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Voigtländer Vito III (lens: Ultron 50mm f/2) / waist-level
Kodak TriX 400 @ ISO 3200
Minolta Autometer IVF / Epson Perfection 4490
Self-developed with Kodak HC-110 (dilution H)
Development details on FilmDev
Semi-stand: 45 mins at 20 Celsius (a huge thanks to drasticgroove for his contribution, helping me getting the proper developing times on this one.)
'Dilutions spreadsheet' provided by Ralph Lundvall
© 2016 Prezioso PH
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Hey you! You didn't know that you can now follow my street work at my secondary Tumblr blog www.tumblr.com/blog/smilefromthestreetsyoushoot, did ya? Amazing, isn't it.
Ok, you go now, enjoy it, why not? Of course you will. I know, you know it.
Llwyn-on Reservoir, avers John Newman in the Glamorgan edition of The Buildings of Wales (uniform with the Pevsner volumes covering England), was completed in 1926. Engineer Charles H Priestley. In 1884 the corporation of Cardiff was granted powers to build dams in the headwaters of the Afon Taf and Llwyn-on was to be completed in 1915; however, the project was delayed by the First World War. The village of Ynys-y-Felin was drowned and the city corporation paid for a new Capel Bethel on the east side of the reservoir.
New, or almost new developer here ...Adox FX39 II. I bought a tiny 100ml bottle about a year ago, just to try it out, and was favourably impressed. The film I'd used then was Kodak T-Max 400, but this was Ilford Delta 400, expired in August 2017. FX39 was a Geoffrey Crawley formulation for Paterson. If I've understood correctly, the "II" version reduced its vulnerability to deterioration during transport. Like fine wines, some developers do not travel well. Hmmm. Grain can be a thing of beauty, but it can have two undesirable "looks", which I think of as "porridgy" and "scratchy". This is scratchy. The appearance is not unlike the "digital noise" I remember from my ludicrous, eight-year flirtation with digital. Now. I did a stupid thing. I picked up the wrong beaker and poured a small amount of stop bath into the tank instead of developer. Following a sharp intake of breath I emptied the stop bath (my personal cheapskate kitchen-grade citric acid solution) down the sink and thrice rinsed the tank with 20°C water. Phew! Shoud be all right. Good job it wasn't the fixer. I don't know whether this mishap might have influenced the look of the photographs. I hadn't used Delta 400 with this developer before and it was an expired film. Some of the shots were unpleasantly contrasty too. I think I'll cut back a bit on Massive Dev's 13 minutes next time.
Finally had some activity at El Franco Lee this past week and this huge cloud began to catch a bit of the setting sun. Photo was taken with my old venerable Sony A700 at the park.
DSC00373ulp
Developed in ACR with CC24-based matrix linear DCP profile.
Color graded in Dehancer plugin for Adobe Photoshop with "Fujifilm 3513 Print Film" profile and film simulation effects.
Additional color tweaks made in Adobe Photoshop
I thought that this photo was the little sister in the second photo (www.flickr.com/photos/addie-b/7701320452/in/photostream/) but now that I've viewed it in a larger size, I'm not 100% sure. If it is, she's got short hair and a romper rather than a dress (though it does have a flower print) . But, it could possibly be a little boy. This is one of very few of the pictures that has no developer's mark on the back, so that might signal it as an earlier picture, but the other ones with blank backs are later. I really don't know what to think and the time frame it was taken in really depends on who's in the picture too. Any opinions?
Whoever it is, he or she seems to be well on his/her way to achieving the level of stoicism that the boy from the first few pictures displays.
There is what looks like a name written on the back which might settle the question if anyone can make it out. I'll post a scan of the reverse below.
On another note, I do believe that's the backside of a rocking horse in the bottom left corner. I didn't notice it until last night when I was taking the picture over to the printer to scan it.
*UPDATE*- After taking a closer look at another one of the pictures ( www.flickr.com/photos/addie-b/7733811116/in/photostream/ ) I think this is the same little girl in that picture, but I'm not quite sure who she is. It's possible that she's the sister of the little boy from the first few pictures, but I'm more inclined to think that she's another little girl altogether. Perhaps a cousin or just a neighborhood kid.
Develop your senses- especially learn how to see. Realize that everything connects to everything else.
