Editing Andy Warhol (section)

===1960s===
[[File:Andy Warhol and Tennessee Williams NYWTS.jpg|thumb|Warhol and [[Tennessee Williams]] with Rod La Rod (left) and [[Paul Morrissey]] (background) aboard the [[SS France (1961)|SS ''France'']] in New York, 1967.]]
At a time when traditional artists did not buy the work of other artists, Warhol collected them.{{Sfn|Warhol|Hackett|1980|p=14}} In order 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.{{Sfn|Warhol|Hackett|1980|p=14}}

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.<ref name="Fairbrother-1989">{{Cite book |last=Fairbrother |first=Trevor |title=Success Is a Job in New York: the Early Art and Business of Andy Warhol |date=1989 |publisher=Grey Art Gallery and Study Center |isbn=978-0-934349-05-5 |editor-last=De Salvo |editor-first=Donna |location=New York |pages=55–74 |chapter=Tomorrow's Man |oclc=19826995}}</ref>

In 1960, Warhol purchased a townhouse at 1342 [[Lexington Avenue]] in the [[Carnegie Hill]] neighborhood of Manhattan, which he also used as his art studio.{{Sfn|Bourdon|1989|p=67}}

In April 1961, Warhol's pop paintings were exhibited for the first time in the window display of the [[Bonwit Teller]] department store on [[Fifth Avenue]].{{Sfn|Bourdon|1989|p=79}} Five paintings based on [[comic strip]]s and newspaper ads served as the backdrop for mannequins wearing spring dresses: ''Saturday's Popeye'', ''Little King'', ''Superman'', ''Before and After'', and ''Advertisement''.<ref>{{Cite book |last1=Rosenthal |first1=Mark Lawrence |url=https://books.google.com/books?id=FTSLCLiRV84C&dq=andy+warhol+bonwit+teller+superman&pg=PA250 |title=Regarding Warhol: Sixty Artists, Fifty Years |last2=Prather |first2=Marla |last3=Alteveer |first3=Ian |last4=Lowery |first4=Rebecca |last5=Apfelbaum |first5=Polly |last6=Baldessari |first6=John |last7=Celmins |first7=Vija |last8=Close |first8=Chuck |last9=Gober |first9=Robert |date=2012 |publisher=Metropolitan Museum of Art |isbn=978-1-58839-469-9 |pages=250 |language=en}}</ref>

In 1962, Warhol was taught [[silkscreen]] printmaking techniques by [[Max Arthur Cohn]] at his graphic arts business in Manhattan.<ref>{{Cite web|date=April 8, 2021|title=A Guide to Andy Warhol Prints: The Birth of an Iconic Pop Artist|url=https://www.invaluable.com/blog/andy-warhol-prints/|access-date=September 11, 2021|website=Invaluable|language=en-US}}</ref><ref>[https://americanart.si.edu/artist/max-arthur-cohn-935 "Max Arthur Cohn"] {{Webarchive|url=https://web.archive.org/web/20171229052247/https://americanart.si.edu/artist/max-arthur-cohn-935|date=December 29, 2017}} at SAAM.</ref> Warhol is often considered to be a pioneer in silkscreen printmaking and his techniques became more elaborate throughout his career.<ref>{{Cite web |title=Warhol {{!}} Prints |url=https://guyhepner.com/artists/31-andy-warhol |access-date=February 17, 2025 |website=Guy Hepner |language=en}}</ref> In his book ''[[Popism: The Warhol Sixties|Popism]]'', Warhol writes: "When you do something exactly wrong, you always turn up something".<ref name="David Dalton-2010">{{cite book|author=Tony Scherman|url=https://books.google.com/books?id=SC0MCcfRsA8C&pg=PA106|title=Pop: The Genius of Andy Warhol|author2=David Dalton|date=2010|publisher=HarperCollins|isbn=978-0-06-093663-1|access-date=January 5, 2016|archive-url=https://web.archive.org/web/20160126195456/https://books.google.com/books?id=SC0MCcfRsA8C&pg=PA106|archive-date=January 26, 2016|url-status=live}}</ref>

