Andy Warhol is shot by Valerie Solanas in 1968 - NY Daily News Andy Warhol is shot by Valerie Solanas in 1968 Andy Warhol is shot by Valerie Solanas in 1968 NEW YORK DAILY NEWS Unconscious after shooting, critically wounded Andy Warhol is carried to ambulance. (Jack Smith) NEW YORK DAILY NEWS Tuesday, June 2, 2015, 12:00 PM (Originally published by the Daily News on June 4, 1968. This story was written by Frank Faso, Martin McLaughlin, Richard Henry.) Andy Warhol, 36-year-old pop artist, maker of underground movies and darling of the avant-garde set, was critically wounded at 4:30 p.m. yesterday when one of his female film stars barged into his sixth-floor Union Square office and, without a word, fired a barrage of bullets at Warhol and a business associate. Of the four shots fired at close range, one .32 caliber bullet hit Warhol and another inflicted a relatively minor wound on the associate. Warhol underwent five and a half hours of emergency surgery by a team of four doctors at Columbus Hospital.

He was given a “50-50 chance to live.” The suspect, Valerie Solanas, 28, surrendered to rookie Patrolman William Schmalix, on traffic duty at Seventh Ave. and 47th St., at 7:30 p.m. Schmalix, 22 and a cop only since February, said she handed him a .22 revolver and a .32 automatic and told him: “The police are looking for me. I am a flower child. He had too much control over my life.” Refuses to Give Address Booked at the E. 21st St. station on charges of felonious assault and possession of a dangerous weapon with intent to kill, the short-haired brunette declared that she lived “nowhere.” When asked who she was, she replied: “I’m really a writer,” and said she was a 1962 University of Maryland graduate. Asked to explain the shooting, she stated: “There are many involved reasons. I have written manifesto of what I am and what I stand for.” The bullet that hit Warhol twisted crazily through his abdomen and chest, wreaking much damage.

It entered through the left lung, hit his spleen, stomach, liver and esophagus before penetrating the right lung and emergency from his right side. X-rays established that only one slug had caused the damage, according to the hospital’s medical director, Dr. Massimo Bazzini. Art Dealer Wounded Also wounded by one shot, in the attack witnessed by four other astonished persons, was Mario Amaya, 34, a visiting art dealer editor from London. He was hit near his left hip. Warhol was at the desk of his office nicknamed The Factory and headquarters of his Films Inc., 33 Union Square West. Near him was Amaya. Grouped near the elevator end of the Swedish-studio-type chamber were Paul Morrissey and Fred Hughes, two Warhol workers, and two other persons. Miss Solanas, who had been at the studio without seeing Warhol earlier in the afternoon, got off the cage-type elevator at the opposite end of the room from Warhol. Her entry did not create a stir. Casual in yellow blouse and tan slacks covered by brown jacket, she sauntered toward Warhol, who was talking on a phone and opening mail.

She drew a gun and began firing, first at Warhol and then at Amaya. Before the others could stop her, she ran back to the elevator, started the car down and escaped. Detective Frederick Stepat and policewoman McCarthy escort Valeria Solanas, 28, into 13th pct, for the shooting Andy Warhol. Valerie surrendered to a cop in Times Square, allegedly admitting to the shooting, and saying, "I am a flower child." (Russo, Frank) Moments after Andy Warhol was critically shot at his 33 Union Square office, his associate, Mario Amaya, walks to ambulance with back wound. Bullet narrowly missed his spine. (Jack Smith) The two victims were rushed to the hospital. After treatment, Amaya emerged, carrying his bloody shirt and with bandages on his torso. One bullet had entered his left side, above his hip, gone around his rib cage and emerged from his back, after narrowly missing his spinal cord.

“I Was Very Lucky” Amaya, a short, dapper man who had come to New York to persuade Warhol “to do a retrospective exhibition in London,” said: “I was very lucky.” Amaya is a modern-art promoter and edits a magazine, Art and Artists. A resident of London’s Fashionable South Kengsington section, he has been staying at 345 E. 52d St. here. He commented “Warhol has a lot of unusual friends.” Police had put out an alarm for the short, thin actress, whose last known address was the Chelsea Hotel, 222 W. 23d St., between Seventh and Eighth Aves. It is an oldtime literary and artistic hangout that was the locale of “The Chelsea Girls,” one of Warhol’s most famous films. Miss Solanas, who starred as the “Girl on the Staircase” in another famous Warhol flick, “I, a Man,” was roundly denounced by Warhol friends who gathered in a hospital waiting room with Andy’s mother, Julia. Mrs. Warhol, with whom the artist had been sharing an apartment at 1342 Lexington Ave., at E.

89th St., wept and talked to herself in a Slavic language. After a while, hospital attendants put her in a wheelchair and took her to a private room. She has a heart ailment. Trying to Avoid Excitement Hospital spokesmen said that there was nothing seriously wrong with the mother, that they wanted her away from the excitement of Andy’s friends. Two of them indicated that Valerie might have shot their hero because he had not filmed a script that she kept thrusting on him, a script with an obscene title. Gerald Malanga, Andy Warhol and Lou Reed (l. to r.) at Salvation, a West Village disco for the very in. (Thomas Monaster) Valerie Solanas starred as the “Girl on the Staircase” in another famous Warhol flick, “I, a Man”. “She is a strange character and she’s been bothering Andy a long time, part of which I read and which was so vile and filthy it turned my stomach,” one woman friend said.

“Andy kept turning her off, but he was just too nice a guy to give her a complete brushoff.” 2d Friend Confirms Story “I know for a fact she’d been bugging him for a long time to make a movie out of her script,” a male friend said. A girl calling herself Ultra Violet, another Warhol film femme, said: “This underground movie world is a mad, mad world with a lot of mad people in it. Maybe this girl, Valerie, was mad herself.” Another said Valerie has a strong, masculine will and added: “I hated her.” Two Kinds of Friends About 20 agitated Warhol friends milled about. A few men who wore business suits said they were art gallery people. Other friends wore the leather, lace, denim and beads of the underground. One had a bathtub plug on a chain around his neck. An actress known as Viva, who had been comforting Warhol’s babushka-wearing mother, insisted calmly: “He isn’t going to die.” Viva said she had been talking with Warhol by phone when he was shot. “I heard five shots and a lot of screaming,” Viva related. “I heard Andy screaming.

