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AWARHOL NDY & HIS FACTORY Amy Allton FCP2 Design and Visual Culture DAVC20022 Kevin Hunt


“Art just wasn’t fun for me anymore; it was people who were fascinating and I wanted to spend all of my time around them, listening to them and making movies of them” (Warhol, A. 2008. 7)


This visual product focuses on Andy Warhol and his expansive studio, known as the Factory. Throughout, I will be exploring into the life that Warhol created for himself in this seductive world, which he not only enticed himself into, but also the ‘superstars’ that followed him through the Factory’s doors. Warhol opened his studio in 1963 as a centre for his art experimentations. He wanted to connect with those around him, exploring what they had to offer. By creating a world of film, photography, music and sculpture, Warhol drew in these interesting and unique people that he longed to create with. His Factory grew from a studio to a cultural hang-out for wanna-bees, longing for their 15 minutes of fame. It became a place where people would turn to, to feature in his experiments and to get their names in lights. Some succeeded and others failed. Those who did succeed became known as Andy’s ‘superstars’, his favourites. He brought in people to document the life of the Factory, such as Billy Name and Nat Finkelstein, to provide an invaluable insight into the open house of creativity it became. Its because of these documentations that we are able to see into the life of this talented individual and really experience the world he had created for himself and those around him. In this visual product, I will delve into the intriguing scenario that Warhol built around him and look at the effects that it had on those involved.


THE MAN HIMSELF WHO HE WAS


‘...he wore silver wigs with a deliberate artificial look...both his make-up and conspicuous wig were reminiscent of the artificiality of female Hollywood stars of the 1940s and 50s...this exaggerated appropriation made it clear that a star is not simply born but a synthetic product.’ (Winkelmann, J. 2008. 13)


Figure.1. Andy Warhol self portrait. (Cosmetic surgery, make-up and appetite suppressants created a stylised persona of the ideal product of the fame industry, which Warhol fitted perfectly.)


Figure. 2. Andy with his superstar candidates. (People flocking to his factory, kissing his ass just to get their 15 minutes of fame )

‘...They took this guy named Art, put him on a pedestal and everybody would get down on their hands and knees and raise their ass like it was Allah. “Andee, Ann..Dee, Andy Warhol, there he comes!”, was the drum Andy danced to in those days.’ (Finkelstein, N. 1989)


‘...“I’ll make some lunch for you guys”...He opened a can of Campbell’s tomato soup and heat it up and gave us some bread. I said “you know what? You don’t have to play the pop artist - this is the off hours.” But then he did. I guess he really eat that stuff.’ (Liu, B. 2008. 29)

Figure. 3. Andy Warhol Campbell’s soup. (He wasn’t just an artist who just painted the product, the product became part of him. Just because you paint it does not mean you can’t eat it.)


INSIDE THE FACTORY

LIFE ON THE INSIDE


Figure. 4. The ‘Silver Factory’. (Warhol took the idea of synthetic products in appearance and combined it with the space he lived in.)


‘...At the time of that party I had foiled that entire apartment, I had beautiful theatre lights, and everything, including the silverware, was painted silver. Andy had just gotten his loft space for his factory and said “Billy, would you do this loft I just got, because it’s real dingy” Andy didn’t just see a guy’s place and think ‘That’s real cool - he’s got foil all over his place’. He thought that I’d done an installation.’ (Name, B. Author Interview 1997)


Figure. 5. Brillo Boxes in the Factory. (His studio became a stage, created around the opinions people formed of him. He understood the seductive powers of image and how easy it was to draw people into this world of fantasy)


‘...he took thousands and thousands of hours of work of film, they’re like Big Brother clips where sometimes there is nothing much that happens, but you can’t take your eyes off them.’ (Jackson, A. 2009. Interview)

Figure. 6. Still from Blow Job. (The styles of his films created questions through-out, making the viewer ponder what it was that they were watching and also what it was that drove Warhol to create such a piece of film.)


‘It was a great party, a speedfreak’s dream, the great American Fantasia, full of fun, frolic and forget-me-nots. Some of the guests left in limousines, some in ambulances, others never found the door. I was intrigued: the walls were silvered, the toliet didn’t flush, people were doing weird things all over the place. The art was incredible, the music great and the natives were kinky.’ (Finkelstein, N. 1989)


Figure. 7. Careless whispers. (Some of his parties were civilised, with ‘subtle’ hints of his work dashed around the joint) Figure. 8. Living the ‘high life’. (Some of his parties were not so civilised, filled with sex, drugs and rock and roll)


