Andy Warhol POP art
Prints
Andy Warhol
Andy Warhol 1928 - 1987
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email: andy.warhol@artsmarket.co.uk
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June 3rd, 1968, Valerie
Solanis, a rejected superstar, came into The Factory and shot Andy three
times in the chest. He was rushed to hospital where he was pronounced dead,
but after having his chest cut up and been given heart massage, he survived.
Valerie
Solanis turned herself in that night and was put in a mental institution.
She was later given a three year prison sentence. After recovering Andy
Warhol continued to work. He founded inter/VIEW magazine in 1969 (they changed
the name to Interview in 1971), published The Philosophy of Andy Warhol:
From A to B and Back Again in 1975 and continued to paint portraits until
his death in 1987.
.
Valerie Solanis men hating quotes
"To be sure he's a ''Man,'' the male must see to it that the female be clearly a ''Woman,'' the opposite of a ''Man,'' that is, the female must act like a faggot."
"To call a man an animal is to flatter him; he's a machine, a walking dildo."
"Just as humans have a prior right to existence over dogs by virtue of being more highly evolved and having a superior consciousness, so women have a prior right to existence over men. The elimination of any male is, therefore, a righteous and good act, an act highly beneficial to women as well as an act of mercy."
(err! -ed.)
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Art on Canvas Banksy Prints Gallery Prints
Andy Warhol 1928 - 1987
Andy Warhol - The Last Interview
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Flash Art - 1987
excerpt from "After Andy: SoHo in the Eighties" - by Paul Taylor
PAUL TAYLOR - : You are going to be showing your Last Supper paintings
in Milan this year.
ANDY WARHOL - :Yes
When did you make the paintings?
I was working on them all year. They were supposed to be shown in December, then January. Now I dont know when.
Are they painted?
I dont know. Some were painted, but theyre not going to show the painted ones. Well use the silk-screened ones.
On some of them you have camouflage over the top of the images.
Why is that?
ANDY WARHOL -
I had some leftover camouflage.
From the self-portraits?
ANDY
WARHOL -
Yeah.
Did you do any preparatory drawings for them?
ANDY WARHOL
-
Yeah, I tried. I did about forty paintings.
They were all preparatory?
ANDY WARHOL
-
Yeah.
Its very odd to see images like this one doubled.
Theyre just the small ones.
The really big one is where there are images upside down and the right way up.
Thats right.
Its odd because you normally see just one Jesus at a time.
Now there are two.
Like the two Popes?
The European Pope and the American Pope.
Did you see Dokoupils show at Sonnabend Gallery?
ANDY WARHOL
(I am starting to loose track of this, sorry . your on
your own from here ed.)
Oh no, I havent gone there yet. I want to go on Saturday.
It might be the last day. There you will see two Jesuses on crucifixes, one beside the other.
Oh.
And he explained to me something like how it was transgressive to have two Jesuses in the same picture.
He took the words out of my mouth.
Youre trying to be transgressive?
Yes.
In America, you could be almost as famous as Charles Manson. Is there any similarity between you at the Factory and Jesus at the Last Supper?
Thats negative, to me its negative. I dont want to talk about negative things.
Well, what about these happier days at the present Factory? Now youre a corporation president.
Its the same.
Why did you do the Last Supper?
Because [Alexander] Iolas asked me to do the Last Supper. He got a gallery in front of the other Last Supper, and he asked three or four people to do Last Suppers.
Does the Last Supper theme mean anything in particular to you?
No. Its a good picture.
What do you think about those books and articles, like Stephen Kochs Stargazer, and a 1964 Newsweek piece called Saint Andrew, that bring up the subject of Catholicism?
I dont know. Stephen Kochs book was interesting because he was able to write a whole book about it. He has a new book out which Im trying to buy to turn into a screenplay. I think its called The Brides Bachelors or some Duchampy title. Have you read it yet?
No, I read the review in The New York Times Book Review.
What did it say?
It was okay.
Yeah? Whats it about?