In May 1962, Warhol was featured in an article in ''[[Time (magazine)|Time]]'' with his painting ''Big Campbell's Soup Can with Can Opener (Vegetable)'' (1962), which initiated his most sustained motif, the [[Campbell's]] soup can.<ref>{{Cite magazine|date=May 11, 1962|title=The Slice-of-Cake School|url=https://time.com/vault/issue/1962-05-11/page/56/|magazine=Time|pages=52}}</ref> That painting became Warhol's first to be shown in a museum when it was exhibited at the [[Wadsworth Atheneum]] in Hartford in July 1962.<ref>{{Cite web|date=May 16, 2017|title=Andy Warhol's Big Campbell's Soup Can with Can Opener (Vegetable)|url=https://www.christies.com/features/Andy-Warhol-Big-Campbells-Soup-Can-with-Can-Opener-Vegetable-8209-3.aspx|access-date=September 11, 2021|website=Christie's|language=en}}</ref> On July 9, 1962, Warhol's exhibition opened at the [[Ferus Gallery]] in Los Angeles with ''[[Campbell's Soup Cans]]'', marking his [[West Coast of the United States|West Coast]] debut of [[pop art]].<ref name="Livingstone-1992">{{Cite book |first=Marco |last=Livingstone |title=Pop art: an international perspective |publisher=Rizzoli |location=New York City |year=1992 |page=32 |isbn=978-0-8478-1475-6 |oclc=25649248}}</ref><ref>{{Cite news |last=Smith |first=Jack |date=July 23, 1962 |title=Soup Can Painter Uses His Noodle |url=https://www.newspapers.com/article/the-los-angeles-times-andy-warhol-exhibi/157853533/ |work=Los Angeles Times |pages=Part lV}}</ref>

In November 1962, Warhol had an exhibition at Eleanor Ward's [[Stable Gallery]] in New York.<ref>{{Cite web |last=Sjostrom |first=Jan |date=November 30, 2011 |title=Four Arts exhibition reflects of illustrators from golden age, Warhol |url=https://www.palmbeachdailynews.com/story/entertainment/arts/2011/12/01/four-arts-exhibition-reflects-illustrators/6643709007/ |access-date=October 26, 2024 |website=Palm Beach Daily News |language=en-US}}</ref> The exhibit included the works ''[[Gold Marilyn Monroe|Gold Marilyn]]'', eight of the classic ''Marilyn'' series also named ''Flavor Marilyns'', ''[[Marilyn Diptych]]'', ''100 Soup Cans'', ''100 Coke Bottles'', and ''100 Dollar Bills''. ''Gold Marilyn'' was bought by the architect [[Philip Johnson]] and donated to the Museum of Modern Art.

[[File:Warhol-Campbell Soup-1-screenprint-1968.jpg|thumb|upright|''Campbell's Soup I'' (1968)]]
In December 1962, New York City's Museum of Modern Art hosted a [[symposium]] on pop art, during which artists such as Warhol were attacked for "capitulating" to consumerism. Critics were appalled by Warhol's open acceptance of market culture, which set the tone for his reception.<ref>{{Cite book|last=Lacey|first=Joann|url=https://books.google.com/books?id=mscWEAAAQBAJ&pg=PA624|title=History of Art and Architecture: Volume Two|date=January 23, 2021|publisher=Sugar Creek|pages=624|language=en}}</ref>

In 1963, Warhol formed [[The Druds]], a short-lived [[avant-garde]] [[noise band]] that included notable figures from the New York [[minimal art]] and proto-[[conceptual art]] scenes, including [[Larry Poons]], [[La Monte Young]], [[Walter De Maria]], [[Jasper Johns]], [[Claes Oldenberg]], and [[Lucas Samaras]].<ref name=":15" />

