Did Andy Warhol get his 15 minutes of fame by ripping off someone else's saying? | Daily Mail Online Did Andy Warhol get his 15 minutes of fame by ripping off someone else's saying? Doubts have been cast that the pop artist coined the phrase himself Numerous accounts to the origin of the '15 minutes' quote unearthed An art critic says Warhol may have heard the phrase as a teenager comments An iconic quote attributed to Andy Warhol - 'In the future, everyone will be famous for 15 minutes' - may not have actually been said by the influential pop artist. The painter, sculptor and film maker, who died in 1987, was first credited with the phrase in a brochure at a 1968 exhibition of his work in Sweden. But prominent art critic Blake Glopnik has now cast doubt on its origins, citing the 1997 reminisences of fellow art expert and curator Ole Granath who was an assistant on the Warhol retrospective, held in Stockholm.

Andy Warhol (right) may not have actually said: 'In the future, everyone will be famous for 15 minutes', according to an art critic The show's curator, Pontus Hulten, had told him to include 'In the future everyone will be world-famous for 15 minutes' in the catalogue's compendium of Warhol quotes. Granath found no record of the quote. even after extensive research. 'If he didn't say it, he very well could have. Let's put it in,' Hulten reportedly said. Writing in the Warholiana blog, Glopnik said: 'So Andy's phrase was actually Hulten's – not so surprising, given that Hulten later faked some Warhol Brillo boxes.' Famous for more than 15 minutes: Andy Warhol's 1962 painting 'Orange Marilyn' Other accounts throw add further mystery to the origins of the quote. Philip Pearlstein, who was at art school with Warhol, revealed to Glopnik that he'd said something similar himself in 1946, when the two artists first met.

Warhol, still a teenager, asked Pearlstein what it was like to be the winner of a national art competition for high school students. Warhol may have first heard a similar version of the phrase when he was just a teenager Pearlstein said: 'My spontaneous answer was, 'It only lasted five minutes'.' In 2005 photographer Nat Finkelstein claimed he was the source of the line. In 1965, during an outdoor photoshoot with Warhol, some people tried to push into the shot. 'Andy's looking at them and he says to me, "Gee whiz, Nat, everybody wants to be famous",' said Finkelstein. 'I say back, "Yeah, for about 15 minutes, Andy". He took that line. My quote became Andy Warhol's famous words.' However, in a book he published in 1989, Finkelstein said the artist had uttered the famous words during the shoot, making no mention of Warhol stealing his line. Glopnik says the murkiness of the phrase's origins fit in with the way Warhol took influences from a variety of sources.

'By the late 1970s, Warhol himself was mentioning the line (not always clearly as his) at various times and in various places and in various weird versions, even saying that he's grown bored with it,' he said. 'But that doesn't tell us much about whether he came up with it in the first place: Warhol, the world's greatest sponge, would hardly have proclaimed that he hadn't coined his trademark aphorism. Warhol's art and persona were all about the rewards of his sponging.' 'DID I REALLY SAY THAT?' - FALSELY ATTRIBUTED WORDS OF WISDOM 'Elementary, my dear Watson' – Sherlock Holmes This line never appeared in any of Sir Arthur Conan Doyle's written works. In 1893's The Crooked Man, the words appear, but are separated by several lines of dialogue and are in the wrong order. 'Nice guys finish last' - US baseball manager Leo Durocher He actually said the words, but the meaning has been taken out of context. Durocher was asked his opinion of the 1946 New York Giants and replied: 'Take a look at them. All nice guys. They’ll finish last.

Nice guys – finish last.' 'Just the facts, ma'am' - Sgt Friday in TV police show Dragnet Sgt Friday actually said: 'All we want are the facts, ma'am.' 'Not a lot of people know that' - Michael Caine, British actor Comedy actor Peter Sellers said this as he did an impression of Michael Caine. 'There's a sucker born every minute' - P.T. Barnum, showman Reportedly said by one of his competitors, who was mocking one of Barnum's exhibits. Andy Warhol - Wikiquote Andy Warhol Jump to: navigation , search In the future everyone will be world-famous for 15 minutes. Andy Warhol - in sourced quotes of the artist. Andy Warhol ( 6 August 1928 – 22 February 1987 ) was an American painter, filmmaker, publisher, actor and major figure in the Pop Art movement. Contents Quotes of Andy Warhol[ edit ] I think everybody should like everybody. They always say that time changes things, but you actually have to change them yourself. Andy Warhol: I think everybody should like everybody. Gene Swenson: Is that what Pop Art is all about?

Andy Warhol: Yes, it's liking things. ** 'What is Pop Art? Answers from 8 Painters', Art News 62, November 1963 The reason I'm painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do. 'What is Pop Art? Answers from 8 Painters', Part 1, G. R. Swenson, in Art News 62, November 1963 Therefore, everything seen – every object, that is, plus the process of looking at it – is a Duchamp . Turn it over and it is. In: Avant-garde Performance and the Effervescent Body, Sally Banes, Greenwich Village 1963; p. 124 The farther West we drove [to California, Fall of 1963, with w:Gerard Malanga , w:Wynn Chamberlain , and w:Taylor Mead for an opening of Warhol's 'Liz & Elvis paintings' at the Ferus Gallery in Los Angeles], the more Pop everything looked on the highways.

Suddenly we all felt like insiders because even though Pop was everywhere – that was the thing about it, most people still took it for granted, whereas we were dazzled by it – to us, it was the new Art. Once you 'got' Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again. The moment you label something, you take a step – I mean, you can never go back again to seeing it unlabeled. We were seeing the future and we knew it for sure.. ..the mystery was gone, but the amazement was just starting. [quote in 1963] In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467 I think of myself as an American artist: I like it here.. .I feel I represent the U.S. in my art but I’m not a social critic.