I thought it was a joke, then the phone was dropped.” Tags: On This Day: Valerie Solanas Shoots Andy Warhol Valerie Solanas is booked after shooting Andy Warhol, June 3, 1968. On This Day: Valerie Solanas Shoots Andy Warhol June 03, 2011 06:00 AM Andy Warhol Nearly Killed Valerie Solanas, angered that Andy Warhol had lost a script of hers, made an afternoon visit to Warhol’s Midtown Manhattan studio , known as The Factory, with a .32 revolver stashed in a brown paper bag. Warhol, accompanied by his boyfriend, Jed Johnson, and art critic Mario Amaya, saw Solanas outside The Factory and invited her in. Once inside, Solanas pulled out the gun . The Village Voice’s Howard Smith described: “Warhol turned and saw the gun. ‘Valerie,’ he yelled. ‘Don't do it! No! No!’ She fired three shots, and Warhol fell to the floor.” Solanas then shot Amaya and aimed at Warhol’s manager, Fred Hughes, but her gun jammed and she fled.

She later turned herself in to rookie traffic cop William Shemalix, handing him her gun and saying she had shot Andy Warhol “because he had too much control of my life.” After the shooting, Warhol was taken to Columbus Hospital and was pronounced dead, but doctors resuscitated him and he survived after emergency surgery. PBS: Andy Warhol: A Documentary Film Andy Warhol was an eccentric artist and filmmaker who frequently collaborated with other artists and writers, often employing them for his films. He became one of the most influential personalities of his generation, entertaining the young and hip in his New York City “Factory.” Holding an unabashed fascination with celebrity, Warhol famously remarked, “In the future everybody will be world famous for fifteen minutes.” He created art that embraced consumerism and a culture of mass production . The famous “Campbell’s Soup Cans” series in the early 1960s made Warhol a world-renowned artist and something of a celebrity. Warhol, who also delved into sculpture and filmmaking, is credited with fathering Pop Art. Warhol’s life became more subdued after the shooting. He died at the age of 58 in February 1987 due to complications after gall bladder surgery.

The BBC offers a glimpse of Warhol’s methods and inspiration through a series of recorded interviews in which the artist discusses his technique, his favorite subject, (Liza Minelli) and his love of his Sony Walkman. A troubled woman, Valerie Solanas had been abandoned by her father as a child . She gave birth at age 15 and later worked as a prostitute in New York City. In the early 1960s, hoping to become a member of Warhol’s entourage, Solanas had showed him one of her plays , “Up Your Ass.” Warhol later said of the play, “I looked through it briefly and it was so dirty, I thought she might be working for the police department and that this was some kind of entrapment.” Hoping to appease Solanas, Warhol paid her 25 dollars to be in his film, “I, a Man.” Solanas began hanging around Warhol and The Factory, but received little attention.

In 1967, she outlined her radical feminist ideology in the SCUM Manifesto , described by American Heritage’s Elizabeth Hoover as “an anti-male, anti-capitalist screed that called on women to ‘eliminate’ men.” She served three years in prison for the shootings, and spent much of her life on the streets and in mental hospitals for schizophrenia before her death in 1988. Valerie Solanas Valerie Solanas by gary comenas (2015) Valerie Solanas (1977): "I should have done target practice." Valerie Solanas was born April 9, 1936 to a twenty-one year old bartender, Louis Solanas, and an eighteen year old dental assistant named Dorothy Biondo. A the time of Valerie's birth they were both living at 104 South Frankfort Avenue in Ventnor City, New Jersey.

Valerie's last name on her birth certificate is spelled "Solanus." Her father's last name is also spelled "Solanus." (FAH9) of the woman who wrote SCUM (and shot Andy Warhol) , (NY: The Feminist Press, 2014) According to Solanas' biographer, Breanne Fahs in Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (and Shot Andy Warhol) , Valerie's last name was misspelled on her birth certificate, as was her father's. The spelling that was used on court papers after she shot Warhol was "Solanis." The spelling that Valerie used during her lifetime was "Solanas." When she published her version of the SCUM Manifesto in 1977, she used the "Solanas" spelling. (FAH197/338fn6) Two years after Valerie was born, her sister, Judith, was born. Four years after Valerie was born, her parents separated and then divorced in 1947 when Valerie was eleven years old.

Valerie lived with her mother who was married a second time two years after her divorce to a piano tuner named Red Moran. (FAH9/14) Valerie had difficulties at school. She went to junior high at the Holy Cross Academy where she often skipped classes and at one point assaulted one of the nuns who taught there. Her parents then placed her in a public school. She was bullied in the public school, however, so she was sent to a boarding school in the autumn of 1950. She stayed in the boarding school for two years. It was at the boarding school that she had her first lesbian sex and her first child. She gave birth to Linda Moran in 1951. Valerie was fourteen years old at the time. Linda was raised as Valerie's sister and only discovered that she was actually her daughter in adulthood. (FAH21) The identity of Linda's father is unknown. In her biography of Valerie, Breanne Fahs raised the possibility that either Valerie's father or step-father could have also been the father of her child. Her father had sexually abused her as a child although it's not known how long the abuse continued.

If it was the case that either Valerie's father or step-father was also the father of her child, Fahs conjectures that it would have given "the family extra incentive to keep the pregnancy quiet and to raise Linda as a sister to Valerie rather than as a daughter." But there is no firm evidence that Linda's father was Valerie's father or step-father. (FAH18 22) After leaving boarding school, Valerie gave birth to another child. She had become pregnant in the summer of 1952 after beginning a relationship with an older sailor. A baby boy, David, was born on 31 March 1953. He was handed over to the parents of the sailor, the Blackwells, to look after at their home in Washington, D.C. Valerie lived on and off with the Blackwells until she graduated from Oxon Hill High School in 1954. According to David, the Blackwells were allowed to keep him and raise him as their own as long as they paid Valerie's tuition at the University of Maryland. Valerie stopped visiting him when he was four and he did not learn he was her son until 1993, at the age of forty.

(FAH23/24) David is still alive. He takes underwater photographs of women in swimsuits and occasionally poses with them as "Mer-Man": " Mer-Man and Olga Pose Together Underwater " (Valerie Solanas' son and an underwater model) Valerie graduated from the University of Maryland at College Park in 1958 with a major in psychology. She entered a Master's program in psychology at the University of Minnesota in the autumn of 1958 but dropped out after almost a year. She hitchhiked around the country, ending up in Berkeley, California in the summer of 1960. She started writing her play, Up Your Ass, circa 1960-61. During 1961-2 she reportedly attended another graduate school - this time in New Jersey - for at least a year but the exact school is unknown. While living in New Jersey she would take the bus to visit New York and particularly Greenwich Village. She finally moved to New York in the summer of 1962, initially staying in a women's residence hotel. She listed its address on a postcard she sent to her father as 350 W. 88th Street.

