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. Warholian | Article about Warholian by The Free Dictionary Warholian | Article about Warholian by The Free Dictionary Also found in: Dictionary , Thesaurus . Warhol, Andy, 1928–87, American artist and filmmaker, b. Pittsburgh as Andrew Warhola. The leading exponent of the pop art pop art, movement that restored realism to avant-garde art; it first emerged in Great Britain at the end of the 1950s as a reaction against the seriousness of abstract expressionism. ..... Click the link for more information.

movement and one of the most influential artists of the late 20th cent., Warhol concentrated on the surface of things, choosing his imagery from the world of commonplace objects such as dollar bills, soup cans, soft-drink bottles, and scouring-pad boxes. He is variously credited with ridiculing and celebrating American middle-class values by erasing the distinction between popular and high culture. Monotony and repetition became the hallmarks of his multi-image, mass-produced silk-screen paintings: for many of these, such as the portraits of Marilyn Monroe and Jacqueline Kennedy, he employed newspaper photographs. He and his assistants worked out of a large New York studio dubbed the "Factory." In the mid-1960s Warhol began making films, suppressing the personal element in marathon essays on boredom. For The Chelsea Girls (1966), a largely improvised, voyeuristic look at life in New York's Chelsea Hotel, he also employed split-screen projection techniques that diverged from established methods. Among his later films are Trash (1971) and L'Amour (1973). With Paul Morrissey, Warhol also made the films Frankenstein (1974) and Dracula (1974).

In 1973, Warhol launched the magazine Interview, a publication centered on his fascination with the cult of the celebrity. He died from complications following surgery. The Andy Warhol Museum, which exhibits many of his works, opened in Pittsburgh in 1994. Bibliography See his autobiographies (1969 and 1971); K. Goldsmith, ed., I'll Be Your Mirror: The Selected Andy Warhol Interviews, 1962–1987 (2004); C. Ratcliff, Andy Warhol (1983); D. Bourdon, Warhol (1989); V. Bockris, Life and Death of Andy Warhol (1989); B. Colacello, Holy Terror (1990); W. Koestenbaum, Andy Warhol (2001); S. Watson, Factory Made: Warhol and the Sixties (2004); D. Dalton and T. Scherman, Pop: The Genius of Andy Warhol (2009); A. C. Danto, Andy Warhol (2009).

Warhol, Andy (b. Andrew Warhola) (1928–87) painter, filmmaker; born in Pittsburgh, Pa. A founder of the pop art movement of the 1960s, he studied at the Carnegie Institute of Technology, Pittsburgh (1945–49) and by 1950 had settled in New York City working as a commercial artist. By 1957 he began his series of silkscreen paintings based on comic strips, advertisements, and newspaper photos of public personalities; by 1961 his painted replicas of Campbell's Soup cans made him into a celebrity, and from then on his works and words ("In the future everyone will be famous for 15 minutes.") kept him constantly in the headlines although he cultivated an image that was both elusive and evasive. Much of his work was collaborative and produced in a loft called "the Factory." He also turned to making underground films such as Chelsea Girls (1966), deliberately coarse amalgams of sexuality and banality; these were coproduced and primarily directed by Paul Morrissey. In 1968 Warhol was shot and wounded by Valerie Solanis, who had appeared in his films.

In 1969 he began to publish Interview, a magazine of fashion news and gossip. He then embarked on his serial portraits of international personalities, becoming extremely rich from selling silkscreen multiples of such as Mao Zedong (1974). He amassed a fabulous collection of antiques and collectibles (such as cookie jars), auctioned after his death for a small fortune. Said to have been a devout Catholic, he remained personally enigmatic despite his years in the public spotlight. Andy Warhol dies (the first time) June 3, 1968 - The Shooting of Andy Warhol Viva and Andy Warhol's mother after the shooting 11:00 am Andy Warhol and Fred Hughes talk on the phone. Fred tells him how he was mugged the night before on 16th Street coming home from Maxs. 2:30 pm Valerie Solanas goes to the Factory (33 Union Square West) and is told Warhol is out. She thinks that he is conspiring against her with Maurice Girodias, publisher of Olympia Press. (UV170/171). She leaves and waits outside near 16th Street.

(L&D296/7) She had once brought a script to the Factory for Andy to read called 'Up Your Ass'. Warhol looked through it briefly and it was so dirty, he .thought she might be working for the police department and that this was some kind of entrapment. When Warhol admitted to losing the script, Solanas started asking for money. Andy Warhol (via Pat Hackett in POPism): One afternoon when she [Valerie Solanas] 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) 4:15 pm Warhol arrives at the Factory in a cab, wearing a brown leather jacket over a black t-shirt , black jeans and black Beatle (Chelsea) boots.

(L&D296) Previously, he had picked up a prescription for Obetrol, then browsed at Bloomingdales, and had also rung the bell of Miles White, the costume designer, who lived on East 55th Street, but he wasnt home. (POP270/DD71)When Andy arrives outside the Factory, his boyfriend Jed Johnson approaches from 17th and Broadway carrying some fluorescent lights. Valerie Solanas joins them and all three enter the building. While waiting for the elevator, Warhol notices that Valerie is wearing a thick turtleneck sweater underneath a trenchcoat on a hot summer day. Even stranger, she has on mascara and lipstick even though as a die-hard feminist she never wears make-up. Warhol also notices that she is bouncing slightly on the balls of her feet, twisting a brown paper bag in her hands." Upstairs, Fred Hughes is sitting at his desk writing a memo, Paul Morrissey is talking to Viva on the phone who is ringing him from Kenneths Hair Salon where she is having her hair dyed in preparation for her role in John Schlesingers film Midnight Cowboy.

Art critic and curator, Mario Amaya, is waiting for Andy in order to discuss an upcoming retrospective in London. When Warhol, Jed and Valerie arrive, Paul leaves the office to go to the bathroom, leaving Andy to talk to Viva. (L&D) Jed goes into Warhol's private office in the rear corner of the room. Andy signals to Fred Hughes to take over the conversation with Viva.Valerie Solanas takes a .32 automatic from the paper bag and fires a shot. Viva hears the shot over the phone but thinks it is somebody cracking a whip left over from theVelvet Underground days. Andy screams "No! No! Valerie! Dont do it!" She fires a second time. He falls to the floor and tries to crawl under a desk. She fires a third time. The bullet enters Andys right side and goes straight through him, coming out the left side of his back. Warhol later tells friends "It hurt so much, I wished I was dead." Thinking that she has killed Warhol, Solanas turns to Mario Amaya who is crouching on the floor and fires a fourth shot at him. She misses so she shoots again, hitting him slightly above the hip.

