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endnotes

NOTES

PRELUDE: DEATH

1. 1 at 4:51 P.M.: Bob Colacello, Holy Terror: Andy Warhol Close Up(New York: Vintage Books, 1990), loc. 971, Kindle edition.

2. 1 in the emergency room of Columbus Hospital: The ac-count of Warhol’s hospital care is based on new interviews with his sur-geons, Dr. Giuseppe Rossi and Dr. Maurizio Daliana, Columbus Hospital chief resident in 1968, conducted in collaboration with Dr. John Ryan,Emeritus Chief of Surgery at Virginia Mason Medical Center in Seattle,whose expertise informs what follows.

3. 1 twenty minutes earlier: The times of Warhol’s shootingand arrival at the hospital are given in Victor Bockris, Warhol: The Biog-raphy (Cambridge, MA: Vintage Books, 2003), loc. 4735, Kindle edition.

4. 1 no blood pressure: Dr. Giuseppe Rossi, postoperative note,in Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 76.

5. 1 soaking the gurney: Dr. Giuseppe Rossi, postoperativenote, in Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 76.

6. 1 had gone into deep shock: Dr. Giuseppe Rossi, postopera-tive note, in Paul Alexander, Death and Disaster (London: Little, Brown,1995), 76.

7. 1 a ragged exit in his back: The exit wound was still visible15 years later as a jagged dent in the left side of Warhol’s waist, seen in arare topless photo of Warhol from 1983, taken by Christoper Makos andnow in the collection of The Andy Warhol Museum.

Strangely, Dr. Rossi’s postoperative surgical note incorrectly hasthe bullet entering from the left—see Paul Alexander, Death and Disaster

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2 NOTES

(London: Little, Brown, 1995), 76. Rossi corrected that detail in conversa-tion with the author.

The United Press International wire report on June 4, and other re-ports probably based on it, has the same mistake. It apparently derived from an error made by a hospital spokesperson on the night of Warhol’s shooting—see Natalie Layzell, “Warhol Given 50-50 Chance; Woman Charged in Shooting,” International Herald Tribune, June 5, 1968.

8. 1 to the operating room before he died: A persistent tall-tale says that Warhol’s heart was exposed already in the emergency room and massaged back to life by hand. In his interviews with the author, Rossi denied that his patient’s chest was opened until they were in the operat-ing room.

9. 2 three or four bullets: Barry Paris, “Warhol: A Retro-Per-spective,” In Pittsburgh, March 4, 1987.

10. 3 had barely heard of the artist: Rossi denied the oft-told story that an acquaintance of Warhol’s named Mario Amaya, lightly wounded by Solanas, had screamed “Save that man, he’s Andy Warhol” as soon as the two of them had arrived in the emergency room—as though the doc-tors would not have worked to save someone who wasn’t Andy Warhol.

The night of the shooting, Amaya dined with the art historian Bar-bara Novak and her husband the artist and art critic Brian O’Doherty, who happened to have practiced as a doctor. Amaya told the story of the day’s crisis in detail, according to O’Doherty, but never mentioned hav-ing revealed Warhol’s identity to the emergency-room doctors—Brian O’Doherty and Barbara Novak, interview by author, May 12, 2016.

11. 3 go on to have trouble eating: Karen Burke, interview by author, October 20, 2015. When Warhol’s later followers talk about his weird fondness for high-calorie liquids—milkshakes and the syrup inside chocolate cherries—they may be documenting a damaged esophagus, not eccentricity. Stephen Bruce, a restaurant owner who had Warhol as a regular client from 1954 through to his death, speaks of Warhol’s “stom-ach trouble” after the shooting, and his need for soft, sweet foods—see Bruce in Christian Holzfuss and Nikolaus Sonne, eds., Andy Warhol: Play Book of You S. Bruce (Frankfurt: Edition Achenbach, 1989), 29.

12. 3 whose innards he had gotten to know: Dr. John Ryan, in a May 5, 2019, e-mail to the author, described the operation as follows, according to the results of his own research: “Surgeons performed a right tube thoracostomy, bilateral venous cut-down in the antecubital fossa, left thoracotomy with partial left lower pulmonary resection, pericardi-otomy with cardiac massage, right thoracotomy, right thoraco-abdomi-


NOTES 3

nal incision with repair of tangential bullet wound of the intra-thoracic inferior vena cava, esophago-gastrostomy, partial left lateral hepatic re-section, resection of the splenic flecture of the colon with colo-colostomy, splenectomy, repair of left diaphragmatic injury, and left tube thoracos-tomy.”

13. 3 he wasn’t at all sure his patient would live: Rossi gave his patient a 50–50 chance of survival—see “Actress Shoots Pop Artist—War-hol,” Pittsburgh Press, June 4, 1968.

CHAPTER 1

1. 5 “The worst place I have ever been”: Warhol, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 328, Kindle edition.

2. 5 on Orr Street: Donald Miller, “All In the Family,” Pittsburgh Post-Gazette, August 8, 1989.

3. 5 “It’s half past five”: Paul Warhola, in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 52.

4. 5 a doctor: Paul Warhola mentions going with his father to fetch the Orr Street doctor in Donald Miller, “All In the Family,” Pitts-burgh Post-Gazette, August 8, 1989.

5. 5 a midwife: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 20.

6. 5 became an American: Andrej Warhol, certificate of natu-ralization, AWMA.

7. 5 He worked there: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy War-hol Museum, 1994), 147. Andrej’s work in the mills is confirmed in Paul Warhola, interview by Bennard B. Perlman, typed note, May 6, 2003, Bennard B. Perlman Papers, AWMA.

8. 5 he went into heavy construction: Andrej was in construc-tion in the year of Warhol’s birth so he would have had to have left any steelwork by then, according to Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 38.

9. 5 would always have preferred: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

10. 5 weighed 185 pounds: See Andrew Warhola’s Pennsylvania State Employment Service i.d. card (AWMA) last notated on Novem-ber 11, 1941. John Warhola denied that his father could be so short—see John Warhola, oral history, interview by Matt Wrbican, audiocassette,


4 NOTES

November 24, 2004, AWMA. But a surviving photo of Andrej lined up with co-workers indicates that this was correct—see Indiana Telephone News, November 1930, Bennard B. Perlman Papers, AWMA. On the other hand, Andrej’s April 27, 1942, draft registration card, in the collec-tion of Donald Warhola, lists him as an unlikely 5' 9", and the 1912 mani-fest for the steamship George Washington gives his height as 5' 8"—see Elaine Rusinko, “Andy Warhol’s Ancestry: Facts, Myths, and Mysteries,” accessed April 4, 2019, www.academia.edu/38098098/Andy_Warhols_Ancestry_Facts_Myths_and_Mysteries.

11. 5 on his massive arms: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

12. 5 how he signed his will: The will, dated November 4, 1931, is in the Warhol archives. It was probated under the name “Andy War-hola” as well—see “Wills Filed,” Pittsburgh Press, November 1943.

13. 5 without complete success: Paul Warhola, in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 8. Warhola would only have been eight at the time, so may not be a reliable witness.

A surviving overdue bill to Andrej for a two-week stay in hospital, dated January 28, 1930, must surely relate to that operation. It is still in the hands of John Warhola’s family.

14. 6 A 1930 photo: Indiana Telephone News, November 1930, Ben-nard B. Perlman Papers, AWMA.

15. 6 Andrej had no work at all: Paul Warhola, in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vi-tae, 2012), 53.

16. 6 Julia cleaned houses and sold crafts: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 626, Kindle edition. See also Warhol in Fiona Russell Powell, “The Face Inter-view Interview,” The Face (March 1985).

17. 6 made from water, salt, pepper and ketchup: Beverly Rus-sell, “Andy Warhol on Food, from Ketchup to Caviar,” House & Garden ( July 1974). Warhol had also mentioned ketchup soup a year earlier, in Andy Warhol, “Warhol: On My Mind,” Vogue (February 1973).

Then again, that ketchup mix was famous as the soup of penniless Abstract Expressionists in New York, from whom Warhol may have sto-len the story—see 1950s art critic Irving Sandler, in an anecdote quoted in Gary Comenas, “Abstract Expressionism 1944,” Warholstars (blog), 2016, http://www.warholstars.org/abstract-expressionism/timeline/ab-stractexpressionism44.html. See also the writings of art critic Christo-


NOTES 5

pher Knight on the Abstract Expressionist source for Warhol’s famous Soup paintings.

18. 6 “just wooden panels going across”: See Chuck Workman, Superstar: The Life and Times of Andy Warhol, documentary, 1990.

19. 6 an outhouse: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 615, Kindle edition.

20. 6 “veritable fire traps”: The Pittsburgh Survey (New York: Sur-vey Associates, 1909), 408.

21. 6 “old and not attractive”: George Thornton Fleming, His-tory of Pittsburgh and Environs from Prehistoric Days to the Beginning of the American Revolution (New York: American Historical Society, 1922), 218.

22. 6 a galvanized hip bath: John Warhola, oral history, inter-view by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

23. 6 unplumbed toilet: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 615, Kindle edition.

24. 6 “but you didn’t feel you were poor”: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

25. 6 $18 a month: Paul Warhola, in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 54. It’s not clear how Warhola would have remembered or had a record of the rent, so many years later. His brother John talks about a $3.00 rent on Beelen—John Warhola, oral history, interview by Matt Wrbican, au-diocassette, November 24, 2004, AWMA.

Paul said “we lived in six houses we rented over the years. Two places on Orr Street, one on Kirkpatrick Street, where we lived four or five years; three years at 55 Beelen Street, three more years on Moultrie Street, then Dawson Street”—see Donald Miller, “Andy’s Roots,” Pitts-burgh Post-Gazette, March 9, 1985.

In 1922, the year Paul Warhola was born, a new city history was describing the neighborhood as a “mill district” with “manufacturing plants interspersed.” The housing, it said, was “old and not attractive . . . populated by foreign mill workers and their families.” See George Thorn-ton Fleming, History of Pittsburgh and Environs from Prehistoric Days to the Beginning of the American Revolution (New York: American Historical So-ciety, 1922), 218.

26. 6 “human habitations so abominable”: H. L. Mencken, “The Libido for the Ugly,” in Prejudices: Sixth Series (Knopf, 1927), 187. This was reprinted in John Larner, “Notes and Documents: ‘The Libido for the Ugly’: H. L. Mencken Versus Western Pennsylvania,” The Pennsylvania


6 NOTES

Historical Magazine ( January 1988): 84.27. 7 “like everybody else in a steel mill”: Andy Warhol to Rus-

sell Lynes, 1949, Managing editor Russell Lynes correspondence with art-ists, 1946–1965, Archives of American Art, Smithsonian Institution.

28. 7 lied about his age: Dr. Denton Cox, “Historical and Diag-nostic Summary,” December 7, 1960, AWMA.

29. 7 Philadelphia: Sherley Uhl, “Warhol Life, Training Here Re-called,” Pittsburgh Press, June 4, 1968.

30. 7 Forest City: Raymond M. Herbenick, Andy Warhol’s Reli-gious and Ethnic Roots: The Carpatho-Rusyn Influence on His Art (Lewiston, NY: Edwin Mellen Press, 1997), 59.

31. 7 McKeesport: A 1927 directory for McKeesport lists an “An-drew Warbold”—a very likely transcription error for Andrew Warhola—at an address in McKeesport that also turns up in some Time Capsule documents about Warhol’s youth, but closer study makes it clear that it refers to a different person. Warhol’s brother Paul denied any McKees-port connection in Donald Miller, “Andy’s Roots,” Pittsburgh Post-Gazette, March 9, 1985. As late as 1987, however, McKeesport was still claiming Warhol as a local boy—see “Native McKeesporter Warhol Dies in N.Y.,” McKeesport Daily News, February 23, 1987.

32. 7 “the worst place I have ever been”: Warhol, in Victor Bock-ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 328, Kindle edition.

33. 7 turn a white shirt black: Typescript draft (TC430, AWMA) of Warhol’s interview with Wilma Ervin, for the introduction to Wilma Ervin, On the Edge: The East Village (New York: Times Books, 1985).

34. 7 “I make it all up different “: Warhol, in Gretchen Berg, “Andy Warhol: My True Story,” The East Village Other, November 1, 1966. The quote is from the article as reprinted in I’ll Be Your Mirror: The Se-lected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), loc. 1865, Kindle edition. On the falsification of much of that inter-view—including Warhol’s quote on his background—see Matt Wrbican, “The True Story of ‘My True Story,’” in Andy Warhol: A Guide to 706 Items in 2 Hours and 56 Minutes (Rotterdam: Nai Publishers, 2008), 56. A tran-script of the original interview is in the Warhol archive.

In 1968, for the purposes of astrology, Warhol had given his correct place and date of birth to Billy Name—see the 1968 datebook preserved in the Warhol archives.

35. 7 told Who’s Who: Who’s Who in America, 1964–1965 (Chi-cago: Marquis Who’s Who, 1964). See also Who’s Who in America to


NOTES 7

Andy Warhol, July 10, 1969, TC26, AWMA.36. 7 It is generally believed: John Wilcock, ed., in The Autobiog-

raphy and Sex Life of Andy Warhol (New York: Trela, 2010), 233.That the confusion was still present in the 1990s is witnessed by Ul-

tra Violet in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslo-vakia (New York: Arbor Vitae, 2012), 253.

37. 7 being coaxed to buy them: Anthony E. Grudin, Warhol’s Working Class: Pop Art and Egalitarianism (Chicago: University of Chicago Press, 2017), 91. Grudin cites a 1962 text by the McFadden publishing group that was aggressively targeting the working class at the time.

38. 7 putting up your own vegetables: Gloria Pace, of 3727 Daw-son Street, interview by author, January 18, 2015.

39. 7 handcrafted by Andrej: Wall texts for the exhibition “At Home in Pittsburgh: Andy Warhol’s Youth,” Andy Warhol Museum, Pittsburgh, April 17 to October 13, 1996.

40. 7 tomatoes, kohlrabi and radishes: John Warhola, inter-view by Robert Gangewere, typed notes, November 11, 2003, Robert Gangewere personal papers.

41. 7 from the pet chicken: John Warhola, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 273, Kindle edition. John Warhola’s son Jeffrey, interviewed March 31, 2015, remembered Julia making home-made soup when the family visited her in New York, and said that he had no recall of having canned soup there.

42. 7 their own “kolbasi”: John Warhola, in the “extras” tracks to Jean-Michel Vecchiet, Vie et morts d’Andy Warhol, documentary (Eva Productions, 2005).

43. 7 Julia was still offering: Nora Zavacky, in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 84. She describes a trip she made to New York in 1953.

44. 8 Scottish or German, Irish or Italian: On Pittsburgh’s eth-nic mix see Nora Faires, “Immigrants and Industry: Peopling the ‘Iron City,’” in City at the Point: Essays on the Social History of Pittsburgh, ed. Sam-uel P. Hays, Pittsburgh Series in Social and Labor History (Pittsburgh: University of Pittsburgh Press, 1989), 10. Faires explains that 60% of Pitts-burghers were new to the country.

45. 8 “a Slav is slow and unspectacular”: See Paul Underwood Kellogg, ed., Wage-Earning Pittsburgh: The Pittsburgh Survey, Findings in Six Volumes (New York: Survey Associates, 1909), 61.

46. 8 “A slav’s a man for a’ that”: See Paul Underwood Kellogg, ed., Wage-Earning Pittsburgh: The Pittsburgh Survey, Findings in Six Volumes


8 NOTES

(New York: Survey Associates, 1909), 61.47. 8 “work at any wages: See Paul Underwood Kellogg, ed.,

Wage-Earning Pittsburgh: The Pittsburgh Survey, Findings in Six Volumes (New York: Survey Associates, 1909), 61.

48. 8 “roughest and most risky”: See Paul Underwood Kellogg, ed., Wage-Earning Pittsburgh: The Pittsburgh Survey, Findings in Six Volumes (New York: Survey Associates, 1909), 45.

49. 8 80 percent: Richard Oestreicher, “Working Class Forma-tion,” in City at the Point: Essays on the Social History of Pittsburgh, ed. Sam-uel P. Hays (University of Pittsburgh Press, 1989), 128.

50. 8 “sturdy and submissive”: See Paul Underwood Kellogg, ed., Wage-Earning Pittsburgh: The Pittsburgh Survey, Findings in Six Volumes (New York: Survey Associates, 1909), 61.

51. 8 born in 1886: Elaine Rusinko, “Andy Warhol’s Ancestry: Facts, Myths, and Mysteries,” accessed April 4, 2019, www.academia.edu/38098098/Andy_Warhols_Ancestry_Facts_Myths_and_Mysteries.

52. 8 “least civilized people”: The reference in Life is recalled in Ann Walko, Eternal Memory (Pittsburgh: Sterling House, 1999), ix. Since there’s no evidence of such an article, Walko must actually be recalling her own notions of other Americans’ attitudes.

53. 8 to that nation-state: Warhol recognized that, in the film The Deer Hunter, the family described as Russian would in fact have been Rusyn, although he used the word “Czechoslovakian”—see Raymond M. Herbenick, Andy Warhol’s Religious and Ethnic Roots: The Carpatho-Rusyn Influence on His Art (Lewiston, NY: Edwin Mellen Press, 1997), 169.

54. 8 political entity: Andy Warhol, notes from an interview con-ducted in Rome, 1973, TC88, AWMA.

55. 8 by his fellow Rusyns: Paul R. Magocsi, Our People: Carpatho-Rusyns and Their Descendants in North America (Wauconda, IL: Bolchazy-Carducci Publishers, 2005), 84. Warhol was only identified as Rusyn in 1981, by Magocsi—see Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 37.

56. 8 finding seasonal work: My discussion of Mikova is based on Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 29.

57. 9 a quarter-million of these villagers: Paul R. Magocsi, Our People: Carpatho-Rusyns and Their Descendants in North America (Wauco-nda, IL: Bolchazy-Carducci Publishers, 2005), 8. See also Tara Zahra, The Great Departure: Mass Migration from Eastern Europe and the Making of the Free World (New York: W. W. Norton, 2016), 38. Immigration was illegal


NOTES 9

or discouraged because the Austrian empire didn’t want to lose its own laborers, who’d only stopped being serfs a half-century earlier.

58. 9 plot of land and several beehives: John Warhola, oral his-tory, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

59. 9 seventeen-year-old: A 1941 copy of the certificate for the May 24, 1909, wedding (AWMA) was issued by the short-lived Slovak State on February 9, 1941, listing Julia’s age as 17 and Andrej’s as 24.

60. 9 gift of candy: See Bernard Weinraub, “Andy Warhol’s Mother,” Esquire (November 1966): 101.

61. 9 a coal miner: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

David Bourdon describes Andrej working as a miner for two years after his marriage and return to the United States—see David Bourdon, Warhol (New York: Abrams, 1989), 16.

62. 9 standard first employment: See Paul R. Magocsi, Our Peo-ple: Carpatho-Rusyns and Their Descendants in North America (Wauconda, IL: Bolchazy-Carducci Publishers, 2005), 18.

63. 9 liked to claim: Andy Warhol, THE Philosophy of Andy War-hol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 21, Kindle edition.

64. 9 busy denying it: June 16, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10337, Kindle edition.

65. 9 “cookies made at home”: Julia Warhola, in Bernard Wein-raub, “Andy Warhol’s Mother,” Esquire (November 1966): 101, 158.

66. 9 off to America: Andrej arrived in America on November 25, 1912—see Elaine Rusinko, “The Woman behind the Artist: Andy War-hol’s Mother,” Slovo (Summer 2016): 28.

67. 9 fleeing conscription: The draft had recently been extended to all men under 50—see Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 43.