In January 1963, Warhol rented his first studio—an old firehouse at 159 East 87th Street—where he created his ''Elvis'' series, which included ''[[Eight Elvises]]'' (1963) and ''[[Triple Elvis]]'' (1963).<ref>{{Cite web |last=Elbaor |first=Caroline |date=November 21, 2016 |title=Andy Warhol's First New York Studio Sells for $9.98 Million |url=https://news.artnet.com/art-world/andy-warhols-first-new-york-studio-sells-9-98-million-755330 |access-date=May 2, 2022 |website=Artnet News |language=en-US}}</ref><ref name=":16" /> These portraits, along with a series of [[Elizabeth Taylor]] portraits, were shown at his second exhibition at the Ferus Gallery in Los Angeles.<ref name="Christie's">{{Cite web |title=Double Elvis [Ferus Type] — Warhol's mirror to Sixties America |url=https://www.christies.com/features/Andy-Warhol-Double-Elvis-Ferus-Type-1963-9115-3.aspx |access-date=May 2, 2022 |website=Christie's |language=en}}</ref> Later that year, Warhol relocated his studio to East 47th Street, which would turn into [[The Factory]].<ref name=":16">{{Cite book |last=Warhol |first=Andy |url=http://archive.org/details/popismwarholsixt0000warh_v8c2 |title=POPism: The Warhol Sixties |date=2006 |publisher=Orlando: Harcourt |isbn=978-0-15-603111-0 |pages=34, 78}}</ref> The Factory became a popular gathering spot for a wide range of artists, writers, musicians and underground celebrities.<ref>{{Cite news |last=McKenna |first=Kristina |date=October 30, 1994 |title=Andy Warhol's Dream Factory |work=Los Angeles Times |url=https://www.latimes.com/archives/la-xpm-1994-10-30-ca-56531-story.html}}</ref>

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.<ref>{{Cite news |last=Hornaday |first=Kay |date=May 10, 1964 |title=New York Seen-ery |url=https://www.newspapers.com/article/express-and-news-andy-warhol-at-the-stab/159398468/ |work=San Antonio Express and News |pages=6–F}}</ref><ref>{{Cite web|last=Gopnik|first=Blake|date=May 30, 2017|title=The First Book on Warhol's Sculptures Shows Him at His Best|url=https://news.artnet.com/opinion/book-warhol-sculptor-974225|access-date=August 23, 2021|website=Artnet News|language=en-US}}</ref> For the exhibition, Warhol custom ordered wooden boxes and silkscreened graphics onto them. The sculptures—''[[Brillo]] Box'', ''[[Del Monte Foods|Del Monte]] Peach Box'', ''[[Heinz Tomato Ketchup]] Box'', ''[[Kellogg's|Kellogg's Cornflakes]] Box'', ''Campbell's Tomato Juice Box'' and ''[[Mott's|Mott's Apple Juice]] Box''—sold for $200 to $400 depending on the size of the box.<ref>{{Cite book|last1=Salvo|first1=Donna M. De|url=https://books.google.com/books?id=peyDDwAAQBAJ&pg=PA196|title=Andy Warhol: From A to B and Back Again|last2=Beck (Art Museum Curator)|first2=Jessica|date=January 1, 2018|publisher=Yale University Press|isbn=978-0-300-23698-9|pages=196|language=en}}</ref>

A pivotal event was ''The American Supermarket'' exhibition at Paul Bianchini's [[Upper East Side]] gallery in late 1964.<ref name="The New York Times-1964">{{Cite news|date=October 8, 1964|title=Sale: Lettuce a la Metal and Turkey au Canvas; Gallery Market Hawks Art on Rye; Store Display Is Set Up for Pop Food Creations|language=en-US|work=The New York Times|url=https://www.nytimes.com/1964/10/08/archives/sale-lettuce-a-la-metal-and-turkey-au-canvas-gallery-market-hawks-a.html|access-date=July 13, 2021|issn=0362-4331}}</ref> 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 sculptor [[Claes Oldenburg]], Mary Inman and [[Bob Watts]].<ref name="The New York Times-1964" /> Warhol designed a $12 paper shopping bag—plain white with a red Campbell's soup can.<ref name="The New York Times-1964" /> 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.<ref name="The New York Times-1964" /><ref>{{Cite web|last=Dean|first=Martin|date=March 13, 2018|title=The Story of Andy Warhol's 'Campbell's Soup Cans'|url=https://www.sothebys.com/en/articles/the-story-of-andy-warhols-campbells-soup-cans|website=Sotheby's}}</ref> 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.<ref>Wendy Weitman, ''Pop Impressions Europe/USA: Prints and Multiples from the Museum of Modern Art'' (NY: Museum of Modern Art, 1999). {{ISBN|978-0-87070-077-4}}</ref>

