Andy Warhol (/ˈwɔːrhɒl/ⓘ; bornAndrew Warhola Jr.; August 6, 1928 – February 22, 1987) was an American artist and filmmaker. Widely regarded as the most important artist of the second half of the 20th century,[n 1] Warhol's work spanned various media, including painting, filmmaking, photography, publishing, andperformance art. A leading figure in thepop art movement, his work explores the relationship between advertising, consumerism,mass media, andcelebrity culture, transforming everydayconsumer goods and familiar icons into renowned artworks. His embrace of mechanical reproduction challenged traditional boundaries betweenhigh andlow culture. He is also credited with popularizing the expression "15 minutes of fame."
After Warhol survived anassassination attempt in 1968, the Factory evolved into a business enterprise. He foundedInterview magazine, produced the playPork (1971), and published various books such asThe Philosophy of Andy Warhol (1975) andPopism (1980). He executed several series of paintings—notablyMao (1972–73),Athletes (1977), andLast Supper (1985–86)—and commissioned portraiture, while expanding into television withAndy Warhol's TV (1980–83) andAndy Warhol's Fifteen Minutes (1985–87). He meticulously documented his social life through photography and daily recordings, published posthumously asThe Andy Warhol Diaries (1989). Warhol died ofcardiac arrhythmia at the age of 58 following gallbladder surgery in 1987.
Warhol's childhood home at 3252 Dawson Street in Pittsburgh'sSouth Oakland neighborhood
Warhol was born on August 6, 1928, inPittsburgh, Pennsylvania.[3] He was the fourth child of Ondrej Warhola (Americanized as Andrew Warhola Sr.; 1889–1942)[4] andJulia Warhola (née Zavacká, 1891–1972).[5] His parents were working-classRusyn emigrants from Mikó,Austria-Hungary (nowMiková in northeastSlovakia).[6][7]
In 1912, Warhol's father emigrated to the United States and found work in acoal mine.[8] His wife joined him nine years later in 1921.[9] The family lived at 55 Beelen Street and later at 3252 Dawson Street in theOakland neighborhood of Pittsburgh.[10] They wereRuthenian Catholic and attendedSt. John Chrysostom Byzantine Catholic Church. Warhol had two older brothers, Paul (1922–2014) andJohn (1925–2010),[11] as well as an older sister, Maria (1912; died in infancy).[7][8] Warhol's nephewJames Warhola, became a successful children's book illustrator.[12]
At the age of eight, Warhol had astreptococcal infection that led toscarlet fever.[13] Because there were no antibiotics to treat the illness it progressed torheumatic fever and ultimately the neurological conditionSydenham's chorea, sometimes referred to as St. Vitus' Dance.[13] At times he was confined to bed and made to remain home from school. He would spend these days drawing, creating scrapbooks from Hollywood magazines, and cutting out images from comic books that his mother bought him.[14][7] He also enjoyed using the family'sKodak Baby Brownie Special camera, and after noticing his passion for photography, his father and brothers built adarkroom in the basement for him.[15]
Warhol (right) as a toddler with his mother,Julia, and his brother,John,c. 1930
When Warhol started art classes atHolmes School in 1937, his art teacher saw his potential and got him admitted to Saturday drawing lessons at theCarnegie Institute in Pittsburgh.[16] In 1942, his father died after drinking contaminated water from a coal mine inWest Virginia.[7]
Warhol excelled in school and won aScholastic Art and Writing Award.[17][7] After graduating fromSchenley High School in 1945, he enrolled at theCarnegie Institute of Technology in Pittsburgh, where he studiedcommercial art. During his time there, Warhol joined the campus Modern Dance Club and Beaux Arts Society.[18][19] He also served as art director of the student art magazine,Cano, illustrating a cover in 1948 and a full-page interior illustration in 1949.[20][21] These are believed to be his first two published artworks.[21] Warhol earned aBachelor of Fine Arts in pictorial design in 1949.[22]
Career
1940s
After graduating from the Carnegie Institute of Technology in June 1949, Warhol moved to New York City with his classmatePhilip Pearlstein.[23][24] They lived in a sixth-floor walk-uptenement building onSt. Mark's Place nearTompkins Square Park in theEast Village.[23] On his second day in New York, Warhol visited Tina Fredericks, the art director ofGlamour magazine, whom he had met during a brief visit to the city the previous year.[25] He presented a portfolio of work completed at the Carnegie Institute of Technology, which Fredericks received favorably, purchasing a small $10 drawing of an orchestra for her personal collection.[26][27] She subsequently commissioned Warhol to produce shoe illustrations; after more than one attempt, his drawings were accepted.[28] Glamour published a page of Warhol's shoe illustrations along with several pages of people climbing the "ladder of success," accompanying the major feature "What Is Success?," which comprised six individual articles by Katherine Sonntag, Hazel M. Wood, Margot Clarke, Patricia Curtain,Marya Mannes, and Elizabeth Weston.[29][28] Thus beginning his career as a commercial artist.
1950s
Warhol was hired by prominent fashion magazines, includingGlamour,Mademoiselle,Vogue, andHarper's Bazaar, and produced a prolific body of advertisements throughout the 1950s.[30][31][32][33] During this period, galleristAlexander Iolas is often credited with discovering Warhol and organized his first solo exhibition,Andy Warhol: Fifteen Drawings Based on the Writings of Truman Capote, at theHugo Gallery in New York in 1952.[34][35]
Warhol designed several covers forInteriors magazine between 1953 and 1954.[36][37][38] In 1954, Warhol exhibited his work on multiple occasions at Vito Giallo's Loft Gallery in New York.[39]ARTnews observed that Warhol had "developed an original style of line drawing," noting that his technique produced "the effect of the reverse side of a negative, although his lines are broken and the spaces not clouded."[40] His "blotted line" technique combined aspects of printmaking and graphite drawing on paper.[26] Within a year, Warhol—then working out of his railroad apartment on East 34th Street—invited Giallo to become his first paid studio assistant.[39]
In 1955, Warhol began designing advertisements for the shoe manufacturerIsrael Miller.[41][42] PhotographerJohn Coplans recalled that "nobody drew shoes the way Andy did. He somehow gave each shoe a temperament of its own, a sort of sly,Toulouse-Lautrec kind of sophistication, but the shape and the style came through accurately and the buckle was always in the right place."[43] By 1956, Warhol's distinctive style had made him widely recognized as a fashion illustrator. His drawings for I. Miller attracted considerable attention, and he was so busy that he had to turn down assignments.[44]
In a 1956 interview withMademoiselle, Warhol described his approach to combining commercial and fine art: "Every time I draw a shoe for a job, I do an illustration for myself." He acknowledged that "you almost have to specialize to get assignments," but noted that most New York art directors were eager to "give you a chance to do things."[44] Warhol's personal illustrations were whimsical shoe designs embellished withgold leaf, and each represented a famous figure such asTruman Capote,Kate Smith,James Dean,Julie Andrews,Elvis Presley, andZsa Zsa Gabor.[45][46] They sold for $50 to $225 apiece when they were presented at theBodley Gallery in New York in December 1956.[45][47]
In 1956, theMuseum of Modern Art (MoMA) politely declined Warhol's gift of his drawingShoe, citing limited storage space and asking him to retrieve it. Nevertheless, that same year one of his shoe drawings was included in MoMA'sRecent Drawings U.S.A. group exhibition, marking Warhol's first museum showing.[48][49] That year, he traveled around the world with his friend, production designerCharles Lisanby, studying art and culture in several countries.[50] While inKyoto, Japan, Warhol drew a stylized portrait of business tycoonMadame Helena Rubinstein.[51]
Warhol habitually used the expedient of tracing photographs projected with anepidiascope.[52] Using prints byEdward Wallowitch, the photographs would undergo a subtle transformation during Warhol's often cursory tracing of contours andhatching of shadows.[53] Warhol used Wallowitch's photographYoung Man Smoking a Cigarette (c. 1956)[54] for a 1958 design for a book cover he submitted toSimon and Schuster for the Walter Ross pulp novelThe Immortal, and later used others for his series of paintings.[55][56]
To promote himself as an artist, Warhol produced and distributed self-published books of his illustrations, including25 Cats Name Sam and One Blue Pussy (1957) andA Gold Book (1957), which he gave to potential clients and contacts to generate work.[57][58] He frequently incorporatedcalligraphy by his mother, Julia Warhol, to accompany his drawings.[59]
With the rapid expansion of therecord industry,RCA Records hired Warhol to design album covers and promotional materials.[60][61] By the late 1950s, he was also working for high-end advertising clients, includingTiffany & Co.[62]
1960s
At a time when traditional artists did not buy the work of other artists, Warhol collected them.[63] To survive, gallery artists typically did commercial work, such as window displays, and avoided using their real names because it was frowned upon. In contrast, Warhol gained recognition as a commercial artist, which caused tension with other artists.[63] This period was a key moment in the development of his persona. Some have suggested that his frequent refusal to comment on his work, to speak about himself, confining himself in interviews to responses like "Um, no" and "Um, yes", and often allowing others to speak for him—and even the evolution of his pop style—can be traced to the years when Warhol was first dismissed by the inner circles of the New York art world.[64]
In 1960, Warhol purchased aVictorian townhouse at1342 Lexington Avenue in theCarnegie Hill neighborhood of Manhattan.[65] He used the house as both a residence and a studio, and his mother lived in the basement apartment.[66]
By 1961, Warhol was widely recognized as one of "New York's more stylish window dressers and top shoe illustrators."[66] His hand-drawn images appeared regularly inVogue, thesociety pages ofThe New York Times, and in publications such asAmy Vanderbilt's Complete Cook Book (1961), which featured his illustrations—just as photographic imagery was beginning to eclipse drawn work in commercial media.[67][68] That April, his pop paintings were exhibited for the first time in the window display of theBonwit Teller department store onFifth Avenue at57th Street.[69][66] Five paintings based oncomic strips and newspaper ads served as the backdrop for mannequins wearing spring dresses:Saturday's Popeye,Little King,Superman,Before and After, andAdvertisement.[70]