The bullet goes through him without damaging any organs, exiting from his back. He gets up and runs into the back room, using the weight of his bleeding body to hold the doors shut. Valerie Solanas points the gun at Fred Hughes who begs her not to shoot him. Im innocent, he protests. Please, just leave. She walks over to the elevator and presses the button then returns to him, aiming at his forehead with the gun. She pulls the trigger, but it jams. She grabs a back up gun, a .22 caliber from the paper bag but the elevator arrives and she leaves. As soon as she leaves, Fred Hughes calls for an ambulance and the police. The phone rings. It is Viva, still at the hairdresser's, wondering what is going on. Fred tells her that Valerie just shot Andy and that there is blood everywhere, then hangs up the phone. Viva, thinking it is a joke, decides to have her hair trimmed before having it dyed. She tells the hairdresser to charge it to United Artists. Gerard Malanga arrives at the Factory with Angus Maclise two or three minutes after the shooting.

Gerard was preparing a one man show at the Cinematheque and was picking up money from Andy to pay for a film announcement. The scene at the Factory was "total mayhem." (GM193) Warhol lies bleeding on the floor with Billy Name leaning over him crying, while they wait for the ambulance to arrive. (POP273) 4:35 pm The ambulance arrives at the Factory. Instead of bringing a stretcher, the attendants arrive with a wheelchair to carry Warhol out. Andy: "I thought that the pain I'd felt lying on the floor was the worst you could ever feel... but now that I was in a sitting position, I knew it wasn't." (DD75) The ambulance takes away both Warhol and the wounded Mario Amaya. The driver tells Mario that "if we sound the siren, it'll cost five dollars extra." Mario replies "Go ahead and sound it. Leo Castelli will pay." (DD75) 4:45 pm Andy Warhol arrives by ambulance at the emergency room of Columbus Hospital on 19th Street between Second and Third avenue.

(POP274) 4:51 pm Andy Warhol is pronounced clinically dead. The doctors cut open his chest and massage his heart. They are amazed by the damage caused by the bullet which went through his lung, then ricocheted through his oesophagus,gall bladder, liver, spleen, and intestines before exiting his left side, leaving a large hole. He is dead for 1 1/2 minutes before they revive him. They operate for five and a half hours, removing his spleen. He is in critical condition, but survives. 8:00 pm Valerie Solanas walks up to rookie traffic cop, William Shemalix and says The police are looking for me and want me. She hands the guns over to the cop saying that she had shot Andy Warhol because he had too much control of my life. (L&D296/03) She is arrested and sent to Bellevue Hospital for psychiatric examination, then to Elmhurst General in Queens. She is initially held without bail but eventually her bail is set at $10,000.

(UV186) Valerie Solanas: "I just wanted him to pay attention to me. Talking to him was like talking to a chair." (BC32) Footage of Valerie Solanas being led from court to jail ( ) 9:00 pm Fred Hughes and Jed Johnson are released from the 13th Precinct police station where the police had been questioning them. Fred later tells Andy: They questioned us until about nine oclock that night. They told us we were material witnesses, and I was so naive I didn't realize that that meant they were holding us as suspects... until after they booked Valerie, I guess. (POP278) Fred Hughes: About eight plains clothes detectives came up, and they were running all over the place... like the Keystone Kops... and after theyd been poking around for at least two hours - every drawer in every cabinet was pulled out - I saw a paper bag sitting right on top of the desk where you [Andy] were shot...

in this paper bag was another gun, Valeries address book, and a Kotex pad! (POP279) Ivy Nicholson 1965 While Andy is recuperating in the hospital, Ivy Nicholson, (Batman Dracula/Couch/The Thirteen Most Beautiful Women/****/The Loves of Ondine/I, A Man),a tall beautiful model, sometime actress, and mother of four children, threatens to kill herself if Andy dies, thinking that Andy will marry her. Louis Waldon (Nude Restaurant/Lonesome Cowboys/Blue Movie) takes her home and keeps an eye on her while she calls the hospital every ten minutes, ready to jump at the fatal word. (UV173) In a telephone conversation to Andy while he is still in the hospital, Ultra Violet asks him How do you explain it all?

Why were you the one to get shot? He replies, I was in the wrong place at the right time. (UV178) Andy worhol | Article about Andy worhol by The Free Dictionary Andy worhol | Article about Andy worhol by The Free Dictionary Also found in: Dictionary , Thesaurus , Wikipedia . Warhol, Andy, 1928–87, American artist and filmmaker, b. Pittsburgh as Andrew Warhola. The leading exponent of the pop art pop art, movement that restored realism to avant-garde art; it first emerged in Great Britain at the end of the 1950s as a reaction against the seriousness of abstract expressionism. ..... Click the link for more information. movement and one of the most influential artists of the late 20th cent., Warhol concentrated on the surface of things, choosing his imagery from the world of commonplace objects such as dollar bills, soup cans, soft-drink bottles, and scouring-pad boxes. He is variously credited with ridiculing and celebrating American middle-class values by erasing the distinction between popular and high culture.

Monotony and repetition became the hallmarks of his multi-image, mass-produced silk-screen paintings: for many of these, such as the portraits of Marilyn Monroe and Jacqueline Kennedy, he employed newspaper photographs. He and his assistants worked out of a large New York studio dubbed the "Factory." In the mid-1960s Warhol began making films, suppressing the personal element in marathon essays on boredom. For The Chelsea Girls (1966), a largely improvised, voyeuristic look at life in New York's Chelsea Hotel, he also employed split-screen projection techniques that diverged from established methods. Among his later films are Trash (1971) and L'Amour (1973). With Paul Morrissey, Warhol also made the films Frankenstein (1974) and Dracula (1974). In 1973, Warhol launched the magazine Interview, a publication centered on his fascination with the cult of the celebrity. He died from complications following surgery. The Andy Warhol Museum, which exhibits many of his works, opened in Pittsburgh in 1994. Bibliography See his autobiographies (1969 and 1971); K.