Warhol used assistants to increase his productivity and these collaborations would remain a defining and controversial aspect of his working methods throughout his career. One of Warhol's most important collaborators during this period was [[Gerard Malanga]] who assisted him with the production of silkscreens and films at The Factory, Warhol's studio that was covered in [[aluminium foil]] and painted silver by [[Billy Name]].<ref>{{Cite web |date=January 21, 2009 |title=Interview with Gerard Malanga |url=https://www.interviewmagazine.com/art/gerard-malanga-adam-kimmel |access-date=January 28, 2025 |website=Interview |language=en-US}}</ref><ref name=":35" />

In November 1964, Warhol's first ''Flowers'' series exhibited at the [[Leo Castelli|Leo Castelli Gallery]] in New York.{{Sfn|Gopnik|2020|p=395}} In May 1965, his second ''Flowers'' series, which had more sizes and color variation that the previous, was shown at [[Ileana Sonnabend|Galerie Ileana Sonnabend]] in Paris.{{Sfn|Warhol|Hackett|1980|p=140}}{{Sfn|Gopnik|2020|p=432}} During this trip Warhol announced that he was retiring from painting to focus on film.{{Sfn|Warhol|Hackett|1980|p=144}}[[File:Andy-Warhol-Stockholm-1968.jpg|thumb|Warhol amid his ''Brillo Box'' (1964) sculptures at the [[Moderna Museet]] in Stockholm, 1968]]

From the mid-1960s to the early 1970s, Warhol also groomed a retinue of [[Bohemianism|bohemian]] and [[counterculture of the 1960s|counterculture]] eccentrics upon whom he bestowed the designation "[[Warhol superstars|superstars]]", including [[Baby Jane Holzer]], [[Brigid Berlin]], [[Ondine (actor)|Ondine]], [[Edie Sedgwick]], [[Ingrid Superstar]], [[Nico]], [[Susan Bottomly|International Velvet]], [[Mary Woronov]], [[Viva (actress)|Viva]], [[Isabelle Collin Dufresne|Ultra Violet]], [[Joe Dallesandro]], [[Candy Darling]], [[Holly Woodlawn]], [[Jackie Curtis]] and [[Jane Forth]].<ref>{{Cite news |last=Trebay |first=Guy |date=November 1, 2013 |title=The Real-Life Stories Told in 'Walk on the Wild Side' |url=https://www.nytimes.com/2013/11/03/fashion/The-Real-Life-Stories-Told-by-Lou-Reed-in-Walk-on-the-Wild-Side.html |access-date=January 28, 2025 |work=The New York Times |language=en-US |issn=0362-4331}}</ref><ref>{{Cite web |last=Peoples |first=Landon |title=Beyond Edie Sedgwick: 15 Warhol Superstars You've Probably Never Heard Of |url=https://www.refinery29.com/en-us/2018/08/206421/andy-warhol-superstars-history-photos |access-date=January 28, 2025 |website=refinery29.com |language=en}}</ref> These people 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 filmmaker [[Jack Smith (film director)|Jack Smith]], also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time. Less well known was his support and collaboration with several teenagers during this era, who would achieve prominence later in life, including writer [[David Dalton (writer)|David Dalton]],<ref>{{cite magazine|last1=Menand|first1=Louis|title=Top of the Pops|magazine=The New Yorker|url=http://www.newyorker.com/magazine/2010/01/11/top-of-the-pops|date=January 11, 2010}}</ref> photographer [[Stephen Shore]],<ref>{{cite news|last1=Grow|first1=Krystal|title=Time Lightbox|url=http://lightbox.time.com/2014/09/23/stephen-shore-at-the-factory/#1|archive-url=https://web.archive.org/web/20140924093335/http://lightbox.time.com/2014/09/23/stephen-shore-at-the-factory/#1|url-status=dead|archive-date=September 24, 2014|date=September 23, 2014}}</ref> and artist [[Bibbe Hansen]] (mother of pop musician [[Beck]]).<ref>{{cite book|last1=James|first1=Dagon|title=Billy Name:The Silver Age Black and White Photographs of Andy Warhol's Factory|date=2014|publisher=Reel Art Press|isbn=978-1-909526-17-4|page=127}}</ref>

