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In 1912, Warhol's father emigrated to the United States and found work in a coal mine.<ref name=":11">Template:Cite web</ref> His wife joined him nine years later in 1921.<ref>Template:Cite web</ref> The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.<ref name="Bockris-1989">Template:Cite book</ref> They were Ruthenian Catholic and attended St. John Chrysostom Byzantine Catholic Church. Warhol had two older brothers, Paul (1922–2014) and John (1925–2010),<ref>Template:Cite news</ref> as well as an older sister, Maria (1912; died in infancy).<ref name=":40"/><ref name=":11" /> Warhol's nephew James Warhola, became a successful children's book illustrator.<ref>Template:Cite web</ref>
At the age of eight, Warhol had a streptococcal infection that led to scarlet fever.Template:Sfn Because there were no antibiotics to treat the illness it progressed to rheumatic fever and ultimately the neurological condition Sydenham's chorea, sometimes referred to as St. Vitus' Dance.Template:Sfn At times he was confined to bed and made to remain home from school. He would spend these days drawing, creating scrapbooks from Hollywood magazines, and cutting out images from comic books that his mother bought him.Template:Sfn<ref name=":40" /> He also enjoyed using the family's Kodak Baby Brownie Special camera, and after noticing his passion for photography, his father and brothers built a darkroom in the basement for him.Template:Sfn
When Warhol started art classes at Holmes School in 1937, his art teacher saw his potential and got him admitted to Saturday drawing lessons at the Carnegie Institute in Pittsburgh.Template:Sfn In 1942, his father died after drinking contaminated water from a coal mine in West Virginia.<ref name=":40"/>
Warhol excelled in school and won a Scholastic Art and Writing Award.<ref>Template:Cite web</ref><ref name=":40" /> After graduating from Schenley High School in 1945, he enrolled at the Carnegie Institute of Technology in Pittsburgh, where he studied commercial art. During his time there, Warhol joined the campus Modern Dance Club and Beaux Arts Society.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> He also served as art director of the student art magazine, Cano, illustrating a cover in 1948 and a full-page interior illustration in 1949.<ref>Template:Cite web</ref><ref name="Gopnik">Template:Cite web</ref> These are believed to be his first two published artworks.<ref name="Gopnik"/> Warhol earned a Bachelor of Fine Arts in pictorial design in 1949.Template:Sfn
Warhol went to see Tina Fredericks, the art director of Glamour magazine, on his second day in New York.Template:Sfn He had met Fredericks on his brief visit to New York the year prior. His career as a commercial artist began when she commissioned him to draw shoes for an advertisement after purchasing a small $10 drawing of an orchestra for herself.<ref>Template:Cite news</ref><ref name="Benstock2">Benstock, Shari and Suzanne Ferriss (editors). Footnotes: On Shoes; Rutgers University Press; February 1, 2001; Template:ISBN; pp. 44–48.</ref>
Gallerist Alexander Iolas is credited with discovering Warhol.<ref name=":55" /> He organized his first solo exhibition, Andy Warhol: Fifteen Drawings Based on the Writings of Truman Capote, at the Hugo Gallery in New York in 1952.Template:Sfn<ref name=":55">Template:Cite web</ref>
In 1955, Warhol began designing advertisements for shoe manufacturer Israel Miller.<ref>Template:Cite book</ref><ref>Template:Cite news</ref> He developed his "blotted line" technique, applying ink to paper and then blotting the ink while still wet, which was akin to a printmaking process on the most rudimentary scale. His use of tracing paper and ink allowed him to repeat the basic image and also to create endless variations on the theme.<ref name="Benstock2"/> American photographer John Coplans recalled that "nobody drew shoes the way Andy did. He somehow gave each shoe a temperament of its own, a sort of sly, Toulouse-Lautrec kind of sophistication, but the shape and the style came through accurately and the buckle was always in the right place. The kids in the apartment [which Andy shared in New York – note by Coplans] noticed that the vamps on Andy's shoe drawings kept getting longer and longer but [Israel] Miller didn't mind. Miller loved them."Template:Citation needed
To attract attention to himself as an artist, Warhol printed books of his illustrations such as 25 Cats Name Sam and One Blue Pussy (1957), which he would distribute to people, in an attempt to generate work.<ref name=":39">Template:Cite book</ref><ref name="auto">Template:Cite news</ref> He would often use his mother Julia Warhol's calligraphy to accompany his illustrations.<ref>Template:Cite web</ref>
Warhol habitually used the expedient of tracing photographs projected with an epidiascope.<ref>Template:Citation</ref> Using prints by Edward Wallowitch, who Warhol later called his "first boyfriend", the photographs would undergo a subtle transformation during Warhol's often cursory tracing of contours and hatching of shadows.Template:Sfn Warhol used Wallowitch's photograph Young Man Smoking a Cigarette (Template:Circa)<ref>Template:Cite web</ref> for a 1958 design for a book cover he submitted to Simon and Schuster for the Walter Ross pulp novel The Immortal, and later used others for his series of paintings.<ref>Three one-dollar bills mounted on cardboard (1962). Photograph by Edward Wallowitch. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.</ref><ref>Printz, N. (2014). Making Money/Printing Painting: Warhol's Dollar Bill Paintings. Criticism, 56(3), 535–557.</ref>
At a time when traditional artists did not buy the work of other artists, Warhol collected them.Template:Sfn 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.Template:Sfn
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">Template:Cite book</ref>
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.Template:Sfn Five paintings based on comic strips and newspaper ads served as the backdrop for mannequins wearing spring dresses: Saturday's Popeye, Little King, Superman, Before and After, and Advertisement.<ref>Template:Cite book</ref>
In 1962, Warhol was taught silkscreen printmaking techniques by Max Arthur Cohn at his graphic arts business in Manhattan.<ref>Template:Cite web</ref><ref>"Max Arthur Cohn"Template:Webarchive at SAAM.</ref> Warhol is often considered to be a pioneer in silkscreen printmaking and his techniques became more elaborate throughout his career.<ref>Template:Cite web</ref> In his book Popism, Warhol writes: "When you do something exactly wrong, you always turn up something".<ref name="David Dalton-2010">Template:Cite book</ref>
In November 1962, Warhol had an exhibition at Eleanor Ward's Stable Gallery in New York.<ref>Template:Cite web</ref> The exhibit included the works 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.