68. 9 Steamship agents: See Paul Underwood Kellogg, ed., Wage-Earning Pittsburgh: The Pittsburgh Survey, Findings in Six Volumes (New York: Survey Associates, 1909), 63.

69. 9 died from wounds: Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 34.

70. 9 “looked upon his experience”: See Paul Underwood Kel-logg, ed., Wage-Earning Pittsburgh: The Pittsburgh Survey, Findings in Six Volumes (New York: Survey Associates, 1909), 62.


10 NOTES

71. 9 had already settled: David Bourdon, Warhol (New York: Abrams, 1989), 14.

72. 9 she lost the baby: The infant has come down as “Julia,” “Jus-tina” and “Josephine”—presumably all based on Julia’s own stories—but recently discovered village documents record the baby as “Maria,” and that she died after 33 days. See “The European Sister of American Pop Artist Andy Warhol,” The New Rusyn Times (February 2014): 7. The names “Julia” and “Josephine” are recorded in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 37. Justina is found in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vin-tage Books, 2003), loc. 422, Kindle edition.

Julia Warhola’s mother had lost six of her 15 children according to John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA. Birth and death dates for 14 Zavacky chil-dren, of whom five died very young, are given in Rudo Prekop and Mi-chal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 37.

73. 10 the Germans and Russians: “The First World War—the Fights in the Carpathian Mountains in 1914–1915,” Slovak National Museum, accessed January 1, 2017, https://www.snm.sk/?current-ex-hibitions-11&clanok=the-first-world-war-the-fights-in-the-carpathian-mountains-in-1914-1915.

74. 10 “like large white mushrooms”: Julia Warhola, in Elaine Rusinko, “The Woman behind the Artist: Andy Warhol’s Mother,” Slovo (Summer 2016): 28.

75. 10 “War, war, war:” Julia Warhola, in Bernard Weinraub, “Andy Warhol’s Mother,” Esquire (November 1966): 158. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 432, Kindle edition.

76. 10 yet another Andrej: Elaine Rusinko, “The Woman behind the Artist: Andy Warhol’s Mother,” Slovo (Summer 2016): 27.

77. 10 the year of her marriage: Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 34.

78. 10 says one tale: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

79. 10 stolen en route: See Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 440, Kindle edition.

At least one transaction did go through, however—see Elaine Rusinko, “Andy Warhol’s Ancestry: Facts, Myths, and Mysteries,” ac-cessed April 4, 2019, www.academia.edu/38098098/Andy_Warhols_An-


NOTES 11

cestry_Facts_Myths_and_Mysteries. 80. 10 In 1921: Julia Warhola’s U.S. visa, attached in her passport

(AWMA), allowed a departure from Czechoslovakia between Octo-ber 12, 1920, and October 12, 1921.

81. 10 a loan: Anne Warhola, in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 78.

The priest, named Constantine, was childless, or so the story goes, and all he asked in return for the loan was that Julia call a son after him, to make his name endure. Andrej wouldn’t hear of it when his boys were born, but Julia eventually kept her bargain by getting Constantine as the middle name of a grandson who became a priest.

82. 10 voicing contempt: There’s a discussion of the ethnic preju-dice of Anglo-Scottish Americans in Pittsburgh in Nora Faires, “Immi-grants and Industry: Peopling the ‘Iron City,’” in City at the Point: Essays on the Social History of Pittsburgh, ed. Samuel P. Hays, Pittsburgh Series in Social and Labor History (Pittsburgh: University of Pittsburgh Press, 1989), 13.

83. 10 po nashomu: Elaine Rusinko, “We Are All Warhol’s Chil-dren: Andy and the Rusyns,” The Carl Beck Papers in Russian and East European Studies, 2012, 16, http://carlbeckpapers.pitt.edu/ojs/index.php/cbp/article/view/190. See also Paul R. Magocsi, Our People: Carpatho-Rusyns and Their Descendants in North America (Wauconda, IL: Bolchazy-Carducci Publishers, 2005), 71.

84. 10 recognized as distinct: See Paul R. Magocsi, Our People: Carpatho-Rusyns and Their Descendants in North America (Wauconda, IL: Bolchazy-Carducci Publishers, 2005), 6.

85. 10 Ukrainian or Slovak: See Paul R. Magocsi, Our People: Carpatho-Rusyns and Their Descendants in North America (Wauconda, IL: Bolchazy-Carducci Publishers, 2005), 11.

86. 11 Rusnak: Patricia Krafcik, “A Brief Introduction to Carpatho-Rusyns,” Slovo (Summer 2016): 4.

87. 11 “big country everyone knew”: John Zavacky, interview by author, September 25, 2014. Christina Zavacky, interviewed July 1, 2014, said that she also used to refer to herself as Russian: “I knew I wasn’t Rus-sian, but I didn’t know what to say. I knew I wasn’t Slovak.”

88. 11 “Slovak and Pollack”: See Chuck Workman, Superstar: The Life and Times of Andy Warhol, documentary, 1990.

89. 11 “Hunkies”: John Warhola, oral history, typed notes, June 30, 1993, Andy Warhol Museum Institutional Oral Histories, AWMA.

90. 11 the same Cyrillic script: Maria Silvestri, interview by au-


12 NOTES

thor, May 6, 2014.91. 11 compared to the touch: Raymond M. Herbenick, Andy War-

hol’s Religious and Ethnic Roots: The Carpatho-Rusyn Influence on His Art (Lewiston, NY: Edwin Mellen Press, 1997), 90.

92. 11 Folksy styles: See this author’s “Andy Warhol Outside-In,” in Andy Warhol: Ad Man, ed. Nicholas Chambers (Sydney and Pittsburgh: Art Gallery of New South Wales and The Andy Warhol Museum, 2017), 23.

93. 11 “I always feel American”: Warhol, in Brian Wallworth, “Undertones at an Opening,” Arts Review ( July 7, 1978): 341.

94. 11 wandering Jews: Julia Warhola would be spinning in her grave at the comparison of Rusyns to Jews. She wrote letters home to Mikova about the “danger” of her unmarried Andy being nabbed by a Jewish girl—see Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 84.)

95. 11 a reporter suggested: Nancy Collins, “Andy Has a ‘Great’ Way With Words,” Washington Star, March 22, 1980. A ghostwriter billed the “figment” conceit as the artist’s own invention in Andy Warhol, America (New York: Harper & Row, 1985), 129.

96. 12 entered first grade: See “Pittsburgh Public Schools Pupil’s Permanent Record Card,” reproduced in Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA. Warhol is shown entering first grade on Sep-tember 6, 1934.

97. 12 a nice little house: The deed of sale for their new house, preserved among county records, is dated August 15, 1934. The house seems to have gone into foreclosure in November 1933, was held by a speculator for less than one year before being flipped to the Warholas.

98. 12 his brother Jozef: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 476, Kindle edition.

Pittsburgh city directories for 1936 and later have Joseph and Mary Warhola living at 3250 Dawson Street.

99. 12 matching scars: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

100. 12 Real estate records: The deeds are held in the Department of Real Estate, Allegheny County, PA.

101. 12 not above trying: The Warhol archives include many re-cords of his eager and aggressive tax avoidance.


NOTES 13

102. 12 eight years old: John Warhola, in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 45.

103. 12 especially prized: See Ric Burns, Andy Warhol: A Documen-tary Film, documentary (PBS and Steeplechase Films, 2006).

104. 12 a working man’s salary: Six years later, the U.S. census has Andrew Warhola reporting earnings of $1,200 dollars in the previous year, when he had only worked forty weeks.

105. 12 a penny-pincher: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 626, Kindle edition.

106. 12 save a few dollars: John Warhola, interview by Robert Gangewere, typed notes, November 11, 2003, Robert Gangewere per-sonal papers.

107. 12 tools that survive: They were included in the exhibition “At Home in Pittsburgh: Andy Warhol’s Youth,” Andy Warhol Museum, Pittsburgh, April 17 to October 13, 1996.

108. 12 “real reasonable”: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

109. 12 “a step above”: See Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 536, Kindle edition.

110. 12 “most ambitious and pushing”: See Paul Underwood Kel-logg, ed., Wage-Earning Pittsburgh: The Pittsburgh Survey, Findings in Six Volumes (New York: Survey Associates, 1909), 593.

111. 12 glories of Oakland: See John F. Bauman, Before Renaissance: Planning in Pittsburgh, 1889–1943 (Pittsburgh: University of Pittsburgh Press, 2006), 47, 61, 66.

112. 13 source of civic pride: “Cathedral of Learning Symbolizes Idealism of City Which Built It,” Pittsburgh Press, May 27, 1937.

The photographer Duane Michals, born in nearby McKeesport and a friend of Warhol’s in New York in the 1950s, once did a photo-series about the Cathedral’s place in the Pittsburgh mindscape, while Warhol’s later roommate Philip Pearlstein remembered walking through the Cathe-dral on his way to the Carnegie museum where he and Warhol took art classes as children—see Philip Pearlstein, interview by author, August 18, 2014.

113. 13 buy-a-brick program: See University of Pittsburgh, “Pre-serving Our Architectural Treasures: Interactive Timeline,” accessed January 3, 2020, http://www.treasures.pitt.edu/history/timeline.html. According to Pitt archivist Marianne Kasica, in a December 5, 2014, e-mail to the author, the program cost more to run than it brought in, and so really functioned as a public-relations gambit.


14 NOTES

114. 13 raising $76: Marianne Kasica, University of Pittsburgh ar-chivist, December 5, 2014, e-mail to the author.

115. 13 watched the tower: In 1932, one 11-year-old in the Carnegie museum’s art classes, which Warhol later attended, drew a picture of the Cathedral of Learning—see Elmer A Stephan, “Saturday Morning Art Classes,” Carnegie Magazine (February 1932). The main construction was completed by June 1937—“Bowman Lays Cornerstone of Cathedral,” Pittsburgh Post-Gazette, June 3, 1937.

116. 13 Empire State Building: Warhol archivist Matt Wrbican first made the connection between the Cathedral of Learning and Empire, af-ter noticing that Warhol’s archives include photos of the Cathedral taken with something like the Kodak Brownie we know Warhol owned.

The Cathedral also housed a collection of 50,000 pictures of works of art, sure to have been catnip to Warhol—see “Cathedral of Learning Symbolizes Idealism of City Which Built It,” Pittsburgh Press, May 27, 1937.

117. 13 1893 building: Pennsylvania Historic Resource Survey Form, May 20, 1986, accessed January 5, 2014, https://www.dot7.state.pa.us/ce_imagery/phmc_scans/H005903_01D.pdf.

118. 13 from every ethnic group: See “Report on a Questionaire Submitted to the Principals of Pittsburgh Public Schools by the Survey Commission: Holmes School,” March 31, 1927, William R. Oliver Spe-cial Collections Room, Carnegie Library of Pittsburgh. Jews—including Andy’s best friend at Holmes—made up 41% of its students, followed by Italians and then Slavs like Warhol. Many of the neighborhood’s Irish and other Roman Catholics went to parochial schools, according to Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

119. 13 “most wonderful place”: Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

120. 13 “very, very good at drawing”: Catherine Metz, in Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Mu-seum (Pittsburgh: The Andy Warhol Museum, 1994), 148. Miss Metz paid special attention to Warhol, and gave notable praise for his color sense, according to Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

121. 13 a radio: John Warhola, oral history, interview by Matt Wrbi-can, audiocassette, November 24, 2004, AWMA.

122. 13 “As in art”: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

123. 13 candy bars: Paul Warhola, in Chris Rodley, Andy Warhol:


NOTES 15

The Complete Picture, documentary (Channel 4 and Bravo, 2002).124. 13 won by Warhol: See Ric Burns, Andy Warhol: A Documentary

Film, documentary (PBS and Steeplechase Films, 2006).125. 13 art supplies were at hand: See Bennard B. Perlman, “The

Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 147.

126. 13 “football players, airplanes”: Paul Warhola, in Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994).

127. 13 possibly kindergarten: Paul Warhola, a fine raconteur and unreliable source, tells of taking Warhol to school at the age of four, in Robert Tomsho, “Looking for Mr. Warhol,” Pittsburgher Magazine (May 1980): 55. Warhola changes the age to three in Jeanne Laskas, “A Tale of Two Brothers,” Life (December 1989).

128. 13 slapped by a little girl: Paul Warhola, in Chris Rodley, Andy Warhol: The Complete Picture, documentary (Channel 4 and Bravo, 2002).

129. 14 “flowers and butterflies”: John Warhola, in Ric Burns, Andy Warhol: A Documentary Film, documentary (PBS and Steeplechase Films, 2006).

John Warhola also tells the baseball story, followed by one about pa-per dolls, in Melissa B. Keefer, “Andy Warhol’s Early Years Have Roots in Oakland,” Oakland ( July 1987). See also Glenn O’Brien, “Interview: Andy Warhol,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), loc. 234, Kindle edition.

Warhol’s childhood taste for paper dolls was being shared, about a decade earlier, by the 10-year-old from Helsinki who grew up to be Tom of Finland, greatest of homosexual pornographers—who once sent a Christmas card to Warhol (AWMA). The paper dolls were on display in the exhibition “Tom of Finland: The Pleasure of Play,” at Artists Space gallery in New York, June 14 to August 23, 2015.

130. 14 colorful tulips: John Warhola, interview by Robert Gangewere, typed notes, November 11, 2003, Robert Gangewere per-sonal papers.

131. 14 “Everybody knows that I’m a queen”: Warhol, in Fiona Russell Powell, “The Face Interview Interview,” The Face (March 1985): 49.

132. 14 from Primanti’s: The story was told by Paul Warhola to Maria Silvestri, interview by author, May 6, 2014. Paul Warhola men-tioned the sandwiches at Primanti’s again, in a slightly different story, in a video interview provided to the author by Jesse Best.


16 NOTES

133. 14 strict and devout: Paul Warhola, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 360, Kindle edition.

134. 14 work on Sundays: Paul Warhola, in Victor Bockris, War-hol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 257, 263, Kindle edition.

135. 14 “but all the people were like that”: In Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 46.

136. 14 “six-mile” walk: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 257, 263, Kindle edition.

137. 14 to call on a relation: Paul Warhola, in a circa 2010 videotape recorded by his granddaughter Abby Warhola and Jesse Best.

138. 14 her brother-in-law: Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 153.

139. 14 walk to church: For some reason, Julia avoided the church right by Dawson Street that her brother-in-law Joe Warhola went to—John Zavacky, interview by author, September 25, 2014.

140. 14 timber churches: Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 26.

141. 15 the church’s move: The church’s move was done by the Kress-Oravetz House Moving Company—see the brochure for the November 26, 1960, Golden Anniversary of Saint John Chrysostom, preserved on microfilm at the New York Public Library. Andrej was doc-umented as a worker for Kress-Oravetz in the 1940 census.

142. 15 Irish bishops: Those bishops got Rome to ban the marriage of Ruthenian priests, and that became the hotter-than-hot topic among Pittsburgh’s Rusyns for all of Warhol’s youth, with debates taking place especially in Julia Warhol’s own church. Various members of Warhol’s extended family went so far as to leave the Catholic church for Orthodox denominations.

143. 15 a “natural animosity”: John Warhola, in Bennard B. Perl-man, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

144. 15 “No Byzantine Catholics”: David Petras, interview by au-thor, March 20, 2018.

145. 15 “source of painful perplexity or scandal”: Luigi Cardinal Sincero, writing in protocol number 572-30 of the July 23,1934, Sacred Oriental Congregation in Rome. Thanks to David Petras for the citation.

Father Thomas Schaefer, a Byzantine priest in charge of Saint John


NOTES 17

Chrysostom who also officiated at Roman Catholic parishes, interviewed by the author on April 22, 2014, expounded at length on the differences between the two traditions, explaining that Byzantine customs and thoughtways are in some ways closer to the Russian Orthodox church, which many Rusyns have fled to over the years. A Byzantine emphasis on ritual rather than dogma—especially sexual and moral dogma—could make it the more liberal of the two denominations.

146. 16 crossed themselves “backward”: See Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 1465, Kindle edition. On Christmas, see Paul Warhola in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vi-tae, 2012), 53.

147. 16 “so very special and meaningful”: Eva Warhola to Andy Warhol, November 28, 1970, AWMA.

148. 16 a militant force: David Petras, interview by author, March 20, 2018.

149. 16 most prominent followers: Jed Johnson, the boyfriend, was Lutheran, according to his brother Jay Johnson, interview by author, July 23, 2018. Pat Hackett, Warhol’s secretary and ghostwriter, was the Chris-tian Scientist. Vincent Fremont was another close Warhol associate who was not a Catholic—see Bob Colacello, Brigid Berlin & Vincent Fremont on Andy Warhol, Web video (Strand Bookstore, New York, 2014), https://www.youtube.com/watch?v=i17g3wPDfa4.

150. 16 lessons in Church Slavonic: Jerry Jumba, “In Memorium: Andy Warhol (1928–1987),” Carpatho-Rusyn American, 1987, 4.

151. 16 an actual “supporting member”: Jerry Jumba, “In Memo-rium: Andy Warhol (1928–1987),” Carpatho-Rusyn American, 1987, 4. War-hol’s 1960s assistant Gerald Malanga also remembered Warhol giving money to his mother’s church—see Charles Giuliano, “Gerard Malanga on Andy Warhol’s Mother Julia,” Berkshire Fine Arts, June 4, 2015, http://www.berkshirefinearts.com/06-04-2015_gerard-malanga-on-andy-war-hol-s-mother-julia.htm.

152. 16 practical superstition: See Elaine Rusinko, “We Are All Warhol’s Children: Andy and the Rusyns,” The Carl Beck Papers in Rus-sian and East European Studies, 2012, 54, http://carlbeckpapers.pitt.edu/ojs/index.php/cbp/article/view/190.

153. 16 sprinkled holy water: March 26, 1987, and March 19, 1984, entries in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 3447, 14483, Kindle edition.

154. 17 “sacrilege to do without confessing”: Bob Colacello, Holy


18 NOTES

Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1779, Kindle edition.

155. 17 in the shadows: Father Sam Matarazzo, in Jane Daggett Dil-lenberger, “The Religious Art of Andy Warhol,” in Andy Warhol by Andy Warhol, ed. Gunnar B. Kvaran (Milan: Skira, 2008), 50.

See also Brother Damian McCarthy, of Saint Vincent Ferrer Church, in Jean-Michel Vecchiet, Vie et morts d’Andy Warhol, documentary (Eva Productions, 2005). In Warhol’s diaries, he twice specifies that he has gone to mass, which seems to be in contrast to the many references to simply going “to church.” Joan Quinn said that on her occasional visits to New York from Los Angeles Warhol and she would attend noon mass, but would not take communion—Joan Agajanian Quinn, interview by author, July 31, 2018.

The artist mentions having been to mass in a phone conversation with Brigid Berlin, probably from the early 1970s, in Vincent Fremont and Shelly Dunn Fremont, Pie in the Sky: The Brigid Berlin Story, docu-mentary (Vincent Fremont Enterprises, 2000).

156. 17 “ I always go for five minutes”: Diary entry for September 22, 1985, in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 17616, Kindle edition.

157. 17 “I believe in death after death:” Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 38.

158. 17 “When it’s over, it’s over”: Warhol, quoted by Christopher Makos in “extras” to Jean-Michel Vecchiet, Vie et morts d’Andy Warhol, documentary (Eva Productions, 2005).

159. 17 “ I like church”: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 40.

160. 17 “delightful”: Warhol, in Demosthene Davvetas, “Le Pape du pop art sur canapé,” Libération, September 9, 1986. The French phrase put into Warhol’s mouth is “la liturgie me charmait.”

161. 17 “I’m a heathen”: Maria Silvestri, interview by author, May 6, 2014.