According to her biographer, Valerie "spent the next three years - from 1962 to 1965 - working, writing, and living in and around Greenwich Village... In a near-constant struggle to make ends meet and to feed herself, Valerie became a pro at bumming cigarettes, talking others into buying her a quick meal, and selling conversation." According to some accounts, she may have engaged in prostitution at this time, although this has been denied by her family. By late 1965 she was living in Room 606 at of the Chelsea Hotel. (FAH38/41-44) Valerie finished Up Your Ass in 1965 and sent an unsolicited copy to Andy Warhol in late '65, never actually having met him at that point. On 9 February 1966 she wrote to Warhol "Dear Andy, Would you please return my script, Up Your Ass, that I left with you some time ago? Thanks. Valerie Solanas." By that time she may have already started writing her SCUM Manifesto.

According to her biographer she wrote the Manifesto from 1965 to 1967, copyrighting it on 19 May 1967. Fahs notes that Valerie "published an outline" of the Manifesto "in the Voice in February 1967, likely finished an original draft of the book in May, and completed a revised version of it in late June 1967; in a postcard to her father dated June 14, 1967, she wrote that she was nearly finished writing it." (FAH43/53-54/61) I've checked the February 1967 issues of the Village Voice and have been unable to find an outline of the manifesto. Valerie made the claim about the outline in a letter she sent to the magazine Majority Report which appeared in their 30 April - 13 May 1977 issue.

Although there is no outline in the Voice, there are a number of ads in the February '67 issues in which the "Scum book" appears to have consisted of her play, Up Your Ass, and an article she wrote earlier for the men's magazine, Cavalier. Village Voice ad, 2 February 1967, p. 22 Village Voice ad, 9 February 1967, p. 6 Village Voice ad, 9 February 1967 Up From the Slime was another title for Valerie's play Up Your Ass that she had left with Warhol. (The full title was Up Your Ass or From the Cradle to the Boat or The Big Suck or Up from the Slime.) (FAH47) The ad for the reading that appeared in the next issue of the Voice, included a cast listing: Village Voice, 16 February 1967, p. 22 "A Young Girl's Primer..." was the previously mentioned article that she wrote for the July 1966 issue of the men's magazine Cavalier.

The title used in Cavalier, however, was "For 2c: Pain, The Survival Game Gets Pretty Ugly." The Cavalier editors added "How a nice young lady can survive in the city: The easiest way to be comfortable is flat on your back." In the article Valerie wrote about her life in the city, supporting herself by panhandling in order to free up her time for writing. (FAH45) Before Valerie copyrighted the SCUM Manifesto in May 1967 she also held SCUM meetings. She advertised one of the meetings in an ad that appeared in Bulletin section of the April 27th issue of the Voice. Village Voice ad, 27 April 1967, p. 2 Valerie continued to hassle Warhol and others in order to get her play produced.

In addition to Warhol, the people she contacted included Louise Thompson who ran a theatre group; Gene Feist, founder of the Roundabout theatre; Paul Krassner, the editor of the avant-garde publication the Realist; Ralph Ginzburg at Avant-Garde magazine; Ed Sanders, owner of the Peace Eye Bookstore (and one of the founders of the Fugs) and Robert Marmorstein from the Village Voice. (FAH82-85) According to Valerie's biographer, Breanne Fahs, it was the photographer Nat Finkelstein who "first brought Valerie to the Factory." Valerie reportedly met Brigid Berlin's sister Richie and Richie gave her Nat Finkelstein's number. Warhol would later comment that he thought her script was so dirty that she must have have been a cop. Fahs notes that Warhol "listened to Valerie's statements and put some of them into his movie which infuriated Valerie...

Many of her lines appeared in Women in Revolt, clearly without her permission or approval." (FAH88-89/99) Valerie contacted Maurice Girodias of Olympia Press about publishing her writings after seeing an ad in the back of an Olympia Press paperback asking for authors to submit their work. As it turned out, Girodias also lived in the Chelsea although Valerie had never come across him there. On 29 August 1967 she signed a contract with Girodias which specified that she would get $500 as an advance on royalties of a novel she agreed to write for him. The contract also included first refusal rights on her next two book-length works. She later claimed that Warhol had promised to produce her play and to make a film of her SCUM Manifesto (starring Valerie), but that her contract with Girodias prevented this. In January 1968 she sent Girodias a note giving him permission to publish the SCUM Manifesto as she did not intend to write the novel.

(FAH111112/116/117/120) With the $500 advance she received from Girodias Valerie travelled to California where her sister Judith and her friend Geoffrey LeGear were both living at the time. She was there from January to mid-February. While at her sister's she continued to write to Warhol. On January 25, 1968, she wrote "Dear Andy, You asked me twice where the unsigned 'SCUM Manifesto' contract is, would you like to have it? I'll sell it to you for $20,000.

I'm dead serious." On February 1st she wrote "I really do believe that if you didn't have your lies + deception + notarized affidavits, you'd shrivel up + die." On February 7th she wrote, "Toad - If I had a million dollars, I'd have total control of the world within 2 wks; you + your fellow toad, Girodias, (2 multi-millionaires) working together control only bums in the gutter, + then only with relentless, desperate, compulsive effort." On February 10th she wrote, "you can shove your plane fare up your ass; I now have a little sum saved - enough for, not only planefare, but a few other things as well." On February 11th she wrote "Daddy, if I'm good, will you let Jonas Mekas write about me? Will you let me do a scene in one of your shit movies? Oh, thank you, thank you." (FAHS120-1) In late May Valerie left a message at Ed Sanders' bookshop Peace Eye saying that she wanted her manifesto returned to her.

She also approached Paul Krassner at the Realist again in order to try and get them to publish the SCUM Manifesto, but they declined. She also contacted Cavalier magazine in late May with the idea of writing a "Lesbian at Large" column, with no success. She clearly felt ignored by Warhol and the others - all of whom were men. She would later say that she shot Warhol in order to get his attention, that talking to him was like talking to a chair. (FAH133/BC32) Valerie shot Warhol on June 3rd - not long after the series of rejections she received from the people she was trying to get interested in her work. She had kept a gun at the artist May Wilson's house who lived next door to the Chelsea at 208 West 23rd Street. According to May Wilson's son, the writer William S.

Wilson, "Valerie asked to keep her laundry, not her gun, under my mother's bed, but believe me, May Wilson not only knew that the cloth bag did not contain laundry, she sometimes pulled it out to show people, the gunshipness of the gun being obvious when the cloth of the laundry bag was pressed against it." (Email 22/12/2003) The details in Breanne Fahs' biography of Valerie's activities before she got to Warhol is different from others. Some accounts have Valerie first showing up at Maurice Girodias' office before making her way to Warhol's offices. Fahs notes "The more likely story - one that kept Up Your Ass and SCUM Manifesto at the center of her thoughts - places Valerie at the Actor's Studio at 432 West Fourty-Fourth Street early that morning.

