Question: When did Warhol first show his work?
About the article "Andy Warhol", section "1960s".

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By the beginning of the 1960s, Warhol had become a very successful commercial illustrator.
His detailed and elegant drawings for I. Miller shoes were particularly popular.
They consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art.
Although many artists of this period worked in commercial art, most did so discreetly.
Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement.
Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette.
His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips.
Marilyn Monroe was a pop art painting that Warhol had done and it was very popular.
Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning).
Warhol's first pop art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display.
This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.
Eventually, Warhol pared his image vocabulary down to the icon itself—to brand names, celebrities, dollar signs—and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter.
Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject.
His friends suggested he should paint the things he loved the most.
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.
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.
The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York.
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 handmade from the artistic process.
Warhol frequently used silk-screening; his later drawings were traced from slide projections.
At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.
In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project.
Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile.
It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.
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 1962–1963 "Death and Disaster" series.
The "Death and Disaster" paintings included "Red Car Crash", "Purple Jumping Man", and "Orange Disaster."
One of these paintings, the diptych "Silver Car Crash", became the highest priced work of his when it sold at Sotheby's Contemporary Art Auction on Wednesday, November 13, 2013 for $105.4 million.
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.
'"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":Warhol's first portrait of "Basquiat" (1982) is a black photosilkscreen over an oxidized copper "piss painting".
After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.
Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.
The influence of the large collaborations with Basquiat can be seen in Warhol's "The Last Supper" cycle, his last and possibly his largest series, seen by some as "arguably his greatest," but by others as "wishy-washy, religiose" and "spiritless."
It is also the largest series of religious-themed works by any U.S. artist.
At the time of his death, Warhol was working on "Cars", a series of paintings for Mercedes-Benz.
A self-portrait by Andy Warhol (1963–1964), which sold in New York at the May Post-War and Contemporary evening sale in Christie's, fetched $38.4 million.
On May 9, 2012, his classic painting "Double Elvis (Ferus Type)" sold at auction at Sotheby's in New York for US$33 million.
With commission, the sale price totaled US$37,042,500, short of the $50 million that Sotheby's had predicted the painting might bring.
The piece (silkscreen ink and spray paint on canvas) shows Elvis Presley in a gunslinger pose.
It was first exhibited in 1963 at the Ferus Gallery in Los Angeles.
Warhol made 22 versions of the "Double Elvis," nine of which are held in museums.
On Wednesday, November 13, 2013 his "Silver Car Crash (Double Disaster) diptych sold at Sotheby's Contemporary Art Auction for $105.4 million, a new record for the famed pop artist (pre-auction estimates at $80 million).
Created in 1963, this work has only been seen in public once in the past 26 years. 
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 and the original was auctioned in May 2006 for US $35,000 by Doyle New York.
Other self-published books by Warhol include:  "A Gold Book"  "Wild Raspberries"  "Holy Cats" After gaining fame, Warhol "wrote" several books that were commercially published:  "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 & 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.  ""
(1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the 1960s and the role of pop art.
"The Andy Warhol Diaries" (1989, ISBN 0-446-39138-7), 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.
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. 
In 1960, Warhol began producing his first canvases, which he based on comic strip subjects.
In late 1961, he learned the process of silkscreening from Floriano Vecchi, who had run the Tiber Press since 1953.
Though the process generally begins with a stencil drawing, it often evolves from a blown up photograph which is then transferred with glue onto silk.
In either case, one needs to produce a glue-based version of a positive two-dimensional image (positive means that open spaces are left where the paint will appear).
Usually, the ink is rolled across the medium so that it passes through the silk and not the glue.
Campbell's Soup cans were among Warhol's first silkscreen productions; the first were U.S. dollar bills.
The pieces were made from stencils; one for each color.
Warhol did not begin to convert photographs to silkscreens until after the original series of Campbell's Soup cans had been produced.
Although Warhol had produced silkscreens of comic strips and of other pop art subjects, he supposedly relegated himself to soup cans as a subject at the time to avoid competing with the more finished style of comics by Roy Lichtenstein.
In fact, he once said "I've got to do something that really will have a lot of impact that will be different enough from Lichtenstein and James Rosenquist, that will be very personal, that won't look like I'm doing exactly what they're doing."
In February 1962, Lichtenstein displayed at a sold-out exhibition of cartoon pictures at Leo Castelli's eponymous Leo Castelli Gallery, ending the possibility of Warhol exhibiting his own cartoon paintings.
In fact, Castelli had visited Warhol's gallery in 1961 and said that the work he saw there was too similar to Lichtenstein's, although Warhol's and Lichtenstein's comic artwork differed in subject and techniques (e.g., Warhol's comic-strip figures were humorous pop culture caricatures such as Popeye, while Lichtenstein's were generally of stereotypical hero and heroines, inspired by comic strips devoted to adventure and romance).
Castelli chose not to represent both artists at that time, but he would, in 1964, exhibit Warhol works such as reproductions of Campbell's Tomato Juice Box, 1964 (pictured above, left), and Brillo Soap Boxes.
He would again exhibit Warhol's work in 1966.
Lichtenstein's 1962 show was quickly followed by Wayne Thiebaud's April 17, 1962 one man show at the Allan Stone Gallery featuring all-American foods, which agitated Warhol as he felt it jeopardized his own food-related soup can works.