162. 17 never went to church: Carlton Willers, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

163. 17 having any religion: Jane Holzer, in the transcript included with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

164. 17 “no”: Warhol, in the transcript included with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

165. 17 “ I guess I do”: Warhol, in Glenn O’Brien, “Interview: Andy


NOTES 19

Warhol,” High Times (August 1977): 40.166. 17 Carrie: April 8, 1977, entry in Andy Warhol, The Andy Warhol

Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 1427, Kindle edi-tion.

167. 18 a sin: Joe Dallesandro, in “Heat,” Oui, July 1974, 130, cited in David Bourdon, Warhol (New York: Abrams, 1989), 322.

168. 18 “absolutely irreconcilable”: Father Sam Matarazzo, in Jane Daggett Dillenberger, “The Religious Art of Andy Warhol,” in Andy War-hol by Andy Warhol, ed. Gunnar B. Kvaran (Milan: Skira, 2008), 50.

169. 18 in St. Patrick’s Cathedral: Archbishop O’Connor, a violent homophobe, refused to officiate at the memorial, according to Ultra Vio-let, Famous for 15 Minutes: My Years with Andy Warhol (New York: Harcourt Brace Jovanovich, 1988), 2. But Vincent Fremont said, in an April 17, 2019, e-mail to the author, that he and Brigid Berlin had no memory of his re-fusal.

170. 18 “some defensive measures”: Monsignor Peter Tay, in Rich-ard Johnson, “Eavesdropping: Andy Warhol’s Eulogy ‘Wrong,” The Hour, March 7, 1987. The article was syndicated from the New York Post.

Joan Quinn remembered being offended by the priest’s very negative tone—Joan Agajanian Quinn, interview by author, July 31, 2018.

171. 18 “fun place to go”: Warhol, in Paul Taylor, “Andy Warhol: The Last Interview (Flash Art, April 1987),” in I’ll Be Your Mirror: The Se-lected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 393, Kindle edition.

172. 18 images of saints: “Before” and “after” photos of the church interior are preserved among the papers and commemorative volumes of Saint John Chrysostom, and several parishioners have similar images.

The new, gold-ground iconostasis is shown as a new installation in the brochure for the November 26, 1960, Golden Anniversary of Saint John Chrysostom, preserved on microfilm at the New York Public Li-brary. The iconostasis with landscape backgrounds is visible in the same brochure in a photo dated 1947, but it is unclear if the image represents an entirely new décor at that time, or the sprucing up of a still older one.

173. 19 churches in the Old Country: Rusyn activist Maria Silves-tri, in a January 30, 2019, e-mail to the author that included images of churches in and around Mikova, Slovakia.

174. 19 Russian icons: “Exhibition Of Russian Icons And Objects Of Ecclesiastical And Decorative Arts From The Collection Of George R. Hann,” January 12 to March 26, 1944, in the art museum of the Carnegie Institute, Pittsburgh.


20 NOTES

175. 19 a national craze: Louise Lippincott, Andrey Avinoff: In Pur-suit of Beauty (Pittsburgh: Carnegie Museum of Art, 2011).

176. 19 a gold-ground mosaic: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 345.

177. 19 “picking up on things”: Martha Sutherland, interview by author, March 18, 2015.

178. 19 a taste for the Byzantine: Faith Corrigan, “Varied Greet-ing Cards Herald Christmas Season: Designs Reflect Yule Spirit in Ways That Suit Every Taste,” New York Times, November 16, 1954.

179. 19 “Andy was into gold and glitter”: John Giorno, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 133.

180. 19 often shown kissing: Sermon preached by father Thomas Schaefer, June 29, 2014, at Saint John Chrysostom Byzantine Catholic Church, Pittsburgh.

CHAPTER 2

1. 21 “As genuine as a fingerprint”: Schenley High School year-book, 1945.

2. 21 Lucy the family pet: See photos preserved in the collection of The Andy Warhol Museum.

3. 21 named for Lucille Ball: John Warhola, oral history, inter-view by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

4. 21 two fluffy rabbits: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

5. 21 roller-skating: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

6. 21 sledding: Nick Kish, as reported by Matt Wrbican, inter-view by author, April 28, 2016, AWMA.

7. 21 he would collapse: Nick Kish, as reported by Matt Wrbican, interview by author, April 28, 2016, AWMA. See also Nick Kish, inter-view by Bennard B. Perlman, typed notes, n.d., Bennard Perlman Papers, AWMA.

8. 21 he watched movies: His frequent companion was Margie Girman, a Byzantine Catholic girl who was a close neighborhood friend, and whose family had also moved from near the mills to a few doors down on tidy Dawson Street, at number 3256 Dawson Street—Dave El-lis, son of Margie Girman, interview by author, January 14, 2015. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 527, Kindle edition.


NOTES 21

9. 21 Warhol’s brothers might treat him: Victor Bockris, War-hol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 527, Kindle edition.

10. 21 ten cents plus a one-cent tax: Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

11. 21 earned an extra dime: John Warhola, oral history, inter-view by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

12. 21 shoveled walks and carted coal ash: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 373, Kindle edition.

13. 21 Jewish influence: Paul Warhola, in Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Ben-nard B. Perlman Papers, AWMA.

14. 22 cut back heavily: The Eichleay company went into bank-ruptcy and corporate reorganization in early 1936—John Eichleay, Jr., interview by author, December 1, 2014.

15. 22 bouncing from job to job: Local records show that he was a laborer at the Standard Hide Co. in 1938 and at an Eichleay competitor called the Kress-Oravetz House Moving Corp. in 1940.

16. 22 “the grocery order”: David Dempsey, “Not Today’s Wage, Tomorrow’s Security,” New York Times, August 7, 1949.

17. 22 took in boarders: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 650, Kindle edition.

On boarders in Rusyn culture see the memoir of the Rusyn Ann Walko, Eternal Memory (Pittsburgh: Sterling House, 1999). Boarders were found among many other ethnic groups as well, according to Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015. See also Tara Zahra, The Great Departure: Mass Migration from Eastern Europe and the Making of the Free World (New York: W. W. Norton, 2016), 100. See also Nora Faires, “Immigrants and Industry: Peopling the ‘Iron City,’” in City at the Point: Essays on the Social History of Pittsburgh, ed. Samuel P. Hays, Pittsburgh Series in Social and Labor History (Pittsburgh: Univer-sity of Pittsburgh Press, 1989), 13.

18. 22 “they had the businesses”: John Warhola, oral history, in-terview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

A Jewish couple occupied the entire second floor, which had its own kitchen—see John Warhola, interview by Robert Gangewere, typed notes, November 11, 2003, Robert Gangewere personal papers.

On the tensions between the mercantile Jews and laboring Eastern


22 NOTES

Europeans of Pittsburgh, see Gerald Stern, What I Can’t Bear Losing (New York: Norton, 2004), 37.

19. 22 “I used to dream about”: Warhol, in Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal pa-pers.

20. 22 breakfast on Dawson Street: John Warhola, interview by Robert Gangewere, typed notes, November 11, 2003, Robert Gangewere personal papers.

21. 22 housecleaning jobs: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 341, Kindle edition.

22. 22 standard work: See Paul Underwood Kellogg, ed., Wage-Earning Pittsburgh: The Pittsburgh Survey, Findings in Six Volumes (New York: Survey Associates, 1909), 592.

23. 22 new sneakers: Paul Warhola, in Richard Leiby, “Their Brother’s Keepers,” Washington Post, May 15, 1994, https://www.wash-ingtonpost.com/archive/lifestyle/style/1994/05/15/their-brothers-keep-ers/aba29970-b2c2-4a2f-af88-220ad7cb4f2c/.

24. 22 Warhol credited: Warhol, in Fiona Russell Powell, “The Face Interview Interview,” The Face (March 1985): 50.

25. 22 portraits of neighbors: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 26. Another story has Warhol drawing a neighbor “for fun” at 9 years old, and that neigh-bor later being offered $300 for the portrait—see Julia Warhola in Ber-nard Weinraub, “Andy Warhol’s Mother,” Esquire (November 1966).

26. 22 tie him to the bedpost: Amy Zavacky Passarelli, in “E! True Hollywood Story: Andy Warhol,” television broadcast, March 1998.

27. 22 “a holy terror devil”: Bob Colacello, Holy Terror: Andy War-hol Close Up (New York: Vintage Books, 1990), loc. 620, Kindle edition.

28. 22 “Wet my bed!”: See the Warhol achives for Warhol’s copy of Laurance Frederic Shaffer, The Psychology of Adjustment: An Objective Approach to Mental Hygiene (Boston: Houghton Mifflin, 1936).

29. 23 finishing third grade: See “Pittsburgh Public Schools Pu-pil’s Permanent Record Card,” reproduced in Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA. Warhol is recorded as absent for 48 days in the spring of 1937, which is listed as the second term of third grade.

Paul Warhola claimed, improbably, that Warhol’s Saint Vitus Dance began immediately after the trauma of being slapped by a girl on his first day of school—see Robert Tomsho, “Looking for Mr. Warhol,” Pittsbur-gher Magazine (May 1980). The date and season are wrong, but Warhola is


NOTES 23

probably echoing some doctor’s pronouncement, since at the time medics thought that chorea could be triggered by “physical or moral shocks”—see Oliver Sturdevant, “Sydenham’s Chorea” (M.D. thesis, University of Nebraska, 1932), http://digitalcommons.unmc.edu/cgi/viewcontent.cgi?article=1237&context=mdtheses.

30. 23 “displays an increasing peevishness”: Oliver Sturdevant, “Sydenham’s Chorea” (MD thesis, University of Nebraska, 1932), http://digitalcommons.unmc.edu/cgi/viewcontent.cgi?article=1237&context=mdtheses.

31. 23 a diagnosis of PANDAS: See “NIMH » PANDAS—Ques-tions and Answers,” accessed February 8, 2019, https://www.nimh.nih.gov/health/publications/pandas/index.shtml. See also Yehuda Shoen-feld, ed., Infection and Autoimmunity (Amsterdam: Elsevier, 2004), 333.

32. 23 close to the plague: Warhol himself cast the disease as a “nervous breakdown” that struck at the end of three different school years, just as classes ended and summer’s rough play with boys began—see Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 21, Kindle edition. See also the same statement he made a decade earlier, in Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal pa-pers.

Warhol wasn’t only claiming the three summer attacks in his public accounts; he mentioned them when he gave a medical history, in private, to his doctor—see Dr. Denton Cox, “Historical and Diagnostic Sum-mary,” December 7, 1960, AWMA.

Paul Warhola mentions three hospitalizations—see Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vi-tae, 2012), 58. Since this is a very late interview, Warhola may simply be echoing Andy’s own account in Popism.

33. 23 wasn’t as bad: Melissa B. Keefer, “Andy Warhol’s Early Years Have Roots in Oakland,” Oakland ( July 1987).

34. 23 blackouts: June 4, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10289, Kindle edition.

35. 23 recurrences: I. Korn-Lubetzki, A. Brand, and I. Steiner, “Re-currence of Sydenham Chorea: Implications for Pathogenesis,” National Center for Biotechnology Information, August 2004, http://www.ncbi.nlm.nih.gov/pubmed/15313844.

See also “Pittsburgh Public Schools Pupil’s Permanent Record Card,” reproduced in Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years,


24 NOTES

1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA. The record shows Warhol absent for 48 days in the spring of 1937, 22 days in the following fall term and then another 37 in the spring of 1938.

36. 23 body dysmorphia: See A. Augusto Anderson Seixas et al., “Anxiety Disorders and Rheumatic Fever: Is There an Association?” CNS Spectrums 13, no. 12 (December 2008): 1039–46.

37. 23 “Is the back door closed?”: Andy Warhol, “Warhol: On My Mind,” Vogue (February 1973). Even more than with most Warhol quotes, the ones in this article are not necessarily to be trusted. Warhol’s unpublished diary entries for 1972 (AWMA) show his associates helping him come up with his quotes, as suggested also in Stephen Birmingham, “Hardy Andy,” Town & Country (May 1973): 141.

38. 23 “missing chemicals”: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 111, Kindle edition.

39. 24 making fun: Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

40. 24 into bed with his mother: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 660, Kindle edi-tion.

41. 24 “the life of the imagination”: Walter Hopps, Deborah Treisman, and Anne Doran, The Dream Colony: A Life in Art (New York: Bloomsbury USA, 2017), 13. Hopps speaks of endless bed-rest and being confined to the second floor of his parents’ home for long spells as his rheumatic fever waxed and waned over several years.

42. 24 “My mother would read to me”: Andy Warhol, THE Phi-losophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 21, Kindle edition.

43. 24 mention their father: Although she could never have known Andrej, John Warhola’s wife complained to him about this ne-glect—see John Warhola, oral history, typed notes, June 30, 1993, 199, Andy Warhol Museum Institutional Oral Histories, AWMA.

44. 24 “shadowy figure”: Paul Warhola, in Jeanne Laskas, “A Tale of Two Brothers,” Life (December 1989).

45. 24 “The book should be about my mother”: Warhol, in John Perreault, typescript introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA. The typescript was preserved with a letter from its publisher seeking images for the book, which suggest that it was already nearly complete—see Harry N. Abrams to Andy Warhol, September 8, 1971, AWMA.


NOTES 25

46. 24 helped decorate the church: Rudo Prekop and Michal Cih-lar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 161.

47. 24 ornamental house painting: Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 161. See also Elaine Rusinko, “We Are All Warhol’s Children: Andy and the Rusyns,” The Carl Beck Papers in Russian and East European Stud-ies, 2012, 58, http://carlbeckpapers.pitt.edu/ojs/index.php/cbp/article/view/190.

48. 24 singing Orthodox chants: Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 24. See also https://orthodoxcatholicmonastery.com/orthodox-catholic-carpath-ian-plainchant-prostopenije/, accessed January 1, 2017.

49. 25 “she was brilliant beyond belief”: Joseph Giordano, in Pat-rick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 130.

50. 25 “he was so much like us”: See Chuck Workman, Superstar: The Life and Times of Andy Warhol, documentary, 1990.

51. 25 a general store: Christina Soley and Alan Soley, interview by author, July 1, 2014.

52. 25 violin and cello: Sally Mary Zymboly (nee Zavacky) to Andy Warhol, October 9, 1972, TC57, AWMA.

Zymboly remembered the music-making that went on when Warhol and his family would visit: “My father would get his brothers together and then the violins would come out and that was to me the sweetest music this side of heaven. They were all so emotional that they all shed tears of joy just to be together.”

53. 25 violin lessons: Matt Wrbican, quoting Warhol’s brothers, in Matt Wrbican, “‘His Ear Was His Eye’ Interview with Glenn O’Brien,” in Warhol Live: Music and Dance in Andy Warhol’s Work, ed. Emma Lavigne et al. (Munich: Prestel, 2008), 191.

54. 25 an eager reader: Christina Soley, interview by author, Oc-tober 1, 2017.

55. 25 “You can’t go anywhere”: Warhol, in Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal pa-pers.

56. 26 “lying in bed”: Andy Warhol, THE Philosophy of Andy War-hol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 21, Kindle edition. The quote comes in the context of a larger passage that also happens to include deliberate lies—Warhol mentions his father be-ing “away on business trips to the coal mines,” which was yet another


26 NOTES

fiction he liked to propagate. Warhol mentions his paper dolls again in Glenn O’Brien, “Interview:

Andy Warhol,” High Times (August 1977).57. 26 Snow White was a favorite: Warhol, unpublished diary en-

try for July 11, 1973, AWMA.58. 26 “ Oh, he liked pictures”: Julia Warhola, in Bob Blessing,

“Pitching Camp with Andy Warhol,” Swank (April 1968).59. 26 to transfer the pictures: Paul Warhola, in Bennard B. Perl-

man, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 148.

60. 26 Baby Brownie Special: Warhol was said to have received the camera at age 9 in wall texts for the exhibition “At Home in Pittsburgh: Andy Warhol’s Youth,” Andy Warhol Museum, Pittsburgh, April 17 to October 13, 1996. But the Baby Brownie Special sometimes exhibited as Warhol’s by the Paul Warhola family was a model only introduced in 1939, when Warhol was 10 or 11. Other models have also been presented in exhibitions as the camera in question.

Warhol’s nephew James Warhola, in a December 15, 2015, e-mail to the author, said that his father, Paul, was the first family member to be interested in photography, and that he passed the interest and equipment on to his little brother Andy.

61. 26 basement fruit cellar: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

See also Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 148. Paul Warhola implies that he bought Warhol a better camera just a bit later, and that the darkroom was also a later arrival—see Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 60.

62. 26 first dedicated cinema: This Is the Story of Pittsburgh and Horne’s (Pittsburgh: Joseph Horne Co., 1949), 9.

63. 26 a neighbor to pay him: Warhol, in Glenn O’Brien, “Inter-view: Andy Warhol,” High Times (August 1977): 21.

64. 26 “the worst thing that Andy ever did”: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

65. 26 without her husband’s knowledge: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA. John Warhola says that Andy was seven at the time in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003),


NOTES 27

loc. 573, Kindle edition. See also Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 148.

66. 26 an electric machine: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA. On an-other occasion Warhola remembered the projector having been hand-cranked—see Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

Julia spent three times what she could have for the very cheapest hand-cranked projector and there were fancier motorized ones that still cost less than she spent—see the “BBC—A History of the World—Ob-ject: Supreme Projector, Keystone MFG. Co.,” accessed February 6, 2019, http://www.bbc.co.uk/ahistoryoftheworld/objects/gtyrWzOXSBKJkaR-jsPIryA.

67. 26 “show it on the wall”: Bennard B. Perlman, “The Educa-tion of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 148.

68. 26 “and then buy another film”: Paul Warhola, in Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 148.

Warhol is much more likely to have got his films from the era’s thriv-ing rental business: A 10-minute Felix the Cat cartoon was priced at a dollar a day in 1936, so he wouldn’t have needed that many paying guests to break even. There were Pittsburgh outlets of subsidiaries of Kodak and Universal Pictures that were geared to the home rental market, pre-cursors of Blockbuster and Netflix—see Descriptive Catalogue of Kodascope Library Motion Pictures, 6th ed. (Kodascope Libraries, 1936), 149.

69. 26 handed out in theaters: John Warhola, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 527, Kindle edition.

70. 26 from vending machines: Warhol’s eldest brother would give him 50 cents to use in the penny-postcard machines at Kennywood Amusement Park near Pittsburgh—see Paul Warhola, interview by Ben-nard B. Perlman, typed note, May 6, 2003, Bennard B. Perlman Papers, AWMA. These cards are mentioned also in Paul Warhola, full unpub-lished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

71. 27 Paul claimed he did: Paul Warhola, in Chris Rodley, Andy


28 NOTES

Warhol: The Complete Picture, documentary (Channel 4 and Bravo, 2002). The Shirley Temple photo has the hand-written date “1941” on its back, but the image is clearly from much earlier than that; other photos, how-ever, such as one of Frank Sinatra, must in fact date to the 1940s.

72. 27 he was a devoted signer: See for example Sharon Hollan, of Cleveland, to Warhol, February 7, 1977, TC182, AWMA, thanking the artist for a photo of himself that he’d sent her and expressing surprise that he’d bothered. Many similar letters are in his archives.

Despite his own fame in the 1970s, he himself began an autograph collection (AWMA) that included such lesser celebrities as Masaru Ibuka, a founder of Sony, and management guru Peter Drucker. On February 7, 1977, signed letters by those figures and others (TC182, AWMA) were sent to Warhol by his friend John Powers “for your collection.”

73. 27 a page to herself: As noted by the late archivist Matt Wrbi-can, if you look at the scrapbook sheet that was under the Temple photo at just the right angle, you can see faint scratchings where Andy seems to have tried to craft a signature for Temple that he liked better than her actual one.