Stephen Koch described it to me himself. He said it was about a heterosexual Rauschenberg figure in the sixties, a magnetic artist who has qualities of a lot of sixties artists. He has an entourage. I dont know the rest.
Ive been meaning to call him and see if he can tell me the story and send me the book.
Whos making a screenplay?
We thought that we might be able to do it.
Its a great idea. Would you be able to get real people to play themselves in it?
I dont know. It might be good.
Do you have screenwriters here?
We just bought Tama Janowitzs book called Slaves of New York.
Does that mean youre going back into movie production?
Were trying. But actually what were working on is our video show which MTV is buying.
Nothing Special?
No, its called Andy Warhols Fifteen Minutes. It was on Thursday last week and its showing again Monday and itll be shown two more times: December, and were doing one for January.
Do you make them?
No, Vincent works on them. Vincent Fremont.
Do you look through the camera on these things at all?
No.
Whats your role?
Just interviewing people.
If there was a movie made out of Stephen Kochs novel, what would be your role in it?
I dont know. Id have to read it first.
Its not usual for business people to talk about these deals before they make them.
I dont care if anyone ... theres always another book.
I saw Ileana [Sonnabend] today and asked her what I should ask you, and she said, I dont know. For Andy everything is equal.
Shes right.
How do you describe that point of view?
I dont know. If she said it shes right. (laughs)
It sounds Zennish.
Zennish? Whats that?
Like Zen.
Zennish. Thats a good word. Thats a good title for ... my new book.
What about your transformation from being a commercial artist to a real artist?
Im still a commercial artist. I was always a commercial artist.
Then whats a commercial artist?
I dont know someone who sells art.
So almost all artists are commercial artists, just to varying degrees.
I think so.
Is a better commercial artist one who sells more work?
I dont know. When I started out, art was going down the drain. The people who used to do magazine illustrations and the covers were being replaced by photographers. And when they started using photographers, I started to show my work with galleries. Everybody also was doing window decoration. That led into more galleries. I had some paintings in a window, then in a gallery.
Is there a parallel situation now?
No, it just caught on so well that theres a new gallery open every day now. There are a lot more artists, which is real great.
What has happened to the idea of good art?
Its all good art.
Is that to say that its all equal?
Yeah well, I dont know, I cant .
.. Youre not interested in making distinctions.
Well no, I just cant tell the difference. I dont see why one Jasper Johns sells for three million and one sells for, you know, like, four hundred thousand. They were both good paintings.
The market for your work has changed a little in the last few years. To people my age in their twenties you were always more important than to the collecting group of people in their fifties and sixties.
Well, I think the people who buy art now are these younger kids who have a lot of money.
And thats made a difference in your market.
Yeah, a little bit.
How important is it for you to maintain control?
Ive been busy since I started since I was a working artist. If I wasnt showing in New York I was doing work in Germany, or I was doing portraits.
What I mean is that as more and more artists come up, and as new galleries open every day, the whole idea of what an artist is changes. Its no longer so special, and maybe a more special artist is one who maintains more control of his or her work.
I dont know. It seems like every year theres one artist for that year. The people from twenty years ago are still around. I dont know why. The kids nowadays theres just one a year. They stay around, they just dont ...
You were identified with a few artists a couple of years ago Kenny Scharf, Keith Haring.
Were still friends.
But I never see you with any of this seasons flavors.
I dont know. They got so much press. It was great. Im taking photographs now. I have a photography show at Robert Miller Gallery.
And theres going to be a retrospective of your films at the Whitney Museum.
Maybe, yes.
Are you excited about that?
No.
Why not?
Theyre better talked about than seen.
Your work as an artist has always been so varied, like Leonardo. Youre a painter, a film maker, a publisher ... Do you think thats what an artist is?
No.
Can you define an artist for me?
I think an artist is anybody who does something well, like if you cook well.
What do you think about all the younger artists now in New York who are using pop imagery?
Pretty good.
Is it the same as when it happened in the sixties?
No, they have different reasons to do things. All these kids are so intellectual.
Did you like the punk era?
Well, its still around. I always think its gone but it isnt. They still have their hard-rock nights at the Ritz. Do you ever go there?