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>Template:Cite book</ref>
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>Template:Cite web</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">Template:Cite web</ref> Later that year, Warhol relocated his studio to East 47th Street, which would turn into The Factory.<ref name=":16">Template:Cite book</ref> The Factory became a popular gathering spot for a wide range of artists, writers, musicians and underground celebrities.<ref>Template:Cite news</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>Template:Cite news</ref><ref>Template:Cite web</ref> For the exhibition, Warhol custom ordered wooden boxes and silkscreened graphics onto them. The sculptures—Brillo Box, Del Monte Peach Box, Heinz Tomato Ketchup Box, Kellogg's Cornflakes Box, Campbell's Tomato Juice Box and Mott's Apple Juice Box—sold for $200 to $400 depending on the size of the box.<ref>Template:Cite book</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">Template:Cite news</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>Template:Cite web</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). Template:ISBN</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>Template:Cite web</ref><ref name=":35" />
In November 1964, Warhol's first Flowers series exhibited at the Leo Castelli Gallery in New York.Template:Sfn In May 1965, his second Flowers series, which had more sizes and color variation that the previous, was shown at Galerie Ileana Sonnabend in Paris.Template:SfnTemplate:Sfn During this trip Warhol announced that he was retiring from painting to focus on film.Template:Sfn
Warhol made a conscious decision to oppose conventional painting, stating that he no longer believed in painting.<ref>Template:Cite news</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.Template:Sfn
In 1967, Warhol established Factory Additions for his printmaking and publishing enterprise.<ref name="South Dakota State University">Template:Cite web</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>Template:Cite book</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">Template:Cite news</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>Template:Cite news</ref><ref name=":05">Template:Cite news</ref>
In February 1968, Warhol's first solo museum exhibition was mounted at the Moderna Museet in Stockholm.<ref>Template:Cite web</ref>
1968 assassination attempt
Template:Main
On June 3, 1968, radical feminist writer Valerie Solanas shot Warhol and Mario Amaya, art critic and curator, at The Factory.<ref name=":19">Template:Cite news</ref> Solanas had been a marginal figure in the Factory scene before the shooting. She authored the SCUM Manifesto,<ref name="Solanas-2004">Template:Cite book</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.Template:Sfn Warhol was seriously wounded by the attack and barely survived: he remained in hospital for nearly two months.<ref name=":6">Template:Cite web</ref><ref>Template:Cite news</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>Template:Cite web</ref> She was subsequently diagnosed with paranoid schizophrenia and eventually sentenced to three years in prison.<ref>Template:Cite news</ref>
Jed Johnson, an assistant who was at the Factory during the shooting,Template:Sfn<ref name=":6" /> visited Warhol daily during his hospitalization, and the two developed an intimate relationship.Template:Sfn<ref>Template:Cite book</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.Template:Sfn
The assassination attempt had a profound effect on Warhol's life and art.Template:Sfn<ref name="Harding-2001">Template:Cite journal</ref>Template:Sfn He had physical effects for the rest of his life, including being required to wear a surgical corset.<ref name="warhol.org">Template:Cite web</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."Template:Sfn
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>Template:Cite news</ref> A legal battle ensued for 2 years, ending after the backer failed to show up in court.<ref>Template:Cite web</ref>
In September 1968, Warhol and Ultra Violet attended a party to celebrate the completion of the film Midnight Cowboy.<ref>Template:Cite news</ref><ref name=":34">Template:Cite book</ref> In the film, there is a party scene featuring members of the Factory that was filmed during Warhol's hospitalization.<ref name=":34" />
In 1969, Warhol and his entourage traveled to Los Angeles to discuss a prospective movie deal with Columbia Pictures.<ref>Template:Cite news</ref> Warhol, who has always had an interest in photography, used a Polaroid camera to document his recuperation after the shooting.<ref>Template:Cite web</ref> In 1969, some of his photographs were published in Esquire magazine.<ref>Template:Cite news</ref> He would become well known for always carrying his Polaroid camera to chronicle his encounters.<ref>Template:Cite web</ref> Eventually, he used instant photography as the basis for his silkscreen portraits when he resumed painting in the 1970s.<ref>Template:Cite news</ref>
Warhol and British journalist John Wilcock founded Interview magazine in the fall of 1969.<ref>Template:Cite web</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>Template:Cite magazine</ref>
In 1969, Warhol received an invitation to curate an exhibition using items from the permanent collection of the RISD Museum in Providence.<ref>Template:Cite web</ref> In October 1969, the exhibition Raid the Icebox opened at Rice University's Institute for the Arts in Houston.<ref name=":38">Template:Cite news</ref> In 1970, the show traveled to the Isaac Delgado Museum in New Orleans before arriving at the RISD Museum.<ref name=":38" />
Compared to the success and scandal of Warhol's work in the 1960s, the early 1970s were much quieter years, as he became more entrepreneurial. He was generally regarded as quiet, shy and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square".<ref>Template:Cite magazine</ref> His fashion evolved from what Warhol called his "leather look" to his "Brooks Brothers look," which included a Brooks Brothers shirt and tie, DeNoyer blazer, and Levi jeans.<ref>Template:Cite news</ref>Template:Sfn
File:57 E66 St Warhol home jeh.jpgFrom 1974 to 1987, Warhol lived at 57 E 66th St in the Lenox Hill neighborhood of Manhattan. In 1998, the townhouse was designated a cultural landmark.
Warhol and his partner Jed Johnson got a dachshund puppy, Archie Warhol, in November 1972.<ref>Template:Cite web</ref><ref name=":152" /> Warhol doted on Archie and took him everywhere: to the studio, parties, restaurants, and on trips to Europe.<ref name=":18" />Template:Sfn He created portraits of Johnson, Archie, and Amos—a second dachshund they got a few years later.<ref name=":162" />
Warhol began traveling to Europe more frequently and developed a fondness for Paris.<ref>Template:Cite web</ref> Warhol had an apartment that he shared with his business manager Fred Hughes on the Left Bank of Paris on Rue du Cherche-Midi.Template:Sfn<ref>Template:Cite book</ref>
In 1974, Warhol and Johnson moved from his home on Lexington Avenue to a townhouse at 57 East 66th Street in Manhattan's Lenox Hill neighborhood.<ref>Template:Cite web</ref> By this time, Warhol's public presence had increased significantly due to his attendance at parties. In 1974, he said, "I try to go around so often so much and try to go to every party so that they'll be bored with me and stop writing about me."<ref>Template:Cite journal</ref>
In 1976, Warhol and painter Jamie Wyeth were commissioned to paint each other's portraits by the Coe Kerr Gallery in Manhattan.<ref>Template:Cite news</ref> In January 1977, Warhol traveled to Kuwait for the opening of his exhibition at the Dhaiat Abdulla Al Salem Gallery.<ref>Template:Cite news</ref> In June 1977, Warhol was invited to a special reception honoring the "Inaugural Artists" who had contributed prints to the Jimmy Carter presidential campaign.<ref>Template:Cite news</ref> In 1977, Warhol was commissioned by art collector Richard Weisman to create Athletes, ten portraits consisting of the leading athletes of the day.<ref>Template:Cite web</ref>
The opening of Studio 54 in 1977 ushered in a new era in New York City nightlife. Warhol would often socialize at Studio 54 and take note of the drug-fueled activities that his friends engaged in at parties.<ref>Template:Cite magazine</ref> In 1977, Warhol began taking nude photographs of men in various poses and performing sexual acts—referred to as "landscapes"—for what became known as the Torsos and Sex Parts series.<ref>Template:Cite web</ref>Template:Sfn Most of the men were street hustlers and male prostitutes brought to the Factory by Halston's lover Victor Hugo.Template:SfnTemplate:Sfn This caused tension in Warhol's relationship with Johnson who did not approve of his friendship with Hugo.Template:SfnTemplate:Sfn "When Studio 54 opened things changed with Andy. That was New York when it was at the height of its most decadent period, and I didn't take part. I never liked that scene, I was never comfortable. ... Andy was just wasting his time, and it was really upsetting. ... He just spent his time with the most ridiculous people," said Johnson.Template:Sfn