Play in hand and gun in her carpet bag, she arrived at the studio eager to secure a producer for Up Your Ass, hell-bent on finding a rightful place for her play." (FAH133) According to Fahs, Sylvia Miles was at the studio at the time and Valerie gave her a copy of the play before heading to the apartment of Margo Feiden, a playwright, to seek assistance in publishing Up Your Ass. Feiden had produced Peter Pan on Broadway. She showed Feiden the gun and said she was going to shoot Warhol. Feiden rang the police after Valerie left but was told she was wasting police time. (FAHS 134-137) Valerie shot Warhol at 4:05. She gave herself up to a policeman in Times Square between 7-8 pm. (FAH144/147)Not everyone was devastated by the news of the shooting. Artist Ben Morea who was a co-founder of the Black Mask group that later became the Up Against the Wall Motherfuckers group was a friend of Valerie. After the shooting he distributed a pamphlet in support of her. Ben Morea : "After she shot him I wrote a pamphlet supporting her.

I may have been the only person who did that publicly. I went up to MOMA and handed it out there. Everybody I met was very negative about it, but, hey, I disliked Andy Warhol immensely and I loved Valerie. I felt she was right in her anger and that he was way more destructive than she was because he was helping to destroy the whole idea of creativity in art. Some people dislike the term, but I feel that creativity is a kind of spiritual act, a profound thing for people to do. Warhol was the exact opposite, he tried to deny and purge the core of creativity and put it on a commercial basis." Ti-Grace Atkinson, the head of the New York chapter of the National Organization of Women also took an interest in Valerie's case after the shooting, as did the civil rights lawyer Florynce Kennedy who volunteered to represent Valerie. She had previously represented members of the Black Panthers. Valerie, however, eventually rejected their support. On August 5, 1968 she wrote to Ti-Grace, "I know you, along with all the other professional parasites with nothing of their own going for them, are eagerly awaiting my commitment to the bughouse, so you can then go on t.v.

+ write press releases for your key people defending me + deploring my being committed because of my views; remember, I want to make perfectly clear that I am not being committed because of my views of the "SCUM Manifesto"... Nor do I want you to continue to mouthe [sic] your cultivated banalities about my motive for shooting Warhol. Your gall in presuming to be competent to discourse on such a matter is beyond belief. In short do not ever publicly discuss me, SCUM, or any aspect at all of my care. Just DON'T." (FAH170-1) When Valerie also refused to cooperate with Florynce Kennedy, Florynce resigned.

Andy Warhol and Valerie Solanas: Why She Shot Him Frank Russo—NY Daily News Archive / Getty Images Detective Frederick Stepat and policewoman McCarthy escort Valeria Solanas, 28, into 13th precinct, for the shooting of Andy Warhol, on June 3, 1968, in New York City June 3, 1968: Valerie Solanas, the author of the SCUM Manifesto, attempts to assassinate Andy Warhol Andy Warhol might have made a career out of “photographing depravity and calling it truth,” according to TIME’s 1968 assessment , but even he had his limits — and Valerie Solanas’ brand of depravity was too far out even for this “blond guru of a nightmare world.” Solanas, a writer and women’s rights activist, pushed feminism to radical new heights in 1967, when she founded the Society for Cutting Up Men (she was its only member) and self-published the SCUM Manifesto, which begins: Life in this society being at best an utter bore and no aspect of society being at all relevant to women, there remains to civic-minded, responsible, thrill-seeking females only to overthrow the government

, eliminate the money system, institute complete automation and eliminate the male sex.

She’d crossed paths with Warhol two years earlier, badgering him to produce a play she had written . He passed, later saying that he had skimmed the satirical and highly scatological script and found it so obscene that he “suspected Ms. Solanas was working for the police on ‘some kind of entrapment,’” per the New York Times. Solanas occupied a place so far on the fringes of the avant-garde scene at Warhol’s Factory that the pair probably wouldn’t be mentioned in the same breath today — except that she forced herself into the historical record on this day, June 3, in 1968, when she shot and critically wounded Warhol, apparently outraged by his rejection and the fact that he had lost his copy of her play. The shooting brought Solanas the attention she craved, although mainstream feminist organizations, including the National Organization for Women , distanced themselves and disavowed her agenda. Solanas pleaded guilty to assault and was sentenced to three years in prison after being found competent to stand trial . She was later diagnosed with schizophrenia.

Warhol, meanwhile, spent two months in the hospital recuperating from surgeries to repair his damaged lungs, esophagus, spleen, liver and stomach, and in some ways he never fully recovered. His injuries were so severe that he had to wear a surgical corset for the rest of his life, according to the Andy Warhol Museum . The mental anguish lingered as well. “Since I was shot, everything is such a dream to me. I don’t know what anything is about,” he told the New York Times near the end of 1968. “Like I don’t even know whether or not I’m really alive or—whether I died. It’s sad.” His experience left him so afraid of hospitals that he refused surgery after being diagnosed with a gallstone in 1973, his doctor told the Times . “He was convinced if he was hospitalized, he would die,” the doctor said. Unable to put off treatment after his gallbladder became infected, he finally underwent surgery on Feb. 21, 1987. He died the next day, of a heart attack.

Read more about the shooting, from 1968, here in the TIME archives: Felled by Scum "Actress Shoots Andy Warhol," Daily News, June 4, 1968 by Andy Warhol on artnet Auctions SHARE Contact Specialist Lot Details This is the only known copy of this New York Daily News article personally signed by Warhol. This was the first version of the article published the day after the artist was infamously shot by radical feminist Valerie Solanas. Warhol signed the front page of the paper alongside the headline and photograph where he is pictured sitting next to the woman who went on to attempt to assassinate him. He also added a drawing that playfully drips off of the 'd' in his first name. This lot includes the complete 32 page newspaper. The artist's signature was obtained in 1978 in Zurich. After the article ran in the Daily News, Solanas requested that a correction be made to the article, the tabloid-esque headline of which reads "ACTRESS SHOOTS ANDY WARHOL" in all caps.

She did not approve of her categorization as an actress, and the headline was changed later that evening with an updated caption that featured a Solanas saying "I'm a writer, not an actress." Solanas turned herself and the assault weapon, a .32 automatic pistol, in to the police later that day. She was later indicted on charges of attempted murder, assault, and illegal possession of a gun, and because of her diagnosis of chronic paranoid schizophrenia, Solanas served a mere three years for her act of brutality. In addition to shooting Warhol, Solanas had also shot art critic Mario Amaya in the hip and attempted to shoot Fred Hughes, Warhol's manager, point blank. Andy Warhol (1927-1987) is arguably the face of the Pop Art movement of the 1960s, a genre that would alter the American art market indefinitely. Warhol received his Bachelors of Fine Arts from the Carnegie Institute of Technology in 1949, and subsequently moved to New York City to pursue a career in the arts.