The experimental rock group [[the Velvet Underground]] was taken on by Warhol around the end of 1965.{{Sfn|Warhol|Hackett|1980|p=134}} In his capacity as their manager, he included them as a key component of his ''[[Exploding Plastic Inevitable]]'' multimedia performances in 1966 and 1967, and he funded their debut album, ''[[The Velvet Underground & Nico]]'' (1967).<ref>{{Cite news |last=Thomas |first=Kevin |date=May 5, 1966 |title=A Far-Out Night With Andy Warhol |url=https://www.newspapers.com/article/the-los-angeles-times-andy-warhols-expl/159150194/ |work=Los Angeles Times |pages=14 Part V}}</ref><ref name=":29" />

Warhol made a conscious decision to oppose conventional painting, stating that he no longer believed in painting.<ref>{{Cite news |date=March 25, 1974 |title=KXIE-TV Education Specials |url=https://www.newspapers.com/article/willows-daily-journal-andy-warhol-and-ro/160700062/ |work=Willows Daily Journal}}</ref> In response to art dealer [[Ivan Karp]]'s suggestion to paint cows, Warhol produced ''[[Cow Wallpaper]],'' which covered the walls of the Leo Castelli Gallery during his April 1966 exhibition.{{Sfn|Warhol|Hackett|1980|pp=17-18}}

In 1967, Warhol established [[Factory Additions]] for his printmaking and publishing enterprise.<ref name="South Dakota State University">{{cite web |title=2019: 50 Works for 50 Years |url=https://www.sdstate.edu/south-dakota-art-museum/2019-50-works-50-years |website=South Dakota State University |access-date=April 11, 2023 |language=en}}</ref> 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.<ref>{{Cite book |last1=Weitman |first1=Wendy |url=https://books.google.com/books?id=5ggm4z5PQgsC&dq=Factory+Additions+warhol&pg=PA13 |title=Pop Impressions Europe/USA: Prints and Multiples from the Museum of Modern Art |date=1999 |publisher=The Museum of Modern Art |isbn=978-0-87070-077-4 |pages=13 |language=en}}</ref>

Warhol intended to present the film ''[[Chelsea Girls]]'' (1966) at the [[1967 Cannes Film Festival]], but it wasn't shown because "the festival authorities explained that the film was too long, there were technical problems."<ref name=":12" />

To finance his film productions Warhol began going on college lecture tours, where he screened some of his underground films and answered audience questions.<ref name=":44">{{Cite news |last=Fagan |first=Beth |date=1968-02-08 |title=Pop Artist Andy Warhol Confesses Actor Stand-In Sent on Oregon Tour |url=https://www.newspapers.com/article/the-oregonian-pop-artist-andy-warhol-con/170569614/ |access-date=2025-04-18 |work=The Oregonian |pages=8}}</ref> Actor [[Allen Midgette]] was sent by Warhol to impersonate him during a West Coast college tour in October 1967.<ref name=":44" /> Warhol reimbursed the four institutions where he did not appear and returned to the campuses in 1968.<ref>{{Cite news |date=1968-02-23 |title=Real Andy Warhol Visits UO Campus, Shows Film |url=https://www.newspapers.com/article/the-oregonian-real-andy-warhol-visits-uo/170570124/ |access-date=2025-04-18 |work=The Oregonian |pages=17}}</ref><ref name=":05">{{Cite news |last=Bishoff |first=Don |date=1968-02-08 |title=Film Maker Sends 'Double' on 4-Campus Hoax |url=https://www.newspapers.com/article/the-los-angeles-times-film-maker-sends/170567864/ |access-date=2025-04-18 |work=The Los Angeles Times |pages=3}}</ref>