A significant turning point in Warhol's career was when he began drawingdollar bills, which inspired him to startsilkscreening in the spring of 1962.[71] Warhol was taught silkscreen printmaking techniques byMax Arthur Cohn at his graphic arts business in Manhattan.[72][73] Warhol is often considered to be a pioneer in silkscreen printmaking and his techniques became more elaborate throughout his career.[74]
Campbell's Soup I (1968)
In May 1962, Warhol was featured in an article inTime with his paintingBig Campbell's Soup Can with Can Opener (Vegetable) (1962), which initiated his most sustained motif, theCampbell's soup can.[75] That painting became Warhol's first to be shown in a museum when it was exhibited at theWadsworth Atheneum in Hartford in July 1962.[76] On July 9, 1962, Warhol's exhibition opened at theFerus Gallery in Los Angeles withCampbell's Soup Cans, marking hisWest Coast.[77][78]
In November 1962, Warhol had an exhibition atEleanor Ward'sStable Gallery in New York.[79] The exhibit included the worksGold Marilyn Monroe, eight of the classicMarilyn series also namedFlavor Marilyns,Marilyn Diptych,100 Soup Cans,100 Coke Bottles, and100 Dollar Bills.Gold Marilyn Monroe was bought by the architectPhilip Johnson and donated to the MoMA.[80]
In January 1963, Warhol rented his first studio, an old firehouse at 159 East 87th Street, where he produced hisElvis series, includingEight Elvises (1963) andTriple Elvis (1963).[83] These works, along with a series of portraits ofElizabeth Taylor, were exhibited later that year at his second exhibition at the Ferus Gallery in Los Angeles.[84] In November 1963, Warhol relocated his studio to 231 East 47th Street, which became known asthe Factory.[85][86] Warhol used assistants to increase his productivity and these collaborations would remain a defining aspect of his working methods throughout his career. During this period, poetGerard Malanga assisted him with the production of silkscreens and films at the Factory, which was covered inaluminium foil and silver paint byBilly Name in 1964.[87][88]
Warhol was among the artists commissioned to create an artwork for theNew York State Pavilion at the1964 World's Fair inQueens, New York.[89] He created the muralThirteen Most Wanted Men (1964), which was painted over after government officials objected to the images before the fair opened in April 1964.[90][89] That spring, Warhol had his second exhibition at the Stable Gallery in the spring of 1964, which featured sculptures of commercial boxes stacked and scattered throughout the space to resemble a warehouse.[91][92] For the exhibition, Warhol custom ordered wooden boxes and silkscreened graphics onto them.[93] The sculptures of commercial cartons—Brillo Soap Pads,Del Monte Peach Halves,Heinz Tomato Ketchup,Kellogg's Corn Flakes, Campbell's Tomato Juice, andMott's Apple Juice—sold for $200 to $400 depending on the size of the box.[94]
A pivotal event in Warhol's career wasThe American Supermarket exhibition at Paul Bianchini'sUpper East Side gallery in late 1964. The show was presented as a typical small supermarket environment, except that everything in it—from the produce, canned goods, meat, posters on the wall, etc.—was created by prominent pop artists of the time, among them sculptorClaes Oldenburg, Mary Inman andBob Watts. Warhol designed a $12 paper shopping bag—plain white with a red Campbell's soup can.[95] His painting of a can of a Campbell's soup cost $1,500 while each autographed can sold for three for $18, $6.50 each.[95][96] The exhibit was one of the first mass events that directly confronted the general public with both Pop Art and the perennial question of what art is.[97]
In November 1964, Warhol's firstFlowers series exhibited at theLeo Castelli Gallery in New York.[98] In May 1965, his secondFlowers series, which had more sizes and color variation that the previous, was shown at GalerieIleana Sonnabend in Paris.[99][100] During this trip Warhol announced that he was retiring from painting to focus on film.[101][102] Warhol made a conscious decision to oppose conventional painting, stating that he no longer believed in painting.[103] In response to art dealerIvan Karp's suggestion to paint cows, Warhol producedCow Wallpaper, which covered the walls of the Leo Castelli Gallery during his April 1966 exhibition.[104]
In November 1966, Warhol was hired by theAbraham & Straus department store in Brooklyn to promote the "Paint-your-own-dress" collection by the Mars Manufacturing Company, which included a white paper dress that came with a paintbrush and a box of watercolors.[105][106] In a live demonstration, Warhol decorated two dresses at the store that were given to theBrooklyn Museum usingNico as his model.[107] In his capacity as the manager of the experimental rock groupthe Velvet Underground, he included them as a key component of hisExploding Plastic Inevitable multimediahappenings in 1966 and 1967, and he funded their debut album,The Velvet Underground & Nico (1967).[108][109]
In 1967, Warhol establishedFactory Additions for his printmaking and publishing enterprise.[117] To duplicate prints for a wide audience, Factory Additions published multiple portfolios of ten images each in editions of 250. These were then printed using professional screen printers.[97]
Warhol intended to present the filmChelsea Girls (1966) at the1967 Cannes Film Festival, but it wasn't shown because "the festival authorities explained that the film was too long, there were technical problems."[118] To finance his film productions, Warhol began going on college lecture tours, where he screened some of his underground films and answered audience questions.[119] Warhol sent actorAllen Midgette to impersonate him during a West Coast college tour in October 1967.[119] Warhol reimbursed the four institutions where he did not appear and returned to the campuses in 1968.[120][121]
In February 1968, Warhol's first solo museum exhibition was mounted at theModerna Museet in Stockholm.[122]
Warhol amid hisBrillo Box (1964) sculptures at theModerna Museet in Stockholm, 1968
On June 3, 1968,radical feminist writerValerie Solanas shot Warhol andMario Amaya, art critic and curator, at the Factory.[123] Solanas had been a marginal figure in the Factory scene before the shooting. She authored theSCUM Manifesto,[124] aseparatist feminist tract that advocated the elimination of men; and appeared in the Warhol filmI, a Man (1967).[125] Amaya received only minor injuries and was released from the hospital later the same day.[126] Warhol was seriously wounded by the attack and barely survived: he remained in hospital for nearly two months.[127][128] Solanas turned herself in to the police a few hours after the attack and said that Warhol "had too much control over my life."[123][129] She was subsequently diagnosed withparanoid schizophrenia and eventually sentenced to three years in prison.[130]
Jed Johnson, an assistant who was present at the Factory during the shooting,[131][127] visited Warhol daily at the hospital, and the two developed an intimate relationship.[132][133] Shortly after Warhol was discharged, Johnson moved in with him to aid in his recovery and to help care for Warhol's ailing mother.[134] During Warhol's hospitalization that summer,Paul Morrissey assumed primary filmmaking responsibilities and directed his first film,Flesh (1968), starring Joe Dallesandro.[135][136]
The assassination attempt had a profound effect on Warhol's life and art.[137][138][137] Complications from a second operation the following year left his abdominal muscles improperly repaired, requiring him to wear a surgicalcorset for the rest of his life to prevent his stomach from distending when he ate.[139] The Factory became more regulated, and Warhol focused on making it a structured business enterprise. He credited Morrissey with transforming the Factory into a "regular office."[137]
Post-shooting
In August 1968, Warhol made an appearance in court after Phillip "Fufu" Van Scoy Smith, an investor in a canceled film adaptation of theCharlotte Brontë novelJane Eyre, sued him for $80,000.[140] A legal battle ensued for 2 years, ending after the backer failed to show up in court.[141]
Warhol reemerged on the public social scene that fall. In September 1968, he and Ultra Violet attended a party celebrating the completion of the filmMidnight Cowboy.[142][143] The film includes a party scene featuring members of the Factory that was shot during Warhol's hospitalization.[143] That same month, Warhol hosted a party at the Factory for the release of Nico's albumThe Marble Index.[144] Warhol, Viva, and Ultra Violet also appeared on the cover ofThe New York TimesMagazine on November 10, 1968.[145]
In February 1969, Warhol and his entourage traveled to Los Angeles to discuss a prospective movie deal withColumbia Pictures.[146] Warhol, who had always had an interest in photography, used aPolaroid camera to document his recuperation after the shooting.[147] A few of his photographs were published in the May 1969 edition ofEsquire magazine.[148] He would become well known for always carrying his Polaroid camera to chronicle his encounters.[149] Eventually, he used instant photography as the basis for his silkscreen portraits when he resumed painting in the 1970s.[150]
After the release of theerotic filmBlue Movie (1969), Warhol rented the Fortune Theater at 62 East 4th Street, where he screenedmale pornographic films from June 25 to August 5, 1969.[151] The project was managed by Gerard Malanga under his business, Poetry on Film.[151] The theater was called "Andy Warhol's Theater: Boys to Adore Galore."[152] Morrissey came up with the idea to rent the theater and set the admission price at $5.[151]
Warhol and British journalistJohn Wilcock foundedInterview magazine in the fall of 1969.[153] The magazine was initially published asinter/VIEW: A Monthly Film Journal. It was revamped a few years later and came to represent Warhol's social life and fascination with celebrity.[154]
In 1969, Warhol received an invitation to curate an exhibition using items from the permanent collection of theRhode Island School of Design Museum in Providence.[155] In October 1969, the exhibitionRaid the Icebox opened atRice University's Institute for the Arts in Houston. In 1970, the show traveled to theIsaac Delgado Museum in New Orleans before arriving at the RISD Museum.[156]
Compared to the success and scandal of Warhol's work in the 1960s, the early 1970s were much quieter years, as he became more entrepreneurial. He was generally regarded as quiet, shy and a meticulous observer. Art criticRobert Hughes called him "the white mole ofUnion Square".[157] His fashion evolved from what Warhol called his "leather look" to his "Brooks Brothers look," which included a Brooks Brothers shirt and tie, DeNoyer blazer, andLevi jeans.[158][159]