It was not long before he was creating ground-breaking works, including paintings, prints, photographs, and films, that brought attention to American pop culture and the lifestyle of Hollywood celebrities. Warhol embraced market culture and helped to lead a change in the New York art scene that would in turn influence others to also look to consumer culture and goods for artistic inspiration. Today, he is regarded as one of the most prominent artists of the twentieth century, contributing not only thousands of works of art that are housed in museums and collections worldwide but also an iconic style that would impact the art market and artists alike for decades. His works have been exhibited in over two thousand exhibitions, including retrospectives at The Gagosian Gallery, New York, NY (2008); Musée National d´Art Moderne, Paris, France (1990); and The Art Institute of Chicago, Chicago, IL (1989). Selected Public Collections: Andy Warhol Shot by Factory Actress Valerie Solanas | Village Voice Andy Warhol Shot by Factory Actress Valerie Solanas Remember Me Or sign in with a social account: FACEBOOK GOOGLE + TWITTER YAHOO! Don't have an account yet? Sign Up › Connect. Discover. Share.

Get the most out of your experience with a personalized all-access pass to everything local on events, music, restaurants, news and more. Enter your email or sign up with a social account to get started FACEBOOK TWITTER GOOGLE+ YAHOO! Don't have an account yet? Sign Up › Andy Warhol Shot by Factory Actress Valerie Solanas Tuesday, May 4, 2010 at 6 a.m. Clip Job: an excerpt every day from the Voice archives. June 6, 1968, Vol. XIII, No. 34 The Shot That Shattered The Velvet Underground by Howard Smith It was an ordinary afternoon at The Factory, the huge, new loft on the north side of Union Square which is the center of the Warhol scene. Sun came in the windows and gleamed off the mirror-topped desks. Paul Morrissey, Warhol's executive producer, and Fred Hughes, an assistant, sat around talking with Mario Amaya, a visiting art magazine editor from London.

Suddenly the elevator doors opened and Andy Warhol walked into the loft with Valerie Solanis, a sometime write and super-woman-power advocate who had appeared in his film, "I, a Man." She had come by The Factory earlier in the afternoon looking for Warhol, and had waited for him outside in front of the building for three hours. They walked over to talk with Morrissey, Hughes, and Amaya. It was typical Factory small talk, Hughes recalled. "You still writing dirty books, Valerie?" he asked. Upcoming Events Tickets Mon., Jan. 23, 7:00pm Hughes wandered off, and Morrissey took off to the bathroom. Then the telephone rang, and Warhol went to answer it. While he spoke with Viva, the reigning superstar, Valerie Solanis pulled a .32 automatic out of the pocket of her trench coat. Warhol turned and saw the gun. "Valerie," he yelled. "Don't do it! No! No!" She fired three shots, and Warhol fell to the floor. Then she turned on Amaya, and shot him in the hip. Amaya fled to a back room in the loft and crashed through a door, breaking the latch with the impact.

She pursued him, and tried to force the door open while Amaya held it closed with his body. Morrissey, meanwhile had heard the shots and ran to watch her through the small projection window. She then turned and walked back to Hughes who, terrified, begged her not to shoot. "I have to shoot you," she told him. Hughes fell to his knees, pleading "You can't. I'm innocent." Just as she seemed about to shoot, the elevator doors opened again and distracted her. "She was very confused, very agitated," Hughes recalled. She turned back, pointing the gun at Hughes, who was still on his knees, pleading for his life, and then Valerie Solanis darted on the empty elevator and disappeared. Hughes called the police and an ambulance. Warhol lay on the floor, he said, still conscious and bleeding only slightly, but obviously in great pain. He seemed delirious, and cried "I can't! I can't!" Then photographer Billy Name came into the loft, saw Warhol, and went to him. Warhol heard him cry, but mistook it for laughter. "Billy," he said softly, "don't laugh.

Don't make me laugh." The police arrived, and finally the ambulance, and Warhol was taken to Columbia Hospital. "They thought he was dead at first," Morrissey said. But Warhol was alive, and was rushed to surgery, where a four-man team of doctors fought for five and a half hours to save him. Tuesday his condition was still listed as critical, and doctors gave him a 50-50 chance to live. While the doctors operated, friends, press, and superstars jammed the tiny lobby of the hospital. The press was voracious; the superstars responsive. In one corner Leo Castelli and Ivan Karp were being interviewed; in another, Viva and Gerard Malanga were being set up for photographs. Later, Warhol's mother, a tiny old woman wearing a babushka, was brought weeping out of the back room. Malanga and Viva went to comfort her, and a hospital attendant brought a wheelchair to take Mrs. Warhol, who has a heart ailment, outside to a waiting taxi. A flock of photographers struggled for front photographs, almost trampling the old woman in the process.

Then word arrived that Valerie Solanis had turned herself in to a rookie cop at Times Square, and some of the press rused to the 13th Precinct station, only a few blocks away, where she was to be booked. While she was being questioned upstairs, a battery of photographers stood poised for an hour in front of the door through which she would enter. Twenty other newsmen milled about the room. When she finally came through the door, her hands were cuffed behind her back, it was bedlam. Photographers climbed behind the booking desk, elbowing cops out of the way. While police tried to book her, she poised and smiled for photographers. It was impossible to book her; the clicking and whirring of the cameras drowned out the sound of her voice. The police gave in, and let the press interview her. She was responsive to the questions. When asked about a motive, she sad "I have a lot of very involved reasons. Read my manifesto and it will tell you what I am." After a few minutes, the police hustled the reporters out of the station and took her back to be booked in the fingerprint room. She was charged with felonious assault and possession of a deadly weapon.

Valerie Solanis's life revolved around her "manifesto," a 21-page mimeographed document entitled S.C.U.M., Society for Cutting Up Men. She was a manhater, not a lesbian, but consumed with a passionate loathing of men. All the passion was contained in the manifesto, which she sold to support herself by placing ads in The Voice and peddling it -- at $1 for men and 25 cents for women -- at coffeehouses and Max's Kansas City. "She was always known to be cold," said an acquaintance, "even within a pretty odd scene. But she was very friendly, very warm. All her hate was in her writing. In person, she was gentle, not aggressive at all." Yet, suddenly she turned savage, and people at The Factory searched for a motive. She was bitter, they said, because Warhol had refused for over a year to use a script that she had written. She also had at one time accused Warhol -- absurdly, his associates said -- of dubbing in over her voice in the film, "I, a Man." Neither clue seems sufficient to explain the horror that shattered the Velvet Underground.