In February 1968, Warhol's first solo museum exhibition was mounted at the [[Moderna Museet]] in Stockholm.<ref>{{Cite web |last=Hickley |first=Catherine |date=September 13, 2018 |title=Brillo Boxes 'faked' by museum director included in new Andy Warhol show |url=https://www.theartnewspaper.com/2018/09/13/brillo-boxes-faked-by-museum-director-included-in-new-andy-warhol-show |access-date=November 16, 2024 |website=The Art Newspaper}}</ref>

'''1968 assassination attempt'''

{{Main|Attempted assassination of Andy Warhol}}
On June 3, 1968, [[radical feminist]] writer [[Valerie Solanas]] shot Warhol and [[Mario Amaya]], art critic and curator, at The Factory.<ref name=":19">{{Cite news |last1=Behrens |first1=David |last2=Mann |first2=Jack |date=June 4, 1968 |title=Andy Warhol Is Shot by Actress |url=https://www.newspapers.com/article/newsday-nassau-edition-andy-warhol-is/153582451/ |access-date=August 19, 2024 |work=Newsday (Nassau Edition) |pages=3, 62}}</ref> Solanas had been a marginal figure in the Factory scene before the shooting. She authored the ''[[SCUM Manifesto]]'',<ref name="Solanas-2004">{{Cite book|first=Valerie |last=Solanas |author-link=Valerie Solanas |title=SCUM Manifesto |publisher=Verso |location=London |orig-year=1967 |year=2004 |isbn=978-1-85984-553-0 |oclc=53932627|title-link=SCUM Manifesto }}</ref> a [[separatist feminist]] tract that advocated the elimination of men; and appeared in the Warhol film ''[[I, a Man]]'' (1967).<ref name="Jobey">Jobey, Liz, "Solanas and Son," ''The Guardian'' (Manchester, England), August 24, 1996, p, T10 and following.</ref> Amaya received only minor injuries and was released from the hospital later the same day.{{Sfn|Gopnik|2020|p=622}} Warhol was seriously wounded by the attack and barely survived: he remained in hospital for nearly two months.<ref name=":6">{{Cite web |last=Spencer |first=Samuel |date=March 10, 2022 |title=When and Why Andy Warhol Was Shot |url=https://www.newsweek.com/andy-warhol-diaries-when-why-shot-valerie-solanas-netflix-1686744 |access-date=April 29, 2024 |website=Newsweek |language=en}}</ref><ref>{{Cite news |date=July 29, 1968 |title=Warhol Out Of Hospital |url=https://www.newspapers.com/article/daily-news-andy-warhol-released-from-hos/153582706/ |access-date=August 19, 2024 |work=Daily News |pages=13}}</ref> Solanas turned herself in to the police a few hours after the attack and said that Warhol "had too much control over my life."<ref name=":19" /><ref>{{Cite web |date=October 30, 2021 |title=Did the 1968 Shooting of Andy Warhol Lead to His Death 19 Years Later? |url=https://www.insideedition.com/inside-the-many-tragedies-spawned-from-valerie-solanas-attempted-murder-of-andy-warhol-70636 |access-date=August 19, 2024 |website=Inside Edition |language=en-US}}</ref> She was subsequently diagnosed with [[paranoid schizophrenia]] and eventually sentenced to three years in prison.<ref>{{Cite news |last=Wertheim |first=Bonnie |date=June 26, 2020 |title=Overlooked No More: Valerie Solanas, Radical Feminist Who Shot Andy Warhol |url=https://www.nytimes.com/2020/06/26/obituaries/valerie-solanas-overlooked.html |access-date=August 19, 2024 |work=The New York Times |language=en-US |issn=0362-4331}}</ref>

[[Jed Johnson (designer)|Jed Johnson]], an assistant who was at the Factory during the shooting,{{Sfn|Gopnik|2020|p=616}}<ref name=":6" /> visited Warhol daily during his hospitalization, and the two developed an [[intimate relationship]].{{Sfn|Gopnik|2020|p=647}}<ref>{{Cite book |last= |first= |url=http://archive.org/details/bwb_P8-ACZ-855 |title=Jed Johnson: Opulent Restraint, Interiors |date=2005 |publisher=Rizzoli |isbn=978-0-8478-2714-5 |editor-last=Callahan |editor-first=Temo |location=New York |editor-last2=Cashin |editor-first2=Tom}}</ref> Johnson moved in with Warhol shortly after he was discharged from the hospital to help him recuperate and take care of his ailing mother, Julia Warhola.{{Sfn|Gopnik|2020|p=645}}