ANDY’S ‘SUPERSTARS’ HIS FAVOURITE FOLLOWERS


‘They paraded in front of my camera, this American royalty of superstars, because I was a photojournalist, regularly published... PhD candidates, they must be published to exist. They may not have wanted or liked me, but they sure did need me’ (Finkelstein, N. 1989)


Figure. 9. Surrounded by Dystopian Hipsters. (People would flock to his studio just to find the lense that could make them a star)


Figure. 10. Gerard in the cafe. (Warhol became transfixed by the young man, capturing his manner and being through film. He was the start of ‘superstars’ to come)


‘Gerard was Andy’s great discovery. Gerard WAS the Factory. He was the curry that hid the taste of slightly spoiled meat. The Factory was a stew made out of society’s left-overs, rejects and damaged merchandise.’ (Finkelstein, N. 1989)


‘Oh yes she was absolutely delightful. Not only her physical beauty but her inner balance and poise. When you were in a room with Edie, everyone was on point because they could feel her excellence. Apart from her beauty, there was a feeling that she was capable of directing anything.’ (Name, B. Author Interview, 1997)


Figure. 11. Edie Sedgewick. (Warhol created this ‘product’ of stardom, focusing on the visual effect ‘it’ had on an audience)


Figure. 12. Edie Sedgewick and Kevin McCarthy. (She went from shining beauty to drug addict. She was not a bionic woman, but a disposable woman. She became a building block for Warhol’s publicity.)


Figure. 13. Edie and Andy. (She became demanding. The Factory’s influences had chnaged the bubbly young girl into a troubled young woman.)

‘...there wasn’t anything real about Edie. She was simply signs and symbols. She was spoiled in every sense, a child of the haute bourgeoisie, with no thought in her head ar all except ‘Edie’....She was a representative of something so selfish and so superficial that the only thing she was able to destroy or change was herself. Her life is a pop tragedy, a manufactured superficial tragedy.’ (Finkelstein, N. 1989)


List of Illustrations Fig 1. Andy Warhol Self Portrait (1964) [photograph] by newcity.com, 2011: online Fig 2. Andy with his superstar candidates (1965) [photograph] by cdn2.com, 2010: online Fig 3. Andy Warhol Campbell’s Soup (1962) [painting] by Andy Warhol, 2009: online Fig 4. The ‘Silver Factory’ (1965) [photograph] by Nat Finkelstein, 2011: online Fig 5. Brillo Boxes in the Factory (1963) [photograph] by Billy Name, 2008: online Fig 6. Still from Blow Job (1963) [still from silent film] by Andy Warhol, 2008: online Fig 7. Careless Whispers (1964) [photograph] by timeout.com, 2007: online Fig 8. Living the high life (1969) [photograph] by rublog.com, 2009: online Fig 9. Surrounded by dystopian hipsters (1964) [photograph] by cultural.com, 2009: online Fig 10. Gerard in the cafe (1966) [photograph] by torontoist.com, 2006: online Fig 11. Edie Sedgewick (1966) [photograph] by filmnoirphotos.com, 2009: online Fig 12. Edie Sedgewick and Kevin McCarthy (1968) [photograph] by obit-mag.com, 2007: online Fig 13. Edie and Andy (1968) [photograph] by obit-mag.com, 2007: online

List of Citations (Warhol, A. 2008. 7) (Winkelmann, J. 2008. 13) (Finkelstein, N. 1989) (Liu, B. 2008. 29) (Name, B. Author Interview 1997) (Jackson, A. 2009. Interview) (Finkelstein, N. 1989) (Finkelstein, N. 1989) (Finkelstein, N. 1989) (Name, B. Author Interview, 1997) (Finkelstein, N. 1989)


Bibliography Books: FINKELSTEIN, N., 1989. Andy Warhol: the Factory years. London: Sidgwick & Jackson. GANIS, W., 2004. Andy Warhol’s serial photography. Cambridge: Cambridge University Press. GLENNIE, S., MCGARRY, E., MODEL ARTS AND NILAND GALLERY, LEWIS GLUCKSMAN GALLERY and IKON GALLERY, 2008. The eternal now: Warhol and the factory ‘63-’68. Sligo :$bModel Arts and Niland Gallery ; Cork; Birmingham: Glucksman; Ikon. NAME, B., HICKEY, D. and SCHORR, C., 1997. All tomorrow’s parties: Billy Name’s photographs of Andy Warhol’s factory. London: Frieze. WARHOL, A., 1976. The philosophy of Andy Warhol: from A to B and back again. London: Pan Books. WARHOL, A. and HACKETT, P., 1981; 1980. Popism: the Warhol ‘60s. London: Hutchinson. Additional Sources:

The South Bank show: Alison Jackson on Andy Warhol. 2009. ITV Studios for ITV 1.



Andy Warhol & His Factory