I've just posted a big blog entry on developing your own 4x5 colour film. It's quite a breakthrough for me as it reduces developing costs from about £2.00 per sheet to about 16p per sheet. This is one of the images that came off the batch that I processed on video for the blog article..
Home Developing of 4x5 Sheet Film
I also started using sheet film which further brings the cost down from £2.00 per sheet to about £1.00 per sheet and I also bought some post dated film in bulk from Fuji that works out at 40p per sheet...
Soo .. Big saving going from 4.50 per photo to 56p per photo! I just need to take more pictures now :-)
Nikon FE2 with Nikon 100mm f2.8 Series E lens on Fomapan 400. Stand developed in Rodinal at 1:100 for 60 minutes.
From thedailylumenbox.com Rollei RPX 25 shot at box speed with Leica Ic and
Voigtlander (Cosina) 21mm Color Skopar. Developed in Tetanl Neofin Blau.
She's changed a lot since my first impression of her.
The stripe down the side is uneven developing - I did stand developing but didn't mix the Rodinal very long and forgot to agitate it halfway through, so either one could be to blame. Probably the bad mixing.
Developed from the single seat Yak-50, the '52 was a standard trainer for the former soviet airforce, although it has proved a popular mount for civil display pilots as well.
Until the end of 2013, Etna's recent eruptive activity was mainly focused on the latest creation of the volcano, the new cone of the Southeast Crater, which was the site of 21 episodes of intense Strombolian activity and - in all cases except the latest two - lava fountaining accompanied by the emission of copious loose volcanic rock material, called tephra. The latest - and weakest - of these episodes took place between 29 and 31 December 2013, although minor lava outflow continued through the two first days of the year 2014, ending altogether during the night of 2-3 January 2014.
For some time, though, we've seen some activity also at the Northeast Crater, the tallest - and since many years, least violently active - of Etna's four summit craters. On 26 October 2013, when the new cone of the Southeast Crater was the site of the first episode of lava fountaining for six months, spectacular ash emissions started also from the Northeast Crater, where the latest significant visible activity had occurred during the summer of 2002. Strangely enough, the conduit of this crater has remained open - possibly down to 1000 or even more meters below the summit - and it has been the source of the most intense and continuous gas emissions of Etna over the past decade.
As the new cone of the Southeast Crater continued to make its eruptive episodes through the fall of 2013, we often saw some sympathetic minor ash emissions at the Northeast Crater, but over the past few days they have become virtually continuous. Today, 9 January 2014, the weather conditions are particularly favorable, with clear skies and a virtually complete absence of wind at Etna's summit, and the plume of ash is rising straight to a few hundred meters above the peak of the mountain. This phenomenon is also well visible from Catania, and from the roof of the INGV building in the center of town, from where I took this photograph on the early afternoon of 9 January 2014 (I admit that I deleted the metal thread of an antenna out of the right upper part of the image).
This is something different, and now everybody is wondering whether old Northeast Crater, after many years of steaming and producing rumbling sounds from deep within its conduit is feeling the drive to return on the scene on a grander scene. The signals that are constantly monitored by the INGV - seismic activity, gas emissions, ground deformation - do not presently indicate that something big is on the move. But Etna, after all, is an active volcano. So we should not be surprised if she gave us another surprise, after all the surprises she's unleashed on us over the years ...
While browsing through old family photos recently, I came across two old photo-related items that one could find at the Wal-Mart 1-Hour Photo lab in the mid-'90s.
attempted to develop film on vacation in Mexico - reblixed weeks later for four hours
Arista C-41 kit diluted to 1:12 of recommended stock solutions
stand developed for 1 hour at 20C 68F in Paterson tank with inversions initially and at 30 mins
Blix for 45 mins at 1:12 dilution, Stabilizer for 10 mins
Kodak Portra NC 160 ISO 120 roll film
Zenza Bronica ETRS 6:4.5 medium format SLR
Zenzanon f3.5 150mm EII aspherical lens with electronic leaf shutter
(~85mm effective vs 35mm frame) AE prism view finder and speed grip
Scanned with Epson Perfection 4490 at 4800 dpi 48 bit
See [www.youtube.com/watch?v=hawoHRGaDFw] for Bronica medium format camera operation
Nymans is an English garden to the east of the village of Handcross, and in the civil parish of Slaugham in West Sussex, England. The garden was developed, starting in the late 19th century, by three generations of the Messel family, and was brought to renown by Leonard Messel.