I just paint those things in my paintings because those things are the things I know best. I’m not trying to criticize the U.S. in any way, not trying to show up any ugliness at all. I’m just a pure artist, I guess. But I can’t say if I take myself seriously as an artist. I just hadn’t thought about it. I don’t know how they consider me in print, though. In: Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467 * 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. In: Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, New York and Boston Museum of modern Art & Bullfinch Press / Little Brown, 1989, pp.

457 – 67 What Is Pop Art? Interviews with Eight Painters, Part 1 (1963)[ edit ] by Gene Swenson 'What Is Pop Art? Interviews with Eight Painters (Part 1)', Art News 62, New York, November 1963; reprinted in Pop Art Redefined, John Russell and Suzi Gablik (eds.), London, 1969 It's hard to be creative and it's also hard not to think what you do is creative or hard not to be called creative because everybody is always talking about that and individuality. Everybody's always creative. Ans it is so funny when you say things aren't, like the shoe I would draw for an advertisement was called a 'creation', but the drawing of it was not.. .There are millions of actors. They're all pretty good. And how many painters are there? Millions of painters and all pretty good. How can you say one style is better then another. You ought to be able to be an Abstract-expressionist next week, or a Pop artist, or a realist, without feeling you're given up something. pp.

116-19 If an artist can't do anymore, then he should just quit; and an artist ought to be able to change his style without feeling bad. I heard that Lichtenstein said he might not be painting comic strips a year of two from now [1963]. I think that would be so great, to be able to change styles. And I think that’s what’s going to happen; that's going to be the whole new scene. pp. 116-19 We went to see 'Dr No' [first James Bond film, 1962] at Fort-Second Street. It's a fantastic movie, so cool. We walked outside and somebody threw a cherry bomb right in front of us, in this bog crowd. And there was blood. I saw blood on people and all over. I felt like I was bleeding all over. I saw in the paper last week that there are more people throwing them - it's just part of the scene - and hurting people. My show in Paris is to be called 'Death in America'. I'll show the 'Electric-chair' pictures and the Dogs in Birmingham and car wrecks and some suicide pictures. pp.

116-19 I guess it was the big plane crash picture [why Warhol started his 'Death'-series], the front page of a newspaper: '129 DIED'. I was also painting the Marilyns [the w:Marylin Monroe portraits, Warhol started after her tragic death in 1962] I realized that everything I was doing must have been death. It was Christmas or Labor Day - a holiday - and very time that you turned on the radio they said something like '4 millions are going to die'. That started it. But when you see I gruesome picture over and over again, it doesn't really have any effect. pp. 116-19 I started those [the ' w:Elisabeth Taylor ' pictures, Warhol made from a publicity photo of her 1960 film ' w:BUtterfield 8 a long time ago when she was so sick and everybody said she was going to die [but she recovered]. Now I'm doing them all over, putting bright colors on her lips and eyes. My next series will be pornographic pictures, they will look blank; when you turn on the black lights, then you will see them - big breast and..

.If a cop came in, then you could just flick out the lights or turn to the regular lights. How could you say that was pornography?. .. Segal did a sculpture of two people making love, but he cut it all up, I guess because he thought it was too pornographic to be art.. .The thing I like about it is that it makes you forget about style and that sort of things; style isn't really important. pp. 116-19 The name [Pop] sounds so awful. Dada must have something to do with Pop. it's so funny, the names are really synonyms. Does anyone know what they're supposed to mean or have to do with, those names? Johns and Rauschenberg , Neo-Dada for all those years, and everyone calling them derivative and unable to transform the things they use, are now called progenitors of Pop . It's funny the way things change. I think w:John Cage has been very influential, and w:Merce Cunningham too, I think.. ..History books are being rewritten all the time. pp. 116-19 In the future everyone will be world-famous for 15 minutes.

Catalogue of an exhibition of his art in Stockholm, Sweden (1968) This quotation has produced a common cliché about fame in pop-culture which is called "15 minutes of fame" ; it has often been paraphrased or misquoted in various ways, including: In the future, everybody will be world famous for 15 minutes. In the future everyone will have their fifteen minutes of fame When asked about this quote, he would corrupt it intentionally, including: In the future, fifteen people will be famous. In fifteen minutes, everyone will be famous. Electric chair quote[ edit ] Warhol's electric chair quote (date not established) is found in many books with variations. The earliest and most reported version is: You'd be surprised how many people want to hang an electric chair on their living-room wall. Specially if the background color matches the drapes. As quoted in Moderna Museet (1968), Andy Warhol: Stockholm, Moderna Museet, February–March 1968 (exhib. cat.), Malmö: Sydsvenska Dagbladets, [ISBN]; repr.

1970, Boston: Boston Book and Art, [ISBN] As quoted in Mike Wrenn (1991), Andy Warhol: In His Own Words, London & New York: Omnibus Press [Music Sales Group], ISBN 0-7119-2400-7 [ ISBN 978-0-7119-2400-0 ] As quoted in Isabel Kühl (2007), Andy Warhol: Living Art, Munich & New York: Prestel, ISBN 978-3-7913-3814-9 [ ISBN 3-7913-3814-5 ] Common variants include: (You'd be surprised who'll hang an electric chair in the living room.