Warhol and his live-in boyfriend Jed Johnson got a dachshund puppy,Archie, in November 1972.[176][2] Warhol doted on Archie and took him everywhere: to the studio, parties, restaurants, and on trips to Europe.[6][177] He created portraits of Johnson, Archie, and Amos—a second dachshund they got a few years later.[1]
Warhol began traveling to Europe more frequently and developed a fondness for Paris.[178] Warhol had an apartment that he shared with his business managerFred Hughes on theLeft Bank of Paris on Rue du Cherche-Midi.[179][180]
In 1974, Warhol and Johnson moved into aNeo-Georgian townhouse at57 East 66th Street in Manhattan'sLenox Hill neighborhood.[185] By this time, Warhol's public presence had increased significantly due to his attendance at parties. In 1974, he said, "I try to go around so often so much and try to go to every party so that they'll be bored with me and stop writing about me."[186]
In 1976, Warhol and painterJamie Wyeth were commissioned to paint each other's portraits by the Coe Kerr Gallery in Manhattan.[191] In January 1977, Warhol traveled to Kuwait for the opening of his exhibition at the Dhaiat Abdulla Al Salem Gallery.[192] In June 1977, Warhol was invited to a special reception honoring the "Inaugural Artists" who had contributed prints to theJimmy Carter presidential campaign.[193] In 1977, Warhol was commissioned by art collector Richard Weisman to createAthletes, ten portraits consisting of the leading athletes of the day.[194]
The opening ofStudio 54 in 1977 ushered in a new era in New York City nightlife. Warhol would often socialize at Studio 54 and take note of the drug-fueled activities that his friends engaged in at parties.[195] In 1977, Warhol began taking nude photographs of men in various poses and performing sexual acts—referred to as "landscapes"—for what became known as theTorsos andSex Parts series.[196][197] Most of the men were street hustlers and male prostitutes brought to the Factory by Halston's loverVictor Hugo.[198][199] This caused tension in Warhol's relationship with Johnson who did not approve of his friendship with Hugo.[200][201] "When Studio 54 opened things changed with Andy. That was New York when it was at the height of its most decadent period, and I didn't take part. I never liked that scene, I was never comfortable. ... Andy was just wasting his time, and it was really upsetting. ... He just spent his time with the most ridiculous people," said Johnson.[202]
PresidentJimmy Carter and Warhol at the White House, 1977
In 1979, Warhol formed a publishing company, Andy Warhol Books, and released the bookExposures, which contained his photographs of famous friends and acquaintances.[203] In November 1979, he embarked on a three-week book tour in the US.[204]
Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions—including Shah of Iran Mohammad Reza Pahlavi, his wife EmpressFarah Pahlavi, his sisterPrincess Ashraf Pahlavi,Mick Jagger,Liza Minnelli,Diana Ross andBrigitte Bardot.[205][206] In November 1979, the Whitney Museum of American Art mounted the exhibitionAndy Warhol: Portraits of the 70s.[207][208] Some critics disliked the exhibition of personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects.[209]
TheNew York Academy of Art was founded in part by Warhol.[211] First established in 1980, the institute's mission was to "revive traditional methods of training artists."[212] According to fellow co-founderStuart Pivar, "What happened was thatModernism got boring [for Warhol] ... But his overall game plan, what he really believed, was that themodern age was going away and that we were entering aneoclassical period."[212]
In 1981, Warhol collaborated withPeter Sellars andLewis Allen on a project titledA No Man Show, a traveling stage production featuring a life-sized animatronic robot modeled after Warhol.[213] Known as theAndy Warhol Robot, the figure was designed to read from Warhol's diaries as part of the performance, reflecting his long-standing interest in mechanization and authorship.[214][215] That same period also saw Warhol develop hisMyths series (1981), which reimagined figures such asMickey Mouse,Superman, andUncle Sam as contemporary cultural icons.[216]
Warhol also had an appreciation for intenseHollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."[217] Warhol occasionally walked the fashion runways and did product endorsements, represented byZoli Agency and laterFord Models.[218]
In 1983, Warhol was commissioned to design a poster commemorating thecentennial of theBrooklyn Bridge, which he contributed to the New York Art Expo that year.[219] He also produced a series of silkscreen prints depictingendangered species forWarhol's Animals: Species at Risk, an exhibition held in April 1983 at theAmerican Museum of Natural History in New York City. Of the 150 sets created, Warhol donated 10 to wildlife organizations to support fundraising efforts.[220]
Ahead of the 1984Sarajevo Winter Olympics, Warhol along with 15 other artists, includingDavid Hockney andCy Twombly, contributing theSpeed Skater (1983) print to the Art and Sport collection; the image was later used for the event's official poster.[221] That same year,Vanity Fair commissioned Warhol to produce a portrait of musicianPrince to accompany an article marking the success ofPurple Rain (1984) and itsaccompanying film. TitledOrange Prince (1984), the work features Prince rendered in a vivid pop palette, with black screen-printed facial features over an orange ground accented by green and blue highlights.[222]
In September 1985, Warhol's joint exhibition with Basquiat,Paintings, opened to negative reviews at theTony Shafrazi Gallery.[223] That month, despite apprehension from Warhol, his silkscreen seriesReigning Queens (1985) was shown at theLeo Castelli Gallery.[224] I his diary, Warhol noted: "They were supposed to be only for Europe—nobody here cares about royalty and it'll be another bad review."[225]
In April 1986, Warhol's exhibition10 Status of Liberty (1986) opened at the Galerie Lavignes-Bastille in Paris in conjunction with the centennial of theStatue of Liberty, presenting the symbol of freedom incamouflage and layered colors.[226] One of the paintings was used for the cover of the May 12, 1986 issue ofNew York magazine.[227] That same year, he completed a new series ofSelf-Portraits (1986), characterized by his "fright wig" and stark contrasts, which premiered at London'sAnthony d'Offay Gallery in July 1986.[228]
In January 1987, Warhol traveled to Milan for the opening of his last exhibition,Il Cenacolo (The Last Supper), at the Palazzo delle Stelline.[229] The next month, Warhol modeled with jazz musicianMiles Davis for Koshin Satoh's fashion show at theTunnel in New York City on February 17, 1987.[230][231]
Death
Warhol was initially diagnosed with agallstone in 1973, but he adamantly rejected surgery because he feared hospitals.[232] When he was insistent about avoiding surgery, his internist Denton Cox attempted to obtain an experimental medication from Japan. The artist also sought guidance from a chiropractor and nutritionist, who suggested that he wear a small crystal. Dehydrated and unable to eat, Warhol was in excruciating pain by February 1987.[233]
Warhol was admitted toNew York Hospital in Manhattan on February 20, and he underwentgallbladder surgery on February 21.[234] His surgeon Bjorn Thorbjarnarson found his gallbladder "on the verge of perforating" and in danger of "spilling the infection into (Warhol's) belly."[233] Warhol was awake and able to walk about, make phone calls, and watch television when both of his doctors visited him after the four-hour operation.[233] His private nurse, Min Cho, saw his growing pallor at 4:30 the following morning, but she did not call the hospital's cardiac-arrest team until 5:45 am, when he was "unresponsive" and turning blue.[235] He was pronounced dead at 6:31 a.m. from suddencardiac arrhythmia.[236][235]
Warhol's brothers took his body back to Pittsburgh, where an open-casketwake was held at the Thomas P. Kunsak Funeral Home. The solid bronze casket had gold-plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, and a platinum wig.[237] He was laid out holding a small prayer book and a red rose. The funeralliturgy was held at theHoly Ghost Byzantine Catholic Church on Pittsburgh'sNorth Side on February 26, 1987. Monsignor Peter Tay delivered the eulogy.[238] After the liturgy, the casket, covered with white roses andasparagus ferns, was driven toSt. John the Baptist Byzantine Catholic Cemetery inBethel Park, a south suburb of Pittsburgh, where Warhol was buried near his parents.[239] The priest said a brief prayer at the graveside and sprinkled holy water on the casket. Before the casket was lowered, Warhol's close friend and Interview stafferPaige Powell placed copies of the February and March issues and a bottle of BeautifulEau de Parfum byEstée Lauder into his grave.[240][241]
In April 1987, theNew York State Health Department released a report that Warhol was given inadequate care by New York Hospital from the time he was admitted until the hours before his death. These included not performing the appropriate work-up tests prior to surgery, giving Warhol antibiotics to which he may have experienced an allergic response, causing him to become overhydrated, and repeatedly failing to take accurate notes on his chart. There were no issues with the procedure itself, according to the report.[234] In response, the hospital dismissed the private nurse who had been employed to care for Warhol and penalized the staff nurse who had been tasked with overseeing her.[246] However, the hospital claimed that the nursing deficiencies were not significant enough to cause Warhol's death.[246]
In December 1991, Warhol's family sued the hospital in theNew York Supreme Court for inadequate care, before judgeIra Gammerman, saying that the arrhythmia was caused by improper care andwater intoxication.[247] The malpractice case was quickly settled out of court; Warhol's family received an undisclosed sum of money.[248]
Prior to his surgery, doctors expected Warhol to survive, though a re-evaluation of the case about thirty years after his death showed many indications that Warhol's surgery was in fact riskier than originally thought. It was widely reported at the time that Warhol had died of a "routine" surgery, though when considering factors such as his age, afamily history of gallbladder problems, his previous gunshot wound, and his medical state in the weeks leading up to the procedure, the potential risk of death following the surgery appeared to have been significant.[249]
Art works
Paintings and prints
By the beginning of the 1960s, the Pop Art movement was an experimental form that several artists were independently adopting; some of these pioneers, such asRoy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken fromcartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists such asWillem de Kooning.