[Each weekday morning, we post an excerpt from another issue of the Voice, going in order from our oldest archives. Visit our Clip Job archive page to see excerpts back to 1956.] Contact: Valerie Solanas (Writer) - Pics, Videos, Dating, & News Valerie Solanas Female Born Apr 9, 1936 Valerie Jean Solanas was an American radical feminist writer. She was abused in her family and went on to study psychology. She was best known for her attempted murder of Andy Warhol in 1968. She wrote the SCUM Manifesto, which urged women to "overthrow the government, eliminate the money system, institute complete automation and eliminate the male sex.… Read More related links Last Updated At 7:00 Pm On 20th August 2011 Daily Mail Google News - Aug 20, 2011 'Two days later, the woman â a radical feminist named <mark>Valerie Solanas</mark> â shot Andy Warhol, though he survived.

Bard liked to assign different types of people to different floors â musicians on the second, tourists on the third, people he wanted to' The Ex Girlfriend Experience: How Coming Apart Came Together Village Voice Google News - Aug 16, 2011 'Though influenced by Andy Warhol&#39;s head-game movies, and by <mark>Valerie Solanas</mark>&#39;s assassination attempt on Warhol just weeks before he began the script, Ginsberg says the real catalyst of his project was much more personal. Ginsberg recalls a troubled,' E Se Andy Warhol Non Fosse Poi CosÃ¬ Cattivo... Il Giornale Google News - Aug 11, 2011 'Come quella <mark>Valerie Solanas</mark> che gli sparÃ² a bruciapelo. E uccise Andy per la prima volta.

Solo il miracolo dei medici lo strappÃ² a un cardiogramma ormai piatto, riattivandogli la respirazione con un massaggio a cuore aperto' New Music: Scum â Whitechapel (Light Asylum Remix) The Guardian (Blog) Google News - Aug 10, 2011 'Since then the previously all-male band have enlisted Melissa Rigby on drums, thereby undermining their ironic name taken from the title of <mark>Valerie Solanas</mark>&#39;s feminist work, SCUM Manifesto. After a few years of procrastinating, they are finally ready to' Learn about the memorable moments in the evolution of Valerie Solanas. CHILDHOOD 1936 Birth Solanas was born in Ventnor City, New Jersey, to Louis Solanas and Dorothy Marie Biondo in 1936. … Read More Her father was a bartender and her mother, a dental assistant. She had a younger sister, Judith Arlene Solanas Martinez. Her father's parents were immigrants from Spain and her mother was Italian-American.<br /><br /> Solanas said that she regularly suffered sexual abuse at the hands of her father.

Her parents divorced when she was young, and her mother remarried shortly afterwards. Solanas disliked her stepfather and began rebelling against her mother, becoming a truant. As a child, she wrote insults for children to use on one another, for the cost of a dime. She beat up a boy in high school who was bothering a younger girl, and also hit a nun. Read Less TEENAGE 1949 13 Years Old Because of her rebellious behavior, her mother sent her to be raised by her grandparents in 1949. … Read More Solanas said that her grandfather was a violent alcoholic who often beat her. When she was 15, she left her grandparents and became homeless. Read Less 1953 17 Years Old In 1953, she gave birth to a son, fathered by a married sailor. … Read More The child, named David (later David Blackwell by adoption), was taken away from Solanas and she never saw him again.<br /><br /> Despite this, she graduated from high school on time and earned a degree in psychology from the University of Maryland, College Park, where she was in the Psi Chi Honor Society.

While at the University of Maryland, she hosted a call-in radio show where she gave advice on how to combat men. She was also an open lesbian, despite the conservative cultural climate of the 1950s.<br /><br /> She attended the University of Minnesota's Graduate School of Psychology, where she worked in the psychology department's animal research laboratory, before dropping out and moving to attend Berkeley for a few courses, when she began writing the SCUM Manifesto.<br /><br /> In the mid-1960s Solanas moved to New York City where she supported herself through begging and prostitution. Read Less TWENTIES 1965 29 Years Old In 1965 she wrote two works: an autobiographical short story called "A Young Girl's Primer on How to Attain the Leisure Class" and a play titled Up Your Ass, about a young prostitute. … Read More According to James Martin Harding, the play is "based on a plot about a woman who 'is a man-hating hustler and panhandler' and who... ends up killing a man" and is more a "provocation than...

a work of dramatic literature" and "rather adolescent and contrived." The short story was published in Cavalier magazine in July 1966. Up Your Ass remains unpublished. Harding described her as "an avant-gardist". Read Less THIRTIES Show Less In 1967, Solanas encountered Andy Warhol outside his studio, The Factory, and asked him to produce her play. … Read More He accepted the script for review and told Solanas that it was "well typed" and promised to read it. According to Factory lore, Warhol, whose films were often shut down by the police for obscenity, thought the script was so pornographic that it must have been a police trap. Solanas contacted Warhol about the script, and was told that he had lost it. He also jokingly offered her a job at the Factory as a typist. Insulted, Solanas demanded money for the lost manuscript.

Instead, Warhol paid her $25 to appear in his film, I, a Man.<br /><br /> In her role in I, a Man, she leaves the film's title character (played by Tom Baker) to fend for himself, explaining "I gotta go beat my meat" as she exits the scene. Solanas was satisfied with her experience working with Warhol and her performance in the film, and brought Maurice Girodias to see the film. Girodias described her as being "very relaxed and friendly with Warhol." Read Less Solanas also had a nonspeaking role in Warhol's film Bikeboy, in 1967. In 1967, Solanas self-published her best-known work, the SCUM Manifesto, a scathing critique of patriarchal culture.

… Read More The manifesto's opening words are: <br /><br /> Some authors have argued that the Manifesto is a parody of patriarchy and a satirical work and, according to Harding, Solanas described herself as "a social propagandist", but Solanas denied that the work was "a put on" and insisted that her intent was "dead serious." The Manifesto has been translated into over a dozen languages and is excerpted in several feminist anthologies. Read Less While living at the Chelsea Hotel, Solanas introduced herself to Maurice Girodias, the founder of Olympia Press and a fellow resident of the hotel. In August 1967, Girodias and Solanas signed an informal contract stating that she would give Girodias her "next writing, and other writings." … Read More In exchange, Girodias paid her $500. She took this to mean that Girodias would own her work. She told Paul Morrissey that "everything I write will be his.