In 1979, Warhol formed a publishing company, Andy Warhol Books, and released the book Exposures, which contained his photographs of famous friends and acquaintances.<ref>Template:Cite news</ref> In November 1979, he embarked on a three-week book tour in the US.Template:Sfn
According to former Interview editor 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 and Brigitte Bardot.<ref>Template:Cite news</ref><ref>Template:Cite web</ref> In November 1979, the Whitney Museum of American Art mounted the exhibition Andy Warhol: Portraits of the '70s to celebrate the "very commercial celebrity of the '70s, the decade of People magazine and designer jeans."<ref name=":4">Template:Cite news</ref> Some critics disliked his exhibits of portraits of personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects.<ref name="Lando-2008">Template:Cite news</ref>
His 1980 exhibition Ten Portraits of Jews of the Twentieth Century at the Jewish Museum in Manhattan was panned by critics. Warhol—who was uninterested in Judaism and Jews—had described in his diary as "They're going to sell."<ref name="Lando-2008" />
The New York Academy of Art was founded in part by Warhol.<ref>Template:Cite magazine</ref> First established in 1980, the institute's mission was to "revive traditional methods of training artists."<ref name=":23" /> According to fellow co-founder Stuart Pivar, "What happened was that Modernism got boring [for Warhol] ... But his overall game plan, what he really believed, was that the modern age was going away and that we were entering a neoclassical period."<ref name=":23" />
In 1981, Warhol worked on a project with Peter Sellars and Lewis Allen that would create a traveling stage show called, A No Man Show, with a life-sized animatronic robot in the exact image of Warhol.<ref>Template:Cite web</ref> The Andy Warhol Robot would then be able to read Warhol's diaries as a theatrical production.<ref>Template:Cite web</ref><ref>Template:Citation</ref> Warhol was quoted as saying, "I'd like to be a machine, wouldn't you?"<ref>Template:Cite magazine</ref>
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."<ref>Template:Cite book</ref> Warhol occasionally walked the fashion runways and did product endorsements, represented by Zoli Agency and later Ford Models.<ref>Template:Cite book</ref>
In 1983, Warhol was commissioned to create a poster for the centennial of the Brooklyn Bridge.<ref name=":36">Template:Cite news</ref> The poster was his contribution to the 1983 New York Art Expo.<ref name=":36" />
Warhol created a series of endangered species silkscreen prints for his exhibition Warhol's Animals: Species at Risk at New York City's American Museum of Natural History in April 1983.<ref name=":8">Template:Cite news</ref> Warhol donated 10 of the 150 sets he made to wildlife organizations "so they could sell them to raise money."<ref name=":8" />
In 1984, Vanity Fair commissioned Warhol to produce a portrait of Prince, to accompany an article that celebrated the success of Purple Rain and its accompanying movie.<ref>Template:Cite magazine</ref> Referencing the many celebrity portraits produced by Warhol across his career, Orange Prince (1984) was created using a similar composition to the Marilyn "Flavors" series from 1962, among some of Warhol's first celebrity portraits.<ref>Template:Cite web</ref> Prince is depicted in a pop color palette commonly used by Warhol, in bright orange with highlights of bright green and blue. The facial features and hair are screen-printed in black over the orange background.<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref>Template:Cite web</ref>
In September 1985, Warhol's joint exhibition with Basquiat, Paintings, opened to negative reviews at the Tony Shafrazi Gallery.<ref>Template:Cite news</ref> That month, despite apprehension from Warhol, his silkscreen series Reigning Queens was shown at the Leo Castelli Gallery.<ref>Template:Cite web</ref> In the Andy Warhol Diaries, Warhol noted: "They were supposed to be only for Europe—nobody here cares about royalty and it'll be another bad review."Template:Sfn
In January 1987, Warhol traveled to Milan for the opening of his last exhibition, Last Supper, at the Palazzo delle Stelline.<ref>Template:Cite web</ref> The next month, Warhol modeled with jazz musician Miles Davis for Koshin Satoh's fashion show at the Tunnel in New York City on February 17, 1987.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>
Warhol was initially diagnosed with a gallstone in 1973, but he adamantly rejected surgery because he feared hospitals.<ref>Template:Cite news</ref> When he was insistent about avoiding surgery, his internist Dr. Denton Cox attempted to obtain an experimental medication from Japan.<ref name=":1">Template:Cite web</ref> The artist also sought guidance from a chiropractor and nutritionist, who suggested that he wear a small crystal.<ref name=":1" /> Dehydrated and unable to eat, Warhol was in excruciating pain by February 1987.<ref name=":1" />
Warhol was admitted to New York Hospital in Manhattan on February 20, and he underwent gallbladder surgery on February 21.<ref name=":30">Template:Cite news</ref> His surgeon Dr. Bjorn Thorbjarnarson found his gallbladder "on the verge of perforating" and in danger of "spilling the infection into (Warhol's) belly."<ref name=":1" /> Warhol was awake and able to walk about, make phone calls, and watch television when both of his doctors visited him following the four-hour operation.<ref name=":1" /> His private nurse, Min Cho, saw his growing pallor at 4:30 the following morning, but she didn't call the hospital's cardiac-arrest team until 5:45 a.m., when he was "unresponsive" and turning blue.<ref name=":41">Template:Cite magazine</ref> He was pronounced dead at 6:31 a.m. from sudden cardiac arrhythmia.<ref>Template:Cite news</ref><ref name=":41" />
Warhol's brothers took his body back to Pittsburgh, where an open-casket wake was held at the Thomas P. Kunsak Funeral Home. The solid bronze casket had gold-plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, and a platinum wig.Template:Sfn He was laid out 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 on February 26, 1987. Monsignor Peter Tay delivered the eulogy.Template:Sfn After the liturgy, the casket, covered with white roses and asparagus ferns, was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh, where Warhol was buried near his parents.Template:Sfn The priest said a brief prayer at the graveside and sprinkled holy water on the casket. Before the casket was lowered, Warhol's close friend and Interview staffer Paige Powell placed copies of the February and March issues and a bottle of Beautiful Eau de Parfum by Estée Lauder into his grave.<ref>Template:Cite news</ref><ref>Template:Cite web</ref>
In April 1987, the New York State Health Department released a report that Warhol was given inadequate care by New York Hospital from the time he was admitted until the hours before his death.<ref name=":30" /> These included not performing the appropriate work-up tests prior to surgery, giving Warhol antibiotics to which he may have experienced an allergic response, causing him to become overhydrated, and repeatedly failing to take accurate notes on his chart.<ref name=":30" /> There were no issues with the procedure itself, according to the report.<ref name=":30" /> In response, the hospital dismissed the private nurse who had been employed to care for Warhol and penalized the staff nurse who had been tasked with overseeing her.<ref name=":42">Template:Cite web</ref> However, the hospital claimed that the nursing deficiencies were not significant enough to cause Warhol's death.<ref name=":42" />
In December 1991, Warhol's family sued the hospital in the New York Supreme Court for inadequate care, before judge Ira Gammerman, saying that the arrhythmia was caused by improper care and water intoxication.<ref>Template:Cite news</ref> The malpractice case was quickly settled out of court; Warhol's family received an undisclosed sum of money.<ref>Template:Cite news</ref>
Prior to his surgery, doctors expected Warhol to survive, though a re-evaluation of the case about thirty years after his death showed many indications that Warhol's surgery was in fact riskier than originally thought.<ref name="Gobnik-2017">Template:Cite news</ref> It was widely reported at the time that Warhol had died of a "routine" surgery, though when considering factors such as his age, a family history of gallbladder problems, his previous gunshot wound, and his medical state in the weeks leading up to the procedure, the potential risk of death following the surgery appeared to have been significant.<ref name="Gobnik-2017" />
By the beginning of the 1960s, 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.