Especially if the background matches the drapes.) As quoted in Jan Greenberg, Sandra Jordan (2004), Andy Warhol: Prince of Pop, New York: Delacorte, ISBN 0-385-90079-1 [ ISBN 978-0-385-90079-9 ] Additional variants with "curtains" for "drapes" came by way of French translations being re-translated back into English for bilingual books or exhibition notices: (You wouldn't believe how many people will hang up a picture of an electric chair? especially if it matches the color of their curtains.) As quoted in Sylvie Fleury et al. (2001), Sylvie Fleury: Identity, Pain, Astral Projection (exhib.

cat., Magasin, Grenoble, France, 2001–2002), Paris: RMN (Réunion des musées nationaux) & Dijon: Presses du réel, ISBN 2-7118-4313-0 [ ISBN 978-2-7118-4313-8 ] (You wouldn't believe how many people will hang a picture of an electric chair in their room – especially if the color of the picture matches the curtains.) As quoted in Geoff Nicholson (2002), Andy Warhol: A Beginner's Guide, London: Hodder & Stoughton, ISBN 0-340-84620-8 [ ISBN 978-0-340-84620-9 ] (You wouldn't believe the number of people who hang the electric chair painting in the homes, especially if the colour of the canvas matches the curtains.) As quoted in Marie Deparis (2009), "Mounir Fatmi: Gardons Espoir / Keeping Faith" (bilingual exhibition notice, as a retranslation from the French "On n'imagine pas le nombre de

 personnes qui accrocheraient chez elles le tableau de la chaise électrique, surtout si les coloris de la toile s'harmonisent avec les rideaux.") 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.. .I see everything that way, the surface of things, a kind of mental Braille. I just pass my hands over the surface of things. [1973] In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467 ISBN 978-0156717205 At the times in my life when I was feeling the most gregarious and looking for bosom friendships, I couldn't find any takers so that exactly when I was alone was when I felt the most like not being alone. The moment I decided I'd rather be alone and not have anyone telling me their problems, everybody I'd never even seen before in my life started running after me to tell me things I'd just decided I didn't think it was a good idea to hear about.

As soon as I became a loner in my own mind, that's when I got what you might call a "following." As soon as you stop wanting something you get it. I've found that to be absolutely axiomatic. Ch. 1: Puberty During the 60's, I think, people forgot what emotions were supposed to be. And I don't think they've ever remembered. I think that once you see emotions from a certain angle you can never think of them as real again. That's what more or less has happened to me. I don't really know if I was ever capable of love, but after the '60's I never thought in terms of "love" again. Ch. 1: Puberty I don't see anything wrong with being alone, it feels great to me. People make a big thing about personal love. It doesn't have to be such a big thing. The same for living - people make a big thing about that too. But personal living and personal loving are the two things the Eastern-type wise men don't think about. Ch.

3: Senility I love every "lib" movement there is, because after the "lib" the things that were always a mystique become understandable and boring, and then nobody has to feel left out if they're not part of what is happening. For instance, single people looking for husbands and wives used to feel left out because the image marriage had in the old days was so wonderful. w:Jane Wyatt and Robert Young. w:Nick and Nora Charles , Ethel and Fred Mertz, Dagwood and Blondie. Ch. 3: Senility What I was actually trying to do in my early movies was show how people can meet other people and what they can do and what they can say to each other. That was the whole idea: two people getting acquainted. And then when you saw it and you saw the sheer simplicity of it, you learned what it was all about. Those movies showed you how some people act and react with other people. They were like actual sociological 'For instance's.

They were like documentaries, and if you thought it could apply to you, it was an example, and if it didn't apply to you, at least it was a documentary, it could apply to somebody you knew and it could clear up some questions you had about them. Ch. 3: Senility I've never met a person I couldn't call a beauty. Ch. 4: Beauty I really don't care that much about "Beauties." What I really like are Talkers. To me, good talkers are beautiful because good talk is what I love. The word itself shows why I like Talkers better than Beauties, why I tape more than I film. It's not "talkies." Talkers are doing something. Beauties are being something. Which isn't necessarily bad, it's just that I don't know what it is they're being. It's more fun to be with people who are doing things. Ch. 4: Beauty When you're interested in somebody, and you think they might be interested in you, you should point out all your beauty problems and defects right away, rather than take a chance they won't notice them..

.On the other hand, say you have a purely temporary beauty problem—a new pimple, lackluster hair, no-sleep eyes, five extra pounds around the middle. Still, whatever it is, you should point it out.. .If you don't point out these things they might think that your temporary beauty problem is a permanent beauty problem.. .If they really do like you for yourself, they'll be willing to use their imagination to think of what you must look like without your temporary beauty problem. Ch. 4: Beauty In some circles where very heavy people think they have very heavy brains, words like "charming" and "clever" and "pretty" are all put-downs; all the lighter things in life, which are the most important things, are put down. Ch. 4: Beauty I know a girl who just looks at her face in the medicine cabinet mirror and never looks below her shoulders, and she's four or five hundred pounds but she doesn't see all that, she just sees a beautiful face and therefore she thinks she's a beauty.

And therefore, I think she's a beauty, too, because I usually accept people on the basis of their self-images, because their self-images have more to do with the way they think than their objective-images do. Ch. 4: Beauty The most beautiful thing in Tokyo is McDonald's. The most beautiful thing in Stockholm is McDonald's. The most beautiful thing in Florence is McDonald's. Peking and Moscow don't have anything beautiful yet. Ch. 4: Beauty I'm confused about who the news belongs to. I always have it in my head that if your name's in the news, then the news should be paying you. Because it's your news and they're taking it and selling it as their product. But then they always say that they're helping you, and that's true too, but still, if people didn't give the news their news, and if everybody kept their news to themselves, the news wouldn't have any news. So I guess you should pay each other. But I haven't figured it out fully yet. Ch.

5: Fame Before I was shot [June, 1968], I always thought that I was more half-there than all-there - I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in the movies is unreal, but actually it's the way things happen to you in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television - you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television. Ch. 6: Work I suppose I have a really loose interpretation of "work" because I think that just being alive is so much work at something you don't always want to do. Being born is like being kidnapped. And then sold into slavery. People are working every minute. The machinery is always going. Even when you sleep. Ch. 6: Work After being alive, the next hardest work is having sex. Of course, for some people it isn't work because they need the exercise and they've got the energy for the sex and the sex gives them even more energy.