He's done this to me He's screwed me!" Solanas intended to write a novel based around the SCUM Manifesto, and believed that a conspiracy was behind Warhol's failure to return the Up Your Ass script. She suspected that he was coordinating with Girodias to steal her work. Read Less Show Less On May 31, 1968, Solanas went to writer Paul Krassner to ask him for $50, which he loaned to her. … Read More Krassner later speculated that Solanas could have used the money to buy the gun she used to shoot Andy Warhol as the shooting was only three days later. Read Less According to an unquoted source in The Outlaw Bible of American Literature, on June 3, 1968, at 9:00 am, Solanas arrived at the Chelsea Hotel, where Girodias lived. … Read More She asked for him at the desk but was told he was gone for the weekend.

She remained for three hours before heading to the Grove Press, where she asked for Barney Rosset, who was also not available.<br /><br /> In her 2014 biography, Valerie Solanas, Breanne Fahs argues that it is unlikely that Solanas appeared at the Chelsea Hotel looking for Girodias. Fahs states that Girodias may have fabricated the account in order to boost sales of the SCUM Manifesto, which he had published. Fahs states that "the more likely story... places Valerie at the Actor's Studio at 432 West Forty-Fourth Street early that morning." Actress Sylvia Miles states that Solanas appeared at the Actor's Studio looking for Lee Strasberg, asking to leave her play for him. Miles said that Solanas "had a different look, a bit tousled, like somebody whose appearance is the last thing on her mind." Miles told Solanas that Strasberg would not be in until the afternoon. Miles said that she accepted a copy of the play from Solanas and then "... shut the door because I knew she was trouble.

I didn't know what sort of trouble, but I knew she was trouble." Read Less After a cursory evaluation, Solanas was declared mentally unstable and transferred to the prison ward of Elmhurst Hospital. Solanas appeared at the New York Supreme Court on June 13, 1968. … Read More Florynce Kennedy represented her and asked for a writ of habeas corpus, arguing that Solanas was being held inappropriately at Elmhurst. The judge denied the motion and Solanas returned to Elmhurst. On June 28, Solanas was indicted on charges of attempted murder, assault, and illegal possession of a gun. She was declared "incompetent" in August and sent to Matteawan State Hospital for the Criminally Insane. That same month, Olympia Press published the SCUM Manifesto with essays by Girodias and Krassner. Read Less 1969 33 Years Old In January 1969, Solanas underwent psychiatric evaluation and was diagnosed with chronic paranoid schizophrenia. … Read More In June, she was finally deemed fit to stand trial. She represented herself without an attorney and pleaded guilty to "reckless assault with intent to harm".

She was sentenced to three years in prison, with one year of time served.<br /><br /> The shooting of Warhol propelled Solanas into the public spotlight, prompting a flurry of commentary and opinions in the media. Robert Marmorstein, writing in The Village Voice, declared that Solanas "has dedicated the remainder of her life to the avowed purpose of eliminating every single male from the face of the earth." Norman Mailer called her the "Robespierre of feminism."<br /><br /> Ti-Grace Atkinson, the New York chapter president of the National Organization for Women (NOW), described Solanas as "the first outstanding champion of women's rights" and as "a 'heroine' of the feminist movement", and "smuggled manifesto... out of the mental hospital where Solanas was confined." According to Betty Friedan, the NOW board repudiated Atkinson. Atkinson left NOW and started another feminist organization.

According to Friedan, "the media continued to treat Ti-Grace as a leader of the women's movement, despite its repudiation of her." Read Less 1971 35 Years Old After Solanas was released from the New York State Prison for Women in 1971, she stalked Warhol and others over the telephone and was arrested again in November 1971. … Read More She was subsequently institutionalized several times and then drifted into obscurity.<br /><br /> The attack had a profound impact on Warhol and his art, and security at the Factory scene became much stronger afterward. For the rest of his life, Warhol lived in fear that Solanas would attack him again. "It was the Cardboard Andy, not the Andy I could love and play with," said close friend and collaborator Billy Name. "He was so sensitized you couldn't put your hand on him without him jumping. I couldn't even love him anymore, because it hurt him to touch him." Read Less FORTIES Show Less Solanas may have intended to write an eponymous autobiography. In a 1977 Village Voice interview, she announced a book with her name as the title.

… Read More The book, possibly intended as a parody, was supposed to deal with the conspiracy which led to her imprisonment. Read Less In a corrective 1977 Village Voice interview, Solanas said the book would not be autobiographical other than a small portion and that it would be about many things, include proof of statements in the manifesto, and "deal very intensively with the subject of bullshit", but she said nothing about parody. … Read More In the mid-1970s, in New York City, according to Heller, Solanas was "apparently homeless", "continued to defend her political beliefs and the SCUM Manifesto", and "actively promoted" her own new Manifesto revision.<br /><br /> Ultra Violet, according to her somewhat unreliable report, interviewed her. Solanas was then known as Onz Loh. Solanas stated that the August 1968 version of the manifesto had many errors, unlike her own printed version of October 1967, and that the book had not sold well. She also said that, until told by Violet, she was unaware of Andy Warhol's death.

Read Less FIFTIES Warholstars Condensed 17 Valerie Solanas and Tom Baker in I, A Man For updated information about Valerie Solanas see " Valerie Solanas ." Valerie Jean Solanas was born on April 9, 1936 in New Jersey. Although her last name is sometimes spelled Solanis in Warhol biographies, it is the Solanas spelling that appears on her death certificate and is also the spelling used by her sister. As a child, Valerie was repeatedly molested by her father. When she was fifteen years old she became pregnant and was kicked out of high school. She went to live with a family in Washington called the Blackwells during her pregnancy. Her son, David, was born on March 31, 1953 and the Blackwells raised him as their own. Valerie returned to high school and never saw her son again. After high school she studied psychology at the University of Maryland and graduated with honours. (FM36) After college, she eventually ended up in Greenwich Village in New York in 1966, supporting herself through prostitution and panhandling.

She wrote a play called Up Your Ass and submitted it to Warhol in early 1967. Although Warhol loved the title of the play, he thought it was "so dirty" that Valerie might be a cop trying to entrap him. (POP271) Warhol lost the play and when Solanas started demanding money for it, Andy suggested she appear in his film I, a Man and earn some money, which she did. Andy Warhol: "When I finally admitted to her that it [Up Your Ass] was lost, she started asking me for money. She was staying at the Chelsea Hotel, she said, and she needed the money to pay her rent. One afternoon in September when she called, we were in the middle of shooting a sequence for I, a Man, so I said why didn't she come over and be in the movie and earn twenty-five dollars instead of asking for a handout. She came right over and we filmed her in a short scene on a staircase and she was actually funny and that was that." (POP271) Although Warhol refers to I, a Man as being filmed in September, it was actually filmed earlier.