From these beginnings, he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the handmade from the artistic process. Warhol was an early adopter of the silkscreen printmaking process as a technique for making paintings. His later drawings were traced from slide projections. Warhol had several assistants through the years, including Gerard Malanga, Ronnie Cutrone, and George Condo, who produced his silkscreen multiples, following his directions to make different versions and variations.Template:Sfn<ref>Template:Cite web</ref>
Warhol's first pop art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bonwit Teller's window display.<ref>Smith, Patrick S (1986). Andy Warhol's Art and Films; UMI Research Press; p.98; Template:ISBN</ref> For his first major exhibition in 1962, Warhol painted his famous cans of Campbell's soup, which he claimed to have had for lunch for 20 years.<ref>Template:Cite web</ref> Warhol began to make paintings of iconic American objects such as dollar bills, mushroom clouds, electric chairs, cans, Coca-Cola bottles, and celebrities such as Marilyn Monroe, Elvis Presley and Elizabeth Taylor, as well as newspaper headlines. His work became popular and controversial. Warhol had this to say about Coca-Cola:
Template:Blockquote In 1962, Warhol created his famous Marilyn series. The Flavor Marilyns were selected from a group of fourteen canvases in the sub-series, each measuring 20" x 16". Some of the canvases were named after various candy Life Savers flavors, including Cherry Marilyn, Lemon Marilyn and Licorice Marilyn. The others are identified by their background colors.<ref>Template:Cite web</ref>
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.<ref name="Sotheby's-2013">Template:Cite web</ref>
In the 1970s, Warhol evolved into a commercial artist, painting mostly commissioned portraits of celebrities.<ref name=":5">Template:Cite news</ref><ref name=":4" /> In 1979, Warhol was commissioned to paint a BMW M1Group 4 racing version for the fourth installment of the BMW Art Car project.<ref name="Taylor-2001">Template:Cite book</ref> He was initially asked to paint a BMW 320i in 1978, but the car model was changed and it didn't qualify for the race that year.Template:SfnTemplate:Sfn<ref>Template:Cite book</ref> Warhol was the first artist to paint directly onto the automobile himself instead of letting technicians transfer a scale-model design to the car.<ref name="Taylor-2001" /> Reportedly, it took him only 23 minutes to paint the entire car.<ref>Template:Cite web</ref> Racecar drivers Hervé Poulain, Manfred Winkelhock and Marcel Mignot drove the car at the 1979 24 Hours of Le Mans.<ref name="Taylor-2001" />
Some of Warhol's work, as well as his own personality, has been described as being Keatonesque. Warhol revelled in the role of "monosyllabic oddity," playing dumb to the media.<ref>Template:Cite book</ref> He sometimes refused to explain his work. He suggested that all one needs to know about his work is "already there 'on the surface.'"<ref>Template:Cite web</ref> Interior designer Jed Johnson, Warhol's partner who decorated his home, stated that Warhol objected to hanging his own artwork on his walls because it was "too corny" to put up your own work.<ref name=":43">Template:Cite book</ref> "He felt an artist should keep neutral expression on his face when he showed his work to other people, that to betray pleasure or displeasure was, again 'corny.' I'd watch him at many museum and gallery openings of his shows, and he followed that policy consistently," said Johnson.<ref name=":43" />
His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (wallpaper with a cow motif) and 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". Former Interview editor Bob Colacello provides some details on Andy's "piss paintings":
Warhol's 1982 portrait of Basquiat, Jean-Michel Basquiat, is a silkscreen over an oxidized copper "piss painting".<ref>Template:Cite web</ref><ref>Template:Cite book</ref> After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand. In 1983, Warhol began collaborating with Basquiat and Francesco Clemente.<ref>Template:Cite web</ref> Warhol and Basquiat created a series of more than 50 large collaborative works between 1984 and 1985.<ref>Template:Cite magazine</ref> Despite criticism when these were first shown, Warhol called some of them "masterpieces", and they were influential for his later work.<ref>Fretz, Eric, Jean-Michel Basquiat: A Biography. Greenwood Press, 2010. Template:ISBN.</ref>
Artist Maurizio Cattelan describes that it is difficult to separate daily encounters from the art of Andy Warhol: "That's probably the greatest thing about Warhol: the way he penetrated and summarized our world, to the point that distinguishing between him and our everyday life is basically impossible, and in any case useless." Warhol was an inspiration for Cattelan's magazine and photography compilations, such as Permanent Food, Charley, and Toilet Paper.<ref>Spector, Nancy. Maurizio Cattelan: All. New York, NY: Guggenheim Museum Publications, 2011</ref>
In the period just before his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz.<ref name="Kennedy-2001">Template:Cite news</ref>
Despite being most known for his work in printmaking, particularly silkscreen, Warhol was also a very skilled illustrator and draughtsman. His early drawings on paper provide a feeling of ease and immediacy since they have similarities to both blind contour and continuous line drawing techniques. Warhol pioneered the blotted line technique, which combined aspects of printmaking and graphite drawing on paper, while he was working in commercial advertising. The drawings from his last years demonstrate the skill and technique that have been refined over the course of his illustrious career.<ref>Template:Cite web</ref>
In 1970, screens and film matrixes that had been used to produce original Warhol works in the 1960s were taken to Europe for the production of Warhol screenprints under the name "Sunday B Morning". Warhol signed and numbered one edition of 250 before subsequent unauthorized unsigned versions were produced.<ref name="Fp">Template:Cite web</ref> The unauthorized works were the result of a falling out between Warhol and some of his New York City studio employees who went to Brussels where they produced work stamped with "Sunday B Morning" and "Add Your Own Signature Here".<ref>Template:Cite web</ref> Since the works began as a collaboration, Warhol facilitated exact duplication by providing the photo negatives and precise color codes.<ref>Template:Cite web</ref> Some of the unauthorized productions bore the markings "This is not by me, Andy Warhol".<ref name="Fp" /> The most famous unauthorized reproductions are 1967 Marilyn Monroe portfolio screenprints. These "Sunday B Morning" Marilyn Monroe prints were among those still under production as of 2013.<ref>Template:Cite web</ref> Art galleries and dealers also market Sunday B Morning reprint versions of several other screenprint works including Flowers, Campbell's Soup I, Campbell's Soup Cans II,Gold Marilyn Monroe Mao and Dollare bill prints.<ref>Template:Cite web</ref> Although the original Sunday B Morning versions had black stamps on the back, by the 1980s, they switched to blue.<ref>Template:Cite web</ref>
In 1970, Warhol's painting Campbell's Soup Can With Peeling Label (1962) sold for $60,000 at an auction by Parke-Bernet Galleries.<ref name=":9">Template:Cite news</ref> At the time it was the high price ever paid at a public auction for a work by a living American artist.<ref name=":9" />