Goldsmith, ed., I'll Be Your Mirror: The Selected Andy Warhol Interviews, 1962–1987 (2004); C. Ratcliff, Andy Warhol (1983); D. Bourdon, Warhol (1989); V. Bockris, Life and Death of Andy Warhol (1989); B. Colacello, Holy Terror (1990); W. Koestenbaum, Andy Warhol (2001); S. Watson, Factory Made: Warhol and the Sixties (2004); D. Dalton and T. Scherman, Pop: The Genius of Andy Warhol (2009); A. C. Danto, Andy Warhol (2009). Warhol, Andy (b. Andrew Warhola) (1928–87) painter, filmmaker; born in Pittsburgh, Pa.

A founder of the pop art movement of the 1960s, he studied at the Carnegie Institute of Technology, Pittsburgh (1945–49) and by 1950 had settled in New York City working as a commercial artist. By 1957 he began his series of silkscreen paintings based on comic strips, advertisements, and newspaper photos of public personalities; by 1961 his painted replicas of Campbell's Soup cans made him into a celebrity, and from then on his works and words ("In the future everyone will be famous for 15 minutes.") kept him constantly in the headlines although he cultivated an image that was both elusive and evasive. Much of his work was collaborative and produced in a loft called "the Factory." He also turned to making underground films such as Chelsea Girls (1966), deliberately coarse amalgams of sexuality and banality; these were coproduced and primarily directed by Paul Morrissey. In 1968 Warhol was shot and wounded by Valerie Solanis, who had appeared in his films. In 1969 he began to publish Interview, a magazine of fashion news and gossip.

He then embarked on his serial portraits of international personalities, becoming extremely rich from selling silkscreen multiples of such as Mao Zedong (1974). He amassed a fabulous collection of antiques and collectibles (such as cookie jars), auctioned after his death for a small fortune. Said to have been a devout Catholic, he remained personally enigmatic despite his years in the public spotlight. Andy Warhol — Collections — Walker Art Center Male Holdings (108) 5 paintings, 1 multiple, 1 drawing, 6 books, 72 edition prints/proofs, 9 sculptures, 1 internet art, 5 posters, 3 photographs, 1 videotapes/videodisc, 4 Wikipedia About Andy Warhol Andy Warhol (August 6, 1928 – February 22, 1987) was an American artist who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture and advertisement that flourished by the 1960s. After a successful career as a commercial illustrator, Warhol became a renowned and sometimes controversial artist.

The Andy Warhol Museum in his native city, Pittsburgh, Pennsylvania, holds an extensive permanent collection of art and archives. It is the largest museum in the United States of America dedicated to a single artist. Full Wikipedia Article essay Andy Warhol, Walker Art Center Collections, 2005 Today, Andy Warhol’s name is as widely recognizable as those of Marilyn, Elvis, Jackie, Liz, Campbell’s Soup, and Coke, some of his most famous subjects. For many people, the name Warhol is also synonymous with glamour, fame, hucksterism, money, and all the excesses of postwar American consumer culture. His life traces the classic American dream: he was born in Pittsburgh to working-class immigrant parents, and built a successful career in the 1950s as a New York commercial artist. He reinvented himself in the 1960s as a Pop painter and avant-garde filmmaker, then transcended the art world to become a wealthy international celebrity who was pursued by groupies and paparazzi.

Warhol’s work, too, transgressed categories and pushed at the boundaries that defined what art could be, ultimately transforming the aesthetic landscape through the unlikely agency of trashy, offhand films and deadpan paintings of banal subjects. Many of his works were made by committee, with the artist directing a band of cronies in the studio he called the Factory. Critic Edmund White called him a “brilliant dumbbell,” 1 and he was not alone in wondering if Warhol’s success was attributable to a serendipitous combination of intuition, timing, savvy, and ambition more than simply to native intelligence and talent. But the artist insisted there was no mystery. “If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There’s nothing behind it.” 2 Warhol had his first New York solo exhibition in 1962 at the Stable Gallery. The eighteen works presented gave viewers a look at what would become his signature devices: a compositional structure based on the grid, and the use of silkscreen to apply photographic imagery to his canvases.

The grid had figured in his earlier pictures of airmail stamps and S&H Green Stamps, but these were “painted” using stencils cut from balsa wood or rubber stamps carved out of gum erasers. Warhol first used photo-silkscreening for Baseball (1962), a repeating grid of news photos showing Roger Maris hitting a home run. Subsequently, he relied on newspaper photos as well as celebrity head shots, advertisements, comics, and all manner of found images as sources for his pictures, and silkscreening was a quick, inexpensive, and accurate way to transfer them onto canvas. The smudges, missed alignments, and inconsistencies were always accepted, and give the works a handmade appearance despite the industrial process. There are clear connections between these works and Jasper Johns’ flags, targets, and alphabet grids, and Robert Rauschenberg’s embrace of newspaper imagery, 3 but Warhol had found his own very modern voice by privileging mechanical techniques and serial imagery over the gestural brushwork and personal content favored by Johns and Rauschenberg.

Repetition as a condition of modern life is perhaps most pervasive in the mass media, where iconic images, faces, and slogans appear again and again and again, moving from print to television to billboards, changing scale and color, being copied, cropped, degraded, and enhanced—but always remaining the same. Warhol brilliantly exploited this monotonous barrage, lining images up so that the profusion could be understood, then freezing them in place. The melancholy, black-and-blue Sixteen Jackies (1964) quotes from the incessant television coverage of President John F. Kennedy’s assassination in 1963, after which footage of the same events (inauguration, motorcade, funeral) was repeated for weeks. The Jackie canvases followed other death and disaster series, including the Car Crashes, Suicides, Electric Chairs, and Race Riots, which were based on photos from tabloids and movie magazines. Even his Marilyns, painted after her death, might be seen as portraits of a suicide. Perhaps Warhol was attempting with these pictures to quiet his own purported fear of death through familiarity and repetition.

“When you see a gruesome picture over and over again, it doesn’t really have any effect,” he told an interviewer in 1963. 4 In 1964, when Sixteen Jackies was painted, Warhol’s Factory was in full swing, populated each day with various assistants, friends, visitors, and hangers-on. Many were there to work on his films, a medium with which he was becoming increasingly involved; others helped him produce the paintings and sculptures. Some of these were on view in his second solo show at the Stable Gallery, in early 1964, which featured a profusion of grocery-carton sculptures—hand-painted and silkscreened facsimiles of boxes for Brillo soap pads, Kellogg’s Corn Flakes, Heinz Ketchup, and other products. Warhol stacked the boxes in towers so that the gallery resembled the back room of a supermarket, and priced them inexpensively at $200 to $400 each.