Some people get energy from sex and some people lose energy from sex. I have found that it's too much work. But if you have the time for it, and if you need that exercise—then you should do it. But you could really save yourself a lot of trouble either way by first figuring out whether you're an energy-getter or an energy-loser. As I said, I'm an energy-loser. But I can understand it when I see people running around trying to get some. Ch. 6: Work I thought that young people had more problems than old people, and I hoped I could last until I was older so I wouldn't have all those problems. Then I looked around and saw that everybody who looked young had young problems and that everybody who looked old had old problems. The "old" problems to me looked easier to take than the "young" problems. So I decided to go gray so nobody would know now old I was and I would look younger to them than how old they thought I was.

I would gain a lot by going gray: (1) I would have old problems, which were easier to take than young problems, (2) everyone would be impressed by how young I looked, and (3) I would be relieved of the responsibility of acting young—I could occasionally lapse into eccentricity or senility and no one would think anything of it because of my gray hair. When you've got gray hair, every move you make seems "young" and "spry," instead of just being normally active. It's like you're getting a new talent. So I dyed my hair gray when I was about twenty-three or twenty-four. Ch. 6: Work The President has so much good publicity potential that hasn't been exploited. He should just sit down one day and make a list of all the things that people are embarrassed to do that they shouldn't be embarrassed to do, and then do them all on television. Ch. 6: Work What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too.

A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it. Ch. 6: Work Sometimes you fantasize that people who are really up-there and rich and living it up have something you don't have, that their things must be better than your things because they have more money than you. But they drink the same Cokes and eat the same hot dogs and wear the same ILGWU clothes and see the same TV shows and the same movies. Rich people can't see a sillier version of w:Truth or Consequences , or a scarier version of w:The Exorcist . You can get just as revolted as they can—you can have the same nightmares. All of this is really American. Ch. 6: Work Sometimes you're invited to a big ball and for months you think about how glamorous and exciting it's going to be.

Then you fly to Europe and you go to the ball and when you think back on it a couple of months later what you remember is maybe the car ride to the ball, you can't remember the ball at all. Sometimes the little times you don't think are anything while they're happening turn out to be what marks a whole period of your life. I should have been dreaming for months about the car ride to the ball and getting dressed for the car ride, and buying my ticket to Europe so I could take the car ride. Then, who knows, maybe I could have remembered the ball. Ch. 7: Time Interview with w:Edward Lucie-Smith on BBC Radio 3 (17 March 1981) Edward Smith: Would you like to see your pictures on as many walls as possible, then? Andy Warhol: Uh, no, I like them in closets. Edward Smith: Why is it more of a pleasure to do 30 or 40 pictures than to do just one? Andy Warhol: Then I can, uh, listen to my soundabout which looks just like the thing that I'm wearing now, and you can listen to opera and stuff like that.

Edward Smith: Does that mean you don't have to think when you're painting? Andy Warhol: No, you can listen to really good music. Edward Smith: So, what, painting is an excuse to listen to really good music? Andy Warhol: Oh, yeah. Edward Smith: What do you think is the characteristic of a really nice person? Some people you obviously do like more than others. Andy Warhol: Ummm, well, if they talk a lot. Edward Smith: What, and don't make you talk? Andy Warhol: Yeah, yes, that's a really nice person. Edward Smith: Thank you, Andy. I still care about people but it would be so much easier not to care. I don't want to get to close: I don't like to touch things, that's why my work is so distant from myself [Nicolas Love, April 1987] In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz, in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp.

457 – 467 Montauk Life - Warhol ANDY WARHOL IN MONTAUK Andy with his pet dog Once upon a time, not so many years ago, an outrageous band of artists, stars, and celebrities made Montauk their home away from home. At the center was the most famous artist of his time - Andy Warhol. Together they put Montauk on the international map. It was a strange and wondrous time, one that is now drawing to a close. Andy's been dead now 14 years, and his house on the cliffs is up for sale. Soon the Warhol magic will be nothing more than a faint trace in the wind. It was a wild ride, and it all began in 1972. ANDY WARHOL By any standard, Andy was a strange person. Famous since the early 1960's for his Pop art impressions of modern American life - the famous Campbell soup cans prints - and enigmatic quotes - "In the future everyone will be famous for 15 minutes" - Warhol pioneered a style of art and artist, America in the post Eisenhower age had never seen.

Born in Pittsburgh on August 6, 1928, Andy was the youngest son of Ondrej and Julia Warhola. Immigrants from an obscure corner of then Transylvania, they were uneducated, uncultured and a most unlikely gene pool for an artist. Andy with Lee's son Tony Sickly from birth, Andy was stricken by St. Vitus's dance when 8. A nervous condition, it made the already frail boy's limbs shake, and skin turn white. His schoolmates started calling him Spot. Home bound his mother doted on him, showering him with what luxuries they could afford - candy bars, coloring books, and cut out books of dolls and dresses. Whiling away the days, safe in the comfort of his mother's bed, the sickly boy showed an interest and ability in art. As Andy grew, so did his abilities. By the fifth grade he was taking Sunday art classes at the Carnegie Museum. While in high school he won first prize in an art contest held by the Pittsburgh Press. Graduating early from high school he entered Carnegie Tech where he majored in Painting and Technique. All along his teachers noted the unusual boy's unusual abilities.

After graduation he moved to New York, where "Raggety Andy" for his unkempt looks, quickly became a favorite illustrator for the fashion magazines of that time. Warhola became Warhol, when a junior editor at Vogue inadvertently shorted his name by dropping the "a". As his career progressed, the shy, retiring Andy forged an identity that would reshape the way America looked at artists. In a time when revolutionary changes tore down the walls between art, fashion and every day life, Andy held the first sledge hammer. He bought a large loft on West 47th Street and opened the Factory, an industrial approach to art. Not content to re-shape the face of modern art, he took on film, music, writing and journalism. Surrounded by an entourage of up and coming hipsters, drag queens, budding journalists, aspiring actors, drug addicts, and society cast-offs, Andy became king of New York's avant garde scene. As wide a swath as Andy cut in the academic world, he wanted more than anything else to be famous, to rub shoulders with the brightest and best. To do that he engineered an image, as bizarre and unusual as any.