The first version of the film, which was 99 minutes long, opened at the Hudson Theatre prior to September on August 24, 1967. The uncut footage was also shown as part of Warhol's 25 hour movie, **** (Four Stars) which was shown on December 15-16, 1967. A 110 minute version of I, a Man was playing at the beginning of 1968 at the Cinematheque-16 in Los Angeles. (FAW30) In 1967 Solanas also self-published her SCUM manifesto. When she was interviewed in late 1967/early 1968 by Robert Mamorstein for the Village Voice, she called Warhol a "son of a bitch," saying that "A snake couldn't eat a meal off what he paid out." She told the interviewer that, in addition to the SCUM manifesto, she had written a few sex novels and was paid $500.00 for one.

(Although the interview was done earlier, it did not appear in print until June 1968 - after Warhol was shot.) Valerie had signed a contract with publisher Maurice Girodias for an autobiographical novel, but when she was unable to come up with the goods, she convinced him to publish the SCUM manifesto instead. (FM352) When she later read the contract carefully, she was convinced that she had signed away the rights to all future works to him. On June 3, 1968, Solanas arrived at Warhol's Union Square offices and was told that Andy was not there. He was doing some errands that morning and had not yet arrived at work. One of Warhol's errands that morning was to collect a prescription for Obetrol which he had been taking on a regular basis for the past five years. While many of his stars were taking illegal 'speed', Warhol had managed to obtain a regular prescription from his doctor for pharmaceutical speed in the form of Obetrol (amphetamine) which was also popular with street dealers because of its purity. (POP33) Warhol took it regularly until he was shot.

He stopped taking it while recuperating, and then switched to Dexamyl. Dexamyl was a combination of amphetamine ('speed') and a barbiturate ('downer') that was known as a 'purple heart' among street dealers. After Andy died in 1987, Brigid Berlin told Bob Colacello that "Andy took one or two Obetrols every day until he died," although she may have been confusing Dexamyl and Obetrol. (BC50) Although some people blamed Warhol for the drug addictions of his superstars, there is only one record of him giving any of them drugs from his own supply. When Patrick Smith interviewed Ondine in 1978 for a book he was writing on Warhol, Ondine told him that Warhol gave him drugs at the beginning of the marathon 24 hour tape recording session that took place on July 30, 1965 and was the basis for the book A: A Novel by Andy Warhol.

Ondine: "At the start of A, Andy and I are having a snecken in a restaurant called Starkee's on Lexington Avenue (in the 50s), but who walks in but David Whitney... And Andy hands me four pills immediately. He takes them from his bottle of speed, and the said, 'How many do you want?' and I said, 'Oh, I'll take them all.' He said 'On Ondine!... How could you possibly?' I said, 'You swallow them, and, then, you have a snecken. And then everything is all right'... but I managed to take 100 milligrams right there, and he said, 'Oh! My eyeballs would be... you can't!' And I said, 'Oh, you have to.' He said, 'Well, here we go.' And that 's how the book started." (PS440) to JULY 30, 1965: ANDY WARHOL RECORDS ONDINE Three years later Warhol was still taking Obetrol.

After picking up his prescription on June 3, 1968 and finishing other errands, he finally arrived at his Union Square office at approximately 4:15 pm., only to be met by Valerie Solanas who was still waiting outside after nearly two hours. Jed Johnson arrived at the same time, carrying a bag of fluorescent lights he had just purchased at a hardware store. (POP270) Valerie joined the two of them in the elevator. Warhol noticed something highly unusual about her appearance - she was wearing make-up. Andy Warhol: "It was a very hot day, and as Jed, Valerie, and I waited for the elevator, I noticed that she was wearing a fleece-lined winter coat and a high turtleneck sweater, and I thought how hot she must be - although, surprisingly, she wasn't even sweating. She was wearing pants, more like trousers (I'd never seen her in a dress), and holding a paper bag and twisting it - bouncing a little on the balls of her feet.

The I saw that there was something even more odd about her that day: when you looked close, she'd put on eye makeup and lipstick." (POP272) Inside the Union Square offices (sometimes referred to as the Union Square Factory), the editor of Art & Artist's magazine, Mario Amaya, was waiting for Warhol to discuss an upcoming retrospective in London. After getting off the elevator, Jed retired into Warhol's private office and Andy took over a telephone call from Viva while Paul Morrissey, who had previously been talking to her, went to the bathroom. Viva was calling from Kenneth's Hair Salon where she was having her hair dyed red for a forthcoming appearance in John Schlesinger's film, Midnight Cowboy. After a few moments of conversation, Warhol handed the phone to Fred Hughes who was also in attendance. Valerie pulled out a .32 automatic from her paper bag and fired at Andy twice. He fell to the floor and attempted to crawl under a desk. She fired a third time and the bullet entered his right side and went straight through him, coming out the left side of his back.

Warhol later told his friends that "It hurt so much, I wished I was dead." (BC) She then turned her attention to Mario Amaya, fired another shot at him, missed, and then aimed again. Her second shot wounded him just above the hip but did not cause serious damage. She then pointed the gun at Fred Hughes who pleaded with her to leave. She pressed the elevator call button and then returned to shoot him. The gun jammed so she pulled out a back-up gun - a .22 caliber from the paper bag, but the elevator arrived and she left. When the ambulance arrived nearly thirty minutes later, both Mario and Andy were taken in it to Columbus Hospital on 19th Street between 2nd and 3rd Avenue. In the ambulance, the driver told Mario that sounding the siren would cost five dollars extra. Mario replied "Go ahead and sound it. Leo Castelli will pay." (DD75) At the hospital, Warhol was pronounced clinically dead. Valerie's bullet went through his lung, then ricocheted through his oesophagus,gall bladder, liver, spleen, and intestines before exiting his left side, leaving a large hole.

The doctors managed to revive him and operated for 5 1/2 hours, removing his spleen. Warhol was in critical condition but survived. At approximately 8:00 pm, Valerie walked up to a traffic cop near Times Square and surrendered. Later, when questioned as to why she did it, she replied "I just wanted him to pay attention to me. Talking to him was like talking to a chair." (BC32) She was arrested and later taken to Bellevue Hospital for psychiatric examination. While Warhol recuperated from his gun wounds, Paul Morrissey took over Warhol's filmmaking duties with a new project that starred Joe Dallesandro as a hustler, appropriately titled...

Question: Which artist did Valerie Solanas shoot and wound in New York in 1968?
Answer: Andy Warhol