5 They sold poorly, but the show was a critical success, and the boxes—quintessential Pop objects—have become an important part of a larger conversation about appropriation that begins in the 1910s with Duchamp’s “readymades,” includes Johns’ painted bronze beer cans of 1960, and continues into the 1980s, when Richard Prince rephotographed magazine advertisements. In 1968 Warhol was shot and nearly killed by Valerie Solanis, a sometime Factory denizen and actress who had had a bit part in one of his films. Most observers mark the event as a turning point in his work as well as his life. Post-shooting, he hired himself out as a portraitist to the rich and famous, turning out idealized likenesses based on his own Polaroids rather than the mass-media images he’d used during the previous decade. He produced new images of Marilyn, Mao, and others, but in negative (the Reversals), and began sprinkling glittery diamond dust (a powder obtained during the manufacture of industrial diamonds) on his canvases.

6 Toward the end of the 1970s, he returned to self-portraiture, but the blank cool of his 1960s canvases is gone; the late self-portraits include haunting images of Warhol’s disembodied head, with gaunt face and fright wig, floating on dark fields of color; expressionistic memento mori featuring a human skull; and poignant photographs of the artist in skewed drag, wearing provisional makeup and cheap wigs and looking very mortal indeed. Finally, Warhol turned to abstraction—Warhol, whose soup cans and Marilyns had helped end the dominance of Abstract Expressionism, and whom de Kooning had accused of killing art, beauty, and even laughter. 7 The Oxidation, Shadow, Rorschach, and Camouflage series of the late 1970s and 1980s approach the sublime in spite of banal sources and abject materials. The majestic, phantom Shadows were based on photographs of dramatically lit pieces of paperboard, and the Oxidations are canvases prepared with copper metallic paint on which the artist and others urinated, turning piss into cash in an alchemical revision of Action Painting.

Warhol’s immense body of work includes thousands of paintings, sculptures, drawings, prints, films, photographs, multiples, and books—a cornucopia whose bounty hasn’t dimmed the appetite or enthusiasm of his public. Increasingly, he seems a crucial part of our focus on the proliferation of images and spectacle in contemporary culture, and the increasing overlap of art, consumption, entertainment, and information. Warhol understood long ago that the distinction among these realms would not hold. “I believe media is art,” he said, and he made it so. 8 Quoted in Arthur C. Danto, “The Philosopher as Andy Warhol,” in Callie Angell et al., The Andy Warhol Museum (New York: D.A.P., 1994), 81. ↩ From a 1967 interview, quoted in Kynaston McShine, Andy Warhol: A Retrospective, exh. cat. (New York: Museum of Modern Art, 1989), 457. ↩ Rauschenberg was unfamiliar with the photo-silkscreening technique when he visited Warhol’s studio in September 1962.

After querying Warhol about it, Rauschenberg began using it himself the following month. Warhol was dismayed, fearing that he would be accused of stealing the idea from the older, better-known artist. See Walter Hopps and Susan Davidson, eds., Robert Rauschenberg: A Retrospective, exh. cat. (New York: Solomon R. Guggenheim Museum, 1997), 561, and David Bourdon, Warhol (New York: Harry N. Abrams, 1989), 131–132. ↩ Interview with G. R. Swenson, quoted in Bourdon, Warhol, 142. ↩ Ibid., 186. ↩ Ibid., 380. The Walker’s collection includes an example of the latter: Diamond Dust Joseph Beuys (1980). ↩ Danto, “The Philosopher,” 77–78. ↩ Quoted in Christoph Heinrich, Andy Warhol Photography, Candace Breitz, ed., exh. cat. (Hamburg: Hamburg Kunsthalle; Pittsburgh: Andy Warhol Museum, 1999), 6. ↩ Rothfuss, Joan.

“Andy Warhol.” In Bits & Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections, edited by Joan Rothfuss and Elizabeth Carpenter. Minneapolis, MN: Walker Art Center, 2005. © 2005 Walker Art Center PDF biography Andy Warhol, Let’s Entertain: Life’s Guilty Pleasures Walker Art Center, 2000 A multimedia artist avant la lettre, Andy Warhol was painter, printer, filmmaker, magazine founder, and all-around media star from the early 1960s until his death in 1987. The seminal progenitor of American Pop Art and purveyor of the glamorous celebrity lifestyle uttered the now-clichéd statement, “In the future, everyone will be famous for fifteen minutes.” With this simple utterance, Warhol captured the volatile mix of desire, artifice, glamour, fickleness, and information overload that would define our celebrity-obsessed culture. His celebrated silkscreen paintings were often serialized portraits of rich, famous, and sometimes tragic figures of music, screen, and popular culture–such as Marilyn Monroe, Elizabeth Taylor, Elvis Presley, and Jackie Kennedy.

In his Factory of the late 1960s and early 1970s, he created “superstars” with that “It” quality that separated them from the ordinary. He made films that starred his creations, including Poor Little Rich Girl with Edie Sedgwick and Sleep with John Giorno. Taking part in all areas of the creative world, mainstream and underground, he was involved in the 1960s underground music scene with his musical protégés the Velvet Underground and was also instrumental in the success of Studio 54, the disco-era New York club that became the archetypal high-profile celebrity hangout. While helping to highlight, define, and foster America’s obsession with the rich and famous, in 1969 Warhol also created a vehicle to both critique and celebrate that culture: Interview magazine. He also made a number of forays into television. Apart from appearing, as himself, in popular television series such as Love Boat, he also hosted two cable programs in the 1980s: Andy Warhol’s TV and Andy Warhol’s Fifteen Minutes.

The episodes included in this exhibition feature segments with artists Eleanor Antin and Yoko Ono, musicians The Ramones and Debbie Harry, and filmmaker John Waters and his star Divine, among many others. Warhol was the pioneer who paved the way for such current celebrity media outlets as E! Entertainment Television and In Style magazine. In addition, he has had an extraordinary influence on many of the artists in this exhibition. Andy Warhol biography from Let’s Entertain: Life’s Guilty Pleasures, Walker Art Center, 2000. Decade I Shot Andy Warhol Reviews & Ratings - IMDb IMDb 34 out of 46 people found the following review useful: An truely honest portrayal from Blue Mountains, Australia 22 February 2004 This is the best film I've seen, not only about the shooting of Andy Warhol by Valerie Solanis, but about the whole factory scene full stop. The film doesn't try to get a message across, it paints a picture of what actually happened.