In the 1970s, the price of a commissioned portrait by Warhol was $25,000, two for $40,000.<ref name=":5" /><ref name=":4" /> The value of Andy Warhol's work has been on an endless upward trajectory since his death in 1987. In 2014, his works accumulated $569 million at auction, which accounted for more than a sixth of the global art market.<ref>Template:Cite web</ref> However, there have been some dips. According to art dealer Dominique Lévy: "The Warhol trade moves something like a seesaw being pulled uphill: it rises and falls, but each new high and low is above the last one."<ref name="Artnet News-2019">Template:Cite web</ref> She attributes this to the consistent influx of new collectors intrigued by Warhol. "At different moments, you've had different groups of collectors entering the Warhol market, and that resulted in peaks in demand, then satisfaction and a slow down," before the process repeats another demographic or the next generation.<ref name="Artnet News-2019" />
In 1998, Orange Marilyn (1964), a depiction of Marilyn Monroe, sold for $17.3 million, which at the time set a new record as the highest price paid for a Warhol artwork.<ref>Template:Cite web</ref> In 2007, one of Warhol's 1963 paintings of Elizabeth Taylor, Liz (Colored Liz), which was owned by actor Hugh Grant, sold for $23.7 million at Christie's.<ref>Template:Cite news</ref><ref>Template:Cite web</ref>
In 2008, Eight Elvises (1963) was sold by Annibale Berlingieri for $100 million to a private buyer.<ref>Template:Cite news</ref> The work depicts Elvis Presley in a gunslinger pose. It was first exhibited in 1963 at the Ferus Gallery in Los Angeles. Warhol made 22 versions of the Elvis portraits, eleven of which are held in museums.<ref name="Christie's" /> In May 2012, Double Elvis (Ferus Type) sold at auction at Sotheby's for $37 million.<ref>Template:Cite web</ref><ref>Template:Cite news</ref> In November 2014, Triple Elvis (Ferus Type) sold for $81.9 million at Christie's.<ref name="BBC News-2014">Template:Cite news</ref>
In May 2010, a purple self-portrait of Warhol from 1986 that was owned by fashion designer Tom Ford sold for $32.6 million at Sotheby's.<ref>Template:Cite newsTemplate:Cbignore</ref> In November 2010, Men in Her Life (1962), based on Elizabeth Taylor, sold for $63.4 million at Phillips de Pury and Coca-Cola (4) (1962) sold for $35.3 million at Sotheby's.<ref>Template:Cite news</ref><ref>Template:Cite web</ref> In May 2011, Warhol's first self-portrait from 1963 to 1964 sold for $38.4 million and a red self-portrait from 1986 sold for $27.5 million at Christie's.<ref>Template:Cite news</ref> In May 2011, Liz No. 5 (Early Colored Liz) sold for $26.9 million at Phillips.<ref>Template:Cite newsTemplate:Cbignore</ref>
In November 2013, Warhol's rarely seen 1963 diptych, Silver Car Crash (Double Disaster), sold at Sotheby's for $105.4 million, a new record for the artist.<ref name="Sotheby's-2013-2">Template:Cite web</ref><ref>Template:Cite news</ref> In November 2013, Coca-Cola (3) (1962) sold for $57.3 million at Christie's.<ref>Template:Cite web</ref> In May 2014, White Marilyn (1962) sold for $41 million at Christie's.<ref>Template:Cite web</ref> In November 2014, Four Marlons (1964), which depicts Marlon Brando, sold for $69.6 million at Christie's.<ref>Template:Cite web</ref> In May 2015, Silver Liz (diptych), painted in 1963, sold for $28 million and Colored Mona Lisa (1963) sold for $56.2 million at Christie's.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> In May 2017, Warhol's 1962 painting Big Campbell's Soup Can With Can Opener (Vegetable) sold for $27.5 million at Christie's.<ref>Template:Cite web</ref> In 2017, billionaire hedge-fund manager Ken Griffin purchased Orange Marilyn privately for around $200 million.<ref>Template:Cite news</ref> In March 2022, Silver Liz (Ferus Type) sold for 2.3 billion yen ($18.9 million) at Shinwa Auction, which set a new record for the highest bid ever at auction in Japan.<ref>Template:Cite web</ref> In May 2022, Shot Sage Blue Marilyn (1964) sold for $195 million at Christie's, becoming the most expensive American artwork sold at auction.<ref>Template:Cite news</ref>
Emily and Burton Tremaine were among Warhol's early collectors and influential supporters. Among the over 15 artworks purchased,<ref>(n. d.). Tremaine Collection / Miller Company: Artworks and designsTemplate:Webarchive. artdesigncafe. Retrieved April 1, 2020.</ref> Marilyn Diptych (now at Tate Modern, London)<ref>Tate Modern, London. (n. d.). Andy Warhol. Marilyn diptych, (1962)Template:Webarchive. Retrieved April 1, 2020.</ref> and A boy for Meg (now at the National Gallery of Art in Washington, DC),<ref>National Gallery of Art, Washington, DC. (n. d.). Andy Warhol. A boy for Meg, (1962)Template:Webarchive. Retrieved April 1, 2020.</ref> were purchased directly out of Warhol's studio in 1962. One Christmas, Warhol left a small Head of Marilyn Monroe by the Tremaine's door at their New York apartment in gratitude for their support and encouragement.<ref>Housley, Kathleen L. (2001). Emily Hall Tremaine: Collector on the cusp, (p. 160). Emily Hall Tremaine Foundation: Meriden, CT. Retrieved April 1, 2020.</ref>
Robert Scull and Ethel Scull were among the first people to support Warhol's artwork.<ref name=":37">Template:Cite book</ref> Ethel Scull 36 Times (1963), which is presently housed in the Metropolitan Museum of Art's collection, was Warhol's first commissioned portrait.<ref name=":37" />
Warhol was a fan of "Business Art", as he stated in his book The Philosophy of Andy Warhol from A to B and Back Again. "I went into business art. I wanted to be an art business man or a business artist. Being good in business is the most fascinating kind of art," he said. His transformation into a mere business artist was a point of criticism.<ref name=":02">Template:Cite news</ref> 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."<ref name="Lando-2008" />
In addition to his paintings and drawings, Warhol directed and produced films, managed the Velvet Underground, and authored numerous books, as well as producing works in such diverse media as audio, photography, sculpture, theater, fashion and performance art. His ability to blur the lines between art, commerce, and everyday life was central to his creative philosophy.
His early experimental films were silent observations of very typical daily life. Sleep (1964) monitors poet John Giorno sleeping for six hours.<ref>Template:Cite web</ref> Kiss (1964) shows couples kissing.<ref name=":24">Template:Cite news</ref> The film Eat (1964) consists of an artist Robert Indiana eating a mushroom for 45 minutes.<ref name=":24" /> The 35-minute film Blow Job (1964) is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from poet Willard Maas, although the camera never tilts down to prove this.<ref>Template:Cite book</ref>
For these efforts, Mekas presented Warhol with the Independent Film Award of 1964, "the underground's answer to Oscar."<ref name=":27">Template:Cite news</ref> Newsday's Mike McGrady hailed Warhol as "the Cecil B. DeMille of the Off-Hollywood movie makers."<ref name=":27" />
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics.<ref name=":25">Template:Cite news</ref> It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" 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.<ref name=":25" />
Warhol's 1965 film Empire is an eight-hour view of the Empire State Building, and shortly after he released Vinyl (1965), an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Other films record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico and Jackie Curtis. The underground artist Jack Smith appears in the film Camp.
Warhol's most popular and critically successful film was Chelsea Girls (1966). It was the first underground film of the 1960s to reach widespread popularity and capture the attention of notable film critics.<ref name=":24" /> 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 silkscreen works of the early 1960s.