From these beginnings, he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the handmade from the artistic process. Warhol was an early adopter of thesilkscreen printmaking process as a technique for making paintings. His later drawings were traced from slide projections. Warhol had several assistants through the years, includingGerard Malanga,Ronnie Cutrone, andGeorge Condo, who produced his silkscreen multiples, following his directions to make different versions and variations.[250][251]
Warhol's first pop prt paintings were displayed in April 1961, serving as the backdrop for New York Department StoreBonwit Teller's window display.[252] For his first major exhibition in 1962, Warhol painted his famous cans of Campbell's soup, which he claimed to have had for lunch for 20 years.[253] Warhol began to make paintings of iconic American objects such as dollar bills,mushroom clouds,electric chairs, cans,Coca-Cola bottles, and celebrities such asMarilyn Monroe,Elvis Presley andElizabeth Taylor, as well as newspaper headlines. His work became popular and controversial. Warhol had this to say about Coca-Cola:
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 Coca-Cola, Liz Taylor drinks Coca-Cola, and just think, you can drink Coca-Cola, 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.[254]
In 1962, Warhol created his famousMarilyn series. TheFlavor Marilyns were selected from a group of fourteen canvases in the sub-series. Some of the canvases were named afterLife Savers candy flavors and others are identified by their background colors.[255] Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques—silkscreens, reproduced serially, and often painted with bright colors—whether he painted celebrities, everyday objects, or images of suicide, car crashes and disasters, as in the 1962–63Death and Disaster series.[256]
In 1970, screenprinting materials from Warhol's 1960s studio were taken to Europe to produce a new series of prints under the name "Sunday B Morning."[257] Warhol initially signed and numbered one edition of 250, but after a dispute with some studio employees, unauthorized unsigned editions were produced in Brussels using the same photo negatives and color codes he had provided.[258] These later prints were stamped "Sunday B Morning" or "Add Your Own Signature Here," and some carried Warhol's disclaimer, "This is not by me, Andy Warhol."[259] The most widely known of these are the 1967Marilyn Monroe portfolio prints, which continued to be produced into the 2010s.[260] Sunday B Morning editions have also been issued for other works, includingFlowers,Campbell's Soup I,Campbell's Soup Cans II,Gold Marilyn Monroe, andDollar Bill. Early versions bore black stamps on the verso, shifting to blue by the 1980s.[261][262]
In the 1970s, Warhol evolved into a portraiture artist, painting commissionedportraits of celebrities and socialites.[263][208] The last portrait he made at the old Factory at33 Union Square West, in 1974, was of his mother, Julia Warhola, who had died two years earlier.[264] In the new Factory at860 Broadway, he left behind the finger-painting and gestural complexity of his 1972–74 works for a cleaner, more streamlined style—echoing the shift from the old studio's clutter to the new one's openness.[264] Many of the portraits Warhol produced between 1975 and 1976, share a soft,pastel look, with distant eyes under washes ofazure,mint, orlavender. This style defined his portrayals ofMick Jagger, Joe MacDonald,Roy Lichtenstein, Marilyn Karp, Marcia Weisman, Doda Voridis, Tina Freeman, and Carole Coleman.[264]
BMW Group - 4 M1 (1979), painted by Warhol
Warhol wasn't only painting commissioned portraits—though some non-portrait works were still dealer-commissioned before he began them. His studio production returned to mid-sixties levels, with the same intensity and volume. After theMao series (1972–73), he createdHand Colored Flowers 1974, a portfolio of 10 flower prints, silkscreened in black and handwatercolored.[265][266] In 1975, Warhol completed theLadies and Gentlemen series, followed byCats and Dogs in 1976 and theSkulls series later that year.[267] In 1977, he debuted hisTorsos series, and subsequently beganShadows (1978–79).[268][269]
In 1979, Warhol was commissioned to paint aBMW M1Group 4 racing version for the fourth installment of theBMW Art Car project.[270] He was initially asked to paint aBMW 320i in 1978, but the car model was changed and it didn't qualify for the race that year.[271][272][273] Warhol was the first artist to paint directly onto the automobile himself instead of letting technicians transfer a scale-model design to the car.[270] Reportedly, it took him only 23 minutes to paint the entire car.[274]Racecar driversHervé Poulain,Manfred Winkelhock andMarcel Mignot drove the car at the1979 24 Hours of Le Mans.[270]
Hisoxidation paintings, also known as "piss paintings," such asJean-Michel Basquiat (1982),[275] are also noteworthy in this context. It's also important to notice the way these works—and theirmeans of production—mirrored the atmosphere at Warhol's Factory. FormerInterview editorBob Colacello recalled that Victor Hugo was a "ghost pisser" on the Oxidations, urinating on canvases primed with copper paint by Warhol and Ronnie Cutrone—whose vitamin B, Warhol said, made the colors prettier. Warhol sometimes used his own urine early on, along with various visitors who found it amusing to help him paint.[276]
After many years of silkscreening, oxidation, and photography, Warhol returned to painting with a brush in hand. In 1983, Warhol began collaborating with artists Jean-Michel Basquiat and Francesco Clemente.[277] Warhol and Basquiat created a series of more than 50 large collaborative works between 1984 and 1985.[278] Despite criticism when these were first shown, Warhol called some of them "masterpieces."[279]
In 1985, Warhol usedAmiga computers to generate digital art, including the short filmYou Are the One.[280] He also did a demonstration on live TV with singer Debbie Harry as a model.[281]
Warhol was commissioned by galleristAlexander Iolas to produce work based onLeonardo da Vinci'sThe Last Supper.[282] HisLast Supper exhibition opened shortly before his death in 1987. It is the largest series of religious-themed works by an American artist.[283] In the period just before his death, Warhol was also working onCars, a series of paintings forMercedes-Benz.[284]
Drawings
Although Warhol is best known for his work inprintmaking, particularly silkscreen, he was also a highly skilled illustrator and draughtsman.[285] His early drawings on paper convey a sense of ease and immediacy, drawing on techniques related to blind contour and continuous line drawing. As a commercial artist, Warhol pioneered the "blotted line" technique, in which ink was applied to paper and blotted while still wet—a process akin to rudimentary printmaking.[40] Using tracing paper and ink, he was able to repeat basic images and generate numerous variations on a single motif.[26]
Among the best known of these early works are his shoe illustrations.[46] Some of his personal drawings were self-published in small booklets, includingYum, Yum, Yum (food-themed),Ho, Ho, Ho (Christmas-themed), andShoes, Shoes, Shoes. His most critically acclaimed book of drawings isA Gold Book, a collection of sensitive drawings of young men, distinguished by the use of gold leaf decorating its pages.[286] The drawings from his later years demonstrate the skill and technique that have been refined over the course of his illustrious career.[285]
Sculptures
Warhol's most well-known sculptures are hisBrillo boxes—silkscreen ink on wood replicas of the large branded cardboard boxes used to hold 24 packages of Brillo soap pads.[287] The original Brillo design was by commercial artistJames Harvey. Warhol's Brillo boxes were part of a series of "grocery carton" works that also includedHeinz ketchup and Campbell's tomato juice boxes.[288] Other famous works include theSilver Clouds—helium filled, silver mylar, pillow-shapedballoons. ASilver Cloud was included in the traveling exhibitionAir Art (1968–1969) curated byWilloughby Sharp.Clouds was also adapted by Warhol foravant-garde choreographer Merce Cunningham's dance pieceRainForest (1968).[289]
Warhol'sInvisible Sculpture made in 1980 consisted of burglar alarms placed around the perimeter of a room at the Factory and aimed toward an empty center.[290] When a visitor stepped into the center point, all the alarms were triggered simultaneously. A version ofInvisible Sculpture without the burglar alarms was installed at New York'sArea nightclub in 1984 as part of its "Art" theme.[290]
Art market
During Warhol's lifetime, his work was initially modestly priced. In 1965, large paintings from theFlowers series sold for approximately $6,000, while smaller versions were available for as little as $400.[265] By the 1970s, Warhol had established a lucrative portrait practice, charging $25,000 for a commissioned portrait, with a discounted rate of $40,000 for two portraits.[208][291]
Warhol's market began to gain momentum at auction during his lifetime. In 1970,Campbell's Soup Can with Peeling Label (1962) sold for $60,000 atParke-Bernet Galleries, then the highest price ever paid at public auction for a work by a living American artist.[292] In 1978,19 Cents (1962) sold for $95,000—setting a new auction record for Warhol—after having originally been purchased for $1,300 in 1962.[268][293]
Following Warhol's death in 1987, the value of his work continued to rise significantly, establishing him as one of the most consistently high-performing artists in the global art market. In 2014 alone, Warhol's works generated approximately $569 million at auction, accounting for more than one-sixth of the global art market that year.[294] Despite occasional downturns, his market has demonstrated long-term resilience. Art dealerDominique Lévy characterized Warhol's market as "a seesaw being pulled uphill," noting that while prices fluctuate, each successive peak and decline occurs at a higher level than the previous one. She attributed this pattern to the continual influx of new collectors, observing that different generations and demographics periodically enter the market, driving renewed demand before stabilizing and giving way to the next cycle of interest.[295]
Warhol's celebrity imagery commands high prices, and Marilyn Monroe remains one of his most iconic subjects. In 1998,Orange Marilyn (1964) sold for $17.3 million, setting a new record at the time for the highest price paid for a Warhol work.[296] The artist's market continued to strengthen in the 2000s. In 2007, collectorsStefan Edlis andGael Neeson soldTurquoise Marilyn (1964) to financierSteven A. Cohen in a private transaction reportedly valued at $80 million.[297] In May 2007,Green Car Crash (Green Burning Car I) (1963) realized $71.1 million atChristie's, whileLemon Marilyn (1962) sold for $28 million in the same auction.[298] In November 2009,200 One Dollar Bills (1962) sold for $43.8 million atSotheby's.[299]
The Elvis series remains among Warhol's most important bodies of work; of the 22 versions produced, eleven are held in museum collections.[84]Eight Elvises (1963), depicting Elvis Presley in agunslinger pose, was sold privately in 2008 byAnnibale Berlingieri for approximately $100 million.[300] Related works have also achieved strong results at auction, includingDouble Elvis (Ferus Type), which sold for $37 million at Sotheby's in 2012, andTriple Elvis (Ferus Type), which sold for $81.9 million at Christie's in 2014.[301][302][303]
