebrity. Warhol also worked as a publisher, music producer and actor. He had experience in commercial art, and was one of the founders of the Pop art movement in the United States in the 1950s.

Biography

Warhol was born Andrew Warhola in Pittsburgh, Pennsylvania. His parents, Andrej (Andrew) Warhola (original surname was Varchola, he changed it after coming to US) and Ulja (Julia) Justyna Zavacka, ^{[citation needed]} were working-class immigrants of Rusyn (Ruthenian) ethnicity from Mikova, in northeast Slovakia. Despite stories circulating about Warhol's father working in coal mines, Andrej Warhola actually worked in construction in Pennsylvania. In 1930, the Warhola family lived at 55 Beelen St, in Pittsburgh, PA. The family was Byzantine Catholic. In third grade, Warhol came down with St. Vitus' disease, which affects the nervous system causing involuntary movements and is thought to be a complication of scarlet fever. This disease changed his appearance and his life forever. Warhol showed early artistic talent and studied commercial art at Carnegie Mellon University in Pittsburgh. In 1949, he moved to New York City and began a successful career in magazine illustration and advertising. He became well-known mainly for his whimsical ink drawings of shoes done in a loose, blotted style. These figured in some of his earliest showings in New York at the Bodley Gallery.

File:Warhol-Campbell Soup-1-screenprint-1968.jpg

Campbell's Soup Can 1968

In the 1960s, Warhol began to make paintings of famous American products such as Campbell's soup cans and Coca-Cola. He switched to silkscreen prints, seeking not only to make art of mass-produced items but to mass produce the art itself. He said he wanted to be like a machine. His most influential and important collaborator during this period was Gerard Malanga, who introduced Warhol to many of the superstars who would soon appear in his films, in addition to assisting the artist with the silkscreening of many of his major paintings, prints, films, sculptures and other items at "The Factory," his tinfoil-and-silver-paint lined studio located in New York. He also groomed a retinue of bohemian eccentrics upon whom he bestowed the ironic designation "superstars".

A lot of Warhol's works revolve around the concepts of Americana and American popular culture. He painted money, food, women's shoes, celebrities, newspaper clippings and everyday objects. To him, these subjects represented American cultural values. For instance, Coca-Cola represented democratic equality:

“

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 Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, 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.

”

This quote is typical of Warhol's deadpan commentary, and critics still argue about how seriously to take his various statements.

He used popular imagery and methods to visualize the American cultural identity of the 20th century. This popular redefinition of American culture is a theme and result of Warhol's art.^{[citation needed]}

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.

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 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".^{[citation needed]}

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 utilized in advertisements, bringing his art to the attention of a broader audience.

Death

At the relatively young age of 58, Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden heart attack. The hospital staff had failed to 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 Bethel Park, Pennsylvania, south of Pittsburgh. Yoko Ono was among the speakers at his funeral.

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.

Religious beliefs

Warhol regularly volunteered at homeless shelters in New York, particularly during the busier times of the year, and described himself as a religious person. Many of his later works contain almost hidden religious themes or subjects, and a body of religious-themed works was found posthumously in his estate. Warhol also regularly attended Mass during his life, and the pastor of his Byzantine Rite Catholic church, Saint Vincent's, reports that he visited the church almost daily.

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

Works

Paintings

File:Warhol-Marilyns.jpg

Andy Warhol's iconic 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. The unifying element in his work is his deadpan Keatonesque style - artistically and personally affectless. 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 withdrawal ends up being the opposite of self-effacement.

As time went on, Warhol's work became more conceptual. His series of do-it-yourself paintings and Rorschach blots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that show oxidated urine stains) are also noteworthy in this context. Equally noteworthy is the way these works — and their means of production — mirrored the mores and atmosphere at Andy's New York "Factory." Biographer Bob Colacello provides some details on Andy's "piss paintings":

“	Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, who was a second ghost pisser, much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier 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...	”
—Holy Terror - Andy Warhol Close Up, New York, Harper/Collins, 1990, p. 343

It has been suggested that Warhol would just take images of things that were hip in his time and cover them in "Warhol gravy", but for Warhol there always was a personal relation between him and his subjects. For instance the Campbell's Soup did not only function as an illustration of commercial industry and advertisement, it was 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" or what is often called "comfort food".

Another criterion that was important in the way Warhol chose his subjects was they had to represent a more philosophical notion and have a metaphorical quality. When Warhol painted money, he painted it because he wanted to own it - canvases filled with money. Partly his work was meant to provide him with this money (and success, fame and maybe even love). At the same time, these paintings spoke of art as a commercial commodity: the paintings of dollar bills represented monetary value as well as investments. In this way, instead of merely depicting dollar bills, the paintings touched on notions like artistic value or as a comment on art practice.