74. 27 a tap dancer: “I never wanted to be a painter; I wanted to be a tap-dancer”—see Warhol in Gretchen Berg, “Andy Warhol: My True Story,” The East Village Other, November 1, 1966. The quote is from that article as reprinted in I’ll Be Your Mirror: The Selected Andy Warhol Inter-views, ed. Kenneth Goldsmith (New York: Avalon, 2004), 1904, Kindle edition.

In one 1966 photo, Warhol’s image of Temple is shown framed over his mantel, by that point a gesture meant to be read as high camp—see Matt Wrbican, “Rest in Peace, Shirley,” The Andy Warhol Museum, ac-cessed December 8, 2019, https://www.warhol.org/rest-in-peace-shirley/. See also the photo itself by Herve Gloaguen, “Andy Warhol in New York, United States in 1966,” Getty Images, accessed December 8, 2019, https://www.gettyimages.com/detail/news-photo/andy-warhol-in-new-york-united-states-in-1966-andy-warhol-news-photo/120665769.

75. 27 as bitten by movies: In the early 1950s, when the suppos-edly cinephilic Warhol joined a roommate at a Times Square revival of The Wizard of Oz, one of the most famous films of their youth, Warhol only “vaguely remembered it” and found a classic black-and-white movie playing another night to be “boring and a waste of time”—see Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

76. 27 attracting pupils: This happened even before talkies had


NOTES 29

arrived—see “Report on a Questionaire Submitted to the Principals of Pittsburgh Public Schools by the Survey Commission: Holmes School,” March 31, 1927, William R. Oliver Special Collections Room, Carnegie Library of Pittsburgh.

77. 27 “straight boys being interested in [scrapbooks]”: Bill Wood, interview by author, July 30, 2014.

Gene Moore, the pioneering window dresser who hired Warhol in New York in the 1950s, was yet another gay man who had kept a Holly-wood scrapbook: “I spent every Saturday sitting in the theater absolutely awed by those tales of other lives. . . . The curtain comes up and another world begins”—see Gene Moore and Jay Hyams, My Time at Tiffany’s (New York: St Martin’s Press, 1990), 9.

78. 27 a young boy’s gay identity: Blake Stimson, Citizen Warhol (London: Reaktion Books, 2014).

79. 27 in fourth grade: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 149. Note that various period articles on the art classes in Carnegie Magazine say that they began in third grade, or in fifth.

80. 27 Annie Vickermann: Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

81. 28 always the best of them: 1960s interview with an unnamed childhood friend of Warhol’s, in a typescript preserved among the Gene Swenson papers, Sean Carrillo collection, Hudson, New York.

82. 28 “we kids in Oakland hung out”: 1960s interview with an unnamed childhood friend of Warhol’s, in a typescript preserved among the Gene Swenson papers, Sean Carrillo collection, Hudson, New York.

83. 28 among its regulars: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 147. See also Richard Leiby, “Their Brother’s Keepers,” Washington Post, May 15, 1994, https://www.washington-post.com/archive/lifestyle/style/1994/05/15/their-brothers-keepers/aba29970-b2c2-4a2f-af88-220ad7cb4f2c/.

84. 28 “It didn’t cost you a penny”: Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

85. 28 a special favorite: Paul Warhola, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Mu-seum, 2014), provided to the author by director Jamie Schutz, n.d.

86. 28 Andrew Carnegie himself: See Robert Gangewere, Palace of Cutlure (Pittsburgh: University of Pittsburgh Press, 2011), 40.


30 NOTES

87. 28 a few years old: Justin Hopper, “Look . . . to See, to Remem-ber, to Enjoy,” CarnegieMuseums.org, accessed February 7, 2019, https://carnegiemuseums.org/magazine-archive/2009/spring/feature-129.html.

88. 28 barely in his thirties: See “Joseph C. Fitzpatrick, Pitts-burgh’s Legendary Art Teacher,” The Digs: From the Photo Archives of the Pittsburgh Post-Gazette, accessed January 1, 2017, https://news-interactive.post-gazette.com/thedigs/2014/05/09/joseph-c-fitzpatrick-pittsburghs-legendary-art-teacher/.

89. 28 a notably ambitious cultural agenda: See Elmer A Stephan, “Saturday Morning Art Classes,” Carnegie Magazine (February 1932): 275.

90. 28 Schenley High: Before Schenley, Fitzpatrick taught at Tay-lor Allderdice High School, where he had the Tam o’Shanter Philip Pearl-stein, Warhol’s close friend and roommate, as a pupil—Philip Pearlstein, interview by author, August 18, 2014.

91. 29 “the largest art class in the world”: Carnegie Magazine (April 1940): 11.

92. 29 drawing pictures of the same thing: Joseph Fitzpatrick, “Joe Fitzpatrick, Look, to See, to Remember, to Enjoy,” Carnegie Maga-zine (April 1987): 23. See also Justin Hopper, “Look . . . to See, to Remem-ber, to Enjoy,” CarnegieMuseums.org, accessed February 7, 2019, https://carnegiemuseums.org/magazine-archive/2009/spring/feature-129.html.

93. 29 “I didn’t say that a drawing had to be this way, or that way”: Joseph Fitzpatrick, “Joe Fitzpatrick, Look, to See, to Remember, to Enjoy,” Carnegie Magazine (April 1987): 22.

Elmer Stephan, Fitzpatrick’s predecessor as art czar for the Pitts-burgh public schools and one of the founders of the Tam o’Shanter pro-gram, said that “the important emphasis is placed upon the child’s own creative ability or his power to reproduce in his own individual tech-nique the object her prefers”—see Elmer A Stephan, “Saturday Morning Art Classes,” Carnegie Magazine (February 1932): 278.

94. 29 “forms that sprang into life”: Carnegie Magazine ( January 1945): 229.

95. 29 made his own abstractions: Carnegie Magazine ( January 1942): 238. The pianist was Elmer Stephan.

96. 29 “all on fire”: Philip Pearlstein, interview by author, August 18, 2014.

97. 29 “decorative quality”: Joseph Fitzpatrick, in Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 149.

98. 29 “he was quite original”: Jospeh Fitzpatrick, in Robert


NOTES 31

Tomsho, “Looking for Mr. Warhol,” Pittsburgher Magazine (May 1980): 56.99. 29 twenty-five thousand names: Carnegie Magazine (April

1940): 12. The number seems to count each time a child answered the roll call; the actual number of individual students seems to have been about 1,000 or so.

100. 29 from every public and private school: “Artists of Tomor-row,” Carnegie Magazine (May 1959): 342. This article mentions students coming from private, public and parochial schools, and 36,105 as total attendance.

101. 29 had enough artistic talent: John Warhola, oral history, in-terview by Matt Wrbican, audiocassette, November 24, 2004, AWMA. See also Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012).

102. 29 “We shall nurture him”: Elmer A Stephan, “Saturday Morning Art Classes,” Carnegie Magazine (February 1932): 278.

“Not all these children will become artists,” proclaimed the Carn-egie Institute in 1940, “such a state of affairs would be distinctly undesir-able”—see Carnegie Magazine (April 1940): 12.

Over something like six years of Saturdays with Mr. Fitzpatrick and his colleagues, Warhol only tasted failure when, like all of the best Tam o’Shanters, he had to explain his finest drawings at the front of the class and crumbled under the pressure—Joseph Fitzpatrick, “Joe Fitzpatrick, Look, to See, to Remember, to Enjoy,” Carnegie Magazine (April 1987): 21.

103. 29 students sketched: Joseph Fitzpatrick, “Joe Fitzpatrick, Look, to See, to Remember, to Enjoy,” Carnegie Magazine (April 1987): 21.

104. 29 holdings in Old Master portraits: List of pre-1950 acquisi-tions at the Carnegie Museum of Art, supplied to the author by Elizabeth Tufts Brown, associate registrar.

105. 29 an ambitious roster: List of special exhibitions, Carnegie Museum of Art archives.

106. 29 grounding in art history: Victor Bockris, Warhol: The Biog-raphy (Cambridge, MA: Vintage Books, 2003), loc. 790, Kindle edition.

107. 30 a blockbuster Picasso show: Jeanette Jena, “Famous Pi-casso Art Show Is Displayed at Carnegie,” Pittsburgh Post-Gazette, March 19, 1941, 24. Guernica’s presence in Pittsburgh was remembered with en-thusiasm by Warhol’s college professor Robert Lepper, in Philip Rostek, Robert Lepper: A Personal View, documentary, 2014. This privately-pro-duced, uncirculated documentary was provided to the author by Rostek.

108. 30 a special favorite of his: See Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwest-


32 NOTES

ern University, 1982), 530.109. 30 outsider and folk art: The Carnegie’s annual surveys of

contemporary art also regularly included paintings either by actual out-sider artists like Grandma Moses or by faux-naifs such as Doris Lee and Carol Blanchard, who Warhol later remembered as his favorite artist when he was in art school—see Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 21. Blanchard is featured with illustrations in the catalogs of the Carnegie annual for 1948, without a plate in 1947 and not at all in 1946. Angel Ortloff, Blanchard’s daughter, said that Blanchard had accumulated any number of books on outsider art—Angel Ortloff, interview by author, June 1, 2016.

Note that Marcel Duchamp, a hero of Warhol’s, spoke of Paul Klee, another major influence on Warhol, as a kind of faux naïf: “Most of [Klee’s] compositions show this delightful side of unsophisticated, naive expression. But this is only the first contact with his work and a very ap-pealing one . . . .If Klee often uses a ‘childish’ technique, it is applied to a very mature form of thinking.” See Duchamp in Collection of the Société Anonyme (1950), quoted in The Société Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonné (New Haven, CT: Yale University Press, 1984), 376.

110. 30 “American primitive painters”: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 22.

The Carnegie recognized these outsider traditions earlier and more enthusiastically than pretty much any American institution, and kept feeding them to its local audience well after MoMA in New York had left folk art behind. On MoMA’s interest in folk art see Thomas E. Crow, The Long March of Pop: Art, Music, and Design, 1930–1995 (New Haven and London: Yale University Press, 2014), 3.

111. 30 “paints a child’s world in adult terms”: Jeanette Jena, “24 Rousseau Paintings Displayed at Institute,” Pittsburgh Post-Gazette, De-cember 8, 1942, 6.

112. 30 a childlike directness: On Warhol’s important connections to the outsider tradition, and its adoption by modernism, see this au-thor’s, “Andy Warhol Outside-In,” in Andy Warhol: Ad Man, ed. Nicholas Chambers (Sydney and Pittsburgh: Art Gallery of New South Wales and The Andy Warhol Museum, 2017), 23.

113. 30 contemporary self-portraits: The Carnegie self-portrait show included images by the leading cartoonists Saul Steinberg and James Thurber, seeding the central Warholian notion that commercial and fine art could co-exist, and that a genius illustrator who played his


NOTES 33

cards right could rise to show in a museum. Warhol was given a Thurber book as a gift during his college years and worked on a Thurber stage show in 1963—see “The Beast in Me Broadway Plymouth Theatre,” Play-bill, accessed March 7, 2019, http://www.playbill.com/production/the-beast-in-me-plymouth-theatre-vault-0000009604.

114. 30 a photo of a crowd of its art students: Carnegie Magazine (April 1940): 12.

Warhol’s “hanging down” blond hair seems to have been his signa-ture in grade school:—Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

115. 30 Sargent painted him: “Institute Gets Sargent Canvas,” Pitts-burgh Post-Gazette, April 27, 1932, 24.

116. 30 he was also a toff: On the cover of Time magazine in 1924, Homer Saint-Gaudens’s square jaw and slicked-back hair make him look like some millionaire heartthrob from a silent film; the cover’s tag line is “singularly self-possessed”—see Time (May 12, 1924).

117. 31 “self-contented ignorance”: Homer Saint-Gaudens, in “It’s Ugly, but Is It Art,” Pittsburgh Press, October 1931. The article is quoted in Susan Platt, “Gambling, Fencing and Camouflage: Homer Saint-Gaudens and the Carnegie International, 1922–1950,” in International Encounters: The Carnegie International and Contemporary Art, 1896–1996, ed. Vicky A. Clark (Pittsburgh: Carnegie Museum of Art, 1996), 82.

118. 31 reactionary attack: Joseph J. Cloud, “Cortisoz Assails ‘Stu-pid’ Jury,” Pittsburgh Press, October 28, 1930.

119. 31 “our civilization”: Franklin Watkins, in Susan Platt, “Gam-bling, Fencing and Camouflage: Homer Saint-Gaudens and the Carnegie International, 1922–1950,” in International Encounters: The Carnegie Inter-national and Contemporary Art, 1896–1996, ed. Vicky A. Clark (Pittsburgh: Carnegie Museum of Art, 1996), 82.

Pittsburgh journalists mention Suicide in Costume in reviews of many subsequent Internationals.

120. 31 “it may be all right”: Homer Saint-Gaudens, in Douglas Naylor, “Pittsburghers Have Quit ‘Spitting at 50 Yards’ at Modern Art,” Pittsburgh Press, July 2, 1950.

121. 31 “measured by its effects on the social orders”: Homer Saint-Gaudens to Anne Stolzenbach, August 8, 1946, quoted in Susan Platt, “Gambling, Fencing and Camouflage: Homer Saint-Gaudens and the Carnegie International, 1922–1950,” in International Encounters: The Carnegie International and Contemporary Art, 1896–1996, ed. Vicky A. Clark (Pittsburgh: Carnegie Museum of Art, 1996), 82.


34 NOTES

122. 31 troubles of the American South: Many of the more nota-ble pictures in the annual survey echoed the kinds of lefty realism the WPA had put up in post offices and train stations, an aesthetic judged too “gloomy” by one Pittsburgh paper but foreshadowing Warhol’s own mo-ments of gloom in his Death and Disaster pictures—see “WPA Paintings Reflect Artists’ Mood of Gloom,” Pittsburgh Press, February 5, 1941.

123. 31 acknowledged decades later: See Henry Geldzahler, “Andy Warhol” (typescript, c.1964), TC14, AWMA.

Warhol would also have encountered Stuart Davis in no less than three solo shows he had, in 1945 and 1946, at Pittsburgh’s Outlines gal-lery, a known hangout of Warhol’s.

124. 31 scanting abstraction: The 1941 edition of the Carnegie an-nual went so far as to include a satirical illustration, called The Abstrac-tionists, whose title referred to some little boys shown scribbling on the sidewalk with chalk. It was clearly meant as a reactionary gesture, but actually prefigured the Abstract Expressionist scribbles that arrived a half-decade later, and that Pop Art rebelled against. The painting was by Frank Kleinholz, whose style wasn’t too different from the commercial art Warhol would be making in the next decade.

125. 32 “perhaps its Golden Age”: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 767.

126. 32 “created for mankind’s future”: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 765.

127. 32 from near Mikova: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 148.

128. 32 “loaf with the cliques on the corners”: Nick Kish, in Ben-nard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 151.

129. 32 “without mom or dad kicking them out”: Nick Kish, in Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy War-hol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 148.

130. 32 “I painted Andy, he painted me”: Nick Kish, in Julia Markus, “Two Years after His Death, the Curtain Rises on Andy War-hol,” Smithsonian Magazine (February 1989): 70.

131. 32 naked boys in an embrace: The wrestling drawing was on display in “Andy Warhol: 1950s Drawings,” at Anton Kern Gallery in New York November 20 to December 20, 2014. There’s no sign that Kish was gay, and he went on to have a family. On the other hand, schoolboy “fooling around” wasn’t necessarily a sign of long-term homosexuality at


NOTES 35

the time. That’s made clear in statistics in the 1948 Kinsey Report—see Alfred C. Kinsey, Sexual Behavior in the Human Male (Philadelphia: W. B. Saunders, 1948). The Warhol scholar Stephen Koch records that his first contact with Warhol, in the early 1970s, came when the artist was seek-ing the film rights to his novel, The Night Watch, which dealt with the topic of sex among boys—see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 251. See also “Stephen Koch Interviewed by Derek Alger,” Pif Magazine (blog), accessed Febru-ary 7, 2019, https://www.pifmagazine.com/2004/04/stephen-koch/.

132. 32 the “fruit loop”: Veteran Pittsburgh police officer Therese Rocco, interview by author, July 1, 2014.

Pittsburgher Bill Wood also reported Schenley as a site of gay action in his youth in the 1940s and ’50s—Bill Wood, interview by author, July 30, 2014. See also Rich Lord, “Shed Planned for Schenley Meeting Place: Some Neighbours, Members of Gay Community Unhappy over City Facility to Be Built on Prospect Drive,” Pittsburgh Post-Gazette, August 15, 2005, https://www.post-gazette.com/local/city/2005/08/15/Shed-planned-for-Schenley-meeting-place/stories/200508150113.

133. 32 abdominal trouble: Andrej Warhola had “liver problems” since 1928, the year he had his gallbladder removed, according to Paul Warhola, interview by Bennard B. Perlman, typed note, April 9, 2003, Bennard B. Perlman Papers, AWMA.

134. 32 missing weeks of work: According to the 1940 United States Census, which asked about employment the previous year, An-drej only worked for 40 weeks in 1939. For the year beginning Septem-ber 1940, state employment records show Andrej off work for another 14 weeks and claiming benefits—see his Pennsylvania State Employment Service i.d. card (AWMA) last notated on November 11, 1941. The card was registered with the Service in 1934 but only activated for claims on September 21, 1940, perhaps indicating that Warhola made no claims be-fore then, and was thus in full employment—see David Bourdon, Warhol (New York: Abrams, 1989), 17. According to his wife, Andrej was sick for three years—see Julia Warhola in Bernard Weinraub, “Andy Warhol’s Mother,” Esquire (November 1966).

135. 33 “German doctors”: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

136. 33 Tender letters: Letters from March 1941 show Andrej Warhola hard at work again in Hartford, CT, probably on a giant air-line-industry move that the reconstituted Eichleay company was do-ing there. For the Hartford letters see http://warhol.gradientlabs.com/


36 NOTES

images?url=/uploads/media/small/26_AndrejWarholaDies_XX_0006.jpg&w=1269&h=660, accessed December 8, 2014. They were translated for the author by Maria Silvestri.

137. 33 tubercular peritonitis: Death Certificate of Andrew War-hola, Commonwealth of Pennsylvania, Pennsylvania Division of Vital Records, provided to the author by Donald Warhola.

138. 33 drifted down from infected lungs: The chances of tuber-culosis infection through even the most contaminated medical wastewa-ter is described as “quite remote” in Health Effects Research Laboratory, Contaminants Associated with Direct and Indirect Reuse of Municipal Waste-water (Cincinnati: Health Effects Research Laboratory, Environmental Protection Agency, Office of Research and Develoment, 1978), 276.

139. 33 displaying the body: John Zavacky saw the body laid out in the house, but does not remember the wailing mourners others have mentioned—John Zavacky, interview by author, September 25, 2014. John Warhola speaks of the three-day wake in Ric Burns, Andy Warhol: A Documentary Film, documentary (PBS and Steeplechase Films, 2006).

140. 33 Warhol stayed under his bed: According to his brother Paul, Warhol, almost 14 years old, hid under a bed upstairs during the entire three-day wake and refused to come down to see his father laid out in in the open casket in the living room—Paul Warhola, interview provided to the author by Jesse Best, digital audio, n.d. Paul also said that Andy did not attend his father’s actual funeral, at all, because their mother was afraid that the event might lead to a recurrence of Andy’s “nervous condition”—Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 690, Kindle edition.

141. 33 moved up to Oakland’s Schenley High: Warhol’s eighth-grade graduation certificate, dated June 24, 1942, survives in his archives. The incorrect date of September 1941 is given for Andy’s start at Schen-ley in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 823, Kindle edition.