In 1953 Nymans became a National Trust property.[1] Nymans is the origin of many sports, selections and hybrids, both planned and serendipitous, some of which can be identified by the term nymansensis, "of Nymans". Eucryphia × nymansensis (E. cordifolia × E. glutinosa) is also known as E. "Nymansay". Magnolia × loebneri 'Leonard Messel', Camellia 'Maud Messel' and Forsythia suspensa 'Nymans', with its bronze young stems, are all familiar shrubs to gardeners.
The gardens are listed Grade II* in Historic England's Register of Parks and Gardens,[2] and the house is a Grade II listed building.[3] During 2019, the gardens received 382,948 visitors.[4]
History
In the late 19th century, Ludwig Ernest Wilhelm Leonard Messel (1847-1915), a member of a German Jewish family, settled in England and bought the Nymans estate, a house with 600 acres on a sloping site overlooking the picturesque High Weald of Sussex. There he set about turning the estate into a place for family life and entertainment, with an Arts and Crafts-inspired garden room where topiary features contrast with new plants from temperate zones around the world.
After buying the property in 1890, Messel set about transforming the original Regency house into a German-style structure. Ludwig's brother Alfred Messel, already a well-known architect in Germany, drew up the plans; construction work was carried out by local builders.[5]
Messel's head gardener from 1895 was James Comber, whose expertise helped form plant collections at Nymans of camellias, rhododendrons, which unusually at the time were combined with planting heather (Erica) eucryphias and magnolias. William Robinson advised in establishing the Wild Garden.[6]
Unfortunately Messel, who was of Jewish ancestry and of German extraction, was harassed during the First World War. Unsubstantiated rumours abounded that he used the tower at Nymans for the purposes of espionage.[7]
Ludwig's son Colonel Leonard Messel succeeded to the property in 1915 and, at the request of his wife Maud, replaced the German-style wood-beam house with a picturesque mock-medieval stone manor, designed by Sir Walter Tapper and Norman Evill in a mellow late Gothic/Tudor style. He and his wife Maud (daughter of Edward Linley Sambourne) extended the garden to the north and subscribed to seed collecting expeditions in the Himalayas and South America.
The garden reached a peak in the 1930s and was regularly opened to the public. The severe reduction of staff in World War II was followed in 1947 by a disastrous fire in the house, which survives as a garden ruin. The house was partially rebuilt and became the home of Leonard Messel's daughter[8] Anne Messel and her second husband the 6th Earl of Rosse. At Leonard Messel's death in 1953 it was bequeathed to the National Trust with 275 acres of woodland, one of the first gardens taken on by the Trust. Lady Rosse continued to serve as Garden Director.
The garden suffered much damage in the Great Storm of October 1987, losing 486 mature trees and many of the shrubs.[9] The pinetum, one of the garden's earliest features, was destroyed.[10]
Develop your senses- especially learn how to see. Realize that everything connects to everything else.
Khajuraho, a UNESCO World Heritage Site, is a famous tourist and archaeological site known for its sculptured temples dedicated to Shiva, Vishnu, Jain patriarchs, and others. Khajuraho was one of the capitals of the Chandela kings, who from the 9th to the 12th century CE developed a large realm, which at its height included almost all of what is now Madhya Pradesh state. Khajuraho extended over 21 sq. km and contained about 85 temples, built by multiple rulers mostly between 950 to 1050. In the 12th century the Chandelas, in a period of chaos and decline, abandoned Khajuraho and moved to hill forts elsewhere. Khajuraho puttered along until the 14th century (Ibn Batuta was impressed by its temples) but was afterwards largely forgotten and overtaken by jungles, which probably saved it from the desecration that Muslim conquerors sometimes inflicted on Hindu monuments. In 1838 a British army captain, TS Burt, employed by the Asiatic Society in Calcutta, came upon information that led him to the rediscovery of the complex of temples in the jungle in Khajuraho.