The assassination attempt had a profound effect on Warhol's life and art.{{Sfn|Warhol|Hackett|1980|pp=287–295}}<ref name="Harding-2001">{{cite journal |last=Harding |first=James |title=The Simplest Surrealist Act: Valerie Solanas and the (Re)Assertion of Avantgarde Priorities |journal=[[TDR/The Drama Review]] |volume=45 |issue=4; Winter 2001 |pages=142–162 |doi=10.1162/105420401772990388 |year=2001|s2cid=57565380  | issn = 1054-2043}}</ref>{{sfn|Warhol|Hackett|1980|pp=287–295}} He had physical effects for the rest of his life, including being required to wear a surgical [[corset]].<ref name="warhol.org">{{cite web |title=biography |url=http://www.warhol.org/collection/aboutandy/andyfaq/ |url-status=dead |archive-url=https://web.archive.org/web/20130106165536/http://www.warhol.org/collection/aboutandy/andyfaq/ |archive-date=January 6, 2013 |access-date=January 13, 2013 |publisher=warhol.org}}</ref> The Factory became more regulated, and Warhol focused on making it a business enterprise. He credited his collaborator [[Paul Morrissey]] with transforming the Factory into a "regular office."{{sfn|Warhol|Hackett|1980|pp=287–295}}

'''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 the [[Charlotte Brontë]] novel ''[[Jane Eyre]]'', sued him for $80,000.<ref>{{Cite news |date=August 28, 1968 |title=Fufu's Wily Ancestor Never Faced a Warhol |url=https://www.newspapers.com/article/newsday-suffolk-edition-andy-warhol-at/163948976/ |access-date=January 26, 2025 |work=Newsday (Suffolk Edition) |pages=12}}</ref> A legal battle ensued for 2 years, ending after the backer failed to show up in court.<ref>{{Cite web |last=Greenberger |first=Alex |date=May 12, 2020 |title=The 7 Biggest Reveals from a New Warhol Biography, from Potential Tax Dodges to Legal Battles |url=https://www.artnews.com/art-news/artists/andy-warhol-biography-reveals-tax-dodge-1202686811/ |access-date=January 26, 2025 |website=ARTnews |language=en-US}}</ref>

In September 1968, Warhol and Ultra Violet attended a party to celebrate the completion of the film ''[[Midnight Cowboy]]''.<ref>{{Cite news |date=September 7, 1968 |title=Hale and Hardy |url=https://www.newspapers.com/article/daily-news-andy-warhol-and-ultra-violet/163950162/ |access-date=January 26, 2025 |work=Daily News |pages=16}}</ref><ref name=":34">{{Cite book |last=Ultra Violet |url=https://archive.org/details/famousfor15minut00ultr_0/mode/2up?q=jed |title=Famous for 15 Minutes: My Years with Andy Warhol |date=1988 |publisher=Harcourt Brace Jovanovich |isbn=978-0-15-130201-7 |pages=114, 180}}</ref> In the film, there is a party scene featuring members of the Factory that was filmed during Warhol's hospitalization.<ref name=":34" />

Warhol hosted a party at the Factory for [[Nico]]'s album ''[[The Marble Index]]'' in September 1968.<ref>{{Cite news |date=September 20, 1968 |title=Andy Warhol Is Back -- 'Even More Beautiful' |url=https://www.newspapers.com/article/the-independent-record-warhol-hosts-part/153580954/ |access-date=August 19, 2024 |work=The Independent-Record |pages=16}}</ref> Warhol, Viva and Ultra Violet appeared on the cover of the November 10, 1968, issue of ''[[The New York Times Magazine]]''.<ref>{{Cite news |last=Leonard |first=John |date=November 10, 1968 |title=The Return Of Andy Warhol; The return of Andy Warhol |url=https://www.nytimes.com/1968/11/10/archives/the-return-of-andy-warhol-the-return-of-andy-warhol.html |access-date=August 19, 2024 |work=The New York Times |language=en-US |issn=0362-4331}}</ref>