Pasty faced Andy, with his white fright wig, haunted expression and monosyllabic style became as well known as any Hollywood star or Washington politician. By skillfully manipulating the publicity game, this painfully shy artist made himself into a glittering star of the social night, seen everywhere from art openings to the nightly melodrama of Studio 54. Aerial view of main house and compound ANDY BUYS IN If there was one thing Andy loved more than fame, it was money. That's what first brought the intensely urban Warhol to wide open Montauk. A long time visitor to the Hamptons proper, he and Paul Morrissey, director of many of Andy's early avant garde films, decided a home here would be a great investment. Ironically, they turned to East Hampton realtor Tina Fredericks, who had been one of Andy's early champions when art director of Vogue in the mid-1950's. Andy and Lee. 1972 One rainy weekend in early 1972, Andy and Paul piled into Tina's Eldorado for a tour of the East End.

She started showing them houses in the primest of areas of the East End - Southampton's tony Gin Lane, East Hampton's posh Further Lane and Ocean Avenue, but nothing moved Andy. It wasn't until they drove into Montauk that eccentric Andy began to perk up. According to Tina, it was the unlikely sight of the absurd architecture of the Memory Motel and Ronjo Motels that caught Andy's eye. It seems the mix of Polynesian, Tudor, and Motel Six design amused Andy. Driving east of town along the ocean Tina brought them to a dramatic compound, overlooking the Atlantic on the wind swept cliffs of Montauk. The Church estate was a collection of 5 classic, clapboard houses built in the 1920's. Set on 20 acres high above the Atlantic, they had been designed by noted architect Stanford White. The main house, with 7 bedrooms, 5 baths, 4 stone fireplaces and large living areas would be perfect for entertaining. The 4 smaller cottages would be guest accommodations. They agreed to the price and Andy and Paul split the $225,000 cost. As it turned out, this good investment was the best buy of Andy's life.

Currently on the market for a cool $50,000,000, it's the most expensive home for sale on the East End, and one of the most expensive in all of America. THE FIRST FAMILY Jackie and Lee at Lighthouse. 1972 Although Andy was happy with his new house, his primary concern that first year was finding a tenant to help with the bills. That started a long parade of celebrity renters for the Montauk home. That first year Andy rented the main house to Lee Radziwill, Jackie Onassis's famed sister. In her recent bio, Happy Times, Lee remembered that Summer fondly. "The main house had a floor of huge old flagstones and two enormous fireplaces opposite each other. It smelled of cedar and the sea." Andy she saw in a different light - "He was almost allergic to fresh air, but once in a while felt obliged to leave the city and check in on the happenings at his place in Montauk. Here a somewhat different person was on display.

He loved children and was inventive with them, creating activities in which they became totally abandoned such as when he sat them down at a large round table in the living room to show them how to edit a film in a simple way. He was something of a pied piper, always keeping their attention, always admiring and encouraging them at whatever they did." "We spent long lazy afternoons on the beach, talking and burying each other in the sand. At times like this, Andy wasn't as strange as he initially seemed, but revealed himself as a keen, subtle observer of everything around him." "He had a simple supper every night at six before going out, seven nights a week to observe. He didn't eat the rich food at the dinners and parties that he constantly attended. He was too fragile after the attempt on his life and his serious operation." That Summer, Jackie came for a number of visits with young Caroline and John John. Andy remembered - "They used to run around throwing balloons filled with water at everybody. They were always having egg fights. John John was the ring leader. He was about 12 then. He told the funniest stories and the best jokes.

John John and Caroline loved to go down to the candy store to look for pictures of themselves in the movie mags." Andy was so proud of his association with the first family of America, that Bob Colacello Interview editor and one of Andy's closest companions, remembers - "Andy joked about putting up gold plaques that said 'Lee slept here' and 'Jackie slept here'." The shy boy from the wrong side of the tracks had come a long way. PETER BEARD A young Peter Beard It seems one of the reasons Lee spent 1972 in Montauk had to do with Andy's charismatic next door neighbor, Peter Beard. Andy described him as - "one of the most fascinating men in the world ...... he's like a modern Tarzan. He jumps in and out of the snake pit he keeps at his home. He cuts himself and paints with the blood. He wears sandals and no socks in the middle of Winter. He lived in a parked car on 13th Street for six months. He moved when he woke up and found a transvestite sleeping on the roof." He also thought Peter was one of the best looking men he'd ever seen. So did Lee.

Peter was both Andy's neighbor and artist in arms. Unlike some who built his reputation around Andy, Peter had established himself as one of the great nature and fashion photographers long before meeting Andy. Grandson of a well to do western family, Manhattan/England/Yale educated, he began his career while still in college, signed to a $12,000 a year contract by Vogue in 1955. That was also the year he first traveled to Africa, a trip that would forever change his life and work. His landmark work, The End of the Game (1963), a collection of essays and photographs on the rapid decline of Africa and it's wildlife, is a testament to early ecological and sociological sencebilites. Peter & daughter Zara Peter first came to know Andy through his uncle, Jerome Hill, one of the early partners in Andy's Interview magazine. Beard in turn came to know Lee when he was assigned a photo shoot of the Rolling Stones's Exile on Main Street tour in 1972.