It shows that Valerie Solanis, although intelligent and mistreated, was above all a psychopath and it shows that probably Andy Warhol and definitely the rest of the factory did not really care about Valerie or for that matter, feminism at all. This film does sort of come off for some reason as being pro-feminism, which is a good thing, but it doesn't try to hide the wrong doings of Valerie Solanis. Highly recommended. Was the above review useful to you? 15 out of 21 people found the following review useful: Intelligent Treatment Of True-Life Attempt On Warhol's Life from London, England 28 December 1998 Lili Taylor is astonishingly good as the bright but highly-disturbed woman who tried to kill the celebrated non-artist. We see the story told in dislocated flashback as the would-be assassin Valerie Solanis is arrested and interviewed after the shooting. Home movie footage is poignantly interleaved with Valerie's matter-of-fact admissions. Having been abused as a child, and sexually promiscuous before puberty, Solanis developed a strong antipathy towards men during her student years at the University of Maryland. She financed her degree course by means of prostitution.

The film shows her living rough in New York City between 1966 and 1968, begging, soliciting for sex and performing radical street theatre. She is drawn into the twilight world of Warhol's 'court' of phoneys and hangers-on, a disturbed New York wise-ass who demands recognition but who will never be taken seriously by these Beautiful People. Jared Harris plays Warhol beautifully as the inarticulate, vacuous fraud at the head of a sham 'movement'. Significantly, Warhol does not get involved in whatever's going on. A Warhol film is being shot in The Factory, but we learn that Andy won't be around today. A drug-besotted 'happening' takes place under the Warhol aegis, but Andy stays on the margins, even of the sex - his purpose is to hit on the wealthy voyeurs who turn up at his parties. As Warhol the cynical manipulator grows in media credibility, Solanis is reduced to peddling squalid sex and copies of her manifesto around Greenwich Village. It is clear that she has been 'dropped' by the court of Queen Drella.

She becomes increasingly embittered, feeling that Warhol is exploiting her writings, and her behaviour deteriorates into violence and incoherence. When she shows up in the same old rags at the newly-gentrified Factory, we grasp what she can't - that the gulf between her and these parasites with savvy is unbridgeable. Solanis beds a fellow weirdo, and acquires a gun from him. We see their drug-induced disorientation in a sequence of crash-edits, a knowing reference to the pop style of sixties film-making. This is a very shrewd and very watchable film. It damns Warhol, but is none the worse for that. Was the above review useful to you? 16 out of 23 people found the following review useful: The Woman's Version of Peeping Tom from USA 26 February 1999 If Peeping Tom was directed by a woman, then it would probably resemble Mary Harron's wonderful I Shot Andy Warhol. Like Peeping Tom, I Shot Andy Warhol is about how misunderstandings between the sexes can lead to violence.

What was so great about I Shot Andy Warhol is how it takes a woman who most people would consider a psychopath and it humanizes her. We see what drives Valerie Solanas to commit her "insane" act of shooting Andy Warhol, and we come to understand why she did what she ended up doing. In other words, I Shot Andy Warhol successfully gets into the head of "insanity." After watching this film, I thought of a poem from Emily Dickinson: "Much madness is divinest sense. . . to a discerning eye. Much sense, the starkest madness. Ascent, and you are sane. Demure, you're straightaway dangerous, and put into chains." Now, let's see what Mary Harron does with another story about a "psychopath," American Psycho. . . Was the above review useful to you? 9 out of 10 people found the following review useful: I Shot Andy Warhol from Canada 25 March 2005 I Shot Andy Warhol, is based on the true life story of Valerie Solanas, who was a female radical in the 60's and was a lesbian and very against men.

She wrote a play and came to New York, with a friend of hers who is a drag queen named Candy Darling to meet Andy Warhol. Valerie, gives Andy Warhol's company (called the factor) her play and soon she comes back and talks to Andy about it and Andy gets her to star in a couple of movies that he directs. Soon, Valerie gets a place and meets a publisher who inspires her to write a novel about her revolution and he plans to publish it. But soon Valerie starts to get paranoid and thinks that Andy Warhol, has to much impact on her life and thinks that he and the book publisher are setting her up so she plans to make herself famous by shooting him. Andy Warhol survived the shooting but died several years later due to complications and Valerie, was sent to a mental hospital and was homeless for quite awhile until she died of pneumonia. Her book SCUM Manifesto, is now published all over the world.

Winner of the award for Best Art Direction at The Gijon International Film Festival, The Golden Space Needle Award for Best Actress (Lili Taylor, who plays Valerie Solanas) at The Seattle International Film Festival, The Best Actress Award at The Stockholm Film Festival and the special recognition for Lili Taylor at The Sundance Film Festival. I Shot Andy Warhol, has good direction, a good script, good performances from everybody involved, good original music, good cinematography and good production design. I Shot Andy Warhol, is a fascinating character study and a very interesting film. It shows the many different stages in a time of Valerie's life and it is compelling and played very well by Lili Taylor and all of the other actors. Also being a fan of Andy Warhol, I found the scenes with his factory and underground lifestyles with his films and art to be really interesting as well. This film shows a lot of different lifestyles and gives these characters interesting personalities and gives them good character development. The film is also a good looking film and looks like it probably would have back then. A very entertaining and fascinating look at an interesting person who you might not know of and of someone you do know of. Was the above review useful to you?

10 out of 14 people found the following review useful: The Valerie Solanis Story. from Sacramento, CA 22 August 2005 I Shot Andy Warhol (1996) was an interesting movie that I saw on satellite t.v. a few years ago. The movie was about the lesbian neo-feminist and founder of S.C.U.M. Valerie Solanis (Lili Taylor). She's an aspiring writer who's trying to fit in the mid sixties lifestyle of New York City. Valerie lives with her sometimes lover (Martha Plimpton) and co-worker. The two turn tricks, roll certain customers and hang out with a transvestite named Candy Darling (Stephen Dorff). One day Candy suggests to Valerie that she meet with Andy Warhol (Jared Harris). The rest is history. Michael Imperioli co-stars as a very catty Ondine, Tahnee Welch guest stars as Viva and Donovan Leitch appears as Gerald Malanga. If you want to see how Warhol's "Factory" and it's atmosphere then this is the movie you want to see.