Of the 85 original temples—most constructed of sandstone—about 20 are still reasonably well preserved. Both internally and externally the temples are richly carved with excellent sculptures that are frequently sensual and often sexually explicit. The temples are divided into three complexes—the western is the largest and best known, containing the magnificent Shaivite temple Kandariya Mahadev, a 31m high agglomeration of porches and turrets culminating in a spire. Khajuraho's name derives from the prevalence of khajur, or date palms, in the area.
There are many theories explaining the real reason for incorporating erotic art with the temples. One of the most popular theories is that they were meant to provide education about earthly desires. During the medieval era, young boys were sent to hermitage and practice bramhacharya till reaching maturity. The sculptures were meant to educate them about grahasthahram.
Yet another theory states that they were meant to represent kama (desire) as the third purushartha (aim of life). The sculptures are also accredited to the rise of the Tantric cults during that time. However, several experts reject these theories.
However, the most credible explanations for the erotic sculptures at Khajuraho are as follows:
1. Sign of happiness, prosperity and auspiciousness: During the medieval era there was a common belief that having erotic sculptures were considered alankaras or decorative motifs, protective and auspicious. This hypothesis is based on the authoritative religious texts like the Shilpashastras and the Brihat Samhita. According to the Brihat Samhita, mithunas (couples), goblins, creepers and erotic sculptures were meant to be carved on the temple door to bring in good luck and as a sign of auspiciousness.
2. Mock the Ascetics: Yet another theory explaining the old erotic art at Khajuraho states that the coital couples represent ascetics as well as people from the royal class. It is also believed that the sculptures of couples participating in the orgies are scenes imagined by the artists. Also, it is also said that the artists used ascetics in sensuous and passionate moods as a way to mock the extreme Tantric sects that rose during that era.
3. Code Language: According to experts, the erotic figures were used as a code language to convey Tantric doctrines and non-communicable experiences. For e.g. A sculpture wherein a washerwoman clings to an ascetic may look erotic and sensuous for the layman. However, in the Tantric language, the washerwoman represents the Kundalini energy that has ascended up to the chakras i.e. the neck of the ascetic. Thus, the erotic sculptures have a deeper meaning related to the Tantric cult.
4. Conceal the Magico-Propitiory Yantra: According to the architectural text of the Shilpa Prakasha, every temple must have a Kamakala Yantra strategically placed to protect it from evil spirits and natural calamities. However, the Yantra, which is basically a set of lines drawn symmetrically, must not be visible to the lay man. Thus, a few erotic sculptures with the head down posture were made corresponding to the lines of the Yantra and superimposed on it.
5. Non-duality: It is possible that the erotic sculptures symbolically represent the union of two opposing forces or energies like, inhalation and exhalation, in a timeless state of non-duality.
The erotic art at Khajuraho is considered to be the pinnacle of love and passion. However, during the period between 900 – 1300 AD most Hindu, Jain and Buddhist temples across western and southern India comprised of erotic art.
However, at other temples, these sculptures were carved at the plinth level, below the eye level and thus did not get noticed. It is only at Khajuraho that these sculptures were so prominently displayed on the main wall of the temples
Fujifilm GA645Zi | 800T 400
Digitized with Nikon Zf | NIKKOR Z MC 105/2.8 VR S | Negative Supply 97CRI | 3d Printed 120 holder
Home developed in Cinestill Cs41 1:1 | 3.5min @ 39C | AGO Processor
Negative Lab Pro v3.0.2 | Color Model: Noritsu | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: Auto-Neutral | LUT: Frontier
A combination of straight lines, circle arcs and s-curves on a circle divided in 10.
I know that morning glories are five-sided, but they have a pronounced crease in the middle of each side.
A developing Supercell across far Northeast Wisconsin on July 1 2017. Only isolated storms were expected, but this beast began to develop along an old outflow boundary from a storm early in the afternoon. Aiding in the development was a lake breeze boundary. The updraft was so explosive.
Misono, Mikasa, Hokkaido.
Pentax SP, EBC Fujinon 55mm F1.8, F64D ( negative for cinema from Fuji ) exposed as ISO 64, developed with reversal processing as described before, scanned with Plustek OpticFilm120 + VueScan at 5300 dpi, edited with GIMP. Bigger sozes: www.flickr.com/photos/threepinner/50128846403/sizes/ up to 7438 × 4894pixels compatible. Learn DIY development and upgrade to film !