Long remembered as one of the most decadent rock and roll campaigns of the overly indulgent '70's, the frenzy to report this momentous event was such that the most prominent papers of the day battled to cover this bacchanalian tour. Rolling Stone magazine topped them all by assigning Truman Capote to follow the tour, and Peter to photograph. Peter's portrait of Andy While on tour Peter became good friends with Mick Jagger. They partied they way across the country in the "Lapping Tongue" - the Stones speciality outfitted DC-7. As has been well documented they flew considerably higher than the clouds that surrounded them. Half way through the tour, Truman Capote met the group in Kansas City. In tow was his new best friend, Lee Radziwill. The mix of rock royalty and Fortunate Four Hundred did not work well. Jagger hated Capote's mincing manners, and Capote called Mick - "...a scared little boy ..... about as sexy as a pissing toad." Stones guitarist Keith Richards welcomed the cultured Radziwill by banging on her hotel door that night, screaming "Princess Radish .......

C'mom you old tart, there's a party going' downstairs!" The final date of the tour was scheduled for Mick's birthday - July 26, at Madison Square Garden. Afterwards a lavish party was given for the 29 year old Stone by Ashmet Ertgun, president of Atlantic Records, at his palatial roof top suite atop the St. Regis Hotel. Overlooking Manhattan, the creme de la creme of arts and society came to honor the pouting prince - including Andy, Peter, Truman, and Lee. Andy provided the high light of the party. A naked girl popped out of a towering birthday cake, and twirled her silicon tits as a dozen black tap dancers provided a chorus line. The New York Post reported - "In the perfumed twilight of the Roman Empire unspeakable things went on. Are we entering that same twilight?" LADIES AND GENTLEMEN - THE ROLLING STONES! Mick at Lake Montauk. 1972 The next day Peter invited the exhausted Mick and bride Bianca, to visit his house In Montauk for a quick R&R.

They flew into Montauk airport and spent the next few days relaxing at the shore, water skiing on Lake Montauk, and walking the beach. It was an introduction to Montauk that would lead to a much longer stay. By the spring of 1975, the Stones were in the midst of planning their next American tour. What better place to cool out and prepare, than quiet Montauk? Andy rented Mick and the boys the compound for a princely sum of $ 5,000 a month, and the Stones began rehearsals for what would become Black and Blue. As was then reported: "Throughout April sensationally loud music welled through the windows, into the ruts and hollows over the tangled crab-grass of an estate in Montauk. Long Island. Residents of the Ditch Plains trailer park were woken in the night - yapping dogs, even wolves, the loud grief of coyotes.

From East Hampton to New York the word spread with the ferocity of a brush fire: the Rolling Stones were rehearsing!" Lee, Mick & Bianca - Montauk Airport 1972 Andy and Jagger first met in 1963, when the Stones were invited to play a birthday party for then Warhol starlet, Baby Jane Holzer, at the New York Academy of Music. Over the years the artistically inclined Jagger kept tabs on the musically inclined Warhol. Mick was such an admirer, that in 1972 when the Stones formed their own record company, they tapped Andy to design their logo. With characteristic flair Andy came up with the stylized Jagger mouth and tongue that would grace all their albums. Andy also designed the infamous cover for that year's release, Sticky Fingers - a cover shot of Jagger from the hips down, in skin tight jeans, with a fully working zippered crotch! Andy visited the boys often that Summer. Although the Stones tried to keep a low profile, their fans found their hide away. Andy remembers - "Mick Jagger really put Montauk on the map. All the motels were overflowing with groupies.

Two girls with no hair and black cats on leashes followed them all the way to Montauk. Mr. Winters - the caretaker of the estate - found them hiding in the bushes!" At times the attention went beyond mere fan worship. Andy remembers playing with Mick and Bianca's then 4 year old daughter, Jade. As he often did with small children he delighted in showing her how to draw and paint. At one point Andy was searching for some material, opened a drawer and much to his surprise found a loaded gun. Jade said - "That's my daddy's!" Turned out, Jagger was being hounded by a pair of Rolling Stones obsessed fans that summer, and felt the need for a little extra protection. Black & Blue album cover Little Jade was Andy's favorite Jagger - "I love Mick and Bianca, but Jade's more my speed. I taught her how to color and she showed me how to play Monopoly. She was four and I was forty-four. Mick got jealous. He said I was a bad influence because I gave her champagne." One of Mick's favorite hang outs that summer was the Shagwong on Main Street.

A little rougher around the edges in those days, it's main attractions were a pool table and a juke box full of rock and roll. Only problem was, the only Stones tune on it was the by then golden oldie "Get Off My Cloud". They'd play it every time Mick came in for a drink. One night Mick had enough. After 10 Pina Coladas, and the same number of "Get Off My Cloud", Mick got off his bar stool, put a quarter in the box, punched up the classic disco tune - " Stand, Stand, Stand" - and started singing along. The whole place got quiet at first, and then exploded. Now as then, Jimmy Hewitt owned the Shagwong. He remembers Mick and Bianca would come in once or twice a week. "They were great for business. We had girls camped out three deep up and down the sidewalk waiting for them!" Mick would take up a stool at the end of the bar, where he's sit with his private bottle of Grand Marnier. Bianca would waltz into the kitchen to pick out dinner, and kibitz with the crew.

She'd roll up the sleeves of her Yves Saint Laurent dresses and open clams. Many nights after closing, Mick would invite Jimmy back to the hose to hear the Stones rehearse. The only problem was the nocturnal Stones wouldn't even start 2 or 3 in the morning. By then it was time for Jimmy to go home. Of course one of the indelible remains of the Stones stay in Montauk, is the song "The Memory Motel". Named for the bar and motel of same name, this lament for a lost girl has become one of the Stones signature tunes. "Hannah honey was a peachy kind of girl Her eyes were hazel And her nose were slightly curved We spent a lonely night at the Memory Motel It's on the ocean, I guess you know it well It took a starry to steal my breath away Down on the water front Her hair all drenched in spray" (Jagger/Richards - C- Rolling Stones/Virgin Records 1975 ) As atmospheric a tune as it was, the truth is, the Memory Motel was not the center of the Stones stay in Montauk. Peter Beard remembers taking Mick there one afternoon, with disastrous results.