Jared Harris was perfect as Andy Warhol and Lili Taylor made Valerie Solanis into a tragic person who's life was filled with madness and heartbreak. I was also impressed with Stephen Dorff, I never knew how great of an actor he has become. This movie is perfect and ideal for those who always wanted to know what happened to Warhol during the late sixties and how his life and attitudes were changed forever. Highly recommended. 17 June 2005 *** This review may contain spoilers *** If you like indie counterculture flicks, this might be right up your alley. It is the story of Valerie Solanas, a radical feminist lesbian in the 60's who writes her revolutionary manifesto that attempts to rid the world of the male species. For someone who is supposedly very intelligent and who studied psychology, she is obviously unable to see this as being completely insane, not to mention impossible. Her hatred for men is text book, sexually abused as a child, forced into prostitution to support herself, that would lead any woman to lesbianism.

So, here we have this man hating butch dike played to perfection by Lily Taylor, although since I have never seen Solanas (and I'm sure either had Taylor) I'm not sure if it was true to her, or just Taylor's own wild imaginings of what this woman must have been like. It's similar to Johnny Depp as Hunter S. Thompson, a great performance, but actually quite off the mark as an impersonation of Thompson. But since nobody knows anything about Solanas, Taylor is free to run wild, and run wild she does, as most of commented, completely carrying this film with her intensity and ferocity. If it wasn't for her, this movie would have been a complete bore, since whenever she is not in a scene, I nearly fell asleep, Harron has all these really slow panning shots in red filter that don't show anything of interest. I was kind of intrigued by Solanas philosophy, as bizarre as it was. Much of it was true, sex can be a very solitary experience, especially the kind of sex Solanas has had (rape and prostitution). Men can be governed by their insecurities based on sexual performance and desires (see most political/religious leaders).

However what of the female insecurities and desires? THere are plenty and they are just as ugly as the male's. I often wonder if the world would be better off if women ruled it, because I have my own views on what is really driving our consumption based society which is killing the planet. It's the woman as much as the man, perhaps even more so. Women have an insatiable need to consume, hence turning shopping into a hobby, which no man has ever done. Anyway, check this movie out simply for Taylor, she is brilliant and unrestrainted and her tough talking New York chick impersonation will mezmerize you. Was the above review useful to you? 7 out of 9 people found the following review useful: Looks and sounds amazing, but the narrative lags... from las vegas, nv 5 April 2006 Lili Taylor plays Valerie Solanas, an educated loose cannon, guerrilla female activist and self-described 'bull dyke', who was taken into custody in June 1968 after shooting and wounding Andy Warhol at his New York City office/hangout The Factory.

Good-looking movie investigates a hazy chapter in history, yet leaves some unanswered questions in its wake (I wasn't aware that apparently an assistant was also shot, though the film makes no attempt to explain what happened to him). However, this small-budgeted film captures a decadently apathetic, coolly indifferent time and place quite vividly, as good as any post-'60s movie has yet managed. Taylor is appropriately forceful and ungainly in her role, which is more complex than one might think, and yet hers is the least interesting or intriguing character on display. Stephen Dorff does a pretty terrific job as transvestite Candy Darling, Tahnee Welch is unrecognizable as Warhol's most famous starlet Viva, and Jared Harris is flawless as Warhol (he nails it). Terrific art direction and composition, but the film lags a bit in the narrative department, with Solanas meeting an anti-bourgeois activist which doesn't come to much and has a facetious, puzzling relationship with publisher Maurice Girodias which seems half-baked. **1/2 from **** Was the above review useful to you?

5 out of 6 people found the following review useful: Better than I thought it would be from Brooklyn, NY 4 April 1999 Lili Taylor, as I think I've said here before, is one of my favorite actresses, but I have to admit I was hesitant about seeing this film, especially when a friend told me he found it overrated. I have a hard time with people who type people in general terms, and this movie seemed, at first, to say "All men are scum." And the opening 15-30 minutes seem to indicate this is just going to be a rant. However, you do gradually get to empathize with all the people involved, and you do get an idea of how things were at that time. Taylor and Jared Harris were fine as Valerie Solanas and Andy Warhol, respectively, but the real surprise for me was Stephen Dorff as Candy Darling. I've never thought much of Dorff, but he really shone through here, refusing to stereotype Candy or inject too much pathos. Was the above review useful to you?

7 out of 11 people found the following review useful: Three Good Performances Lost from Chicago, IL 17 November 2002 Stephen Dorff and Lili Taylor and Jared Harris are all great in this film, particularly Dorff. But the film's biggest weakness is that everyone in the movie is so weird you don't really care what happens to them. Only Dorff manages to invest his character with enough humanity and vulnerability that you are actually interested to learn of his ultimate fate. I was kind of surprised to learn that Solanis is held up as some kind of proto-feminist lesbian guru when it is obvious she's only twisted and insane. Imagine if the situation were reversed and Solanis was a man calling for the cutting up of all women and denouncing women as an inferior race. Such a viewpoint would be considered monstrous! Solanis is a crank and a fool, so it's impossible to take her character's world view any more seriously than the guy down by the subway station who mumbles to people who aren't there. The entire Factory scene is rightly exposed as the pretentious, ridiculous collection of sub-mediocre talent it was.

So the viewer isn't surprised when Solanis shoots Warhol, as he couldn't say no to anyone around him and surrounded himself with so many weirdos it was inevitable. Would this film have been lauded had it been a biopic of Mark David Chapman? I don't see much difference between Solanis and Chapman frankly...both complete, colossal failures in life who managed to gain notierity through murder or attempted murder. In summary, this was a well-executed take on a rather idiotic topic. I'd rather see the director use her talents to make a movie about people who deserve the effort. Not worthless no-talents like Warhol and Solanis. Was the above review useful to you? 2 out of 2 people found the following review useful: Great Author: Kate 16 March 2000 Lily Taylor was astonishingly good as Valerie in I Shot Andy Warhol. She's a versatile and entertaining actress who certainly does not get enough credit. Stephen Dorf as a transvestite... who knew? But he was also incredibly good. The entire cast does a fantastic job.

It's a thoroughly enjoyable fictionalized chronicle of the emergence of the SCUM Manifesto and the events leading up to the shooting of Andy Warhol, by Taylor's character a paranoid schizophrenic, man-hating, lesbian. What could be more entertaining than that? Was the above review useful to you? Page 1 of 5: Andy Warhol, Iconic Pop Artist Updated October 25, 2015. Who Was Andy Warhol? Andy Warhol was one of the most important artists of pop art, which became extremely popular in the second half of the twentieth century. Though he is best remembered for his paintings of Campbell's soup cans, he also created hundreds of other works including commercial advertisements and films. Dates: August 6, 1928 -- February 22, 1987 Also Known As: Andrew Warhola (born as), Prince of Pop The Childhood of Andy Warhol Andy Warhol grew up in Pittsburgh, Pennsylvania with his two older brothers and his parents, both of whom had emigrated from Czechoslovakia. Even as a young boy, Warhol liked to draw, color, and cut and paste pictures.