In 1969, Warhol and his entourage traveled to Los Angeles to discuss a prospective movie deal with [[Columbia Pictures]].<ref>{{Cite news |last=Prelutsky |first=Burt |date=March 9, 1969 |title=Pop Goes the Warhol |url=https://www.newspapers.com/article/the-los-angeles-times-andy-warhol-in-los/157148290/ |work=Los Angeles Times West Magazine |pages=4}}</ref> Warhol, who has always had an interest in photography, used a [[Polaroid camera]] to document his recuperation after the shooting.<ref>{{Cite web |last=Gopnik |first=Blake |date=August 6, 2015 |title=For Warhol's Birthday, a Selfie of his Resurrection |url=https://news.artnet.com/art-world/andy-warhols-birthday-heres-selfie-escape-death-323092 |access-date=October 24, 2024 |website=Artnet News |language=en-US}}</ref> In 1969, some of his photographs were published in ''[[Esquire (magazine)|Esquire]]'' magazine.<ref>{{Cite news |last=Lyons |first=Leonard |date=April 14, 1969 |title=Lyons Den |url=https://www.newspapers.com/article/the-post-standard-warhol-polaroids-in-es/157765967/ |work=The Post Standard |pages=14}}</ref> He would become well known for always carrying his Polaroid camera to chronicle his encounters.<ref>{{Cite web |last=Chalasani |first=Radhika |date=July 22, 2015 |title=Instant Andy: if Andy Warhol had an Instagram account it might look like this |url=https://www.cbsnews.com/pictures/instant-andy-before-there-was-instagram-there-was-warhol/15/ |access-date=October 24, 2024 |publisher=CBS News |language=en-US}}</ref> Eventually, he used instant photography as the basis for his silkscreen portraits when he resumed painting in the 1970s.<ref>{{Cite news |last1=Jennings |first1=Emily |last2=Pickering |first2=David |date=October 5, 1972 |title=Art museum proudly opened -- |url=https://www.newspapers.com/article/corpus-christi-caller-times-andy-warhol/157765196/ |work=Corpus Christi Caller |pages=16}}</ref>

Warhol and British journalist [[John Wilcock]] founded ''[[Interview (magazine)|Interview]]'' magazine in the fall of 1969.<ref>{{Cite web|date=October 30, 2019|title="Interview" Celebrates 50 Years—and Toasts to 50 More|url=https://www.interviewmagazine.com/culture/interview-magazine-50th-anniversary-assouline-nordstrom|access-date=September 22, 2021|website=Interview|language=en-US}}</ref> The magazine was initially published as ''inter/VIEW: A Monthly Film Journal''. It was revamped a few years later and came to represent Warhol's social life and fascination with celebrity.<ref>{{Cite magazine |last=Schulman |first=Michael |date=May 24, 2018 |title=The Legacy of Interview Magazine and a Trip to 1988 |url=https://www.newyorker.com/culture/cultural-comment/the-legacy-of-interview-magazine-and-a-trip-to-1988 |access-date=December 2, 2024 |magazine=The New Yorker |language=en-US |issn=0028-792X}}</ref>

In 1969, Warhol received an invitation to curate an exhibition using items from the permanent collection of the [[Rhode Island School of Design Museum|RISD Museum]] in Providence.<ref>{{Cite web |date=2014-01-10 |title=Raid the Icebox |url=https://risdmuseum.org/manual/115_raid_the_icebox |access-date=2025-02-24 |website=RISD Museum |language=en}}</ref> In October 1969, the exhibition ''Raid the Icebox'' opened at [[Rice University]]'s Institute for the Arts in Houston.<ref name=":38">{{Cite news |date=1969-10-05 |title=Andy Warhol 'Raid the Icebox' Art Exhibition To Begin Oct. 30 |url=https://www.newspapers.com/article/austin-american-statesman-andy-warhol-r/166552840/ |access-date=2025-02-24 |work=Austin American-Statesman |pages=E-14}}</ref> In 1970, the show traveled to the [[New Orleans Museum of Art|Isaac Delgado Museum]] in New Orleans before arriving at the RISD Museum.<ref name=":38" />