Picassocam pinhole camera, paper negative, 45 sec exp developed in Caffenol C, colorized in Photoshop, a wee bit of texture added to an otherwise bland sky
Back in the early '90s, my then-boyfriend and I were traveling to San Diego in July. By the time we got to Yuma, it was hot, glaringly bright, and the A/C couldn't keep up. By the time we got to El Centro, it was brighter (2pm) and hotter. (120 deg F) I was fading fast. Then, it was the sight of this fertilizer tank, with the words, "sea level", marked with a line half way up the tank, that made me feel like I was about to dry up and blow away out the window. "Below sea level!!!" I exclaimed in disbelief. I felt like I was sinking down into Hell, taking all the heat with me. At the time, we were attending college up at 7,000 feet altitude, so it was quite a difference from everyday life!
The boyfriend became the husband a few years later, and last week, we came by this way again, with the kiddos. Thank goodness it was January instead of July! Husband pulled off I-8, and found the dirt road along the fence line, so I could get my pinhole of the tank. Two employees road up in their little golf cart, leery of what we were doing. We excused ourselves as crazy tourists, taking a picture of their fertilizer tank, with a metal can. I can't believe they bought it!
Image made January 24, 2013
ps for Husband: Yes, I concede- the tank is on the ((left)) side of the freeway!
Developed in Caffenol C-L Semi-Stand 70min; Ilford HP5+; Pentax P30; SMC Pentax 55mm f1.8; Epson V600
Roll : 2017 - Octobre - N&B - Strasbourg (3)
Developed by the Union States and adapted from the mechanized prairie schooners that carried settlers across the vast western frontier, the Light Steam Transport Vehicle is highly versatile and exceptionally reliable; easily receptive of improvised repairs. This vehicle is extremely lightweight and sports wide treads to navigate sand, swamps, etc. It is relativity unarmored vehicle and is designed to operate within occupied territory or in areas without expected resistance. This simple, yet robust vehicle was adopted by several other nations following its success in the Great Steam War. Crew consists of driver, stoker, and up to five passengers.
Kingston upon Hull, taken on Nikon FM2 with Nikkor 50mm f1.8. Fomapan 100 Classic (bulk roll), developed in Adox Rodinal (1:25) for 4 minutes at 20°C. Scanned on Epson v550 using Silverfast software.
Liz by Andy Warhol. Ken C. Arnold Art Collection Andy Warhol
From Wikipedia, the free encyclopediaJump to:navigation, search
For the song by David Bowie, see Andy Warhol (song)
Andy Warhol
Warhol in 1977
Birth name Andrew Warhola
Born August 6, 1928(1928-08-06)
Pittsburgh, Pennsylvania, U.S.
Died February 22, 1987 (aged 58)
New York City, U.S.
Nationality American
Field Painting, Cinema
Training Carnegie Mellon University
Movement Pop art
Works Chelsea Girls (1966 film)
Exploding Plastic Inevitable (1966 event)
Campbell's Soup Cans (1962 painting)
Andrew Warhola (August 6, 1928 – February 22, 1987), known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and public figure known for his membership in wildly diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy patrons.
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame." In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.
The highest price ever paid for a Warhol painting is $100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market." $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Gustav Klimt and Willem de Kooning have achieved.[1]
Contents [hide]
1 Childhood
2 Early career
3 1960s
4 Attempted assassination
5 1970s
6 1980s
7 Sexuality
8 Religious beliefs
9 Death
10 Works
10.1 Paintings
10.2 Films
10.3 Factory in New York
10.4 Filmography
10.5 Music
10.6 Books and print
10.7 Other media
10.8 Producer and product
11 Dedicated museums
12 Movies about Warhol
12.1 Dramatic portrayals
12.2 Documentaries
13 See also
14 References
15 Further reading
16 External links
Childhood
Warhol's childhood home at 3252 Dawson Street in the South Oakland neighborhood of Pittsburgh, PennsylvaniaAndy Warhol was born in Pittsburgh, Pennsylvania.[2] He was the fourth child of Ondrej Warhola (died 1942)[3] and Julia (nee Zavacka, 1892-1972),[4] whose first child was born in their homeland and died before their migration to the U.S. His parents were working-class immigrants from Mikó (now called Miková), in northeastern Slovakia, then part of Austro-Hungarian Empire. Warhol's father immigrated to the US in 1914, and his mother joined him in 1921, after the death of Andy Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.[5] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers, Ján and Pavol, who were born in today's Slovakia. Pavol's son, James Warhola, became a successful children's book illustrator.