No. But punk, like Pop, might never go away.
I guess so.
Hows Interview going?
Its not bad.
Youre going to be audited soon for the Audit Bureau of Circulations.
Yeah, theyre doing it now.
What difference will it make?
I dont know.
It will be better for advertising ...
Yeah.
Whats the circulation now?
170,000. The magazines getting bigger and bigger.
What magazines do you read?
I just read everything.
You look at everything. Do you read the art magazines?
Yeah. I look at the pictures.
Youve been in trouble for using someone elses image as far back as 1964. What do you think about the legal situation of appropriated imagery, and the copyright situation?
I dont know. Its just like a Coca-Cola bottle when you buy it, you always think that its yours and you can do whatever you like with it. Now its sort of different because you pay a deposit on the bottle. Were having the same problem now with the John Wayne pictures. I dont want to get involved, its too much trouble. I think that you buy a magazine, you pay for it, its yours. I dont get mad when people take my things.
You dont do anything about it?
No. It got a little crazy when people were turning out paintings and signing my name.
What did you think about that?
Signing my name to it was wrong but other than that I dont care.
The whole appropriation epidemic comes down to who is responsible for art. If indeed anyone can manufacture the pictures of those flowers, the whole idea of the artist gets lost somewhere in the process.
Is that good or bad?
Well, first of all, do you agree with me?
Yes, if they take my name away. But when I used the flowers, the original photograph was huge and I just used one square inch of the photo and magnified it.
What do you ever see that makes you stop in your tracks?
A good display in a window ... I dont know, a good-looking face.
Whats the feeling when you see a good window display or a good face?
You just take longer to look at it. I went to China, I didnt want to go, and I went to see the Great Wall. You know, you read about it for years. And actually it was great. It was really, really, really great.
Have you been working out lately?
I just did it.
How much are you lifting now?
105 pounds.
On the benchpress? Thats strong.
No, its light. Youre stronger than me, and fitter and handsomer and younger, and you wear better clothes.
Did you enjoy the opening party thrown by GFT at the Tunnel?
I had already been there before.
In the sixties you mean?
(Laughs) No the manager or someone took me around it a few days ago.
Its a very convenient club for the Bridge and Tunnel people theyll be able to come in on those tracks from New Jersey.
I dont know whether it was my idea to call it the Tunnel or whether it was someone elses idea that I liked, but I think its a good name.
And lots of people turned out for Claes Oldenburgs show that night.
He looked happy. A lot of people said he looked happy. I always liked Claes actually. You looked great the other night. I took lots of photos of you in your new jacket.
Yes? How did I turn out?
They havent come back yet. Next time you come by Ill take some close-ups.
For the Upfront section of Interview perhaps? Except that Im not accomplished enough.
You could sleep with the publisher.
If you were starting out now, would you do anything differently?
I dont know. I just worked hard. Its all fantasy.
Life is fantasy?
Yeah, it is.
Whats real?
Dont know.
Some people would.
Would they?
Do you really believe it, or tomorrow will you say the opposite?
I dont know. I like this idea that you can say the opposite.
But you wouldnt in this case?
No.
Is there any connection between fantasy and religious feeling?
Maybe. I dont know. Church is a fun place to go.
Do you go to Italy very often?
You know we used to make our films there.
And didnt you have a studio in the country for a while?
Outside of Rome.
And did you go to the Vatican?
We passed by it every day.
I remember a polaroid you took of the Pope.
Yeah.
Did you take that from very close up?
Yes. He walked past us.
And he blessed you?
I have a photo of him shaking Fred Hughess hand. Someone wanted us to make a portrait of the Pope and theyve been trying to get us together but we cant and by now the Pope has changed three times.
Fred said he used to feel like the Pope in the old Factory in Union Square. He used to go out on that balcony and wave at the passing masses underneath.
He has a balcony now.
Yes, but from the current Factory he can only see the reception area.
He can wave.
And sometimes its just as busy as Union Square too.
Andy Warhol
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Andy Warhol