142. 33 lost his shakes: Gloria Pace, of 3727 Dawson Street, inter-view by author, January 18, 2015.

143. 33 “piebald” blotches: Martha Sutherland, interview by au-thor, March 18, 2015.

144. 33 world map: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 28. Photographs that show Warhol at about age ten, from the collection of his Zavacky relative Man-uela King, already display the blotches.

145. 33 “pinto pony”: Tina Soley, interview by author, July 1, 2014.


NOTES 37

The condition, know as vitiligo universalis, runs in families but also has a correlation with rheumatic fever, such as Warhol had but which Soley says she never contracted—see John Harris, Vitiligo, An Issue of Dermato-logic Clinics (Elsevier, 2017).

146. 33 records of treatments: Some kind of bleaching ointment is prescribed in Dr. William Leiffer to Andy Warhol, April 18, 1953, AWMA. “Patches of loss of pigment generalized over the body” are still being described in Dr. Denton Cox, “Historical and Diagnostic Sum-mary,” December 7, 1960, AWMA.

147. 33 in the showers facing the wall: Bennard B. Perlman to Philip Pearlstein, January 25, 2010, Bennard B. Perlman Papers, AWMA.

148. 33 “ I’d have to say, ‘Skin’”: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 8, Kindle edition.

“Acne lesions around the mouth and cheeks” are mentioned in Dr. Denton Cox, “Historical and Diagnostic Summary,” December 7, 1960, AWMA. Cox suggests both changes in diet (less chocolate, nuts and fats) and medication. Warhol was afflicted—and obsessed—with bad skin for the rest of his life. He preserved traces of his acne medicines in his ar-chive; see for example Time Capsules 151, 382, and 439.

In Warhol’s senior year in high school, the Pittsburgh Press published an entire article on the miseries of acne for the era’s teenagers, who fi-nally “withdraw from all activity and suffer in solitude.” It warned that “the youngster who suffers from this condition is apt to brood about it and get melancholy. This sets off a vicious cycle, for tension disrupts the digestive system and aggravates the acne.” It recommended x-rays as the treatment of choice.

149. 33 actually “cause” homosexuality: Earnest Havemann, “Why,” Life ( June 26, 1964): 76.

150. 33 “As genuine as a fingerprint”: Decades later, Warhol au-tographed his photo in a copy of the yearbook and added his actual fin-gerprints to it in ink. The autographed yearbook was offered for sale at Glenn Horowitz Bookseller in New York in April 2015.

151. 33 signed “A. Warhol”: Photographs of the painting were con-sulted at The Andy Warhol Museum in Pittsburgh.

152. 33 Slavic names: As late as 1942 the baptismal certificate War-hol used to get into high school (AWMA) gave his name as “Varchola.”

153. 33 “Irish kid”: John Warhola, in Victor Bockris, Warhol: The Bi-ography (Cambridge, MA: Vintage Books, 2003), loc. 848, Kindle edition. Warhol was actively bullied according to John Warhola, oral history, in-


38 NOTES

terview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.154. 34 “We used to refer to him as a queer”: Harry Rodis, inter-

view by Bennard B. Perlman, typed note, August 13, 1993, Bennard B. Perlman Papers, AWMA.

155. 34 “loafing with a rough crowd”: John Warhola, in a 1960s typescript preserved among the Gene Swenson papers, Sean Carrillo col-lection, Hudson, New York.

156. 34 “interest in art was apparent”: An unnamed cousin (al-most certainly Joseph Warhola), in a 1960s typescript preserved among the Gene Swenson papers, Sean Carrillo collection, Hudson, New York.

157. 34 Schenley’s senior art teacher: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 859, Kindle edi-tion.

158. 34 one-dollar portraits: The portraiture was in aid of Pitts-burgh’s new Arts and Crafts Center—see Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA. When Warhol played portraitist-for-hire in college, his rates went up to four dollars, a price-tag mentioned in Sherley Uhl, “Warhol Life, Training Here Recalled,” Pittsburgh Press, June 4, 1968, 11.

159. 34 “magnificently talented”: Joseph Fitzpatrick, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 815, Kindle edition.

160. 34 “sensitive, interested in art:” Mary Adeline McKibbin, in a 1960s typescript preserved among the Gene Swenson papers, Sean Car-rillo collection, Hudson, New York.

161. 34 always marked Warhol as “outstanding”: Mary Adeline McKibbin, in Maggie Carlin, “Andy Warhol . . . Is He for Real?” The Pitts-burgh Press Roto, October 22, 1972, 18. For Warhol’s marks in art class, see the Schenley transcript preserved in his archives. See also Mary Adeline McKibbin, “Warhol Remembered,” Observer-Reporter, February 24, 1987.

162. 34 “reliance on sensationalism”: Mary Adeline McKibbin, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 29.

163. 34 local organizer: “Scholastic Art Exhibit to Open,” Pittsburgh Post-Gazette, February 8, 1945, 11.

164. 34 The competition: “Judging Begins Today in Art Contest Here,” Pittsburgh Post-Gazette, April 14, 1945, 8.

165. 34 Warhol won a prize: Joseph Fitzpatrick also mentioned a Scholastic prize won by Warhol: Joseph Fitzpatrick, “Joe Fitzpatrick,


NOTES 39

Look, to See, to Remember, to Enjoy,” Carnegie Magazine (April 1987): 26.166. 34 couldn’t have been one of the top awards: “Local Pu-

pils Win Prizes: Four Art Students Awarded College Scholarships,” Pittsburgh Post-Gazette, May 12, 1945, 3. See also “Scholastic Art Exhibit Opens;Winners Chosen,” Pittsburgh Post-Gazette, March 7, 1944, 5.

167. 34 War Bonds: The jury chose a different Schenley student to win the bonds in both years—see “School Art Awards Made,” Pittsburgh Post-Gazette, February 19, 1945, 5.

168. 34 “honorable mention”: The Getty Images database includes a photo that shows Warhol wearing the Scholastic pin at the opening of “Ten Portraits of Jews of the 20th Century” at the Jewish Museum in New York on December 15, 1980.

Joan Quinn recalled Warhol buying old high-school rings when he was shopping among the gem dealers on West Forty-Seventh Street in New York in the 1970s, so it doesn’t seem far-fetched to imagine he might have also found a Scholastic pin among them—Joan Agajanian Quinn, interview by author, July 31, 2018.

For an example of lesser awards being given in the contest see the Somerset Daily American, August 7, 1952.

169. 34 “I felt left out”: Andy Warhol, THE Philosophy of Andy War-hol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 22, Kindle edition. The quote isn’t necessarily trustworthy; in the sentence before it, Warhol lies about his daily walk to high school “in McKees-port.” Much of the book was entirely conceived and written by ghost-writers.

170. 34 “hard to know personally”: Mary Adeline McKibbin, in Maggie Carlin, “Andy Warhol . . . Is He for Real?” The Pittsburgh Press Roto, October 22, 1972, 18.

171. 35 “socially inept:” Joseph Fitzpatrick, in Victor Bockris, War-hol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 816, Kin-dle edition.

172. 35 “a loner”: Other schoolmates also remembered him as “very quiet” and withdrawn—see Melissa B. Keefer, “Andy Warhol’s Early Years Have Roots in Oakland,” Oakland (July 1987). Another Schen-ley student made the same observation—Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

173. 35 “teenage canteen”: On the Hi-Spot see Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 874, 882, Kindle edition. The founding of the Hi-Spot is mentioned in the The Schenley Triangle, October 9, 1944. (My thanks to Schenley historian Jake


40 NOTES

Oresick for the reference.) See also “Around the Town,” Pittsburgh Press, May 3, 1944.

Warhol was still hanging out with Margie Girman, from his grade school, and even seems to have adopted some kind of “boyfriend” role with her—evidence that his sexuality may not have been completely set-tled yet, at least as far as the impression he made on his closest friends. “We went bowling in Oakland together, and we went ice skating, and we’d walk to the movies holding hands,” Girman remembered. “One time, when I was about fourteen, a man sat next to me at the movies and put his hand on my knee and offered me candy. I was very upset, I was crying, and I told Andy. I remember he went off looking for the man like he was going to do something to him. Andy was going to protect me”—see Victor Bockris, Warhol: The Biography (Cambridge, MA: Vin-tage Books, 2003), loc. 879, 882, Kindle edition.

174. 35 “he did slow dance very nicely”: Mina Serbin, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 883, Kindle edition.

175. 35 Schenley sweatshirt: See the photo at “The Andy Warhol Family Album,” accessed February 7, 2019, http://www.warhola.com/familyalbum.html.

176. 35 “lessening nervousness”: See Dr. Denton Cox, “Historical and Diagnostic Summary,” December 7, 1960, AWMA.

177. 35 new best friend: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 43.

178. 35 he visited Warhol in New York: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 79.

179. 35 researching Stuart Davis: On Sidney Simon and Stuart Da-vis see http://www.walkerart.org/archive/2/A2830576F73CD2C16176.htm, accessed May 30, 2015. Sidney Simon is referred to as Warhol’s col-lege classmate in David Bourdon, Warhol (New York: Abrams, 1989), 21.

180. 35 Warhol had often seen at the Carnegie: Catalogs to the Carnegie annuals include many Stuart Davis paintings.

181. 35 helped Warhol with his Schenley assignments: Fred Law-rence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 29.

182. 35 books we know he treasured: Ted Carey, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 262.

183. 35 a deliberate artistic conceit: A 1950s friend of Warhol’s said the errors were deliberate: “He would write like a child writes in reverse


NOTES 41

and spell ‘butterfly’ wrong”—see Robert Fleischer in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 113.

184. 35 autoimmune disorder: See “NIMH » PANDAS—Questions and Answers,” accessed February 8, 2019, https://www.nimh.nih.gov/health/publications/pandas/index.shtml. “Pure dysgraphia”—a condi-tion that causes severe difficulty in writing—can include spelling and syntactical problems.

185. 35 “shaking hand”: Andy Warhol, THE Philosophy of Andy War-hol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 150, Kindle edition.

186. 35 read several newspapers: Tabloids were a fixture in War-hol’s life and he read the New York Times at length—see Indira Cesarine, “Andy Warhol Superstar Jane Forth on the Factory Days—Exclusive Interview,” Untitled Magazine, November 3, 2014, http://untitled-mag-azine.com/andy-warhol-superstar-jane-forth-on-the-factory-days-exclu-sive-interview/.

187. 35 The Red and the Black and a history of painting: David McCabe and David Dalton, A Year in the Life of Andy Warhol (London: Phaidon, 2003), 179.

188. 35 biography of Frank Sinatra and Jean Cocteau’s diaries: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pan-theon Books, 2003), 434. Elaine Finsilver, Warhol’s roommate in the early 1950s, also remembered Warhol reading Truman Capote (of course) and Tennessee Williams—see Finsilver in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 556.

189. 35 reading The Merchant of Venice: Karen Burke, interview by author, October 20, 2015.

190. 36 “well and widely read”: Stephen Koch, in “Stephen Koch Interviewed by Derek Alger,” Pif Magazine (blog), accessed February 7, 2019, https://www.pifmagazine.com/2004/04/stephen-koch/.

Warhol got through Christopher Lasch’s chewy Culture of Narcissism in a single night, according to his friend and dematologist Karen Burke, interview by author, October 20, 2015. He commented on various other authors in enough detail, and with strong-enough views, for us to be sure that he read their books as well. (See for instance Warhol commenting on Truman Capote, who would soon be coming back from rehab in Min-nesota: “Brigid and I are thinking all the time that maybe Truman never did write any of his own stuff, that maybe he always had some butch guy there to do it. To do rewrites. Because I mean, Truman showed me a


42 NOTES

script he did, and it was just awful, and when he shows you these things you can’t imagine that he could ever THINK they’re any good, they’re so bad”—Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 4579, Kindle edition.) In the case of Tennessee Williams Warhol was a full-blown proselytizer, passing out his works for friends to read—see Carlton Willers in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 146. (Smith gives Willers the incorrect name “Alfred Carlton Walters.”)

In 1963, Warhol owned a copy of Stars, the influential book on Hol-lywood by the French sociologist Edgar Morin, and noticed when his assistant Gerard Malanga removed it from his shelves—see Malanga in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 155.

It looks like Warhol could also compose: There’s a reference to a “long and interesting letter” sent by him in Imilda Vaughan (later Tuttle) to Andy Warhol, c.1957, AWMA.

191. 36 publishing books: See Nina Schleif, ed., Reading Andy War-hol (Ostfildern: Hatje Cantz, 2013). See also the 2015 exhibition “Andy Warhol by the Book” and Lucy Mulroney, Andy Warhol, Publisher (Chi-cago: University of Chicago Press, 2018).

192. 36 “You know how to write”: Philippe Jullian to Andy War-hol, January 28, 1957, AWMA.

193. 36 “He’s incredibly analytical”: Geldzahler, in Isabel Eber-stadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal papers.

194. 36 “Andy always knows”: Emile De Antonio, notes from an interview, September 13, 1976, box M88, AWMA.

“He’s the most brilliant person I’ve ever met. And he never forgets a thing. But he comes on as really stupid,” said his longtime friend Suzie Frankfurt, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 568.

195. 36 sophisticated as any other amateur’s: Reported by archi-vist Matt Wrbican, from a conversation with Paul Bertram on the latter’s visit to The Andy Warhol Museum in Pittsburgh. A number of academic texts by Bertram survive in the Warhol archive, including an obscure 1965 tome—Shakespeare and the Two Noble Kinsmen—inscribed “For Andy, Paul. With love and friendship.”

Warhol’s friend Tom Lacy remembered going with Warhol to see John Gielgud perform in Much Ado About Nothing in the late 1950s—Tom


NOTES 43

Lacy, interview by author, February 19, 2015. Warhol also featured Ed-ward M. Hood, a Harvard Ph.D. student working on Shakespeare, in his film My Hustler—see “Graduate Student Remembered As Intelli-gent, Caring Person,” The Harvard Crimson, accessed February 8, 2019, https://www.thecrimson.com/article/1982/3/25/graduate-student-re-membered-as-intelligent-caring/.

196. 36 “deceptively straightforward”: Paul Bertram to Andy Warhol, April 21, 1966, AWMA.

Another good friend of Warhol’s, the writer and poet Charles Henri Ford, once commented on the artist’s voracious reading and his love of learning: “It was almost like a school around Andy, because although he learned a lot from other people, they also learned an awful lot from him”—see Ford in John Wilcock, ed., The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 55.

197. 36 acing an intelligence test: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 23.

198. 36 his report cards: See “Pittsburgh Public Schools Pupil’s Permanent Record Card,” reproduced in Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

199. 36 “academic”: Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015. Like Warhol, Pace was in the academic stream and took many of the same courses he did.

200. 36 on the Honor Roll: The Roll was published in the Schenley Triangle for October 23, 1942—see “Andy Warhol Student Honor Roll,” eBay, accessed February 8, 2019, https://www.ebay.com/itm/ANDY-WARHOL-STUDENT-HONOR-ROLL-HISTORICAL-DOCUMENT-1942-SCHENLEY-JOURNAL-/122285756498. See also this author’s “Andy Warhol Was an Honors Student?” Artnet News, September 21, 2016, https://news.artnet.com/opinion/andy-warhol-honors-student-660590.

201. 36 Latin and trigonometry and was a proud assistant: See the 1945 Schenley yearbook preserved in the Warhol archives. Warhol also mentions the lab assistantship on his application to Carnegie Insti-tute of Technology, preserved in the registrar’s office of Carnegie Mellon University.

202. 36 quite a few As: Carnegie Institute of Technology, “Certifi-cate of Secondary School Courses for Admission to Day Courses,” July 25, 1945, AWMA.

A slightly different high-school report is reproduced in Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript,


44 NOTES

2007), Bennard B. Perlman Papers, AWMA.203. 36 “good marks”: Paul Warhola, Jr., to Julia Warhola, October

26, 1952, AWMA.204. 36 respectable IQ of 104: Carnegie Institute of Technology,

“Certificate of Secondary School Courses for Admission to Day Courses,” July 25, 1945, AWMA.

205. 37 earn their diplomas at all: Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

206. 37 seventy-five boys: Schenley commencement program, June 18, 1945, AWMA. Another 16 male students were held over until they finished certain credits.

207. 37 “I like school”: Warhol, quoted by Julia Warhola, in Ber-nard Weinraub, “Andy Warhol’s Mother,” Esquire (November 1966): 101.

208. 37 only had boys: See the photo of the class preserved in the Warhol archives, and the July 25, 1995, letter from Warhol classmate Mi-chael Polimus (AWMA) explaining that no girls were in the class because it was the only one located in the school’s basement.

209. 37 accelerated out of high school: I. L. Kandel, The Impact of the War Upon American Education (University of North Carolina Press, 1948), 89. The research for this discussion of World War II and high-school education was conducted by intern Gabriella Caputo.

Warhol’s classmate Bennard Perlman said that the acceleration came from wanting more boys to have their diplomas before they went off to war—see Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 150. Perlman also wrote that Warhol skipped eleventh grade altogether, a claim contradicted by various transcripts that survive.

210. 37 Warhol’s last two years: Warhol himself recalled those summer-school classes as make-up for all the days he missed from ill-ness—see Glenn O’Brien, “Interview: Andy Warhol,” in I’ll Be Your Mir-ror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 235, Kindle edition. Those missed days would, how-ever, have been in grade school, not high school.

211. 37 the merchant marine: David Bourdon, Warhol (New York: Abrams, 1989), 17.

212. 37 operating a studio: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA. See also “Andy Warhol: The College Years,” The Andy Warhol Museum, accessed November 22, 2019, https://www.warhol.org/exhibition/andy-warhol-the-college-years/.


NOTES 45

213. 37 “Andy was just like one of my sons”: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

214. 37 Anna Lemak: See the May 3, 2016, e-mail to the author from Anna’s son James Warhola.

215. 37 already pregnant: Abby Warhola, Paul and Anna’s grand-daughter, reported that the couple had had a secret wedding first, then a public wedding in front of family, and that Julia Warhola had apparently already chosen a bride for her son and was not happy with the choice he made instead—Abby Warhola, interview by author, November 9, 2015.

216. 37 The couple: In April 1943 Paul Warhola asked his mother how she felt about his getting married: “I says, ‘Is this gonna maybe change the situation?’ She says, ‘I’m not gonna stand in your way. If you want to get married, that’s fine.’ I says, ‘Well, we’ll live here. We’ll rent the second floor and I can pay you so much a month’”—see Victor Bock-ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 745, Kindle edition.

217. 37 caused conflict: Donald Warhola, interview by author, April 1, 2015; Abby Warhola, interview by author, November 9, 2015.

Victor Bockris writes “For some time she (Julia) had been suffering from piles. [Ann] found herself physically incapable of taking care of a recuperating, difficult mother and a baby, and, to the great relief of Julia, John and Andy, Ann moved back into her parents’ house to await Paul’s return from the navy—see Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 758, Kindle edition.

218. 37 “he was from another world”: Anna Warhola, in a circa 2010 videotape recorded by her granddaughter Abby Warhola and Jesse Best.

219. 37 “They made fun of him”: Philip Pearlstein, in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 263.

220. 37 $11,000: Julia Warhola, in Bernard Weinraub, “Andy War-hol’s Mother,” Esquire (November 1966): 101.

221. 37 $1,514.07: Receipt for Transfer Inheritance Tax, January 2, 1946, AWMA. Andrej’s estate is listed at $1,505 in “Wills Filed,” Pittsburgh Press, November 1943. It looks like the house simply passed to the widow directly, since she had been included on its original deed. It could be that Julia counted the final value of the home in the “$11,000” that she said Andrej had left her, which would add up about right. County real-estate records and documents in the Warhol archives show that the house sold


46 NOTES

in early December 1960 for $10,500, and the agents and lawyers would have taken some part of that.