Similarly, when Warhol painted photographs of disasters in bright colors ("Red Car Crash", "Purple Jumping Man", "Orange Disaster") they pointed at the horror of the event in the picture and its media value but also at the way in which such images are trivialized by the media. By turning these "random" clippings into paintings, Warhol transformed them into monuments for personal tragedies. As such, they represent a personal experience as well as a social comment and an illustration of a time when the media grew in pertinence and relevance.

Films

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 My Hustler (1965) and Lonesome Cowboys (1968), a raunchy pseudo-Western. 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.

Filmography

Blow Job (film)|Blow Job (1963) Eat (film)|Eat (1963) Haircut (film)|Haircut (1963) Kiss (film, 1963)|Kiss (1963) Naomi's Birthday Party (1963) Sleep (film)|Sleep (1963) 13 Most Beautiful Women (1964) Batman Dracula (1964) Clockwork (film)|Clockwork (1964) Couch (film, 1964)|Couch (1964) Drunk (film)|Drunk (1964) Empire (1964 film)|Empire (1964) The End of Dawn (1964) Lips (film)|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 No. 2|Beauty #2 (1965) Bitch (film)|Bitch (1965) Camp (1965 film)|Camp (1965) Harlot (film)|Harlot (1965) Horse (film)|Horse (1965) Kitchen (film)|Kitchen (1965) The Life of Juanita Castro (1965) My Hustler (1965) Poor Little Rich Girl (1965) Restaurant (film)|Restaurant (1965) Space (film)|Space (1965) Taylor Mead's Ass (1965) Vinyl (1965 film)|Vinyl' (1965) Screen Test (film)|Screen Test (1965) Screen Test No. 2|Screen Test #2 (1965)

Ari and Mario (1966) Hedy (film) (1966) Kiss the Boot (1966) Milk (film)|Milk (1966) Salvador Dalí (film)|Salvador Dalí (1966) Shower (film)|Shower]] (1966) Sunset (Warhol film)|Sunset (1966) Superboy (film)|Superboy (1966) The Closet (1966 film)|The Closet (1966) Chelsea Girls (1966) The Beard (film) (1966) More Milk, Yvette (1966) Outer and Inner Space (1966) The Velvet Underground and Nico (film)|The Velvet Underground and Nico (1966) The Andy Warhol Story (1967) Tiger Morse (1967) Sucking Lukes Hairy Asshole (1967) **** (film)|**** (1967) Imitation of Christ (film)|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) aka Andy Warhol's Dracula (USA)

Music

File:Velvet Underground and Nico.jpg

175px

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.

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

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

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

File:25 Cats.jpg

Cover of copy no. 18 of 25 Cats Name (sic) Sam and One Blue Pussy by Andy Warhol given in 1954 to Edgar de Evia and Robert Denning when the author was a guest in their home in the Rhinelander Mansion.

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

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

Other media

As stated, although Andy Warhol is most known for his paintings and films, he has authored works in many different media.

• Drawing: Warhol started his career drawing commercial illustrations in "blotted-ink" style for warehouses and magazines. Most well known are his pictures of shoes. Some of his drawings were published in little booklets, like "Yum, Yum, Yum" (about food), "Ho, Ho, Ho" (about Christmas) and (of course) "Shoes, Shoes, Shoes." His most artistically acclaimed book of drawings is probably "The Gold Book," compiled of sensitive, personal drawings of young men. "The Gold Book" is thus dubbed because of the leaf-gold that decorates the pages.
• Sculpture: Warhol's most famous sculpture is probably his "Brillo Boxes," silkscreened wooden replicas of Brillo soap boxes. Other famous works include the "Silver Floating Pillows"; gas-filled, silver, pillow-shaped balloons that were floated out of the window during the presentation.
• 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.
• Television: Andy Warhol dreamed of a television show that he wanted to call "The Nothing Special," a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, "Andy Warhol's TV" in 1982 and "Andy Warhol's Fifteen Minutes" for MTV in 1986. Besides his own shows he regularly made guest appearances in shows, including a notable appearance on "The Love Boat" wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley) her secret past as a Warhol superstar named Marina del Rey.
• 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?" One of his most well-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.
• Performance Art: Warhol and his friends staged happenings; theatrical multimedia presentations during parties, containing music, film, slide projections and Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable is the culmination of this area of his work.
• 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 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. His late oeuvre contains black and white photos sewn together.

Product

In many of his efforts Warhol has taken the position of a producer or director, rather than a creator. From an artist he gradually became the person that determined the direction and was the public face of a company, having a staff of sorts to do the actual labor involved in his products. He would coin an idea and oversee its execution, his Factory evolved from an atelier into an office.