Portraits of Elizabeth Taylor have also been highly sought after. In 2007,Liz (Colored Liz) (1963), formerly owned by actorHugh Grant, sold for $23.7 million at Christie's.[304][305] In November 2010,Men in Her Life (1962) sold for $63.4 million atPhillips de Pury, whileCoca-Cola (4) (1962) sold for $35.3 million at Sotheby's.[306][307] In May 2011,Liz No. 5 (Early Colored Liz) sold for $26.9 million at Phillips.[308] In May 2015,Silver Liz (1963, diptych) sold for $28 million, whileColored Mona Lisa (1963) achieved $56.2 million at Christie's.[309][310]
Warhol's self-portraits have likewise performed strongly at auction. In May 2010, a purple self-portrait from 1986, formerly owned by fashion designerTom Ford, sold for $32.6 million at Sotheby's.[311] In May 2011, Warhol's earliest self-portrait from 1963 to 1964 sold for $38.4 million at Christie's, while a red self-portrait from 1986 realized $27.5 million at the same auction house.[312]
Several major sales in the early 2010s further cemented Warhol's status as one of the most valuable artists in the world. In November 2013, Warhol's rarely exhibited diptychSilver Car Crash (Double Disaster) (1963) sold for $105.4 million at Sotheby's, setting a new auction record for the artist at the time.[313][256] That same month,Coca-Cola (3) (1962) sold for $57.3 million at Christie's.[314] In May 2014,Race Riot (1963), sold for $62.9 million andWhite Marilyn (1962), sold for $41 million at Christie's.[315] Warhol's portrait ofMarlon Brando,Four Marlons (1966), realized $69.6 million at Christie's in November 2014.[316]
Warhol's market continued to expand globally in the late 2010s and early 2020s. That same year,hedge fund managerKenneth C. Griffin reportedly purchasedOrange Marilyn in a private sale for approximately $200 million.[317] In March 2022,Silver Liz (Ferus Type) sold for ¥2.3 billion ($18.9 million) at Shinwa Auction, setting a new auction record in Japan.[318] In May 2022,Shot Sage Blue Marilyn (1964) sold for $195 million at Christie's, becoming the most expensive American artwork ever sold at auction.[319]
Collectors
Emily and Burton Tremaine were among Warhol's earliest collectors and most influential supporters. They acquired more than 15 of his works, includingMarilyn Diptych (1962), now in the collection ofTate Modern in London, andA Boy for Meg (1962), now held by theNational Gallery of Art in Washington, DC; both were purchased directly from Warhol's studio in 1962.[265][268] In appreciation of their support and encouragement, Warhol once left a smallHead of Marilyn Monroe at the Tremaines' New York apartment as a Christmas gift.[320]
Robert Scull andEthel Scull were also early and significant patrons of Warhol's work.[321] Ethel Scull became the subject of Warhol's first commissioned portrait,Ethel Scull 36 Times (1963), which is now part of the Metropolitan Museum of Art's collection.[321]
Business art
Warhol was a fan of "Business Art", as he stated in his bookThe Philosophy of Andy Warhol from A to B and Back Again: "I went into business art. I wanted to be an art business man or a business artist. Being good in business is the most fascinating kind of art," he said. His transformation into a mere business artist was a point of criticism.[322] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times", contending that "Warhol had captured something irresistible about thezeitgeist of American culture in the 1970s."[209]
In addition to his paintings and drawings, Warhol directed and produced films, managed the Velvet Underground, and authored numerous books, as well as producing works in such diverse media as audio, photography, sculpture, theater, fashion and performance art. His ability to blur the lines between art, commerce, and everyday life was central to his creative philosophy. "That's probably the greatest thing about Warhol: the way he penetrated and summarized our world, to the point that distinguishing between him and our everyday life is basically impossible, and in any case useless," said artistMaurizio Cattelan.[323]
His earlyexperimental films were silent observations of very typical daily life.Sleep (1964) monitors poet John Giorno sleeping for six hours.[328]Kiss (1964) shows various couples kissing.[329] The filmEat (1964) consists of an artistRobert Indiana eating a mushroom for 45 minutes.[329] The 35-minute filmBlow Job (1964) is one continuous shot of the face ofDeVeren Bookwalter supposedly receivingoral sex from poetWillard Maas, although the camera never tilts down to prove this.[330]
For these efforts, Mekas presented Warhol with the Independent Film Award of 1964, which was "the underground's answer toOscar."[331]Newsday'sMike McGrady hailed Warhol as "theCecil B. DeMille of the Off-Hollywood movie makers."[331]The Village Voice called him one of the "most exciting" filmmakers in New York.[332]
In 1964 Warhol produced and directedBatman Dracula without the permission ofDC Comics. It was screened only at his art exhibits. A fan of theBatman series, Warhol's movie was an "homage" and is considered the first appearance of a blatantlycampy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentaryJack Smith and the Destruction of Atlantis.[333]
Warhol's 1965 filmEmpire is an eight-hour view of theEmpire State Building, and shortly after he releasedVinyl (1965), an adaptation ofAnthony Burgess' populardystopian novelA Clockwork Orange. His other films show improvised conversations between Factory regulars such as Taylor Mead, Brigid Berlin, Edie Sedgwick, Ondine, Nico, and International Velvet.[citation needed]
His filmChelsea Girls (1966) was the first underground film of the 1960s to reach widespread popularity and capture the attention of film critics.[329] The film was highly innovative in that it consisted of two16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other.[334]
The controversial filmBlue Movie (1969)—in which Warhol superstars Viva andLouis Waldon make love in bed—was Warhol's last film as director.[335][336] It is a seminal film in theGolden Age of Porn, and at the time, it was controversial for its frank approach to a sexual encounter.[337] In 2005,Blue Movie was publicly screened in New York City for the first time in more than 30 years.[338]
While Warhol recovered from a near-fatal shooting in 1968, his assistant director,Paul Morrissey, took over most of the filmmaking chores for the Factory collective.[135] Morrissey steered the Warhol-branded cinema towards more mainstream, narrative-based, B-movieexploitation fare withFlesh (1968),Trash (1970) andHeat (1972).[135] All of these films, includingAndy Warhol's Dracula (1973) andAndy Warhol's Frankenstein (1974) starred Joe Dallesandro and are now consideredcult classics. The last Warhol-produced film,Bad, starredCarroll Baker and was made without either Morrissey or Dallesandro. It was directed by Warhol's boyfriend Jed Johnson, who had assisted Morrissey on several films.[339]
Most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. With assistance from Warhol in 1984, the Whitney Museum and the Museum of Modern Art began to restore his films, which are occasionally shown at museums and film festivals.[325] In 2022, theAndy Warhol Museum announced the launch of The Warhol TV, a streaming platform that allows users to watch free museum content and to rent a selection of Warhol's films from its collection.[340]
Theater and television
Warhol's playAndy Warhol's Pork, premiered at New York'sLa MaMa Theater in May 1971 and ran for two weeks.[341] It was brought to the Roundhouse in London for a longer run in August 1971.Pork was based on tape-recorded conversations between Brigid Berlin and Warhol. Berlin would play Warhol tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin.[342] In 1974, Warhol designed the sets for the musicalMan on the Moon.[343]
In 1968, Warhol produced a TV commercial forSchrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae."[344] Warhol dreamed of a television special about a favorite subject of his – Nothing – that he would callNothing Special.[339] Later in his career he created three television shows:Fashion (1979–1980),Andy Warhol's TV (1980–1983), and theMTV seriesAndy Warhol's Fifteen Minutes (1985–1987).[345]
Music and cover art
Poster for Andy Warhol and his Exploding Plastic Inevitable in 1966
In 1963, Warhol foundedThe Druds, a short-lived avant-gardenoise music band that featured prominent members of the New York proto-conceptual art and minimal art community.[346]
In 1965, Warhol adopted the bandthe Velvet Underground, making them a crucial element of theExploding Plastic Inevitable multimedia performance art show.[347] His involvement with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[348][349] Warhol and Paul Morrissey acted as the band's manager, introducing them to Nico, who would perform with the band at Warhol's request.[350] While managing the Velvet Underground, Warhol would have them dressed in all black to perform in front of movies that he was also presenting.[351]
In 1966, he "produced" their first albumThe Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time.[352]
After the band's first album, Warhol and band leaderLou Reed started to disagree more about the direction the band should take, and Warhol was fired in 1967.[353][354] In 1989, Reed andJohn Cale reunited for the first time since 1972 to write, perform, record and release the concept albumSongs for Drella, as a tribute to Warhol.[355] In October 2019, an audio tape of publicly unknown music by Reed, based on Warhol's 1975 book,The Philosophy of Andy Warhol: From A to B and Back Again, was reported to have been discovered in an archive at the Andy Warhol Museum in Pittsburgh.[356]
Beginning in the late 1950s, Warhol produced several unbound portfolios of his work. In 1957, his bound book25 Cats Name Sam and One Blue Pussy was printed by Seymour Berlin.[57] Berlin also printed some of Warhol's other self-published books, includingAGold Book (1957)and Wild Raspberries (1959).[363][364] Warhol's bookA La Recherche du Shoe Perdu marked his "transition from commercial to gallery artist".[365] The title is aplay on words by Warhol on the title of French authorMarcel Proust'sÀ la recherche du temps perdu.[365] In an effort to generate work, the majority of these books were printed to be given out to people to draw attention to his illustrations.[58]
After gaining fame, Warhol "wrote" several books that were commercially published:
Andy Warhol's Index (Book) (1967,ISBN9780517566985) offered a portrait of Warhol's Factory scene, featuring photographs of Warhol and his circle, pop-up pages, a silver balloon, and aflexi disc with audio from Warhol's tape recordings of Nico in conversation with poetRene Ricard. It also included three interviews.[366]
A, a Novel (1968,ISBN978-0-8021-3553-7) is a literal transcription—containing spelling errors and phonetically written background noise and mumbling—of audio recordings ofOndine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.[367]
Warhol's America (1985,ISBN978-0060960049) features Warhol's photographs gathered over a decade of travels, paired with anecdotes and wry, often unexpectedly deep reflections, presenting an idiosyncratic love letter to the United States.[370]