222. 37 Social Security: Payments amounted to $17.48 a month, ac-cording to a June 20, 1942, letter (AWMA) from the Social Security Board (Philadelphia) to Julia Warhola. A letter of July 15, 1957 (AWMA) shows the amount rising to $40.10.

223. 37 supporting the household: Andrej’s will wasn’t fully exe-cuted until 1943 and taxes on the estate were still in play as late as 1946—see the receipt for Transfer Inheritance Tax, January 2, 1946, AWMA.

224. 37 a soda jerk: See Sherley Uhl, “Warhol Life, Training Here Recalled,” Pittsburgh Press, June 4, 1968, 11.

Paul Warhola said a business partner of his gave Warhol several years’ summer work scooping ice cream in a “dairy store” in the East Liberty neighborhood, a gig that only ended in college when Warhol got work at Horne’s department store instead—see Paul Warhola, interview provided to the author by Jesse Best, digital audio, n.d.

225. 38 Julia rented: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

226. 38 bowel removed: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 697, Kindle edition. A hos-pital bill dated February 25, 1940, in the possession of Donald Warhola, shows Julia having just undergone an operation with a three-week recov-ery, so the usual dating of her cancer to Warhol’s last year in high school may be in doubt. Warhol’s classmate Bennard Perlman said that the op-eration happened as Warhol entered twelfth grade, which we know he never even attended—see Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Mu-seum, 1994), 152.

227. 38 didn’t even know: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 770, Kindle edition.

228. 38 “Did Mumma die?”: Warhol, quoted by Paul Warhola, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 767, Kindle edition.

229. 38 a hypochondriac: See Brian Dillon, The Hypochondriacs: Nine Tormented Lives (Faber and Faber, 2009), 238–68.

Warhol’s first encounter with modern medicine, when he was about four years old, would have been both successful and traumatic: His brother Paul sometimes told a story about little Andy tripping in the streets of Soho and breaking his right arm; too poor to visit a doctor, the family let the bone set wrong and the arm then had to be re-broken and


NOTES 47

re-set in hospital—see Paul Warhola in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 77.

230. 38 all his grades: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy War-hol Museum, 1994), 151.

231. 38 tinned soup: John Warhola, in Ric Burns, Andy Warhol: A Documentary Film, documentary (PBS and Steeplechase Films, 2006).

232. 38 “in school”: Warhol, in “Andy Warhol’s Interview,” Unmuz-zled Ox 4, no. 2 (1976): 47.

233. 38 a star example: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 774, Kindle edition.

234. 38 Schenley diploma: The diploma was sold at auction in 2006—see “4419: Andy Warhol. High School Diploma,” LiveAuction-eers, accessed February 9, 2019, https://www.liveauctioneers.com/item/2549862_4419-andy-warhol-high-school-diploma. The program for the school commencement (AWMA) gives the date as June 18, and lists Warhol as one of the graduating students.

235. 38 was accepted: Melissa B. Keefer, “Andy Warhol’s Early Years Have Roots in Oakland,” Oakland ( July 1987).

236. 38 becoming an art teacher: Bennard B. Perlman, “Andy War-hol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perl-man Papers, AWMA.

237. 38 class mobility: Richard Oestreicher, “Working Class For-mation,” in City at the Point: Essays on the Social History of Pittsburgh, ed. Samuel P. Hays (University of Pittsburgh Press, 1989), 140.

238. 38 “you went to the mill”: Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

239. 38 emotional control: Carnegie Institute of Technology, “Cer-tificate of Secondary School Courses for Admission to Day Courses,” July 25, 1945, AWMA.

240. 38 Acceptance by Classmates: See the document reproduced in Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 151.

241. 39 art education: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy War-hol Museum, 1994), 151.

242. 39 rigorous art classes: Carnegie Institute of Technology, “An-nouncement of Saturday Morning Courses for High School Students, 1943–44,” Carnegie Mellon University archives.

243. 39 the normal culmination: According to an article written


48 NOTES

the very year Warhol ended high school, “To the boy or girl who is in-terested in art as a profession these classes are the obvious entrance to Tech’s College of Fine Arts; and for many years a goodly percentage of the freshman class has been composed of young people who started their art education in the children’s classes at the Carnegie Institute”—see Carnegie Magazine ( January 1945).

Warhol attended the Carnegie Tech classes “at about the age of four-teen” according to Marjorie Frankel Nathanson, “Chronology,” in Andy Warhol: A Retrospective, ed. Kynaston McShine (New York: Museum of Modern Art, 1989), 402.

244. 39 a scholarship: In an interview from 1985 Paul Warhola had his brother winning a scholarship, but his quotes are so full of factual errors that they can’t be trusted—see Donald Miller, “Andy’s Roots,” Pittsburgh Post-Gazette, March 9, 1985. A magazine article mentions a scholarship, and seems to rely on Warhol’s brother John as a source—see Melissa B. Keefer, “Andy Warhol’s Early Years Have Roots in Oakland,” Oakland (July 1987). A college classmate said that she and Warhol both re-ceived the Andrew Carnegie Scholarship, which reduced tuition by half and could also be supplemented, in the College of Fine Arts, by a needs-based grant for the most promising students—see Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA. This was corroborated in a January 23, 2015, e-mail to the author from Julia Corrin, an archivist at Carnegie Mellon University.

245. 39 the application process: Bennard B. Perlman, “The Educa-tion of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 151.

The tests ran from July 9 to 12—see “Program Application Tests,” Bulletin of the Carnegie Institute of Technology: College of Fine Arts, Febru-ary 1945, vi. For some reason, however, Warhol’s test were scheduled on August 11—see J. M. Daniels, chairman of admissions, undated letter to Warhol reproduced in Bennard B. Perlman, “Andy Warhol: The Pitts-burgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

246. 39 Applicants were asked: Gillian Jagger, interview by author, January 9, 2015. Jagger was a Carnegie Tech alumna.

247. 39 “the only one who’d got it right”: Roger Anliker, quoted by Charles Schmidt, interview by author, May 12, 2013. Anliker told the same story to his student and executor Dale Roberts, interview by au-thor, April 6, 2015.

248. 39 “They weren’t going to accept him”: John Warhola, in


NOTES 49

Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 939, Kindle edition.

249. 39 number is right: Tuition came to $405 for both semesters—see Bulletin of the Carnegie Institute of Technology: College of Fine Arts, Febru-ary 1945, xxvii–xxix.

250. 39 likely incidentals: See Bulletin of the Carnegie Institute of Tech-nology: College of Fine Arts, February 1, 1945, xxix. See also Bulletin of the Carnegie Institute of Technology: College of Fine Arts, April 1948, 28.

251. 39 he’d wanted used: It was Andrej’s death-bed wish to have Warhol use the money for college, said John Warhola in Ric Burns, Andy Warhol: A Documentary Film, documentary (PBS and Steeplechase Films, 2006).

Paul Warhola said that the money had been left for the education of all three sons, but that his military service, and John’s choice of a vo-cational school, left Andy as the only college candidate—Paul Warhola, interview by Bennard B. Perlman, typed note, May 6, 2003, Bennard B. Perlman Papers, AWMA.

252. 39 $215 million: Christie’s was hired by Frederick Hughes to do the appraisal between February and May 1991, when its appraisers valued the estate at $213.7 million—see Geraldine Norman, “Art Market: Warhol: Famous for $500 Million,” The Independent, July 3, 1994.

CHAPTER 3

1. 41 “Should Andy stay or go?”: Robert Lepper, in Maggie Car-lin, “Andy Warhol . . . Is He for Real?” The Pittsburgh Press Roto, October 22, 1972, 18.

2. 41 Warhol’s application: His admissions forms are preserved in the registrar’s office of Carnegie Mellon University.

3. 41 goofy freshman: The photo has been on exhibit at The Andy Warhol Museum, and is said to have been taken the day before Warhol’s start at the Carnegie Institute of Technology.

4. 41 fattened himself: Warhol listed himself as 5' 9", 135 pounds on admission forms to Carnegie Tech. At the start of his sophomore year, however, more reliable draft-office documents list Warhol as 5' 8" and only 125 pounds—see the Selective Service registration card, August 6, 1946, AWMA.

5. 41 “Andy was poor”: Robert Lepper, in Maggie Carlin, “Andy Warhol . . . Is He for Real?” The Pittsburgh Press Roto, October 22, 1972, 18.

6. 41 first day of class: Bulletin of the Carnegie Institute of Technol-ogy: College of Fine Arts, February 1, 1945, vi.


50 NOTES

7. 41 the expense of trolleys: John Warhola, interview by Robert Gangewere, typed notes, November 11, 2003, Robert Gangewere per-sonal papers. The trolley cost 50 cents a week, which was seen as an extravagance.

8. 42 from 1916: Carnegie Mellon University, “History—Col-lege of Fine Arts—Carnegie Mellon University,” accessed March 1, 2019, http://cms-staging.andrew.cmu.edu/cfa/about/history/index.html.

9. 42 a “drawing school”: Robert Lepper to Donna de Salvo, No-vember 27, 1987, Robert L. Lepper Papers, Carnegie Mellon University Archives. See also Plan and Scope of the Proposed Carnegie School of Technol-ogy (Pittsburgh: Trustees of the Carnegie Institute, 1903), 38.

10. 42 “stem the tide of modern art”: Balcomb Greene, outline to an unpublished novel, Balcomb and Gertrude Greene Papers, Archives of American Art, Smithsonian Institution.

11. 42 “evidence of our lack”: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 767.

12. 42 a new renovation: Bulletin of the Carnegie Institute of Technol-ogy: College of Fine Arts, February 1948.

13. 42 college yearbook for 1947: The Thistle (Pittsburgh: Carnegie Institute, 1947).

14. 42 hangout for art students: “Department of Painting and De-sign,” in The Thistle (Pittsburgh: Carnegie Institute, 1949). When Skibo was torn down in 1959 to make way for the new Hunt Library it was de-scribed as having been a much-loved “informal student social center”—see “End of an Era at Tech: Skibo Inn to Fall,” Pittsburgh Sun-Telegraph, November 1, 1959, 29. (The article is preserved as a clipping in the main Carnegie Library in Pittsburgh.)

15. 42 hold court: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 1173, Kindle edition. A photo of Warhol in the Skibo cafeteria is in the Philip Pearlstein papers, Archives of American Art, Smithsonian Institution.

16. 42 known as “P&Ds”: The Thistle (Pittsburgh: Carnegie Insti-tute, 1947).

17. 42 Painting and Illustration: The annual bulletins of the Col-lege of Fine Arts show the name change taking place in the 1946–47 academic year.

18. 42 “effective expression of ideas”: Bulletin of the Carnegie Insti-tute of Technology: College of Fine Arts, February 1, 1945, 14.

19. 42 “no line between the fine and the applied arts”: Betty As-che Douglas, oral history, interview by author and Matt Wrbican, digital


NOTES 51

audio, July 2, 2014, AWMA.20. 42 “Bauhaus stuff”: Balcomb Greene, interview by Karl E.

Fortess, audiotape with transcript, September 16, 1975, Balcomb and Gertrude Greene papers, Archives of American Art, Smithsonian Insti-tution.

The original Bauhausers Laszlo Moholy-Nagy, Walter Gropius and Wassily Kandinsky were held up as models at Tech—see Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digital au-dio, July 2, 2014, AWMA. Moholy-Nagy lectured at the Outlines gallery in January 1942 and Gropius designed an important modernist housing complex in the region—see Outlines Gallery, scrapbook (n.d.), Rockwell family collection. In 1946 the Carnegie’s art museum held a memorial show for Kandinksy—see the list of Carnegie Institute art exhibitions kept at the Carnegie Museum of Art, Pittsburgh.

21. 42 killing the modern avant-garde: Clement Greenberg, “Where Is the Avant Garde?” Vogue ( June 1967): 112, 167.

22. 42 conception over execution: The College of Fine Arts as a whole was designed, from the start, to offer the nation’s first comprehen-sive artistic education, with pioneering courses in art but also in every-thing from ceramics and jewelry to music composition to “eurythmics,” while it was the only campus in the nation offering an industrial design degree—see “Art: New Arrival,” Bulletin Index, January 1, 1942. Drama has always been the college’s most successful program, and Warhol’s friends among Tech’s “dramats” inspired his lifetime love of radical per-forming arts, and maybe his own theatrical streak—see Bulletin of the Carnegie Institute of Technology: College of Fine Arts, February 1, 1945, 15. The curriculum is described semester by semester.

As its director put it in 1949, the College of Fine Arts had the goal of encouraging its hundreds of students, in all their disparate fields, “to combine ideas and progress through a common bond in advancing the commonwealth of art”—see “Department of Painting and Design,” in The Thistle (Pittsburgh: Carnegie Institute, 1949). For attendance num-bers see Bulletin of the Carnegie Institute of Technology: College of Fine Arts, February 1, 1945, 73.

A faculty document from 1946 shows Robert Lepper, a future teacher of Warhol’s, devising ways to increase contact between the various de-partments and break down “clannishness” in each discipline; later re-cords say that he succeeded—see the June 28, 1946, draft of part II of the 1945–1946 annual report for the College of Fine Arts, Carnegie Mellon University Archives. On the success of Lepper’s efforts, see the 1947–48


52 NOTES

annual report.23. 43 Saturday classes: Faculty taught these lessons to supple-

ment pitiful salaries: On declining and inadequate faculty salaries see “College of Fine Arts Minutes of Faculty Meeting: First Meeting 1946–47,” Carnegie Mellon University Archives. The annual reports of the Col-lege of Fine Arts have inadequate staff salaries as a constant theme.

24. 43 just been included: The Carnegie annual always opened at the start of the academic term.

25. 43 the best things: Donald Miller, “Words with Warhol,” Pitts-burgh Post-Gazette, October 1, 1979, 17.

26. 43 moving into abstraction: See Margaret L. Tucker, “Samuel Rosenberg—A Biography,” typescript, April 16, 1951, Carnegie Mellon University Archives.

27. 43 wise-old-man role: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 33. Warhol pointed to Rosenberg as his favorite teacher in Patrick S. Smith, ed., Warhol: Conver-sations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 33. The interview is full of Warhol’s usual evasions and misrepresentations and so is hard to trust.

28. 43 influential “massier”: Betty Asche Douglas, oral history, in-terview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

29. 43 first make of abstract art: Artist files at the main Carnegie Library, Pittsburgh, include articles on Russell Twiggs from the Pitts-burgh Press from 1932, the Sun-Telegraph, Pittsburgh Press and Bulletin Index from 1937 (which says that Twiggs show was the city’s first exhibition of abstraction), the Sun-Telegraph from 1950 and the Post-Gazette from 1954.

30. 43 “makes the public gasp”: Douglas Naylor, “He Just Paints Pictures, You Can Supply the Titles,” Pittsburgh Press, March 18, 1937. (Preserved as a clipping in the main Carnegie Library, Pittsburgh.)

31. 43 student works: Tech regulations gave the College of Fine Arts the right to retain any student work that it chose—see Bulletin of the Carnegie Institute of Technology: College of Fine Arts, February 1, 1945. Russell Twiggs eventually donated some of the retained Warhols to the Carnegie Museum of Art.

32. 43 silkscreen printing: See “In the Field of Prints,” New York Times, March 24, 1940.

33. 43 to make paintings: Betty Asche Douglas, oral history, in-terview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA. Jack Wilson, another Tech student, also describes Russell Twiggs as do-ing radical experiments in serigraphy—see Wilson in Patrick S. Smith,


NOTES 53

ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 19.

34. 43 move to silkscreening: One Tech teacher imagined Warhol learning the silkscreening process during his summer’s work in a store’s display department—see Robert Lepper, in a January 1974 document compiled in response to queries from the German scholar Rainer Crone, Robert Lepper Papers, Carnegie Mellon University Archives.

Philip Pearlstein, Warhol’s close friend, came to Tech already know-ing silkscreening from design projects he’d done in the army—see Le-land Wallin, “The Evolution of Philip Pearlstein, Part I,” Art International (Summer 1979): 62. See also the surviving military silkscreens in Pearl-stein’s own collection, on view in “Pearlstein, Warhol, Cantor: From Pittsburgh to New York,” May 30 to September 6, 2015, The Andy War-hol Museum, Pittsburgh.

35. 43 learned the technique: Martha Sutherland, March 25, 2015, e-mail to the author.

Sutherland could have learned the technique in a class called “Medi-ums and Reproduction” that we know Warhol took—see his transcript in the Office of the Registrar, Carnegie Mellon University. See also where the course is described in Bulletin of the Carnegie Institute of Technology: College of Fine Arts, February 1, 1945, 16. The course seems to have been taught by the illustration instructor Howard Worner—see Robert Lep-per to Fred Lawrence Guiles, February 4, 1989, Robert L. Lepper Papers, Carnegie Mellon University Archives.

36. 43 to try silkscreening: Gillian Jagger, interview by author, January 9, 2015. Jagger only arrived at Tech in the summer of 1949, how-ever, so her “memories” of Warhol’s studies may not be trustworthy. (The two were friends in New York, however, once she had graduated.)

37. 43 a disciple of Freud: Undated clipping from the Christian Sci-ence Monitor, in the Balcomb and Gertrude Greene Papers, Archives of American Art, Smithsonian Institution.

38. 43 art star: Greene cultivated a “deliberate eroticism” and “di-abolical appearance,” according to one contemporary—see John H. Baur, Balcomb Greene (New York: American Federation of the Arts, 1961), 3.

39. 43 “complete arrogance”: Balcomb Greene, in John H. Baur, Balcomb Greene (New York: American Federation of the Arts, 1961), 3.

40. 43 once arrested: “Dartmouth Teacher Hits Policeman, Fined,” c. 1931 clipping from unnamed newspaper, Balcomb and Ger-trude Greene Papers, Archives of American Art, Smithsonian Institu-tion.


54 NOTES

41. 43 new style: Greene’s new, non-geometrical style starts being seen in the 1944 Carnegie annual, with a painting called Profoundly Blue, illustrated in the annual’s catalog. He’s in the show again in 1945, with a painting called The Studio of which no record seems to survive. By the 1947 annual, with a painting called Black Angels, his shift to a proto-AbEx, almost-figurative style seems complete.

42. 44 a photo of him: The Bulletin Index, January 29, 1949, pre-served as a clipping without pagination in the main Carnegie Library, Pittsburgh.

In 1952, a Greene abstraction got ranked as one of the greatest Amer-ican paintings of the first half of the 20th century—see “Tech Artist’s Painting Wins Half-Century Honour,” Pittsburgh Press, March 4, 1952. The article is preserved as a clipping without pagination in the main Carnegie Library, Pittsburgh. As late as 1963, when Warhol still seems to have been keeping tabs on his teacher, Greene continued to be so prominent and popular that he was included in a major touring survey of American art—see John Ashbery, “At the Louvre and Elsewhere,” New York Herald-Tribune (Paris Edition), May 15, 1963. The article was preserved by Warhol as a clipping (TC39, AWMA). Throughout the six-ties, any number of art magazines that featured Warhol included just as prominent discussions of Greene—see for example Art News (November 1963). (Warhol on page 26, Greene on 49—TC6, AWMA.)

43. 44 “barnacles”: Greene inveighed against both “the old long-pencil shading from casts” and also the studies in texture and tone that were the new staples at Tech. See pedagogical notes in the Balcomb and Gertrude Greene Papers, Archives of American Art, Smithsonian Institu-tion.

44. 44 “the social meaning of art”: Balcomb Greene, in “This Painter Examines the Social Contract,” Artnews (April 1956): 33.