Warhol was considering returning to the Bodley gallery, but the Bodley's director did not like his pop art works.
In 1961, Warhol was offered a three-man show by Allan Stone at the latter's 18 East 82nd Street Gallery with Rosenquist and Robert Indiana, but all three were insulted by this proposition.
Irving Blum was the first dealer to show Warhol's soup can paintings.
Blum happened to be visiting Warhol in May 1962, at a time when Warhol was being featured in a May 11, 1962 "Time Magazine" article "The Slice-of-Cake School" (that included a portion of Warhol's silkscreened "200 One Dollar Bills"), along with Lichtenstein, Rosenquist, and Wayne Thiebaud.
Warhol was the only artist whose photograph actually appeared in the article, which is indicative of his knack for manipulating the mass media.
Blum saw dozens of Campbell's Soup can variations, including a grid of "One-Hundred Soup Cans" that day.
Blum was shocked that Warhol had no gallery arrangement and offered him a July show at the Ferus Gallery in Los Angeles.
This would be Warhol's first one man show of his pop art.
Warhol was assured by Blum that the newly founded "Artforum magazine", which had an office above the gallery, would cover the show.
Not only was the show Warhol's first solo gallery exhibit, but it was considered to be the West Coast premiere of pop art.
Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962.
The exhibit included the works "Marilyn Diptych", "Green Coca-Cola Bottles", and "Campbell's Soup Cans". 
Several anecdotal stories supposedly explain why Warhol chose Campbell's Soup cans as the focal point of his pop art.
One reason is that he needed a new subject after he abandoned comic strips, a move taken in part due to his respect for the refined work of Roy Lichtenstein.
According to Ted Carey—one of Warhol's commercial art assistants in the late 1950s—it was Muriel Latow who suggested the idea for both the soup cans and Warhol's early U.S. dollar paintings.
Muriel Latow was then an aspiring interior decorator, and owner of the Latow Art Gallery in the East 60s in Manhattan.
She told Warhol that he should paint "Something you see every day and something that everybody would recognize.
Something like a can of Campbell's Soup."
Ted Carey, who was there at the time, said that Warhol responded by exclaiming: "Oh that sounds fabulous."
According to Carey, Warhol went to a supermarket the following day and bought a case of "all the soups", which Carey said he saw when he stopped by Warhol's apartment the next day.
When the art critic G.R.
Swenson asked Warhol in 1963 why he painted soup cans, the artist replied, "I used to drink it, I used to have the same lunch every day, for twenty years.
"Another account of Latow's influence on Warhol holds that she asked him what he loved most, and because he replied "money" she suggested that he paint U.S. dollar bills.
According to this story, Latow later advised that in addition to painting money he should paint something else very simple, such as Campbell's Soup cans.
In an interview for London's "The Face" in 1985, David Yarritu asked Warhol about flowers that Warhol's mother made from tin cans.
In his response, Warhol mentioned them as one of the reasons behind his first tin can paintings:  David Yarritu: I heard that your mother used to make these little tin flowers and sell them to help support you in the early days.
Andy Warhol: Oh God, yes, it's true, the tin flowers were made out of those fruit cans, that's the reason why I did my first tin-can paintings … You take a tin-can, the bigger the tin-can the better, like the family size ones that peach halves come in, and I think you cut them with scissors.
It's very easy and you just make flowers out of them.
My mother always had lots of cans around, including the soup cans.
Several stories mention that Warhol's choice of soup cans reflected his own avid devotion to Campbell's soup as a consumer.
Robert Indiana once said: "I knew Andy very well.
The reason he painted soup cans is that he liked soup."
He was thought to have focused on them because they composed a daily dietary staple.
Others observed that Warhol merely painted things he held close at heart.
He enjoyed eating Campbell's soup, had a taste for Coca-Cola, loved money, and admired movie stars.
Thus, they all became subjects of his work.
Yet another account says that his daily lunches in his studio consisted of Campbell's Soup and Coca-Cola, and thus, his inspiration came from seeing the empty cans and bottles accumulate on his desk.
Warhol did not choose the cans because of business relationships with the Campbell Soup Company.
Even though the company at the time sold four out of every five cans of prepared soup in the United States, Warhol preferred that the company not be involved "because the whole point would be lost with any kind of commercial tie-in."
However, by 1965, the company knew him well enough that he was able to coax actual can labels from them to use as invitations for an exhibit.
They even commissioned a canvas. 
Billy Name, (born William Linich, February 22, 1940 in Poughkeepsie, New York), is an American photographer, filmmaker and lighting designer.
He was the archivist of the Warhol Factory, from 1964 to 1970.
His brief romance and subsequent friendship with Andy Warhol led to substantial collaboration on Warhol's work, including his films, paintings and sculpture.
Linich became "Billy Name" among the coterie known as the Warhol Superstars.
He was responsible for "silverizing" Warhol's New York studio, the Factory, where he lived until 1970.
His photographs of the scene at the Warhol Factory and of Warhol himself are important documents of the Pop art era.
In 2001, the United States Postal Service used one of Billy Name's portraits of Warhol when it issued a commemorative stamp of the artist.
Name also has collaborated with Shepard Fairey with his photograph of Nico, singer with the Velvet Underground and part of the social circle of Warhol's Factory.