As this position proved to work out, he found himself able to expand his activities into other fields. He founded the gossip magazine Interview, creating a stage for celebrities he "endorsed" and creating jobs for his friends. He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground and presented them to the public as his latest interest, cooperating with them, shaping their public personas. He would produce things and people, and they were part of his artistic product. He endorsed products, appeared in commercials, made business deals and even sold the film-making branch of his company when he decided to spend less time filming himself.

In this respect Warhol talked about "Art Business" and "Business Art", and how he thought business was the best type of art. This was a radical new stance, as artists had always presented themselves as flamboyant, individual, visionary outsiders - commenting on the normal part of society while never really being a part of it, and receiving appreciation for that position on basis of their idealism, rare talents and personalities. Warhol and other pop-artists helped redefine the artist's position as professional, commercial, popular - a logical and valuable part of society. 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 society, art as a product of society.

Museums

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

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

Films portraying Warhol

Andy Warhol is portrayed by Crispin Glover in Oliver Stone's film The Doors (1991). 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).

References

ISBN links support NWE through referral fees

• Angell, Callie (2006). Andy Warhol Screen Tests: The Films of Andy Warhol Catalogue Raisonne, Volume One (Andy Warhol Catalogue Raisonnee). New York: Henry Abrams. 
• Jennifer Doyle, Jonathan Flatley, and José Esteban Muñoz eds. (1996). Pop Out: Queer Warhol. Durham: Duke University Press.
• Guiles, Fred Lawrence (1989). Lover at the Ball: The Life of Andy Warhol. New York: Bantam. 
• Koestenbaum, Wayne (2003). Andy Warhol. New York: Penguin. 
• Meyer, Richard (2003). Outlaw Representation. Beacon. 
• Watson, Steven (2003). Factory Made: Warhol and the Sixties. New York: Pantheon. 
• Bockris, Victor (1997). Warhol: The Biography. New York: Da Capo Press. 
• Colacello, Bob (1990). Holy Terror: Andy Warhol Close Up. New York: HarperCollins. 
• Daggett Dillenberger, Jane (2001). The Religious Art of Andy Warhol. New York: Continuum International Publishing Group. 
• Yau, John (1993). In the Realm of Appearances: The Art of Andy Warhol. 

See also

• Andy Warhol Art Authentication Board
• Painting the Century 101 Portrait Masterpieces 1900-2000
• Andy Warhol Gallery largest single artist gallery in the world. Part of the Carnegie Museums of Pittsburgh.
• Andy Warhol Bridge in Pittsburgh.
• Bodley Gallery

External links

• Virtual visit in Mus�e d'Art Contemporain de Lyon.
• Warhol Foundation in New York, New York.
• The Andy Warhol Museum in Pittsburgh, Pennsylvania
• Warhol Family Museum in Medzilaborce, Slovakia
• Andy Warhol Profile Includes a biography, selection of images, famous quotes, and links to the artist.
• Two short articles about Warhol's 2002 museum retrospective from the art magazine "X-TRA"
• Actual exhibitions with Andy Warhol on Artfacts Andy Warhol's works are still widely at present in various shows and permanent collections in museums or galleries throughout the world.
• Andy Warhol Poetry Tribute
• http://www.the3graces.info A warholesque biography of Andy Warhol.
• Internet Accuracy Project - Andy Warhol
• Art Gallery - Andy Warhol
• Andy Warhol at Gagosian Gallery
• Time Capsules: the Andy Warhol collection
• "WARHOL - The Musical" by Steve Clayton & Trevor Midgley
• Create Your Own Andy Warhol
• Andy Warhol at the Museum of Modern Art (MoMA)
• Daniel Dutton's tribute to Andy Warhol features an art collecting goat.
• Andy Warhol art chronology

Listening

• "Warhol, Soup Cans, Cowboys" (Studio 360 radio program, December 10, 2005)

Template:CMUArtsPittsburgh

Credits

New World Encyclopedia writers and editors rewrote and completed the Wikipedia article in accordance with New World Encyclopedia standards. This article abides by terms of the Creative Commons CC-by-sa 3.0 License (CC-by-sa), which may be used and disseminated with proper attribution. Credit is due under the terms of this license that can reference both the New World Encyclopedia contributors and the selfless volunteer contributors of the Wikimedia Foundation. To cite this article click here for a list of acceptable citing formats.The history of earlier contributions by wikipedians is accessible to researchers here:

• Andy Warhol  ^history

The history of this article since it was imported to New World Encyclopedia:

• History of "Andy Warhol"

Note: Some restrictions may apply to use of individual images which are separately licensed.