45. 44 Warhol attended: See Warhol’s transcript preserved in the Office of the Registrar, Carnegie Mellon University. See also Balcomb Greene, oral history, interview by Paul Cummings, March 13, 1972, Ar-chives of American Art, Smithsonian Institution.

Greene team-taught the course with a historian who covered the so-cial contexts for the art—see Robert Beverly Hale and Niké Hale, The Art of Balcomb Greene (New York: Horizon Press, 1977). Green only taught art history at Tech, rather than studio classes, because he believed in keeping a wall between his teaching and his art making—see Balcomb Greene, oral history, interview by Paul Cummings, March 13, 1972, Archives of American Art, Smithsonian Institution.


NOTES 55

46. 44 Brecht: Philip Pearlstein mentions Tech students’ knowl-edge of Brecht “and the alienation effect” in a typescript of a conversa-tion between him and Rainer Crone, Robert L. Lepper Papers, Carnegie Mellon University Archives. I am assuming Brecht was taught to them in Greene’s course.

47. 44 Le Sacre du printemps and The Cabinet of Dr. Caligari: Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digi-tal audio, July 2, 2014, AWMA.

48. 44 bold discussions: See Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 762. The book also had sections on topics like “The Significance of Nietzsche as a Prototype of the Modern Aesthetician” that are harder to imagine Warhol fully absorbing.

Warhol’s classmate Arthur Elias confirmed that this was their col-lege art history textbook—see Elias in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 528. The Stites book was also mentioned as their textbook in Bennard B. Perl-man, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

49. 44 “social geography”: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 767.

If it is true that Greene also assigned Vision and Design, a famous book of essays by the diehard British formalist Roger Fry, Warhol was being exposed to a huge range of ideas—see the claim that Fry’s book had a big influence on Warhol in Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy War-hol Museum, 1994), 161. Warhol may still have been talking fondly of Fry as late as 1973: Why else would a friend have thought the latest scholarly edition of Fry’s letters, in two volumes, was a suitable Christmas gift for Warhol that year, offered “with love-love-love”? The volumes were found in Time Capsule 175 of Warhol’s archives, with an inscription from “Lee.”

50. 44 on Dada artists: See Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 539. See also Philip Pearlstein, “The Paintings of Francis Picabia, 1908–1930” (MA, Institute of Fine Arts, New York University, 1955). Arthur Elias said that he wrote “a thesis on Dada in 1950,” and that he was the first of their circle to have an interest in the movement—Elias in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 539.

51. 44 “characteristic of the mechanical”: See the course notes in the Balcomb and Gertrude Greene Papers, Archives of American Art,


56 NOTES

Smithsonian Institution. 52. 44 “something profound”: Joseph Groell, interview by author,

June 11, 2015. 53. 44 “Mumbles”: Joseph Groell, interview by author, June 11,

2015.54. 44 fell asleep: Philip Pearlstein, in Fred Lawrence Guiles, Loner

at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 39.55. 44 “wonderful”: Warhol, in Glenn O’Brien, “Interview with

Andy Warhol,” Hubert Martin, ed., Andy Warhol: The Late Work (Munich: Prestel, 2004), 56. The article is reprinted from Glenn O’Brien, “Inter-view: Andy Warhol,” High Times (August 1977).

56. 44 Caravaggio’s chiaroscuro: Warhol discussed this and other art-historical topics on late-night cab rides with the much younger artist George Condo—George Condo, interview by author, May 26, 2016.

57. 45 “the abstract artist can approach man”: Balcomb Green, in Robert Beverly Hale and Niké Hale, The Art of Balcomb Greene (New York: Horizon Press, 1977).

58. 45 in touch with the Abstract Expressionists: Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digital au-dio, July 2, 2014, AWMA.

59. 45 close colleagues: Philip Pearlstein, interview by author, Oc-tober 16, 2015. See also Mark Stevens and Analyn Swan, De Kooning: An American Master (New York: Knopf, 2004).

60. 45 a dead end: Balcomb Greene, interview by Karl E. Fortess, audiotape with transcript, September 16, 1975, Balcomb and Gertrude Greene papers, Archives of American Art, Smithsonian Institution.

61. 45 nude photos: John H. Baur, Balcomb Greene (New York: American Federation of the Arts, 1961), 10.

62. 45 “natural appearances”: New York Times, March 30, 1947, clip-ping preserved in the Balcomb and Gertrude Greene Papers, Archives of American Art, Smithsonian Institution. The Greene papers also include a clipping from the June 1, 1961, Hartford Times that dates Greene’s first return to figuration to 1943, while another clipping dates it to 1947. A May 29, 1966, clipping, apparently from a Los Angeles newspaper, says he began to work from photographs in 1940.

63. 45 urine-covered canvases: Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 200. See also Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 469. Warhol repeated the experiment with his “Oxidation” paintings of the 1970s.


NOTES 57

64. 45 “attention-getting”: Balcomb Greene, in Doris Reno, “A Painter and Nothing Else,” Miami Herald, January 12, 1966. The clipping is held in the Balcomb and Gertrude Greene Papers, Archives of Ameri-can Art, Smithsonian Institution.

65. 45 attacked Warhol: Balcomb Greene, “A Thing of Beauty,” Art Journal 25, no. 4 (Summer 1966): 364. A draft of this article in the Greene papers at the Archives of American Art was complete by the end of 1964.

Russell Twiggs, the Tech massier, groaned when asked about Warhol in 1972: “Is he great? God knows, I don’t. He does have a tremendous notoriety. Who can say how these things happen. . . . He mumbles and doesn’t answer questions directly. Is he a put on or what? Who knows?”—see Twiggs, in Maggie Carlin, “Andy Warhol . . . Is He for Real?” The Pitts-burgh Press Roto, October 22, 1972, 18.

66. 45 “angel in the sky”: Philip Pearlstein, in Rainer Crone, Andy Warhol: A Picture Show by the Artist (New York: Rizzoli, 1987), 101.

67. 45 “shy and cuddly”: Gene Feist, playwright, in Susan N Klein, “A Talk with Gene Feist,” The Carnegie Tartan, January 16, 1973, 6. Feist published a short story in the same November 1948 issue of Cano, the student literary magazine, that featured a cover by Warhol.

68. 45 “not a manipulator of people”: Gene Feist, in Fred Law-rence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 43.

69. 45 only two males: In Warhol’s freshman year Tech had ad-mitted its largest class ever, after a decade of declining enrollment. See “Tech to Award Largest Class 906 Degrees,” Pittsburgh Press, June 5, 1949. On declining enrollment, see “College of Fine Arts Minutes of Faculty Meeting: First Meeting 1946–47,” Carnegie Mellon University Archives.

The only other recent high-school graduate to enter Tech’s art pro-gram was Bennard Perlman—see Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

The female attention to Warhol must have felt like a comfy rever-sion to grade school, where all but one of his classmates had been girls, and an escape from the all-male homeroom he’d endured at Schenley High. Photographs of his classes at both Holmes Elementary and Schen-ley High survive in the Warhol archives.

70. 45 “Who’s taking care of him”: Gene Feist, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 43.


58 NOTES

71. 46 a special kinship: Betty Asche Douglas, oral history, inter-view by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

72. 46 feel at home: Joseph Groell, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 32.

73. 46 “these wry little remarks”: Betty Asche Douglas, oral his-tory, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

74. 46 “nothing he hasn’t observed.”: Henry Geldzahler, in Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eber-stadt personal papers.

75. 46 “odd man out”: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy War-hol Museum, 1994), 159. Perlman was deeply involved in college activi-ties, including writing a history of the Beaux Arts Ball for the students’ Form magazine.

76. 46 “Withdrawing as a Defense”: Laurance Frederic Shaf-fer, The Psychology of Adjustment: An Objective Approach to Mental Hygiene (Boston: Houghton Mifflin, 1936). The book survives in the Warhol ar-chives. Warhol also noted telling passages on how “phantasy underlies all art” and on the harms of overindulgent and overprotective parenting. The underlines are of a piece with doodles and marginalia that are very clearly by Warhol.

77. 46 a caterpillar costume: From undated and unidentified clip-pings preserved in the Carnegie Mellon University Archives.

78. 46 Salvador Dalí: Dalí, always a favorite of Warhol, had been one of the few Surrealists regularly featured in the Carnegie annuals, in-cluding being given pride of place with the first work in the first room of the 1947 edition. Warhol could also have admired a Dalí backdrop when the Ballets Russes came to town in 1942—see Donald Steinfirst, “Bal-let Russe Gives Annual Performances,” Pittsburgh Post-Gazette, March 16, 1942, 10.

In the 1960s, Warhol became a pal of Dalí’s and made films about him, while his hunt for celebrity was always compared to the Surrealist’s.

79. 46 planning committee: The Warhol archives preserve an undated clipping from a publication of the Carnegie Institute of Tech-nology, showing “A. Warhol” as a member of the college’s Beaux Arts Society, “made up of the most outstanding Fine Arts students. . . . chosen on the basis of their participation in school activities and of their schol-arship standards.” See also “Student Conference Committee Discusses


NOTES 59

Items of Interest,” The Carnegie Tartan, May 13, 1947, 3.80. 46 Bali: The new theme made costumes easier to find than

they’d been for the Surrealist ball, with just “a little browsing through the National Geographics,” as one student organizer put it—see the plan-ning document for the 1947–48 Beaux Arts Ball, Carnegie Mellon Univer-sity Archives.

There might also have been some brown-nosing involved in choos-ing Bali as the theme: Kenneth Johnstone, the director of the College of Fine Arts, seems to have been a Bali fan. An ad exists for a lecture by him, titled “Sculptors of Bali,” to be delivered at Pittsburgh’s new Arts and Crafts Center on January 20, 1946—see the scrapbooks preserved in the Records of the Associated Artists of Pittsburgh, Senator John Heinz History Center, Pittbsurgh, PA.

81. 46 went topless: Bennard B. Perlman, “The Education of Andy Warhol” (typescript draft, n.d.), Bennard B. Perlman Papers, AWMA. Life magazine photos depict several male students in such costumes.

82. 46 Life magazine: “Life Goes to a Balinese Ball,” Life (March 29, 1948): 140.

The ball also earned the students a ferocious pan, also Warhol’s first: Editors at Life and the New York Times, and also Tech officials, received a letter complaining that the ball was a “shameful and sacrilegious” trav-esty of Bali’s religious rituals—see Arie K. Fluiter, unpublished letter to the editors of Life and the New York Times, April 3, 1948, Carnegie Mellon University Archives.

83. 46 “typical art student”: The new curriculum was part of the famous “Carnegie Plan” for educational reform—see Edwin Fenton, Carnegie Mellon 1900–2000: A Centennial History (Pittsburgh: Carnegie Mellon University Press, 2000), 114. The new courses in the College of Fine Arts were launched as part of the Plan in 1942—see David Deitcher, “Andy Warhol and the Social Construction of the Late Modern Artist,” delivered in San Francisco at the Spring 1989 conference of the College Art Association, typescript, Robert L. Lepper Papers, Carnegie Mellon University Archives.

84. 46 liberal arts education: Betty Asche Douglas, oral his-tory, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

See also Bulletin of the Carnegie Institute of Technology: College of Fine Arts, February 1, 1945, 15. The curriculum is described year by year.

85. 47 “exciting person”: Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University,


60 NOTES

1982), 527.86. 47 “mutilations”: Robert Lepper, “Andrew Warhola: Student

in Pittsburgh,” typescript of a 1976 essay, Robert L. Lepper Papers, Carn-egie Mellon University Archives.

Warhol owned and kept a 1947 novel by Gladys Schmitt, titled Alex-andra, autographed by Schmitt (TC51, AWMA).

On Warhol’s class presentations see Bennard B. Perlman, “The Edu-cation of Andy Warhol” (typescript draft, n.d.), Bennard B. Perlman Pa-pers, AWMA.

87. 47 straight Ds: Final transcript of Andy Warhol, Office of the Registrar, Carnegie Mellon University.

88. 47 a decent GPA: Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA. Douglas said that she and Warhol won the same award.

89. 47 bad at the new academic courses: Several friends said they helped him with his assignments—see Robert Tomsho, “Looking for Mr. Warhol,” Pittsburgher Magazine (May 1980): 57.

90. 47 a lousy draughtsman: Robert Lepper, “Andrew Warhola: Student in Pittsburgh,” typescript of a 1976 essay, Robert L. Lepper Pa-pers, Carnegie Mellon University Archives. Strangely, in a November 27, 1987, letter to Donna de Salvo (Robert L. Lepper Papers, Carnegie Mel-lon University Archives) Lepper said that his earlier memory was incor-rect, and that Andy would have been recognized as a fine draughtsman. On several occasions, Lepper said he had almost no memory at all of Warhol as a student, so all of his recollections may be suspect—see Ann Curran, “CMU’s Other Andy,” Carnegie-Mellon Magazine (Spring 1985): 17.

Warhol’s talented teachers may in fact already have known his work as a high-school student, when some of them had judged the nationwide student-art awards that were based at the Carnegie, and not found him worthy of any notable prize—see the discussion earlier in this book and also “Teachers from Tech on Art Jury,” Pittsburgh Sun-Telegraph, April 14, 1943.

91. 47 Cs or Ds: January 30, 1946, grade slip, AWMA.92. 47 problems with charcoal and perspective: Bennard B. Perl-

man, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

93. 47 of his cousin Joe: Sold by Joseph Warhola himself at Chris-tie’s, New York, on September 15, 2004. A photograph of the drawing preserved by the sitter’s son Jay reveals a date of July 18, 1946, just after the end of Warhol’s first year at Tech.


NOTES 61

94. 47 a grade of B: As marked on the drawing, object #1998.1.1637, The Andy Warhol Museum, Pittsburgh.

The drawing might be for the sophomore anatomy class, in which Warhol got a C, rather than the freshman drawing course. See Warhol’s transcript in the Office of the Registrar, Carnegie Mellon University, and the year-by-year description of the curriculum in Bulletin of the Carnegie Institute of Technology: College of Fine Arts, February 1, 1945, 15.

95. 47 the fittest would survive: Bennard B. Perlman, “The Edu-cation of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 152. That same term, professors at the University of Pittsburgh told their younger students, “We want to get rid of as many of you as we can”—Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

96. 47 put on probation: Lists of probationers are included in the College of Fine Arts curriculum committee minutes, Carnegie Mellon University Archives.

97. 47 all the students’ work: Charles Schmidt, interview by au-thor, May 12, 2013. Schmidt was a Tech graduate.

98. 47 a final decision: Betty Asche Douglas, oral history, inter-view by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

A passage from an unfinished art-school novel, begun in the 1940s by Balcomb Greene (Balcomb and Gertrude Greene Papers, Archives of American Art, Smithsonian Institution) includes a comic description of the process by which a rebellious, Warhol-like student gets a D.

99. 47 “question always was”: Robert Lepper, in Maggie Carlin, “Andy Warhol . . . Is He for Real?” The Pittsburgh Press Roto, October 22, 1972, 18.

100. 47 “I created a big scene”: Warhol, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

101. 47 produce drawings: College documents record Warhol, and also his friend Eleanor Simon, as “suspended until advancement in Drawing I”—see “Minutes of Curriculum Committee Meeting, May 29, 1946,” Carnegie Mellon University Archives.

The remedy was specific to failure in those drawing classes—see Bul-letin of the Carnegie Institute of Technology: College of Fine Arts, February 1, 1945, 41. Some sources say that Warhol took a summer class in drawing at the University of Pittsburgh—see Robert Tomsho, “Looking for Mr. Warhol,” Pittsburgher Magazine (May 1980): 57. Bennard Perlman men-tions Andy’s tears at the prospect of flunking, and says the drawing class


62 NOTES

was at Tech, as confirmed by Warhol’s transcript, which shows him get-ting a more than respectable B—Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy War-hol Museum, 1994), 152. Warhol’s final transcript (Office of the Registrar, Carnegie Mellon University) records him being suspended on May 29, 1946, and then “advanced from Drawing I” on August 3, 1946.

102. 47 perfectly respectable: Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

103. 47 up clients’ stairs: “Artist-Huckster Sketches Customers and Wins Prize,” Pittsburgh Press, November 24, 1946. A Warhol drawing at the Warhol Museum, #1998.1.1619, shows him delivering produce to a client.

104. 48 “art supplies he needed”: John Warhola, in Melissa B. Keefer, “Andy Warhol’s Early Years Have Roots in Oakland,” Oakland ( July 1987).

105. 48 Honoré Daumier: A local critic, speaking in terms straight out of Warhol’s Tech classes, praised the Carnegie show for collapsing popular and fine art: “Daumier reveals a mastery of line and sense of the plastic which, together with a sympathetic and accurate portrayal of the human comedy, marks him as an artist first, a caricaturist sec-ond”—Virginia Lewis, “Again We See Paris,” Carnegie Magazine (1946): 231. Lewis’s review also points to a Tech-friendly social dimension in Daumier’s prints, which speak of “the city and crowds, of the nervous energy which has become so much a part of our lives”—just what the doctor called for, when it came to capturing the world of Dawson Street hucksters and thereby impressing teachers.

Balcomb Greene’s lecture notes (Balcomb and Gertrude Greene Papers, Archives of American Art, Smithsonian Institution) show that he would have taught Daumier to Warhol and his classmates, although maybe only in the senior-year art history course: Daumier was much in the news in 1948 for the centennial of the 1848 Paris revolts and the birth of the Second Republic in France. (George Grosz, the German ex-pressionist and émigré who was a regular in the Carnegie annuals, had a trademark technique with watercolors that seems to have influenced the way Warhol completed his Daumier-style drawings with washes of paint.)

106. 48 an anecdote: See Warhol in “Artist-Huckster Sketches Cus-tomers and Wins Prize,” Pittsburgh Press, November 24, 1946. The article also has Warhol describing his drawings as a sociological study of the rich and poor in urban Pittsburgh.


NOTES 63

107. 48 “appreciate my artwork”: Gloria Pace, of 3727 Dawson Street, interview by author, January 18, 2015.

108. 48 he changed: See Imilda Vaughan (later Tuttle), interview by David Bourdon, typed notes from an earlier conversation, April 1, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institu-tion. Vaughan said Warhol “painted the way he wanted, and they flunked him. So he went to summer school and painted the way they wanted.”

That storyline parallels one from Balcomb Greene’s unfinished art-school novel, which recounted the travails of a P&D who had to decide whether “for the sake of passing her courses, to make the compromise paintings which will show she can follow instructions”—see the outline in the Balcomb and Gertrude Greene Papers, Archives of American Art, Washington, Smithsonian Institution.

109. 48 “he would never force himself”: Bert Green, in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 292.

110. 49 “zero-degree drawing”: Peter Gidal, “Andy Warhol: New Drawings of Chairman Mao,” Art International (March 1979): 139. The Gidal article is cited in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 171.

111. 49 “enormous sense of style”: Milton Glaser, in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 15.

112. 49 Martin B. Leisser Prize: See the Pittsburgh Sun-Telegraph, November 24, 1945. The prize is also recorded in the program for Tech’s celebration of “Carnegie Day” in the fall of 1946, Carnegie Mellon Uni-versity Archives.

113. 49 first solo exhibition: The award ceremony and one-day ex-hibition were held on November 22, 1946, according to Bennard B. Perl-man, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

114. 49 big article: See “Artist-Huckster Sketches Customers and Wins Prize,” Pittsburgh Press, November 24, 1946.

115. 49 all at the same time: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

116. 50 had been drafted: Philip Pearlstein, full unpublished tran-script for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.