The 1969 film Blue Movie—in which Warhol superstars Viva and Louis Waldon make love in bed—was Warhol's last film as director.<ref name="Canby-1969">Template:Cite news</ref><ref name="Canby-1969-2">Template:Cite news</ref> It is a seminal film in the Golden Age of Porn, and at the time it was controversial for its frank approach to a sexual encounter.<ref name="Comenas-2005">Template:Cite web</ref><ref name="IMDb-1972">Template:Cite webTemplate:Better source needed</ref> Blue Movie was publicly screened in New York City in 2005, for the first time in more than 30 years.<ref name="WarholStars.org-2005">Template:Cite web</ref>
In the wake of the 1968 shooting, Warhol's assistant director, Paul Morrissey, took over most of the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh (1968), Trash (1970) and Heat (1972). All of these films, including the later Andy Warhol's Dracula (1973) and Andy Warhol's Frankenstein (1974), were far more mainstream than anything Warhol as a director had attempted. Joe Dallesandro starred in these latter films, which are now considered cult classics. The last Warhol-produced film, Bad, starred Carroll Baker and was made without either Morrissey or Dallesandro.<ref name=":2">Template:Cite web</ref> It was directed by Warhol's boyfriend Jed Johnson, who had assisted Morrissey on several films.<ref name=":2" />
Most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. With assistance from Warhol in 1984, the Whitney Museum and the Museum of Modern Art began to restore his films, which are occasionally shown at museums and film festivals.<ref name=":26">Template:Cite web</ref> In 2022, the Andy Warhol Museum announced the launch of The Warhol TV, a streaming platform that allows users to watch free museum content and to rent a selection of Warhol's films from its collection.<ref>Template:Cite web</ref>
In 1965, 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). While managing the Velvet Underground, Andy would have them dressed in all black to perform in front of movies that he was also presenting.<ref>Template:Cite book</ref> 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.<ref name=":29">Template:Cite web</ref>
Beginning in the 1950s, Warhol produced several unbound portfolios of his work. In 1957, his bound book 25 Cats Name Sam and One Blue Pussy was printed by Seymour Berlin.<ref name="auto"/> Berlin also printed some of Warhol's other self-published books, including Gold Book and Wild Raspberries. Warhol's book A La Recherche du Shoe Perdu marked his "transition from commercial to gallery artist".<ref name="Smith2">Smith, John W., Pamela Allara, and Andy Warhol. Possession Obsession: Andy Warhol and Collecting. Pittsburgh, PA: Andy Warhol Museum, 2002, p. 46. Template:ISBN.</ref> (The title is a play on words by Warhol on the title of French author Marcel Proust's À la recherche du temps perdu.)<ref name="Smith2" /> In an effort to generate work, the majority of these books were printed in order to be given out to people to draw attention to his illustrations.<ref name=":39" />
After gaining fame, Warhol "wrote" several books that were commercially published:
A, a novel (1968, Template:ISBN) 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.<ref>Template:Cite news</ref>
The Philosophy of Andy Warhol (From A to B & Back Again) (1975, Template:ISBN)—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.<ref name=":32">Template:Cite journal</ref> The cassettes contained conversations with Brigid Berlin and former Interview magazine editor Bob Colacello.<ref>Template:Cite magazine</ref>
Exposures (1979, Template:ISBN), authored by Warhol and Bob Colacello, is a book of Warhol's photographs of his famous friends with anecdotes.
POPism: The Warhol '60s (1980, Template:ISBN), authored by Warhol and Pat Hackett, is a retrospective view of the 1960s and the role of pop art.
The Andy Warhol Diaries (1989, Template:ISBN), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations.<ref name=":32" /> Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.Template:Sfn
Warhol created the fashion magazine Interview that is still published. 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.Template:Sfn
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 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.Template:Sfn In April 2012 a sketch of 1930s singer Rudy Vallee claimed to have been drawn by Andy Warhol was found at a Las Vegas garage sale. The image was said to have been drawn when Andy was nine or 10.<ref>Template:Cite news</ref> Various authorities have challenged the image's authenticity.<ref>Template:Cite web</ref>
Sculpture: Warhol's most well-known sculptures are his Brillo boxes—silkscreened ink on wood replicas of the large branded cardboard boxes used to hold 24 packages of Brillo soap pads.<ref>Template:Cite news</ref> The original Brillo design was by commercial artist James Harvey. Warhol's Brillo boxes were part of a series of "grocery carton" works that also included Heinz ketchup and Campbell's tomato juice boxes.<ref name="Staff of The Andy Warhol Museum-2004">Template:Cite book</ref> 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 (1968–1969) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).Template:Sfn
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.<ref>Template:Cite journal</ref><ref>Template:Cite news</ref>
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.<ref>Template:Cite book</ref>
Television: In 1968, Warhol produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".<ref>Template:Cite news</ref> Warhol dreamed of a television special about a favorite subject of hisTemplate:DashNothingTemplate:Dashthat he would call Nothing Special.<ref name=":2" /> Later in his career he created three television shows: Fashion (1979–80), Andy Warhol's TV (1980–1983), and the MTV series Andy Warhol's Fifteen Minutes (1985–87).<ref>Template:Cite news</ref>
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?"<ref>Template:Cite web</ref> Warhol himself has been described as a modern dandy, whose authority "rested more on presence than on words".<ref>George Walden, Who's a Dandy?—Dandyism and Beau Brummell, London: Gibson Square, 2002. Template:ISBN. Reviewed by Frances Wilson in "Uncommon People"Template:Webarchive, The Guardian, October 12, 2006.</ref> His work in fashion includes department store window displays, illustrations for Vogue and Harper's Bazaar, and a career as a model.<ref name=":53">Template:Cite news</ref> He was friends with prominent figures in the fashion industry, including former Vogue editor-in-chief Diana Vreeland, fashion designers Yves Saint Laurent, Halston, and Calvin Klein.<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref name=":53" /> In 1972, Warhol collaborated with Halston for the Coty Awards.<ref name=":56" /> In 1997, the Whitney Museum in New York mounted the exhibition The Warhol Look: Glamour, Style, Fashion, organized by the Andy Warhol Museum.<ref>Template:Cite news</ref>
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.Template:Sfn
File:Debbie Harry by Andy warhol, 1980s photoshoot at The Factory NYC.jpgPhotograph of Christopher MakosDebbie Harry by Andy Warhol, taken at the Factory during the photoshoot for her silkscreen portraits in 1980Theater: Warhol's play Andy Warhol's Pork, which opened at New York's La MaMa theater in May 1971 for a two-week run. It was brought to the Roundhouse in London for a longer run in August 1971. Pork was based on tape-recorded conversations between Brigid Berlin and And. Berlin would play Warhol tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin.<ref>Template:Cite web</ref> In 1974, Andy Warhol designed the sets for the musical Man on the Moon.<ref name=":04" />
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, The Big Shot, 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 avid photographer and also used the Polaroid SX-70 as a portable camera.<ref>Template:Cite web</ref> He took an enormous number of photographs of Factory visitors, friends, and celebrities; many of these have been acquired by Stanford University.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>
Music: In 1963, Warhol founded The Druds, a short-lived avant-garde noise music band that featured prominent members of the New York proto-conceptual art and minimal art community.<ref name=":15">Template:Cite web</ref>
Computer: Warhol used Amiga computers to generate digital art, including You Are the One, 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.<ref>Template:Cite web</ref>