The Andy Warhol Diaries (1989,ISBN978-0-446-39138-2), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations.[368] Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[371]
Warhol created covers for a number of magazines, includingTime andVogue.[372] In 1969, his launchedInterview magazine, which was a film critic spread before it became a pop culture magazine in the 1972.[373][374]
Photograph ofChristopher Makos andDebbie Harry by Andy Warhol, taken at the Factory during the photoshoot for her silkscreen portraits in 1980
Photography and tape recordings
Warhol usedPolaroid photos as the basis for his silkscreen paintings. These pictures were mostly taken withThe Big Shot camera.[375] During the portrait session, Warhol typically shot dozens of photographs of his subject, then selected the best one that would underlie the painting. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was also an avid photographer and also used thePolaroid SX-70 as a portable camera.[376] He took an enormous number of photographs of Factory visitors, friends, and celebrities; many of these have been acquired byStanford University.[377][378]
At one point, Warhol carried a portable tape recorder and camera wherever he went, recording nearly everything said and done. He referred to the recorder as his 'wife.'[379] Some of these recordings became the basis for his literary work. Warhol also taped interviews forInterview magazine and regularly published his Polaroid photos in its pages. In 2015,Taschen publishedAndy Warhol: Polaroids 1958–1987.[380]
Warhol is quoted for having said, "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"[206] Warhol has been described as a moderndandy, whose authority "rested more on presence than on words".[381] His work in fashion includes department store window displays, illustrations forVogue andHarper's Bazaar, and a career as a model.[382]
In 1965, Warhol designed furs for Coopchik-Forrest.[383] In 1966,paper dresses had gained such popularity that Brooklyn'sAbraham & Straus department store invited Warhol to demonstrate decorating plain white Mars Manufacturing paper dresses, which came with brushes and watercolor sets for personal customization.[105] During the event, he silkscreened "FRAGILE" onto Nico's dress as she wore it, signing it "Dalí" humorously, and adorned another dress with large screen-printed bananas. Both pieces were eventually donated to theBrooklyn Museum.[384]
In 1997, the Whitney Museum in New York mounted the exhibitionThe Warhol Look: Glamour, Style, Fashion, organized by the Andy Warhol Museum.[389]
Public persona
Early in his career, Warhol often gave reporters conflicting accounts of his background, habits, and working methods, treating the press as a study in how information spread. As he toldPeople Weekly in 1976, "I used to like to give different information to different magazines because it was like putting a tracer on where people get their information."[339] By planting small inconsistencies, he watched how stories circulated and evolved, turning interviews into part of his ongoing play with persona, authorship, and media behavior.
Warhol also enjoyed having others speak for him.[390][391] In public, he increasingly relied on an impersonal style of communication, mirroring his impulse to distance himself from the creation of his own artwork. He often hid behind a dazed expression and flat remarks—"gee," "uh," "really"—and seemed to relish performing as a kind of "monosyllabic oddity" or "Keatonesque idiot savant" to the media.[392] He suggested that all one needs to know about his work is "already there on the surface."[206] His boyfriend Jed Johnson said, "He felt an artist should keep a neutral expression on his face when he showed his work to other people, that to betray pleasure or displeasure was, again 'corny.' I'd watch him at many museum and gallery openings of his shows and he followed that policy consistently."[393]
Personal life
Sexuality and relationships
Warhol lived as a gay man before thegay liberation movement, but he often veiled his personal life in the press. In the 1950s, Warhol submitted homoerotic drawings of male nudes to a fine art gallery, but they were rejected for being too openly gay.[394][395] In his bookPopism, the artist recalls a conversation with the filmmakerEmile de Antonio about the difficulty he had being accepted socially by the then-more-famous (butcloseted) gay artistsJasper Johns andRobert Rauschenberg. De Antonio explained that Warhol was "tooswish and that upsets them. ... major painters try to look straight; you play up the swish—it's like an armor with you."[63] In response, Warhol said: "I'd always had a lot of fun with that—just watching the expressions on people's faces. You'd have to have seen the way all the Abstract Expressionist painters carried themselves and the kinds of images they cultivated, to understand how shocked people were to see a painter coming on swish. I certainly wasn't a butch kind of guy by nature, but I must admit, I went out of my way to play up the other extreme."[396]
The impact of Warhol's homosexuality on his work has been extensively studied.[395] He expressed hisqueer identity through many of his artworks and films at a time whenhomosexuality in the United States was heavily stigmatized and legally constrained.[395] Throughout his career, Warhol produced erotic photography and drawings of male nudes. Some of his most famous works—portraits ofLiza Minnelli,Judy Garland, and Elizabeth Taylor and films such asBlow Job (1964),My Hustler (1965), andLonesome Cowboys (1968)—draw from gayunderground culture or openly explore the complexity of sexuality and desire. Many of his films premiered ingay porn theaters in the 1960s.[397]
In 1980, Warhol proclaimed toForum magazine that he was still a virgin.[398] FormerInterview editor Bob Colacello felt it was probably true and that what little sex he had was probably "a mixture ofvoyeurism andmasturbation—to use [Warhol's] wordabstract."[399] However, this assertion is contradicted by Warhol's hospital treatment in 1960 forcondylomata, asexually transmitted disease.[400] Furthermore, some of his friends claimed to have witnessed Warhol having sex and heard him boasting about his sexual relations.[401] Production designerCharles Lisanby, whom Warhol hadunrequited romantic feelings for, said Warhol told him sex was "messy and distasteful."[402] "He told me he'd had sex a few times, he had tried it and didn't really like it," said Lisanby.[401]
Due to Warhol's own admission that he was asexual, it was assumed that all his relationships were platonic.[403] Warhol superstarJay Johnson, whose twin brother was Warhol's longtime partner, stated, "He enjoyed the idea that he was considered a voyeur and that he was considered asexual. That was his mystique."[403] According to photographerBilly Name, who was briefly Warhol's lover, "Andy's idea of sex was to have it once or twice and get it over with—with Andy it wasn't about love, it was about companionship."[404][405] He also said that Warhol's "personality was so vulnerable that it became a defense to put up the blank front."[406] Warhol referred to photographerEdward Wallowitch as his "first boyfriend."[407] He had intimate relationships with artistJohn Giorno, art historianRobert Pincus-Witten, and aspiring filmmakerDanny Williams.[408][409][410] His most enduring romantic relationship was withJed Johnson, who nursed him back to health after he was shot.[403] Johnson collaborated with him on films and went on to achieve fame as an interior designer.[411] They "functioned as husband and husband, sharing a bed and a domestic life" for 12 years.[412] Warhol's close friendStuart Pivar said he "had no sex life after Jed."[413] His later companions includeParamount Pictures executiveJon Gould and Factory assistant Sam Bolton.[403][414]
Warhol was a practicingRuthenian Catholic. He regularly volunteered athomeless shelters in New York City, particularly during the busier times of the year, and described himself as a religious person.[415] In 1966, his motherJulia Warhola toldEsquire magazine that he was a "good religious boy" and he attended one o'clockMass at St. Paul's every Sunday.[7] The priest at Warhol's church,Saint Vincent Ferrer, said that the artist went there almost daily,[415] and although he was not observed takingCommunion or going toConfession, he sat or knelt in the pews at the back.[399] The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in aLatin Catholic churchcrossing himself "in theOrthodox way" (right to left instead of the reverse).[399] In 1980, Warhol metPope John Paul II inSt. Peter's Square.[399]
Many of Warhol's later works depicted religious subjects, including two series,Details of Renaissance Paintings (1984) andLast Supper (1986). Warhol made almost 100 variations on the theme of theLast Supper, which theGuggenheim felt "indicates an almost obsessive investment in the subject matter".[282] In addition, a body of religious-themed works was found posthumously in his estate.[415]
Warhol's art is noticeably influenced by theEastern Christian tradition which was so evident in his places of worship.[415] Warhol's brother has described the artist as "really religious, but he didn't want people to know about that because [it was] private". Despite the private nature of his faith, in Warhol's eulogy John Richardson depicted it as devout: "To my certain knowledge, he was responsible for at least oneconversion. He took considerable pride in financing his nephew's studies for priesthood".[415]
From November 2021 to June 2022, theBrooklyn Museum displayed theAndy Warhol: Revelation exhibition.[416] The exhibition delved at the artist's enduring connection to his faith, which was often reflected in his artwork.[416]
Collections
Warhol was an avid collector and a "pack rat" who'd save everything.[417][418] As he was relocating his Manhattan studio in 1974, Warhol began assembling Time Capsules, a modular sculpture consisting of 610 containers, each holding an average of 800 items. The majority of the containers are standard cardboard boxes, with a large trunk and forty filing cabinet drawers.[419] This also includes the Time Capsules that Warhol created at home, which hold a plethora of personal memorabilia like letters, telephone messages, photographs, and his mother's possessions.[419] The Time Capsules were later transferred to the Andy Warhol Museum.[419]
Warhol's Broadway Factory, established in 1974, was shaped in part by the presence of largeArt Deco furnishings.[420] The screening room featured a complete set of twelve bronze side chairs upholstered in red leather, designed byEdgar Brandt.[421] The paneled executive office contained a large oval table veneered in Macassar ebony, accompanied by twelve matching chairs designed byÉmile-Jacques Ruhlmann.[421] According to Warhol, much of this furniture was originally acquired as "used furniture," having previously served as props for a film production.[421]
He shopped for two or three hours a day for as many years as I can remember. He started buyingAmerican Indian artifacts first ... He boughtAmericana then, too, because he loved everything he saw atSerendipity. ... the Tiffany lamps, thecarousel horses, the Punches and old trade signs that helped propel him toward Pop insights. After that he bought primitive portraits and country painted furniture, then high-style painted furniture. Then on toFederal furniture in 1974 after he bought aGeorgian-style townhouse.