In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness.[6] He became a hypochondriac, developing a fear of hospitals and doctors. Often bed-ridden as a child, he became an outcast among his school-mates and bonded strongly with his mother.[7] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[8]
Early career
Warhol showed early artistic talent and studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania (now Carnegie Mellon University).[9] In 1949, he moved to New York City and began a successful career in magazine illustration and advertising. During the 1950s, he gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.[10]
Campbell's Soup I (1968)1960s
His first one-man art-gallery exhibition as a fine artist[11][12] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked the West Coast debut of pop art.[13] Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time John Giorno who would star in Warhol's first film, Sleep, in 1963.[citation needed]
It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor. He founded "The Factory", his studio during these years, and gathered around himself a wide range of artists, writers, musicians, and underground celebrities. He began producing prints using the silkscreen method. His work became popular and controversial.
Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products. He also used as imagery for his paintings newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He 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. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[14]
New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.[citation needed]
Campbell's Tomato Juice Box (1964)A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. 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 (or of what is art and what is not).[citation needed]
As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).[15]
During the '60s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Edie Sedgwick, Viva, Ultra Violet, and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.
Attempted assassination
On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio.[16] Before the shooting, Solanas had been a marginal figure in the Factory scene. She founded a "group" called S.C.U.M. (Society for Cutting Up Men) and authored the S.C.U.M. Manifesto, a separatist feminist attack on patriarchy. Over the years, Solanas' manifesto has found a following.[17] Solanas appears in the 1968 Warhol film I, A Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script, apparently, had been misplaced.[18]
Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art.[19][20]
Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." She was eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene became much more tightly controlled, and for many this event brought the "Factory 60s" to an end.[20] The shooting was mostly overshadowed in the media due to the assassination of Robert F. Kennedy two days later.
Warhol had this to say about the attack: "Before I was shot, 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 movies is unreal, but actually it's the way things happen 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." [21]
1970s
Andy Warhol and Jimmy Carter in 1977Compared to the success and scandal of Warhol's work in the 1960s, the 1970s proved a much quieter decade, as Warhol became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson.[22][citation needed] Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."[cite this quote]
Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the '70s, Studio 54.[23] He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."[24]
1980s
Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of '80s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.
By this period, Warhol was being criticized for becoming merely a "business artist".[25] In 1979, unfavorable reviews met his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. This criticism was echoed for his 1980 exhibit of ten portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who exhibited no interest in Judaism or matters of interest to Jews – had described in his diary as "They're going to sell."[25] 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 the zeitgeist of American culture in the 1970s."[25]
Warhol also had an appreciation for intense Hollywood 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."[26]
Sexuality
Warhol never married or had children.[27] Many people think of him as asexual and merely a "voyeur"; however, it is now well-established that he was homosexual (see biographers such as Victor Bockris, Bob Colacello,[28] and art historian Richard Meyer[29]). The question of his sexuality aside, Warhol stated in a 1980 interview that he was still a virgin.[30] The question of how Warhol's sexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist, and is an issue that Warhol himself addressed in interviews, in conversation with his contemporaries, and in his publications (e.g. Popism: The Warhol Sixties).
Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli, Judy Garland, and Elizabeth Taylor, and films like Blow Job, My Hustler, and Lonesome Cowboys) draw from gay underground culture and/or openly explore the complexity of sexuality and desire. Many of his films premiered in gay porn theaters. That said, some stories about Warhol's development as an artist revolved around the obstacle his sexuality initially presented as he tried to launch his career. The first works that he submitted to a gallery in the pursuit of a career as an artist were homoerotic drawings of male nudes. They were rejected for being too openly gay.[31] In Popism, furthermore, the artist recalls a conversation with the film maker Emile de Antonio about the difficulty Warhol had being accepted socially by the then more famous (but closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In response to this, Warhol writes, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't want to change anyway, that I didn't think I 'should' want to change... Other people could change their attitudes but not me".[32][33] In exploring Warhol's biography, many turn to this period – the late 1950s and early 1960s – as 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.[34]
Religious beliefs
Images of Jesus from The Last Supper cycle (1986). Warhol made almost 100 variations on the theme, which the Guggenheim felt "indicates an almost obsessive investment in the subject matter."[35]Warhol was a practicing Byzantine Catholic. He regularly volunteered at homeless shelters in New York, particularly during the busier times of the year, and described himself as a religious person.[36] Several of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). In addition, a body of religious-themed works was found posthumously in his estate.[36]
During his life, Warhol regularly attended Mass, and the priest at Warhol's church, Saint Vincent's, said that the artist went there almost daily,[36] although he never took communion or made confession and sat or knelt in the pews at the back.".[30] The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Roman Catholic church crossing himself "in the Orthodox way" (right to left instead of the reverse).[30]
His art is noticeably influenced by the eastern Christian iconographic tradition which was so evident in his places of worship.[36]
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 one conversion. He took considerable pride in financing his nephew's studies for the priesthood".[36]
Death
Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia.[37] Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication.[38]
Warhol's grave at St. John the Baptist Byzantine Catholic CemeteryWarhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono also made an appearance. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. Weeks later a memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.
Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million. His total estate was worth considerably more, due in no small part to shrewd investments over the years.[citation needed]
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts was founded. The Foundation not only serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."[39]
The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[40] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[41] 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 by Corbis, while all transparency images of Warhol are managed by Art Resource.[42]
The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[43] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.[44]
Works
Paintings
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By the beginning of the 1960s, Warhol was a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. These illustrations consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop Art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first Pop Art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.[45] Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On 23 November 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.[46] For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.[47]
He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.[48]
In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.[49]
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 1962–63 Death and Disaster series. The Death and Disaster paintings (such as Red Car Crash, Purple Jumping Man, and Orange Disaster) transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving mass media.
The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." [50]
His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":
Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint.' Andy always had a little extra bounce in his walk as he led them to his studio...[51]
Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".
After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.[52][53] Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.[54]
The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"[55] but by others as “wishy-washy, religiose” and “spiritless."[56] It is also the largest series of religious-themed works by any U.S. artist.[55]
At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz. [57]
Films
Warhol worked across a wide range of media – painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films [58], plus some 500 short black-and-white "screen test" portraits of Factory visitors.[59] One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called Trio for Strings and subsequently created his famous series of static films including Kiss, Eat, and Sleep (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance.[60]
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.
His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 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. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.
Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art.[61][62] Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.
After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.
In the early '70s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.
Factory in New York
Factory: 1342 Lexington Avenue (the first Factory)
The Factory: 231 East 47th street 1963-1967 (the building no longer exists)
Factory: 33 Union Square 1967-1973 (Decker Building)
Factory: 860 Broadway (near 33 Union Square) 1973-1984 (the building has now been completely remodeled and was for a time (2000–2001) the headquarters of the dot-com consultancy Scient)
Factory: 22 East 33rd Street 1984-1987 (the building no longer exists)
Home: 1342 Lexington Avenue
Home: 57 East 66th street (Warhol's last home)
Last personal studio: 158 Madison Avenue
Filmography
Main article: Andy Warhol filmography
Music
In the mid 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The 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. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.[citation needed]
Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy In Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.[citation needed] One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.[63]
Warhol was also friendly with many recording artists, including Deborah Harry, Grace Jones, Diana Ross and John Lennon (with whom he posed for an infamous photograph[64]) - he designed the cover to Lennon's 1986 posthumously released Menlove Ave. Warhol also appeared as a bartender in The Cars' music video for their single "Hello Again", and Curiosity Killed The Cat's video for their "Misfit" single (both videos, and others, were produced by Warhol's video production company).[citation needed] Warhol featured in Grace Jones' music video for "I'm Not Perfect (But I'm Perfect for You)".
Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, but this version wasn't officially released until the VU album appeared in 1985. He recorded a new version for his 1972 solo album Transformer, produced by Bowie and Mick Ronson.[citation needed]
Cover of copy no. 18 of 25 Cats Name [sic] Sam and One Blue Pussy by Andy Warhol given in 1954 to Edgar de Evia and Robert Denning when the author was a guest in their home in the Rhinelander Mansion.[citation needed]Books and print
Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.