It seems the owners, an older couple, didn't much care for the Stones. The bartender as much as told Jagger that to his face. So far as Peter can remember, that was the only time they set foot in the place! As for the "honey of a girl" mentioned in the song, it wasn't some lovely Montauk lass Mick was pining after, but the Stones traveling photographer, Annie Liebowitz. One girl who many in Montauk pined for, was a certain Barbara Allen. The pretty young wife of Joe Allen, one of Andy's Interview backers, Barbara attracted attention where ever she went. Years before she and Peter had a fling. That summer married Mick seemed to find her company very enjoyable. According to Bob Colacello, he was inadvertently present at a night time rendezvous while staying at Peter Beard's house. One hot summer's night he was dropping off to a peaceful night's sleep, when through the open window comes none other than Mick! Seemed he's mistaken Bob's room, for Barbara Allen's. Poor Bob, it was the closest he'd get to having a rock and roll star in his bed that summer.

ANDY'S 49TH BIRTHDAY Bob remembers his Montauk days fondly. He and the whole Warhol gang always felt comfortable in Montauk. As strange as it might seem, this merry band of ultra urban Pop stars took to the isolation of Montauk like ducks to water. More importantly, Montauk welcomed the gang with an open attitude and no problems. Of course, it helped that Andy's more extreme days were well behind him. Now a curious, but accepted member of society's elite, he had discarded most of his more bizarre hangers-on long ago. Fact is, had this been 1969 he might have brought a car load of transvestites with him, and dumped them on Main Street just for fun! When ever they could, Bob and as many as 20 of the other "kids" as Andy called all his workers, would pile into cars on a Summer's eve and head east. Many times Frederico di Laurentis, son of Dino, would give them a lift in his trademark Land Rover. Fitted out with Italian diplomatic plates, they didn't have to worry about speeding tickets or parking!

After hours of fighting their way through the Hamptons, they'd finally wind their way to the mile long dirt and gravel driveway that lead to the main house. Once in, it was Bob's job to start mixing the first batch of that Summer's hot drink. Equal parts vodka, campari and tonic - the deadly Negron was the Cosmopolitan of 1975. The other kids would spread out in the smaller cottages, while runners would descend on Gosman's for lobsters, and Herb's Market for cases of Perrier, crates of oranges, and bushel baskets of fruits and vegetables. Sometimes Andy would come out with the kids, most times he preferred to stay in New York. If someone special was renting the house, say Lee or Halston, he'd make an appearance. One of the few occasions he'd visit was his birthday. In his collaboration with Andy, Exposures, Bob remembers one birthday in particular. It illustrates how the world famous Warhol wasn't that far removed from the shy, sick boy who took refuge in his mother's bed so many years before. "Andy was the outsider everywhere. Even at home, even within his Factory family.

On August 6, 1977, we celebrated his forty-ninth birthday at Montauk. It was just Andy and the kids - Fred, Jed, Pat, Catherine, Vincent and his fiancé, Shelly Dunn, Jay Johnson with Tom Cashin, Susan Johnson and her beau, Billy Copley. We had a casual dinner around the big picnic table in the kitchen: barbecued chicken from the local deli, birthday cake from Andy's favorite Manhattan bakers, Les Delices de la Cote Basque, champagne and Negrons, the house Montauk drink, Campari and vodka, heavy on the vodka." "We put some old rock n roll records on the stereo in the living room. Fred grabbed Shelly, Vincent grabbed Catherine, I grabbed Pat - we were all dancing, in quickly shifting couples and groups. Except Andy. He stood on the edge of the room, snapping an occasional Minox, looking a little bored and very lonely. I tried to pull him into our sock hop, but he pulled back and whimpered, ' You know I can't dance, Bob.' I stood with him for a few minutes, so that he wouldn't be the only wall flower at his own birthday party.

' Gee', he said, in that wistful tone he used when he was feeling sorry for himself, ' You kids get along, so well.' Then he slipped away to bed, leaving us to twist and shout." Sad, that the man so many wanted to be seen with, party with, have portraits and articles done by, was at his heart a lonely man. As he himself said about true stars - "I wish I were like Mick. He's a somebody. I'm a nobody." EPILOGUE With Andy's death in 1987, the parade of celebrity guests to his Montauk estate stopped. His partner, Paul Morrissey kept the house, and donated 15 acres of the compound to a non-profit, conservancy. As it turned out, the house was the most important part of Andy's huge estate. Today it's for sale, awaiting a buyer with deep pockets and an even deeper appreciation for the real and historic drama of this unique property. Of course Andy was not Montauk's sole celebrity - Edward Albee, Dick Cavett, Ralph Lauren, Robert DeNiro, Richard Avedon, Paul Simon to name a few have deep roots here.

But never, has these wind swept moors and weathered cliffs seen a collection of white hot media types as gathered at Andy's home. Over those few years from 1972 - 1987 his house guests included Jerry Hall, Cyril Tiegs, Halston, Liza Minelli, Liz Taylor, John Lennon, John Phillips and many more. Through it all, standing just off to the corner, Polaroid camera in hand, tape recorder running, the most unlikely Pied Piper of all took it in. We'll never see another one quite like him. IF YOU'D LIKE TO KNOW MORE Andy Warhol's Exposures - Andy Warhol/Bob Colecello Holy Terror - Bob Colecello The Life and Death of Andy Warhol - Victor Bockris The Warhol Diaries - Andy Warhol Happy Times - Lee Radziwill The 41 Greatest Andy Warhol Quotes | Thought Catalog The 41 Greatest Andy Warhol Quotes Everybody has a different idea of love. One girl I know said, “I knew he loved me when he didn’t come in my mouth.” Don’t pay any attention to what they write about you. Just measure it in inches.