His collection of American items were displayed in the exhibitionAndy Warhol's Folk and Funk at theMuseum of American Folk Art in 1977, but few people knew the true extent of his collections until after his death.[423][424] "Andy had the peasant's wisdom that if people (either the very rich or the very poor) knew that you had anything good, they'd probably try to take it away from you. So he hid what he had. It was inconspicuous consumption," said Warhol's partner Jed Johnson.[425] Warhol would wear a diamond necklace under a black turtleneck, conceal his jewelry inFamous Amos cookie tins atop the canopy of his bed, and keep wads of money in his mattress.[426][425][427] Although Warhol did not drive, he owned a Mercedes and later aRolls-Royce Silver Shadow.[428] When he purchased the Rolls-Royce, Johnson was under strict orders to say he traded it for art.[429]
Johnson organized his collections, and when Warhol realized he needed more room, Johnson found a townhouse at57 East 66th Street in 1974.[430] Johnson decorated the four-story townhouse, creating several ornateneoclassical period rooms.[430] While residing with Johnson, Warhol promised to keep his shopping bags in the closets and top-floor storage rooms.[426] However, once Johnson moved out in December 1980, the townhouse was overrun by Warhol's acquisitions.[431] Warhol occupied a second-floor bedroom and basement kitchen when he died in February 1987; all other rooms, with the exception of the quarters for his Filipino housekeepers, sisters Nena and Aurora Bugarin, were used for storage.[432][418]
During the last few years of his life, Warhol was accompanied by chemist and art collector Stuart Pivar on daily shopping excursions.[431] Pivar said they wanted "to see if we could come across a couple a masterpieces or some amusing junk."[433] According to Pivar, Warhol envisioned "Warhol Hall" on Madison Avenue, a massive gift shop with a museum where he would display a collection of sculptures he was assembling.[433] Pivar regarded Warhol as the quintessential connoisseur who navigated society through flea markets, antique stores, and Christie's and Sotheby's salerooms.[433] Fred Hughes, Warhol's business manager and estate executor, also affirmed Warhol's idea for "Warhol Hall," adding that they had been thinking of setting up a flea market booth.[434]
Following his death, some people felt that Warhol's house should be preserved as an "art-worldGraceland," keeping his enormous collection intact as a record of contemporary consumer culture.[435] However, Warhol's will made no provisions for maintaining the house or specifying the future of his collection.[435] In 1988, Warhol's collection was auctioned at Sotheby's in New York.[418] Dealers and collectors were drawn to the 3,436 lots that were sold, totaling almost 10,000 items.[436] A total of $25.3 million was accumulated during the 10-day sale.[436][437] His collections included American shop signs, Coca-Cola memorabilia, 19th-century American furniture, Art Deco furniture byJacques-Émile Ruhlmann,Jean Dunand,Jean-Michel Frank, and Pierre Legrain, carousel horses,Navajo blanket rugs, silverware byJean Puiforcat, 175 cookie jars, 313 watches, and 332 pieces ofFiesta Ware.[212][434][426] After the estate auction, two curators of the Andy Warhol Foundation discovered a hidden cache of jewelry in the bottom of a filing cabinet used to store Warhol's drawings and prints at his townhouse.[438] The collection, which included hundreds ofdiamonds, dozens ofsapphires, a 300-caratemerald, and 96 watches by makers such asPatek Philippe,Rolex, andCartier, was sold at Sotheby's in December 1988 for $1.6 million.[438][439]
Warhol also collected many books, with more than 1,200 titles in his collection.[444] His collection, which reflects his eclectic taste and interests, includedThe Two Mrs. Grenvilles: A Novel byDominick Dunne,Artists in Uniform byMax Eastman,D.V. byDiana Vreeland,Blood of a Poet byJean Cocteau,Hidden Faces bySalvador Dalí, andTheDinah Shore Cookbook.[445]
In 1992, Warhol's estate donated 15 acres of land on his former propertyEothen toThe Nature Conservancy. Now called The Andy Warhol Preserve, it is part of a 2,400-acre protected area in Montauk.[447]
In 1994, theAndy Warhol Museum opened in Pittsburgh.[448] It holds the largest collection of the artist's works in the world.[446]
In 1998, Warhol'sUpper East Side townhouse at 57 E 66th Street in Manhattan was designated a cultural landmark by the Historical Landmarks Preservation Center to commemorate the 70th anniversary of his birthday.[449]
In 2002, theUS Postal Service issued an 18-cent stamp commemorating Warhol. Designed by Richard Sheaff ofScottsdale, Arizona, the stamp was unveiled at a ceremony at the Andy Warhol Museum and features Warhol's painting "Self-Portrait, 1964".[450][451]
In 2005, the Seventh Street Bridge in Pittsburgh was renamed theAndy Warhol Bridge in his honor.[452]
Commissioned by thePublic Art Fund, artistRob Pruitt created a chrome sculpture of Warhol that was installed outside860 Broadway—the former site of the Factory—in Manhattan'sUnion Square from March to October 2011.[453]
In 2013, to honor the 85th anniversary of Warhol's birthday, the Andy Warhol Museum andEarthCam launched a collaborative project titledFigment, a live feed of Warhol's gravesite.[456][457]
In 2024, Warhol was posthumously awarded theOrder of the White Double Cross of the Second Class by the Slovak Republic's ambassador to the U.S. on the 37th anniversary of his death, at the behest of Slovakian PresidentZuzana Čaputová, "for promoting the Slovak Republic's good name abroad."[458]
In 2025, Warhol was selected as one of the first 10 inductees into the Pittsburgh Walk of Fame.[459]
The Andy Warhol Foundation for the Visual Arts
Warhol's will stipulated that his entire estate—aside from modest bequests to family members—be used to establish a foundation. Owing to the scale of his possessions, it took Sotheby's 10 days to auction the estate after his death, generating $25.3 million.[437][460] In 1987, the Andy Warhol Foundation for the Visual Arts was established to serve as Warhol's estate and to advance its mission of fostering innovative artistic expression and the creative process, with a particular emphasis on supporting challenging and experimental work.[461]
In 1995, the foundation established theAndy Warhol Art Authentication Board to review works of art and determine their authenticity. The board was dissolved in 2012 after facing multiple costly lawsuits, totaling around $10 million, despite winning each case.[462] Foundation PresidentJoel Wachs explained that the decision allowed the foundation to focus its resources on supporting artists rather than litigation.[463]
TheArtists Rights Society is the US copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[464] The US copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[465] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed byCorbis, while all transparency images of Warhol are managed by Art Resource.[466]
The foundation is one of the largest grant-giving organizations for the visual arts in the United States.[467] In 2007, it marked its 20th anniversary with the publication of a three-volume annual report:Vol. I, 1987–2007;Vol. II, Grants & Exhibitions; andVol. III, Legacy Program.[468] Many of Warhol's works and personal possessions are displayed at the Andy Warhol Museum in Pittsburgh, to which the foundation has donated more than 3,000 works of art.[469]
The foundation is responsible for compiling theAndy Warhol Catalogue Raisonné of paintings and sculptures, published in volumes covering specific periods of the artist's career.[470] The project was initiated in 1977 by Swiss art dealerThomas Ammann, while Warhol was still alive and mid-career. In 1993, the Andy Warhol Foundation for the Visual Arts partnered with Thomas Ammann Fine Art on the catalogue, and in 2004 assumed full stewardship of the project. The sixth and most recent volume was published in 2024, and a seventh volume is currently in preparation.[471][472]
In pop culture
Films
Warhol (right) with directorUlli Lommel on the set ofCocaine Cowboys (1979) atEothen, in which Warhol made a cameo
Andy Warhol and his Clan (1970), a 46-minute documentary by German filmmaker Bert Koetter that explores the Warhol Factory and the habitats of several of his superstars. In 1971, it was released in theaters in the UK.[482][483]
Warhol (1973) is anITV documentary by British photographerDavid Bailey. Initially banned by British courts for containing "indecent material," the film features candid interviews with the artist and his associates.[484][485]
Andy Warhol's People Factory (2008), a three-part television documentary directed by Catherine Shorr that features interviews with several of Warhol's associates.[490]
Warhol made numerous television appearances and enthusiastically embraced advertising, viewing both as extensions of his artistic engagement with mass media and consumer culture. One of his earliest appearances on television occurred in 1963, when he was filmed in his studio for theCBS-TV special "Exhibitions: Contemporary American Painters," a survey of living American artists at work in their studios.[492][493]
In 1965, Warhol appeared with his muse Edie Sedgwick onThe Merv Griffin Show. During the interview, Warhol spoke minimally—often responding with brief gestures or whispered answers—while Sedgwick articulated his ideas about Pop Art and its emotional detachment from traditional artistic expression.[494][495]
Warhol was enthusiastic about product endorsements. In 1969, he appeared in two commercials forBraniff International Airways' "When You Got It – Flaunt It" campaign, including one alongside heavyweight boxerSonny Liston.[496] These commercials marked the beginning of Warhol's active participation in advertising as a form of public performance. Warhol's first regular endorsement contract followed in 1973, when he signed a deal withPioneer Electronics.[497] The first campaign featured Warhol alongside his dachshund Archie, posed among stereo speakers, turntables, and tape recorders under the headline "Andy Warhol's Unfinished Symphony."[497]
In the 1980s, Warhol became increasingly visible on television. In 1981, Warhol was featured on theBBC seriesArena in a segment alongside writersWilliam S. Burroughs andVictor Bockris and later that year filmed a segment forSaturday Night Live.[498][499] That same year, he appeared in aSony Beta tapes commercial, posed beside a Marilyn portrait to emphasize the tape's ability to reproduce "brilliant color and delicate shading."[500] He went on to appear in commercials forTDK videotape in 1983 andDiet Coke in 1985.[495] In 1985, Warhol guest-starred on the 200th episode ofThe Love Boat, playing a fictionalized version of himself, and he endorsed Vidal Sassoon hairspray.[501][70] In 1986, he appeared in a print advertisement for the investment firmDrexel Burnham Lambert.[502]
Warhol strongly influenced thenew wave/punk rock bandDevo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 albumHunky Dory.[505] Lou Reed wrote the song "Andy's Chest" in response to the attempted assassination of Warhol.[353] The song was originally recorded by the Velvet Underground in 1969, but it wasn't released until a version appeared on Reed's solo albumTransformer in 1972. The bandTriumph also wrote a song about Andy Warhol, "Stranger In A Strange Land" off their 1984 albumThunder Seven.