The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987[65] and the original was auctioned in May 2006 for US $35,000 by Doyle New York.[66]
Other self-published books by Warhol include:
A Gold Book
Wild Raspberries
Holy Cats
After gaining fame, Warhol "wrote" several books that were commercially published:
a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.[citation needed]
The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.[citation needed]
Popism: The Warhol Sixties (1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the sixties and the role of Pop Art.
The Andy Warhol Diaries (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[67]
Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.[68]
Other media
As stated, although Andy Warhol is most known for his paintings and films, he has authored works in many different media.
Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and (of course) Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.[69]
Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of "grocery carton" sculptures that also included Heinz ketchup and Campbell's tomato juice cases.[70] Other famous works include the Silver Clouds– helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–69) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).[71]
Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his "Invisible Sculpture", a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[citation needed]
Time Capsules: In 1973, Warhol began saving ephemera from his daily life– correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food– which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.[72]
Television: Andy Warhol dreamed of a television show that he wanted to call The Nothing Special, a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, Andy Warhol's TV in 1982 and Andy Warhol's Fifteen Minutes (based on his famous "fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".[73]
Fashion: 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?"[cite this quote] One of his most well-known Superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.[citation needed]
Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.[74]
Theater: Andy Warhol's PORK opened on May 5, 1971 at LaMama theater in New York for a two week run and was brought to the Roundhouse in London for a longer run in August, 1971. Pork was based on tape-recorded conversations between Brigin Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as "Vulva" and Cherry Vanilla as "Amanda Pork".[citation needed] In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas.
Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous amount of photographs of Factory visitors, friends.[citation needed]
Computer: Warhol used Amiga computers to generate digital art, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.[75] (video)
Producer and product
Warhol had assistance in producing his paintings. This is also true of his film-making and commercial enterprises.[citation needed]
He founded the gossip magazine Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from Love Boat to Saturday Night Live and the Richard Pryor movie, Dynamite Chicken).[citation needed]
In this respect Warhol was a fan of "Art Business" and "Business Art"– he, in fact, wrote about his interest in thinking about art as business in The Philosophy of Andy Warhol from A to B and Back Again.[citation needed]
Dedicated museums
Two museums are dedicated to Andy Warhol. The Andy Warhol Museum, one of the Carnegie Museums of Pittsburgh, is located at 117 Sandusky Street in Pittsburgh, Pennsylvania. It is the largest American art museum dedicated to a single artist, holding more than 12,000 works by the artist.[citation needed]
The other museum is the Andy Warhol Museum of Modern Art, established in 1991 by Andy's brother John Warhola, the Slovak Ministry of Culture, and the Warhol Foundation in New York. It is located in the small town of Medzilaborce, Slovakia. Andy's parents and his two brothers were born 15 kilometres away in the village of Miková. The museum houses several originals donated mainly by the Andy Warhol Foundation in New York and also personal items donated by Warhol's relatives.[citation needed]
Movies about Warhol
Dramatic portrayals
Warhol (right) with director Ulli Lommel on the set of 1979's Cocaine Cowboys, in which Warhol appeared as himselfIn 1979, Warhol appeared as himself in the film Cocaine Cowboys.[76]
After his passing, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by David Bowie in Basquiat, a film by Julian Schnabel, and by Jared Harris in the film I Shot Andy Warhol directed by Mary Harron (1996). Warhol appears as a character in Michael Daugherty's 1997 opera Jackie O. Actor Mark Bringleson makes a brief cameo as Warhol in Austin Powers: International Man of Mystery (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Andy's life. Sean Gregory Sullivan depicted Warhol in the 1998 film 54. Guy Pearce portrayed Warhol in the 2007 film, Factory Girl, about Edie Sedgwick's life.[77] Actor Greg Travis portrays Warhol in a brief scene from the 2009 film Watchmen.
Gus Van Sant was planning a version of Warhol's life with River Phoenix in the lead role just before Phoenix's death in 1993.[78]
Documentaries
The 2001 documentary, Absolut Warhola was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.[79]
Andy Warhol: A Documentary Film is a reverential four-hour 2006 movie by Ric Burns.[80]
Andy Warhol: Double Denied is a 52 minute movie by lan Yentob about the difficulties in authenticating Warhol's work.[81]