His mother, who was also artistic, would encourage him by giving him a chocolate bar every time he finished a page in his coloring book. Elementary school was traumatic for Warhol, especially once he contracted St. Vitus' dance (chorea, a disease that attacks the nervous system and makes someone shake uncontrollably). continue reading below our video Profile of Andy Warhol Warhol missed a lot of school during several month-long periods of bed-rest. Plus, large, pink blotches on Warhol's skin, also from St. Vitus' dance, didn't help his self-esteem or acceptance by other students. During high school, Warhol took art classes both at school and at the Carnegie Museum. He was somewhat of an outcast because he was quiet, could always be found with a sketchbook in his hands, and had shockingly pale skin and white-blonde hair. Warhol also loved to go to movies and started a collection of celebrity memorabilia, especially autographed photos. A number of these pictures appeared in Warhol's later artwork. Warhol graduated from high school and then went to Carnegie Institute of Technology, where he graduated in 1949 with a major in pictorial design.

Warhol Discovers Blotted-Line It was during his college years that Warhol discovered the blotted-line technique. The technique required Warhol to tape two pieces of blank paper together and then draw in ink on one page. Before the ink dried, he would press the two pieces of paper together. The result was a picture with irregular lines that he would color in with watercolor. Right after college, Warhol moved to New York. He quickly earned a reputation in the 1950s for using the blotted-line technique in numerous commercial advertisements. Some of Warhol's most famous ads were for shoes for I. Miller, but he also drew Christmas cards for Tiffany & Company, created book and album covers, as well as illustrated Amy Vanderbilt's Complete Book of Etiquette. Warhol Tries Pop Art Around 1960, Warhol had decided to make a name for himself in pop art. Pop art was a new style of art that began in England in the mid-1950s and consisted of realistic renditions of popular, everyday items. Warhol turned away from the blotted-line technique and chose to use paint and canvas but at first he had some trouble deciding what to paint.

Warhol began with Coke bottles and comic strips but his work wasn't getting the attention he wanted. In December 1961, Warhol gave $50 to a friend of his who had told him she had a good idea. Her idea was for him to paint what he liked most in the world, perhaps something like money and a can of soup. Warhol painted both. Warhol's first exhibition in an art gallery came in 1962 at the Ferus Gallery in Los Angeles. He displayed his canvases of Campbell's soup, one canvas for each of the 32 types of Campbell's soup. He sold all the paintings as a set for a $1000. Warhol Switches to Silk Screening Unfortunately, Warhol found that he couldn't make his paintings fast enough on canvas. Luckily in July 1962, he discovered the process of silk screening. This technique uses a specially prepared section of silk as a stencil, allowing one silk-screen to create similar patterns multiple times. He immediately began making paintings of celebrities, most notably a large collection of paintings of Marilyn Monroe . Warhol would use this style for the rest of his life.

Making Movies In the 1960s, Warhol continued to paint and he also made films. From 1963 to 1968, he made nearly 60 movies. One of his movies, Sleep, is a five-and-a-half hour film of a man sleeping. On July 3, 1968, disgruntled actress Valerie Solanas walked into Warhol's studio ("the Factory") and shot Warhol in the chest. Less than thirty minutes later, Warhol was pronounced clinically dead. The doctor then cut Warhol's chest open and massaged his heart for a final effort to get it started again. It worked. Though his life was saved, it took a long time for his health to recover. During the 1970s and 1980s, Warhol continued to paint. He also began publishing a magazine called Interview and several books about himself and pop art. He even dabbled in television. On February 21, 1987, Warhol underwent a routine gall bladder surgery. Though the surgery went well, for an unknown reason Warhol unexpectedly passed away the following morning. He was 58 years old.

Andy Warhol Biography - artelino artelino Quotes by Andy Warhol - 1928-1987 Super Girl By Poon Shu - born 1975 No other artist is as much identified with Pop Art as Andy Warhol. The media called him the Prince of Pop. Warhol made his way from a Pittsburgh working class family to an American legend. No Andy Warhol Pictures on this Page? For copyright reasons we cannot show you any pictures of Andy Warhol art works on this web site. That's a pity. But you find a rather popular, easy to read biography on this page. And to make this page look less sad, we show you an art work by a young, emerging Chinese female artist, Poon Shu. You can see many more of her paintings on our website dedicated to contemporary Chinese art . Born in Pittsburgh Andy was born in 1928 in Pittsburgh as the son of Slovak immigrants. His original name was Andrew Warhola. His father was as a construction worker and died in an accident when Andy was 13 years old. Andy showed an early talent in drawing and painting. After high school he studied commercial art at the Carnegie Institute of Technology in Pittsburgh.

Warhol graduated in 1949 and went to New York where he worked as an illustrator for magazines like Vogue and Harpar's Bazaar and for commercial advertising. He soon became one of New York's most sought of and successful commercial illustrators. Andy Warhol - The Pop Icon In 1952 Andy Warhol had his first one-man show exhibition at the Hugo Gallery in New York. In 1956 he had an important group exhibition at the renowned Museum of Modern Art. In the sixties Warhol started painting daily objects of mass production like Campbell Soup cans and Coke bottles. Soon he became a famous figure in the New York art scene. From 1962 on he started making silkscreen prints of famous personalities like Marilyn Monroe or Elizabeth Taylor. The quintessence of Andy Warhol art was to remove the difference between fine arts and the commercial arts used for magazine illustrations, comic books, record albums or advertising campaigns. Warhol once expressed his philosophy in one poignant sentence: "When you think about it, department stores are kind of like museums". Andy Warhol and the Factory The pop artist not only depicted mass products but he also wanted to mass produce his own works of pop art.