Books
Many books have been written about Warhol.[506][507] An authorized biographyWarhol by his friend, art criticDavid Bourdon, was released in 1989.[508][507] Writer Victor Bockris releasedWarhol: The Biography (1989).[509] The memoirHoly Terror: Andy Warhol Close Up (1990) was written by Bob Colacello, the former executive editor of Warhol'sInterview magazine.[510] Culture critic and poetWayne Koestenbaum published the biographyAndy Warhol (2001).[511] Art criticBlake Gopnik, wrote the comprehensive biographyWarhol (2020).[512][513][514]
Warhol makes an appearance in the 2003 video gameThe Sims: Superstar as the photographer in Studio Town.[519] Warhol (played by Jeff Grace) makes a cameo appearance in the 2022 video gameImmortality.[520][521]
Cotter, Holland (November 8, 2018)."Meet Warhol, Again, in This Brilliant Whitney Show".The New York Times.Archived from the original on April 1, 2024. RetrievedApril 1, 2024.He's the most important American artist of the second half of the 20th century.
Acocella, Joan (June 1, 2020)."Untangling Andy Warhol".The New Yorker.ISSN0028-792X.Archived from the original on April 1, 2024. RetrievedApril 1, 2024.There was no huger reputation than Warhol's in the art of the sixties, and in late-twentieth-century art there was no more important decade than the sixties. Much of the art that has followed, in the United States, is unthinkable without him (...)
^abMagocsi, Paul Robert (November 30, 2002).Encyclopedia of Rusyn History and Culture. University of Toronto Press. p. 539.ISBN978-0-8020-3566-0.Warhol's mother and father emigrated from the Rusyn-inhabited village of Mikova in northeastern Slovakia to the United States on the eve of World War I.
^abcdefWeinraub, Bernard (November 1966)."Mothers".Esquire.66 (5): 101, 158.
^"Andy Warhol's childhood".Old Pittsburgh photos and stories | The Digs. May 19, 2014.Archived from the original on July 11, 2024. RetrievedJuly 11, 2024.
^Three one-dollar bills mounted on cardboard (1962). Photograph by Edward Wallowitch.The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
^Printz, N. (2014). Making Money/Printing Painting: Warhol's Dollar Bill Paintings. Criticism, 56(3), 535–557.
^abSheppard, Eugenia (February 7, 1957)."High Fashion Highlights".The Columbia Record. pp. 6–B.Archived from the original on April 16, 2025. RetrievedFebruary 28, 2025.
^Fairbrother, Trevor (1989). "Tomorrow's Man". In De Salvo, Donna (ed.).Success Is a Job in New York: the Early Art and Business of Andy Warhol. New York: Grey Art Gallery and Study Center. pp. 55–74.ISBN978-0-934349-05-5.OCLC19826995.
^Hornaday, Kay (May 10, 1964)."New York Seen-ery".San Antonio Express and News. pp. 6–F.Archived from the original on December 25, 2024. RetrievedJuly 3, 2025.
^abBehrens, David; Mann, Jack (June 4, 1968)."Andy Warhol Is Shot by Actress".Newsday (Nassau Edition). pp. 3, 62.Archived from the original on September 30, 2024. RetrievedAugust 19, 2024.
^Prelutsky, Burt (March 9, 1969)."Pop Goes the Warhol".Los Angeles Times West Magazine. p. 4.Archived from the original on December 2, 2024. RetrievedJuly 3, 2025.
^Jennings, Emily; Pickering, David (October 5, 1972)."Art museum proudly opened –".Corpus Christi Caller. p. 16.Archived from the original on December 2, 2024. RetrievedJuly 3, 2025.
^Campbell, Genie (July 31, 1970)."Andy Warhol Tops Pop Art Boom".The Daily Herald. pp. Section 2–3.Archived from the original on April 9, 2024. RetrievedApril 9, 2024.
^Parker, Jerry (April 30, 1971)."Warhol at the Whitney".Newsday. Nassau Edition. p. 123.Archived from the original on March 29, 2025. RetrievedMarch 29, 2025.
^Weekes, Julie Ann (October 30, 2008)."Warhol's Pop Politics".Smithsonian Magazine.Archived from the original on August 19, 2024. RetrievedAugust 19, 2024.
^Richard, Paul (October 2, 1972)."Art Works Aid McGovern".The Journal News. p. 27.Archived from the original on September 30, 2024. RetrievedAugust 19, 2024 – via The Washington Post.
^"Andy-isms: Highlights from a decade of interviews by Andy Warhol".Interview.19 (11): 90. November 1989.
^Parker, Jerry (January 26, 1975)."Sky-High Hopes For A Lunar Musical".Newsday. Nassau Edition. pp. Part II / 5.Archived from the original on June 10, 2025. RetrievedMarch 20, 2025.
^Acocella, Joan (June 1, 2020)."Untangling Andy Warhol".The New Yorker.ISSN0028-792X.Archived from the original on April 1, 2024. RetrievedApril 1, 2024.There was no huger reputation than Warhol's in the art of the sixties, and in late-twentieth-century art there was no more important decade than the sixties. Much of the art that has followed, in the United States, is unthinkable without him (...)
^abcTucker, Priscilla (November 19, 1979)."Off The Wall Exposures".New York Daily News. p. 53.Archived from the original on April 29, 2024. RetrievedApril 29, 2024.
^Connolly, John (April 8, 1996)."School for Scandal".New York. Vol. 29, no. 14. p. 24.Archived from the original on January 26, 2016. RetrievedDecember 4, 2013.
^Amadour (February 15, 2023)."15 Minutes with George Condo".LAmag – Culture, Food, Fashion, News & Los Angeles.Archived from the original on October 20, 2023. RetrievedSeptember 9, 2023.
^Smith, Patrick S (1986).Andy Warhol's Art and Films; UMI Research Press; p.98;ISBN978-0-8357-1733-5
^Housley, Kathleen L. (2001).Emily Hall Tremaine: Collector on the cusp, (p. 160). Emily Hall Tremaine Foundation: Meriden, CT. Retrieved April 1, 2020.
^Parker, Jerry (January 26, 1975)."Sky-High Hopes For A Lunar Musical".Newsday. Nassau Edition. pp. Part II / 5.Archived from the original on June 10, 2025. RetrievedMarch 20, 2025.
^Warhol 1980, p. 145. sfn error: no target: CITEREFWarhol1980 (help)
^McNeil, Legs; McCain, Gillian (2016).Please Kill Me: The Uncensored Oral History of Punk (Twentieth anniversary ed.). New York: Grove Press.ISBN978-0-8021-2536-1.OCLC955634990.
^Vaziri, Aidin (February 8, 2009)."Warhol's greatest album covers".San Francisco Chronicle.Archived from the original on January 27, 2023. RetrievedJanuary 27, 2023.
^abSmith, John W., Pamela Allara, and Andy Warhol.Possession Obsession: Andy Warhol and Collecting. Pittsburgh, PA: Andy Warhol Museum, 2002, p. 46.ISBN978-0-9715688-0-8.
^"Andy Warhol Polaroids".Public Art University of Houston System. July 30, 2021.Archived from the original on June 23, 2024. RetrievedOctober 24, 2024.
^"Andy Warhol Photography Archive".Spotlight at Stanford.Stanford University.Archived from the original on February 5, 2022. RetrievedFebruary 5, 2022.From 1976 until his death in 1987, Andy Warhol (U.S.A., 1928–1987) was never without his camera. He snapped photos at discos, dinner parties, flea markets, and wrestling matches. Friends, boyfriends, business associates, socialites, celebrities, and passersby all captured Warhol's attention. Drawing on a trove of over 3,600 contact sheets featuring 130,000 photographic exposures acquired in 2014 from The Andy Warhol Foundation for the Visual Arts, Inc., the images document Warhol's daily life.
^Waugh, Thomas (1996).Hard to Imagine: Gay Male eroticism in Photography and Film from the Beginnings to Stonewall. New York City: Columbia University Press.
^Hanauer, Joan (November 18, 1980)."DEMURE WARHOL".UPI. RetrievedDecember 5, 2025.
^Wachs, Joel; Michael Straus (2002)."Past & Present". The Andy Warhol Foundation for the Visual Arts. Archived fromthe original on January 6, 2009. RetrievedJanuary 6, 2009.
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