Warhol lived as a gay man before the gay liberation movement, but he often veiled his personal life in the press. In 1980, Warhol proclaimed that he was still a virgin. Former Interview editor Bob Colacello felt it was probably true and that what little sex he had was probably "a mixture of voyeurism and masturbation—to use [Andy's] word abstract."<ref name="Dillinger-2001">Template:Cite book</ref> However, Warhol's assertion of virginity is contradicted by his hospital treatment in 1960 for condylomata, a sexually transmitted disease.<ref>Template:Cite book</ref> His friend Charles Lisanby, whom Warhol had unrequited romantic feelings for, said Warhol told him sex was "messy and distasteful."<ref name=":3" /> "He told me he'd had sex a few times, he had tried it and didn't really like it," said Lisanby.Template:Sfn Furthermore, some of Warhol's friends from his early career claimed to have either witnessed Warhol having sex or heard him boasting about his sexual relations.Template:Sfn
Due to Warhol's own admission that he was asexual, it has been assumed that all his relationships were platonic.<ref name=":7" /> Warhol superstar Jay Johnson, whose twin brother was Warhol's longtime partner, stated, "He enjoyed the idea that he was considered a voyeur and that he was considered asexual. That was his mystique."<ref name=":7" /> The Factory photographer Billy Name was briefly Warhol's lover.<ref name=":35">Template:Cite news</ref> He said Warhol was "the essence of sexuality. It permeated everything. Andy exuded it, along with his great artistic creativity. Sexuality was part of the glamour—we expressed it like teenagers."<ref>Template:Cite web</ref> "But his personality was so vulnerable that it became a defense to put up the blank front," said Name.<ref>Template:Cite web</ref> Warhol's other lovers included aspiring filmmaker Danny Williams and artist John Giorno.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> His most enduring romantic relationship was with Jed Johnson, who nursed him back to health after he was shot.<ref name=":7" /> Johnson collaborated with Warhol on films and went on to achieve fame as an interior designer.<ref>Template:Cite web</ref> They "functioned as husband and husband, sharing a bed and a domestic life" for 12 years.Template:Sfn Warhol's close friend Stuart Pivar said he "had no sex life after Jed."Template:SfnParamount Pictures executive Jon Gould, Interview advertising director Paige Powell, and Factory assistant Sam Bolton were Warhol's last companions.<ref name=":7">Template:Cite web</ref>Template:Sfn
The impact of Warhol's homosexuality on his work and connection with the art industry has been extensively studied. 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 such as Blow Job, My Hustler and Lonesome Cowboys—draw from gay underground culture or openly explore the complexity of sexuality and desire. Many of his films premiered in gay porn theaters, including the New Andy Warhol Garrick Theatre and 55th Street Playhouse, in the 1960s.<ref>Template:Cite book</ref>
Early works that Warhol submitted to a fine art gallery the 1950s, homoerotic drawings of male nudes, were rejected for being too openly gay.<ref>Template:Cite news</ref> In his book Popism, the artist recalls a conversation with the filmmaker Emile de Antonio about the difficulty he 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. ... major painters try to look straight; you play up the swish—it's like an armour with you."Template:Sfn In response, Warhol said: "I'd always had a lot of fun with that—just watching the expressions on people's faces. You'd have to have seen the way all the Abstract Expressionist painters carried themselves and the kinds of images they cultivated, to understand how shocked people were to see a painter coming on swish. I certainly wasn't a butch kind of guy by nature, but I must admit, I went out of my way to play up the other extreme."Template:Sfn
Warhol was a practicing Ruthenian Catholic. He regularly volunteered at homeless shelters in New York City, particularly during the busier times of the year, and described himself as a religious person.<ref name="Romaine-2003">Template:Cite journal</ref> In 1966, his mother Julia Warhola told Esquire magazine that he was a "good religious boy" and he attended one o'clock Mass at St. Paul's every Sunday.<ref name=":40" /> The priest at Warhol's church, Saint Vincent Ferrer, said that the artist went there almost daily,<ref name="Romaine-2003" /> and although he was not observed taking Communion or going to Confession, he sat or knelt in the pews at the back.<ref name="Dillinger-2001" /> The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Latin Catholic church crossing himself "in the Orthodox way" (right to left instead of the reverse).<ref name="Dillinger-2001" /> In 1980, Warhol met Pope John Paul II in St. Peter's Square.<ref name="Dillinger-2001" />
Many of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). Warhol made almost 100 variations on the theme of the Last Supper, which the Guggenheim felt "indicates an almost obsessive investment in the subject matter".<ref>Template:Cite web</ref> In addition, a body of religious-themed works was found posthumously in his estate.<ref name="Romaine-2003" />
Warhol's art is noticeably influenced by the Eastern Christian tradition which was so evident in his places of worship.<ref name="Romaine-2003"/> 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 priesthood".<ref name="Romaine-2003"/>
From November 2021 to June 2022, the Brooklyn Museum displayed the Andy Warhol: Revelation exhibition.<ref>Template:Cite news</ref> The exhibition delved at the artist's enduring connection to his faith, which was often reflected in his artwork.<ref>Template:Cite web</ref>
Warhol was an avid collector and a "pack rat" who'd save everything.Template:Sfn<ref name=":45">Template:Cite news</ref> As he was relocating his Manhattan studio in 1974, Warhol began assembling Time Capsules, a modular sculpture consisting of 610 containers, each holding an average of 800 items. The majority of the containers are standard cardboard boxes, with a large trunk and forty filing cabinet drawers.<ref name=":49">Template:Cite book</ref> This also includes the Time Capsules that Warhol created at home, which hold a plethora of personal memorabilia like letters, telephone messages, photographs, and his mother's possessions.<ref name=":49" /> The Time Capsules were later transferred to the Andy Warhol Museum.<ref name=":49" />
Template:Quote boxHis collection of American items, Andy Warhol's Folk and Funk, were exhibited at the Museum of American Folk Art in 1977, but few people knew the true extent of his collections until after his death.<ref>Template:Cite news</ref><ref>Template:Cite web</ref> "Andy had the peasant's wisdom that if people (either the very rich or the very poor) knew that you had anything good, they'd probably try to take it away from you. So he hid what he had. It was inconspicuous consumption," said Warhol's partner Jed Johnson.Template:Sfn Warhol would wear a diamond necklace under a black turtleneck, conceal his jewelry in Famous Amos cookie tins atop the canopy of his bed, and keep wads of money in his mattress.<ref name=":48">Template:Cite journal</ref>Template:Sfn<ref>Template:Cite news</ref> Although Warhol did not drive, he owned a Mercedes and later a Rolls-Royce Silver Shadow.<ref>Template:Cite book</ref> When he purchased the Rolls-Royce, Johnson was under strict orders to say he traded it for art.Template:Sfn
Johnson organized his collections, and when Warhol realized he needed more room, Johnson found a townhouse on East 66th Street in 1974.<ref name=":54">Template:Cite journal</ref> Johnson decorated the four-story townhouse, creating several ornate neoclassical period rooms.<ref name=":54" /> While residing with Johnson, Warhol kept his promise to keep his shopping bags in the closets and top-floor storage rooms.<ref name=":48" /> However, once Johnson moved out in December 1980, the townhouse was overrun by Warhol's acquisitions.Template:Sfn Warhol occupied a second-floor bedroom and basement kitchen when he died in February 1987; all other rooms, with the exception of the quarters for his Filipino servants, Nena and Aurora, were used for storage.<ref name=":45" />