Consequently he founded The Factory in 1962. It was an art studio where he employed in a rather chaotic way "art workers" to mass produce mainly prints and posters but also other items like shoes designed by the artist. The first location of the Factory was in 231 E. 47th Street, 5th Floor (between 1st & 2nd Ave). Warhol's favorite printmaking technique was silkscreen . It came closest to his idea of proliferation of art. Apart from being an Art Producing Machine, the Factory served as a filmmaking studio. Warhol made over 300 experimental underground films - most rather bizarre and some rather pornographic. His first one was called Sleep and showed nothing else but a man sleeping over six hours. Warhol Nearly Murdered In July of 1968 the pop artist was shot two to three times into his chest by a woman named Valerie Solanis. Andy was seriously wounded and only narrowly escaped death. Valerie Solanis had worked occasionally for the artist in the Factory. Solanis had founded a group named SCUM (Society for Cutting Up Men) and she was its sole member.

When Valerie Solanis was arrested the day after, her words were "He had too much control over my life". Warhol never recovered completely from his wounds and had to wear a bandage around his waist for the rest of his life. Andy Warhol Art in the Seventies After this assassination attempt the pop artist made a radical turn in his process of producing art. The philosopher of art mass production now spent most of his time making individual portraits of the rich and affluent of his time like Mick Jagger, Michael Jackson or Brigitte Bardot. Warhol's activities became more and more entrepreneurial. He started the magazine Interview and even a night-club. In 1974 the Factory was moved to 860 Broadway. In 1975 Warhol published THE philosophy of Andy Warhol. In this book he describes what art is: "Making money is art, and working is art and good business is the best art." A Bizarre Personality Warhol was a homosexual with a slightly bizarre personality. In the fifties he dyed his hair straw-blond. Later he replaced his real hair by blond and silver-grey wigs.

The pop artist loved cats, and images of them can be found on quite a few of his art works. One of Andy's friends described him as a true workaholic. Warhol was obsessed by the ambition to become famous and wealthy. And he knew he could achieve the American dream only by hard work. In his last years Warhol promoted other artists like Keith Haring or Robert Mapplethorpe. Andy Warhol died February 22, 1987 from complications after a gall bladder operation. More than 2000 people attended the memorial mass at St.Patrick's Cathedral. The pop art icon Warhol was also a religious man - a little known fact. Two years later, in May 1994 the Andy Warhol Museum opened in his home town Pittsburgh in Pennsylvania. Andy Warhol Bio Essay Campbell's Soup: Black Bean (c) VG Bild-Kunst, Bonn 2001/2002 No other artist is as much identified with Pop Art as Andy Warhol. The media called him the Prince of Pop. Warhol made his way from a Pittsburgh working class family to an American legend.

Born in Pittsburgh Andy was born in 1930 in Pittsburgh as the son of Slovak immigrants. His original name was Andrew Warhola. His father was as a construction worker and died in an accident when Andy was 13 years old. Andy showed an early talent in drawing and painting. After high school he studied commercial art at the Carnegie Institute of Technology in Pittsburgh. Warhol graduated in 1949 and went to New York where he worked as an illustrator for magazines like Vogue and Harpar's Bazaar and for commercial advertising. He soon became one of New York's most sought of and successful commercial illustrators. The Pop Icon In 1952 Andy Warhol had his first one-man show exhibition at the Hugo Gallery in New York. In 1956 he had an important group exhibition at the renowned Museum of Modern Art. In the sixties Warhol started painting daily objects of mass production like Campbell Soup cans and Coke bottles. Soon he became a famous figure in the New York art scene. From 1962 on he started making silkscreen prints of famous personalities like Marilyn Monroe or Elizabeth Taylor.

The strength of Andy Warhol art was to remove the difference between fine arts and the commercial arts used for magazine illustrations, comic books, record albums or advertising campaigns. Warhol once expressed his philosophy in one poignant sentence: "When you think about it, department stores are kind of like museums". The Factory The pop artist not only depicted mass products but he also wanted to mass produce his own works of pop art. Consequently he founded The Factory in 1962. It was an art studio where he employed in a rather chaotic way "art workers" to mass produce mainly prints and posters but also other items like shoes designed by the artist. The first location of the Factory was in 231 E. 47th Street, 5th Floor (between 1st & 2nd Ave). Warhol's favorite printmaking technique was silkscreen. It came closest to his idea of proliferation of art. Apart from being an Art Producing Machine, the Factory served as a filmmaking studio. Warhol made over 300 experimental underground films - most rather bizarre and some rather pornographic. His first one was called Sleep and showed nothing else but a man sleeping over six hours.

Nearly Murdered In July of 1968 the pop artist was shot two to three times into his chest by a woman named Valerie Solanis. Andy was seriously wounded and only narrowly escaped death. Valerie Solanis had worked occasionally for the artist in the Factory. Solanis had founded a group named SCUM (Society for Cutting Up Men) and she was its sole member. When Valerie Solanis was arrested the day after, her words were "He had too much control over my life". Warhol never recovered completely from his wounds and had to wear a bandage around his waist for the rest of his life. Andy Warhol Art in the Seventies After this assassination attempt the pop artist made a radical turn in his process of producing art. The philosopher of art mass production now spent most of his time making individual portraits of the rich and affluent of his time like Mick Jagger, Michael Jackson or Brigitte Bardot. Warhol's activities became more and more entrepreneurial. He started the magazine Interview and even a night-club. In 1974 the Factory was moved to 860 Broadway. In 1975 Warhol published THE philosophy of Andy Warhol.

In this book he describes what art is: "Making money is art, and working is art and good business is the best art." A Bizarre Personality Warhol was a homosexual with a slightly bizarre personality. In the fifties he dyed his hair straw-blond. Later he replaced his real hair by blond and silver-grey wigs. The pop artist loved cats, and images of them can be found on quite a few of his art works. One of Andy's friends described him as a true workaholic. Warhol was obsessed by the ambition to become famous and wealthy. And he knew he could achieve the American dream only by hard work. In his last years Warhol promoted other artists like Keith Haring or Robert Andy Warhol Pop Artist & Icon Andy Warhol (born Andrew Warhola) was one of the most well known and influential artists of the late 20th 890 Words | 4 Pages Andy Warhol being one of the biggest influences in my work made him the obvious choice for this assignment.

I see Warhol’s influence on the 1,565 Words | 7 Pages Andy Warhol: A Pop Culture Icon Henry Matisse once said, “The freedom of the artist is in reality the impossibility of following the path beaten 1,547 Words | 7 Pages Andy Warhol Andrew Warhola is considered to be the вЂњfounder and a major figure of the pop art movementвЂќ. He was born in Pittsburgh Pennsylvania 764 Words | 4 Pages

Question: In 1968, which American artist was shot and wounded by Valerie Solanis, an actress in one of his films?
Answer: ANDY WARHOL