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. The pop artists did images that anybody walking down Broadway could recognize in a split second — comics, picnic tables, men’s trousers, celebrities, shower curtains, refrigerators, Coke bottles. All the great modern things that the Abstract Expressionists tried not to notice at all. Publicity is like eating peanuts. Once you start you can’t stop. The interviewer should just tell me the words he wants me to say and I’ll repeat them after him. I think that would be so great because I’m so empty I just can’t think of anything to say. I have Social Disease. I have to go out every night. I love going out every night. It’s so exciting. The symptoms of Social disease: You want to go out every night because you’re afraid if you stay home you might miss something. You choose your friends according to whether or not they have a limousine…When you wake up in the morning, the first thing you do is read the society columns. If your name is actually mentioned your day is made. Publicity is the ultimate symptom of Social Disease.

I will go to the opening of anything, including a toilet seat. Every time I go to Studio 54 I’m afraid I wont get in—maybe there will be somebody new at the door who won’t recognize me. Uptown is for people who have already done something. Downtown is where they’re doing something now. I live uptown but I love downtown. I like boring things. I’d asked around 10 or 15 people for suggestions. Finally one lady friend asked the right question, “Well, what do you love most?” That’s how I started painting money. Pop art is for everyone. The artificial fascinates me, the bright and the shiny. Do you know that the Campbell’s Soup Company has not sent me a single can of soup? I love Los Angeles. I love Hollywood. They’re beautiful. Everybody’s plastic, but I love plastic. I want to be plastic. Sex is more exciting on the screen and between the pages than between the sheets. I am a deeply superficial person. Success is when the checks don’t bounce. I’d prefer to remain a mystery. I never like to give my background and, anyway, I make it all up different every time I’m asked.

It’s not just that it’s part of my image not to tell everything, it’s just that I forget what I said the day before, and I have to make it all up over again. Living in New York City gives people real incentives to want things that nobody else wants. The most exciting thing is not doing it. If you fall in love with someone and never do it, it’s much more exciting. In the future everyone will be famous for 15 minutes. An artist is somebody who produces things that people don’t need to have. They always say time changes things, but you actually have to change them yourself. Art is what you can get away with. It does not matter how slowly you go so long as you do not stop. As soon as you stop wanting something, you get it. It’s not what you are that counts, it’s what they think you are. What’s great about this country is America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you can know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too.

A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. I just do art because I’m ugly and there’s nothing else for me to do. I think it would be very glamorous to be reincarnated as a great big ring on Liz Taylor’s finger. Sex is the biggest nothing of all time. The nicer I am, the more people think I’m lying. I always run into strong women who are looking for weak men to dominate them. I don’t see anything wrong with being alone, it feels great to me. When you’re interested in somebody, and you think they might be interested in you, you should point out all your beauty problems and defects right away, rather than take a chance they won’t notice them. After being alive, the next hardest work is having sex. Of course, for some people it isn’t work because they need the exercise and they’ve got the energy for the sex and the sex gives them even more energy. Some people get energy from sex and some people lose energy from sex. I have found that it’s too much work.

But if you have the time for it, and if you need that exercise—then you should do it. Sometimes people let the same problem make them miserable for years when they could just say, “So what.” That’s one of my favorite things to say. “So what.” “My mother didn’t love me.” So what. “My husband won’t ball me.” So what. “I’m a success but I’m still alone.” So what. I don’t know how I made it through all the years before I learned how to do that trick. It took a long time for me to learn it, but once you do, you never forget. Sometimes you fantasize that people who are really up-there and rich and living it up have something you don’t have, that their things must be better than your things because they have more money than you. But they drink the same Cokes and eat the same hot dogs and wear the same ILGWU clothes and see the same TV shows and the same movies. Rich people can’t see a sillier version of Truth or Consequences, or a scarier version of The Exorcist. You can get just as revolted as they can—you can have the same nightmares. All of this is really American.

15 Minutes of Fame 15 Minutes of Fame By Patrick Mondout "In the future everybody will be world famous for fifteen minutes." In the past, 1968 to be exact, pop artist Andy Warhol, who is perhaps best know for his Psychedelic60s paintings of Marilyn Monroe and Campbell's Soup cans, wrote these words to describe the growing commodification of everyday life. Thanks to cheap reality shows and cameras everywhere, it seems Warhol may indeed be prophetic. As for me, I'm still waiting for mine (sigh). The phrase has come to refer to people who do something of dubious distinction or are involved in a minor scandal (Monica doesn't count - far from a mere 15 minutes, she got a full calendar year!) and manage to capture our attention for a while. Recent examples include Ken Lay (President Bush's close friend and Enron CEO who apparently oversaw the bilking of billions from Californians and still managed to bankrupt his company), Robert Blake and Scott Peterson (who everyone seems to believe killed their wives), and John Rocker (baseball player who managed to offend virtually all non-rednecks during an interview with Sports Illustrated ).

15 Minutes, The TV Version In late 1986, MTV introduced many in our generation to Warhol through a new show called Andy Warhol's 15 Minutes (for the record, episodes were 30 minutes in duration). Much like his movies of the late 60s and early Super70s , the series was a shot a stardom for cutting-edge stars Warhol was willing to feature. The short-lived show ended when Andy Warhol died in February of 1987. How Long Do I Have To Wait? Well, according to the latest version of Microsoft Excel, you should have around 2.5 million 15-minute slots available during an average lifetime. If Andy was right and everyone gets 15 minutes, then there are approximately 2,500 people enjoying their 15 minutes right now! (Maybe we do need 500 cable channels after all.) Origins of the Phrase The earliest reference to the phrase can be found in the book Andy Warhol edited by Warhol, Joenig, Hulten, and Granath, and issued in 1968 in conjunction with his Feb/Mar 1968 exhibition in Stockholm.

(Warhol is misquoted most of the time. Our quote in the first paragraph is directly from this publication.)

Question: According to Andy Warhol, in the future, how long will everyone be famous for?
Answer: 15 minutes