During the last few years of his life, Warhol was accompanied by chemist and art collector Stuart Pivar on daily shopping excursions.Template:Sfn Pivar said they wanted "to see if we could come across a couple a masterpieces or some amusing junk."<ref name=":50">Template:Cite news</ref> According to Pivar, Warhol envisioned "Warhol Hall" on Madison Avenue, a massive gift shop with a museum where he would display a collection of sculptures he was assembling.<ref name=":50" /> Pivar regarded Warhol as the quintessential connoisseur who navigated society through flea markets, antique stores, and Christie's and Sotheby's salerooms.<ref name=":50" /> Fred Hughes, Warhol's business manager and estate executor, also affirmed Warhol's idea for "Warhol Hall," adding that they had been thinking of setting up a flea market booth.<ref name=":51">Template:Cite journal</ref>
Warhol's enormous collection was auctioned at Sotheby's in 1988.<ref name=":45" /> Dealers and collectors were drawn to the 3,436 lots that were sold, totaling almost 10,000 items.<ref name=":46">Template:Cite web</ref> A total of $25.3 million was accumulated during the 10-day sale.<ref name=":46" /><ref name=":47">Template:Cite web</ref> His collections included American shop signs, Coca-Cola memorabilia, antique furniture, carousel horses, Navajo blanket rugs, 175 cookie jars, 313 watches, and 332 pieces of Fiesta Ware.<ref name=":23">Template:Cite news</ref><ref name=":51" />
In 1992, Warhol's estate donated 15-acres of land on his former property Eothen to The Nature Conservancy. Now called The Andy Warhol Preserve, it is part of a 2,400-acre protected area in Montauk.<ref>Template:Cite web</ref>
In 1994, the Andy Warhol Museum opened in Pittsburgh.<ref>Template:Cite news</ref> It holds the largest collection of the artist's works in the world.<ref name=":10" />
In 1998, Warhol's Upper East Side townhouse at 57 E 66th Street in Manhattan was designated a cultural landmark by the Historical Landmarks Preservation Center to commemorate the 70th anniversary of his birthday.<ref>Template:Cite news</ref>
In 2002, the US Postal Service issued an 18-cent stamp commemorating Warhol. Designed by Richard Sheaff of Scottsdale, Arizona, the stamp was unveiled at a ceremony at The Andy Warhol Museum and features Warhol's painting "Self-Portrait, 1964".<ref>Template:Cite web</ref><ref>Template:Cite news</ref>
A chrome statue of Andy Warhol and his Polaroid camera was displayed at Union Square in New York City from March to October 2011.<ref>Template:Cite web</ref>
In 2013, to honor the 85th anniversary of Warhol's birthday, The Andy Warhol Museum and EarthCam launched a collaborative project titled Figment, a live feed of Warhol's gravesite.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>
In 2024, Warhol was posthumously awarded the Order of the White Double Cross of the Second Class by the Slovak Republic's ambassador to the U.S. on the 37th anniversary of his death, at the behest of Slovakian President Zuzana Čaputová, "for promoting the Slovak Republic's good name abroad."<ref>Template:Cite web</ref>
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 promoting the visual arts. Warhol had so many possessions that it took Sotheby's 10 days to auction his estate after his death; the auction grossed $25.3 million.<ref name=":47" /><ref>Template:Cite news</ref>
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts was formed. The foundation serves as the 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".<ref name="The Andy Warhol Foundation for the Visual Arts">Template:Cite web</ref>
The Artists Rights Society is the US copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.<ref>Template:Cite web</ref> The US copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.<ref name="The Andy Warhol Museum">Template:Cite web</ref> 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.<ref name="The Andy Warhol Foundation for the Visual Arts-2002">Template:Cite web</ref>
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.<ref>Template:Cite book</ref>
The Foundation is in the process of compiling its catalogue raisonné of paintings and sculptures in volumes covering blocks of years of the artist's career. Volumes IV and V were released in 2019. The subsequent volumes are still in the process of being compiled.<ref>Template:Cite web</ref>
The Foundation remains one of the largest grant-giving organizations for the visual arts in the US.<ref name="Wachs-2002">Template:Cite web</ref>
Many of Warhol's works and possessions are on display at the Andy Warhol Museum in Pittsburgh. The foundation donated more than 3,000 works of art to the museum.<ref>Template:Citation</ref>
Warhol founded Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). Warhol endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and films.
In the movie Highway to Hell a group of Andy Warhols are part of the Good Intentions Paving Company where good-intentioned souls are ground into pavement.<ref>Template:Citation</ref> In the film Men in Black 3 (2012) Andy Warhol turns out to really be undercover MIB Agent W (played by Bill Hader). Warhol is throwing a party at The Factory in 1969, where he is encountered by MIB Agents K and J.
Warhol (1973) is an ITV documentary by British photographer David Bailey. Initially banned by British courts for containing "indecent material," the film features candid interviews with the artist and his associates.<ref>Template:Cite news</ref><ref>Template:Cite web</ref>
Absolut Warhola (2001) was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.<ref>Template:Cite press release</ref>
In 1965, Warhol and his muse Edie Sedgwick appeared on The Merv Griffin Show.<ref>Template:Cite web</ref> Warhol doesn't say much save for bashful gestures and whispering "yes" or "no," while Sedgwick mediates a conversation on how Pop Art is art without any sense of emotion.<ref name=":28">Template:Cite book</ref>
In 1969, Warhol was commissioned by Braniff International to appear in two television commercials to promote the luxury airline's "When You Got It – Flaunt It" campaign. The campaign was created by the advertising agency Lois Holland Calloway, which was led by George Lois, creator of a famed series of Esquire covers. The first commercial series involved the unlikely paring of Warhol and heavyweight boxing champion Sonny Liston who shared the fact that they both flew Braniff Airways. The odd commercial worked and Warhol was featured in another commercial entering a Braniff jet and being greeted by a Braniff hostess, while espousing their like for flying Braniff. The rights to Warhol's films for Braniff and his signed contracts are owned by a private trust and are administered by Braniff Airways Foundation in Dallas, Texas.<ref>Template:Cite book</ref>
Warhol appeared on the BBC series Arena in a scene with writers William S. Burroughs and Victor Bockris in an episode that aired in January 1981.<ref>Template:Cite news</ref> Warhol filmed a segment for the sketch comedy television show Saturday Night Live, which aired in October 1981.<ref>Template:Cite book</ref> In a 1981 Sony Beta Tapes advertisement, Warhol featured beside a Marilyn image to showcase the tapes' capacity to record "brilliant color and delicate shading."<ref name=":20">Template:Cite web</ref> In 1983, he appeared in a commercial for TDK Videotape.<ref name=":28" />
In 1985, Warhol appeared in a Diet Coke commercial.<ref name=":28" /> He also had a guest appearance on the 200th episode of the television series The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley) her secret past as a Warhol superstar named Marina del Rey.<ref>Template:Cite book</ref>
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.<ref>Template:Cite web</ref> Lou Reed wrote the song "Andy's Chest" in response to the attempted assassination of Warhol.<ref name=":0" /> The song was originally recorded by the Velvet Underground in 1969, but it wasn't released until a version appeared on Reed's solo album Transformer in 1972. The band Triumph also wrote a song about Andy Warhol, "Stranger In A Strange Land" off their 1984 album Thunder Seven.
Many books have been written about Warhol.<ref>Template:Cite web</ref><ref name=":52">Template:Cite news</ref> Among the most significant books related to Warhol is the authorized biography Warhol (1989) by his friend, art critic David Bourdon.<ref>Template:Cite news</ref><ref name=":52" /> Biographer Victor Bockris released The Life and Death of Andy Warhol (1989).<ref>Template:Cite news</ref> The memoir Holy Terror: Andy Warhol Close Up (1990) was written by Bob Colacello, the former executive editor of Warhol's Interview magazine.<ref>Template:Cite magazine</ref> Culture critic and poet Wayne Koestenbaum published the biography Andy Warhol (2001).<ref>Template:Cite news</ref> Art critic Blake Gopnik, wrote the comprehensive biography Warhol (2020).<ref>Template:Cite web</ref><ref>Template:Cite news</ref><ref>Template:Cite web</ref>
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