64 NOTES

117. 50 first and third prize: Russell Bowman, Philip Pearlstein: The Complete Paintings (New York: Alpine, 1983), xii. See also “Art Exhibition Firsts Won by Five Pittsburgh Students,” Pittsburgh Post-Gazette, May 12, 1941.

118. 50 Life magazine: “Youngest Generation of American Artists Holds Whopping Good Show at Pittsburgh,” Life ( June 16, 1941): 56.

Philip Pearlstein also won the following year (two first prizes, in painting and drawing, plus scholarship money for Tech) when his face got the entire cover of a local magazine and his painting fronted the show’s catalog—see “Artists of the Future,” Bulletin Index, May 14, 1942, 11. See also Catalogue: Scholastic Magazine’s 15th National High School Art Exhibition, reproduced at “Alliance for Young Artists & Writers: From the Vault—90 Years of Scholastic Art and Writing Awards Catalogs,” Scholas-tic Art & Writing Awards (blog), accessed February 12, 2019, http://blog.artandwriting.org/2013/02/05/from-the-vault-90-years-of-scholastic-art-and-writing-awards-catalogs/.

The coverage may have saved Pearlstein’s life once he was drafted into the army during World War II, because he used the Life article to get switched from front-line duty to graphic design work—see Leland Wal-lin, “The Evolution of Philip Pearlstein, Part I,” Art International (Sum-mer 1979): 62.

119. 50 “It only lasted five minutes”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

120. 50 skepticism is in order: See this author’s blog posting “In the Future, Everyone Will Be World-Famous for 15 Minutes,” Warholiana (blog), April 4, 2014, http://warholiana.com/post/81689862604/in-the-future-everyone-will-be-world-famous-for.

Warhol would have been especially impressed by Pearlstein’s achievement because Warhol himself seems to have been some kind of finalist in a later edition of the same competition—but without receiving even one drop of press. (See the discussion earlier in this book.) War-hol was so impressed, in fact, that you can see the influence of Philip Pearlstein’s works on Warhol’s “remedial” drawings from the summer of 1946: One of Pearlstein’s prize-winning paintings has a huckster’s truck in the background; a medaled drawing by Pearlstein shows a comically chaotic neighborhood scene—see “Artists of the Future,” Bulletin Index, May 14, 1942, cover, 11.

121. 50 because he was older: Joseph Groell, interview by author, June 11, 2015.


NOTES 65

122. 50 diehard lefties: Philip Pearlstein, “My Warhol(a) Experi-ence, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

123. 50 first restaurant: Leonard Kessler, interview by author, May 10, 2015.

124. 50 “only truly intuitive artist”: Leonard Kessler, in Joseph Mancini, “Andy Warhol Fights for Life,” New York Post, June 4, 1968.

125. 50 “French and Oxford accents”: Philip Pearlstein, interview by author, October 16, 2015.

126. 50 “Pablo Picasso”: Philip Pearlstein, “My Warhol(a) Experi-ence, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. See also Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 48.

“Instead of ‘learning’ from the instructors, I was ‘teaching’ them,” the modest Klauber recalled, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 685. Klau-ber went on to be one of New York’s leading graphic designers.

Warhol’s circle was rounded out by a classmate named Arthur Elias and by Warhol’s high-school friend Eleanor Simon, who moved out of her parents’ house and became a Bohemian model for Warhol—see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 43. “She’s the one who really decided he was an artist, and very talented” recalled Philip Pearlstein, interview by author, October 16, 2015.

127. 50 sprawling on the campus: The photos are in the Philip Pearstein papers, Archives of American Art, Smithsonian Institution.

128. 50 “movies at the art theater”: Philip Pearlstein, full unpub-lished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

129. 50 every exhibition: Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 533.

130. 51 Warhol bought: The Warhol archives include a receipt for a Lautrec “poster” of cyclists bought from the Bodley Gallery on Novem-ber 3, 1958, for the impressive sum of $300.

131. 51 “not concerned with boundaries”: Homer Saint-Gaudens, Paintings, Drawings, Prints and Posters by Henri de Toulouse-Lautrec, 1864–1901 (Pittsburgh: Carnegie Institute, 1947), 10.


66 NOTES

132. 51 “sort of a pre-beatnick”: Pittsburgher Jim Colker, in the typescript of a 1960s interview, Gene Swenson papers, Sean Carrillo col-lection, Hudson, NY.

133. 51 received a D: Final transcript of Andy Warhol, Office of the Registrar, Carnegie Mellon University.

134. 51 “shoes painted with all these bright colors”: Hubert Fitzgerald, in Rose Domenick, “Jeanette Native Remembers Studying Art with Warhol,” Pittsburgh Post-Gazette, July 9, 2003, np.

135. 51 saddle shoes: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Mu-seum, 1994), 152.

136. 51 clothing drive: The narrative comes from George Arnold, who worked in the same store in the 1980s and was told the tale by older colleagues. He is quoted in Marylynne Pitz, “Andy Warhol Has Early Start as Horne’s Window-Dresser,” Pittsburgh Post-Gazette, July 19, 2015. This was confirmed by George Arnold, interview by author, July 28, 2015.

137. 51 Raggedy Andy: There is no firm evidence that people actu-ally referred to Warhol as Raggedy Andy before a critic coined the term in 1970—see Calvin Tomkins, “Raggedy Andy,” in John Coplans, Andy Warhol (Greenwich, CT: New York Graphic Society, 1970).

Gene Moore, who gave Warhol work doing windows for Bonwit Teller’s department store beginning in 1955, said that “he was still being called Raggedy Andy, not because his work was sloppy, but because of his appearance,” but Moore was writing thirty-five years after the fact and after the Tomkins piece and its title had long since been absorbed into the public consciousness—see Gene Moore and Jay Hyams, My Time at Tiffany’s (New York: St Martin’s Press, 1990), 69.

138. 51 his father’s Rusyn name: Philip Pearlstein considered “An-dré” to be identical to Warhol’s father’s name—Philip Pearlstein, inter-view by author, October 16, 2015.

139. 51 to “André”: Even in his first years in New York Warhol was still going French: A 1951 portrait of Warhol drawn by his new friend Nathan Gluck (TC87, AWMA) is inscribed “pour André de son vrai ami nathan.”

A 1954 Christmas card (TC22, AWMA) from Warhol’s college friend Corinne Kessler is addressed to “Mr. André Warhola.”

140. 51 Warhol’s name change: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 42. Although a competing biographer calls the name-change “an affectation [Warhol]


NOTES 67

had picked up from George Klauber, who spent some time in Paris after the war”—Victor Bockris, Warhol: The Biography (Cambridge, MA: Vin-tage Books, 2003), loc. 1218, Kindle edition.

141. 51 he scribbled: The scribbles are in Edward McNall Burns, Western Civilizations: Their History & Their Culture (W. W. Norton, 1941). A copy of the book is preserved with Warhol’s annotations in his ar-chives. A classmate of Warhol’s confirmed that it was a college text of theirs—Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA. It might have been assigned by the historian who team-taught with Balcomb Greene.

142. 51 changing Warhol: Philip Pearlstein, interview by author, August 18, 2014.

143. 51 dance program: See Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 42. See also Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. Corinne Kessler is mentioned as a dance teacher in several 1949 clippings in scrap-books in the Records of the Associated Artists of Pittsburgh, Senator John Heinz History Center, Pittbsurgh, PA.

144. 52 told Graham herself: See Douglas C. Mcgill, “Andy War-hol, Pop Artist, Dies,” New York Times, February 23, 1987.

Martha Graham performed Appalachian Spring, winner of the 1945 Pulitzer Prize for Music, on February 12, 1947, in her first appearance in Oakland’s huge Syria Mosque, where Warhol’s college commencement was later held—see “Martha Graham Recital Given at Syria Mosque,” Pittsburgh Press, February 13, 1947. Merce Cunningham is mentioned as one of the dancers in “Martha Graham to Return to Pittsbugh This Week,” Pittsburgh Press, February 9, 1947. Philip Pearlstein also remem-bered seeing Graham, in the typescript of a conversation between him and Rainer Crone, Robert L. Lepper Papers, Carnegie Mellon University Archives.

145. 52 Graham as “very ‘in’: Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Univer-sity, 1982), 538.

Philip Pearlstein remembered that he and Warhol also went to every performance by the gay dancer and choreographer José Limon, “a kind of hero on the cultural scene,” said Pearlstein, whose company was still going strong seven decades later—see Philip Pearlstein, in the typescript of a conversation between him and Rainer Crone, Robert L. Lepper Pa-pers, Carnegie Mellon University Archives. On Limon’s homosexuality


68 NOTES

see Julia L. Foulkes, Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey (Chapel Hill: University of North Carolina Press, 2002), 80.

146. 52 new art form: Robert Gottlieb, “Performing Arts,” in New York Mid-Century 1945–1965: Art, Architecture, Design, Dance, Theater, Night-life (New York: Vendome Press, 2014), 250.

147. 52 “was a nut!”: Miss Kanrich, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1071, Kindle edi-tion.

148. 52 the club’s auditions: The Thistle (Pittsburgh: Carnegie Insti-tute, 1947), 128.

149. 52 a recruitment poster: The poster, in The Andy Warhol Mu-seum, advertises a September 30 meeting, turning Abstract Expressionist splashes into the bodies of student dancers.

150. 52 “Andy tried to keep up”: Bennard B. Perlman, “The Educa-tion of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 159.

151. 52 Christmas card: Signed “André,” the card (AWMA) was in the mail on December 26, 1948, addressed to Warhol’s former classmate George Klauber, who had already left Tech to finish his studies at Pratt in New York, where he’d begun them. Klauber was then finding a place among the gay culturati of Brooklyn—Marshall Reese, interview by au-thor, April 13, 2015. Reese is a relative of Klauber’s 1950s friend Ralph “Corkie” Ward, who was also close to Warhol.

152. 52 sketches for it: See Mark Francis and Deiter Koepplin, Andy Warhol, Drawings 1942–1987 (Boston and New York: Little, Brown, 1998), plate 9.

153. 53 self-portrait assignment: Bennard B. Perlman, “The Edu-cation of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 154.

154. 53 “if I was a girl”: Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Pa-pers, AWMA.

155. 53 original meaning: See George Chauncey, Gay New York: Gender, Urban Culture, and the Makings of the Gay Male World, 1890–1940 (New York: Basic Books, 1994), 7. To “come out” is defined as “to be initi-ated into the mysteries of homosexuality” in the period glossary included in Hugh Hagius, ed., “Gaedicker’s Sodom-On-Hudson,” in Swasarnt Nerf’s Gay Guides for 1949 (New York: Bibliogay Publications, 2010), 5.

One of the earliest instances where “coming out” is used in its cur-


NOTES 69

rent sense is in Gore Vidal, The City and the Pillar (New York: Dutton, 1948), 287.

156. 53 selling milk: John Warhola, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 33.

157. 53 “a luxurious department store”: John Namojski, inter-view by author, July 8, 2015. Namojski cited a local saying that you went to Kaufmann’s department store to buy something for yourself, but to Horne’s if you had to buy a wedding gift.

158. 53 air-conditioning: “Historical Sketch,” Joseph Horne Company Records, Senator John Heinz History Center, Pittsburgh, PA. See also “Installation of Our New Escalators Begun,” The Horne-Pipe, January 17, 1947.

159. 53 Raymond Loewy: This Is the Story of Pittsburgh and Horne’s (Pittsburgh: Joseph Horne Co., 1949), 16.

160. 53 a special trip: Therese Rocco, interview by author, July 1, 2014.

161. 53 “ever finding one”: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 22, Kindle edition.

162. 53 properly dirty: John Warhola and Larry Vollmer, of Horne’s, in a 1960s typescript preserved among the Gene Swenson papers, Sean Carrillo collection, Hudson, NY. See also Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 33.

163. 53 “male-tested”: See photos in the Joseph Horne Company Records, Senator John Heinz History Center, Pittbsurgh, PA. Larry Vollmer specified that Warhol worked on women’s beachware in a 1960s typescript preserved among the Gene Swenson papers, Sean Carrillo col-lection, Hudson, NY.

164. 53 “flaming queens”: Perry Davis, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1147, Kindle edition.

165. 53 straight window trimmers: Duane Michals, interview by author, May 29, 2015.

166. 53 “right in the elevator”: Tech instructor Russell Twiggs, in a 1960s typescript preserved among the Gene Swenson papers, Sean Car-rillo collection, Hudson, NY.

167. 54 “wild bird, an odd duck”: Larry Vollmer, in a 1960s type-script preserved among the Gene Swenson papers, Sean Carrillo collec-tion, Hudson, NY.

168. 54 designed windows: Larry Vollmer’s windows are illus-


70 NOTES

trated several times in Lester Gaba, The Art of Window Display (New York: Studio Productions, 1952).

169. 54 “made of Persian lamb”: Larry Vollmer, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1141, Kindle edition. See also “Art Changed, Dali Goes on Rampage in Store,” New York Times, March 17, 1939.

170. 54 the idol: Larry Vollmer is the only Pittsburgher to get that kind of billing from Warhol, and the two kept in touch for years. Warhol inscribed a copy of his 1975 Philosophy book to Vollmer, and even drew a little Campbell’s soup can in it which he signed “Andy” in red. The volume was listed for sale by the book dealer Charles Avgent on July 16, 2007, at https://groups.yahoo.com/neo/groups/BiblioMarket/conversa-tions/topics/16816, accessed March 2, 2015.

171. 54 Charming photos: The photos are preserved in the Warhol archives. The latest photos are dated October 4, 1947—precisely when Warhol would have been returning to college; they might have been shot in commemoration of his departure.

172. 54 “costume parties”: Perry Davis, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1147, Kindle edition.

173. 54 his “dream suit”: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc.1151, Kindle edition.

The suit can be seen in a photo by Otto Fenn, accession #1998.3.4858, in The Andy Warhol Museum. Note that the suit in the photo is clearly made of a lightweight, very narrow-wale corduroy, so would have been less intolerably warm than one might think in the New York summer of 1949, when Warhol is known to have been wearing it to meet with clients.

174. 54 “beautiful outfit”: Edgar Munhall, in Margery King and Mark Francis, eds., The Warhol Look (Pittsburgh: The Andy Warhol Mu-seum, 1997), 69. Munhall was a gay art historian from Pittsburgh who encountered Warhol in 1949.

175. 54 “You didn’t go downtown”: Edgar Munhall, interview by author, April 8, 2015.

176. 54 Horne’s Campus Shop: Joseph Horne Company Records, Senator John Heinz History Center, Pittbsurgh, PA. On the location of the Campus Shop see This Is the Story of Pittsburgh and Horne’s (Pittsburgh: Joseph Horne Co., 1949), 21.

In 1948, corduroy sold at Horne’s for the lofty sum of $20 for a jacket. An ad said that “everyone wears corduroy to class or informal dates”


NOTES 71

(what would those have been like for Warhol?) and it boasted of the six colors stocked by Horne’s, pink not being among them—see Joseph Horne Company Records, Senator John Heinz History Center, Pittb-surgh, PA.

177. 54 He wore: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1146, Kindle edition.

178. 54 “be a work of art”: Oscar Wilde, in Susan Sontag, “Notes on Camp,” in Against Interpretation and Other Essays (New York: Delta Books, 1966), 277.

179. 54 classmates were wrong: Petty Davis, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1146, Kindle edition.

180. 54 Department store toilets: See George Chauncey, Gay New York: Gender, Urban Culture, and the Makings of the Gay Male World, 1890–1940 (New York: Basic Books, 1994), 195. The term “T-room” is used in Hugh Hagius, ed., “Gaedicker’s Sodom-On-Hudson,” in Swasarnt Nerf’s Gay Guides for 1949 (New York: Bibliogay Publications, 2010), 16.

181. 54 “beautiful men’s rooms”: Bill Wood, interview by author, July 30, 2014.

182. 54 a button in the floor: John Namojski, interview by author, July 8, 2015. The café’s main-floor location made it unusually prominent, since most department stores put their restaurants higher up—Bruce Kopytek, department-store historian, in a March 2, 2015, e-mail to the author.

By some lovely accident the café, known for its celebrity clientele, was in fact called “The Tea Room,” changed to “Josephine’s” in 1979, maybe when the louche implications of its old name became more ob-vious—see Virginia Peden, “Horne’s Tea Room Was Favorite Resting Spot,” Pittsburgh Press, September 12, 1989.

183. 54 “wouldn’t want to go down there”: John Namojski, inter-view by author, July 8, 2015.

184. 54 cruising zone: See “Jury to Get Vice Squad Case Today,” Pittsburgh Post-Gazette, May 16, 1952. The article describes a gay man be-ing arrested for sex in the Point area. See also the oral history conducted in 1992 with Robert “Lucky” Johns, a 56-year-old gay bar owner in Pitts-burgh interviewed for the Pitt Men’s Study.

185. 54 “sex deviates” to beat up and arrest: On “brutal and un-provoked assaults by armed policemen” see “Police Told to Quit,” Pitts-burgh Press, January 3, 1952.

186. 55 “human behavior in the group and individual sense”:


72 NOTES

“Initial Report on Project of N. H. Dawes Concerning Curriculum Anal-ysis in College of Fine Arts, March 1948,” Carnegie Mellon University Archives.

187. 55 its textbook: Laurance Frederic Shaffer, The Psychology of Adjustment: An Objective Approach to Mental Hygiene (Boston: Houghton Mifflin, 1936). The book might instead or also have been used for a class in “Social Orientation” taught in second term—see Bulletin of the Carnegie Institute of Technology: College of Fine Arts, February 1, 1945, 65.

188. 55 pages on homosexuality underlined: We can tell the book’s annotations are by Warhol because its doodles are the same as ones he was doing many years later—see for example doodles on the back of the 1961 invitation to Robert Indiana’s “Premiums” show (TC65, AWMA) at the Studio for Dance gallery in New York.

189. 55 “sexual readjustment”: As though the book’s text wasn’t depressing enough, Warhol had the volume second-hand and it came already full of homophobic scribbles. The names of two previous own-ers from the Tech drama department (both are in Tech records as class of ’41) are “annotated” with the phrase “two of the B(ig) Boys”—”b-boy” or “bottom boy” being vintage slang for the submissive partner in anal sex, a notion that obsessed the period’s homophobes. Below that another scribbler describes the two students as “punkins both,” “punkin,” as glossed recently by one female classmate of Warhol’s, being the period term for a gay man on the make—see Betty Asche Douglas, oral his-tory, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

190. 55 self-portrait: From the collection of Jeffrey Warhola, son of Warhol’s brother John, and seen March 31, 2015, in storage at The Andy Warhol Museum. It must date from Warhol’s sophomore or junior year at Tech, since it has obvious links to his Daumier-inspired drawings from the summer of 1946. The self-portrait must be the one his class-mate George Klauber described as “a self-portrait he did where I can just see those wonderfully long fingers that he had”—Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 48. Klauber was only enrolled at Tech for the 1947–48 academic year, which probably dates the portrait to that time.

191. 55 a later favorite: Warhol is shown applying white nail polish in several scenes from Bruce Torbet, Superartist, documentary, 1967.

192. 55 comes off the same way: See Philip Pearlstein’s Art Class from 1946–47, in the Philip Pearlstein Family Collection and on view at The Andy Warhol Museum in Pittsburgh in July 2015.


NOTES 73

193. 55 “make himself stand out”: Philip Pearlstein, full unpub-lished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

194. 55 college boys of Oakland: See the oral history conducted in 1992 with Robert “Lucky” Johns, a 56-year-old gay bar owner in Pitts-burgh interviewed for the Pitt Men’s Study.

195. 55 punched or strangled: For the punch, see Warhol’s c.1964 Photomat strip in the collection of The Andy Warhol Museum. War-hol’s 1978 painting Self-Portrait: Strangulation is in the Tate collection in London: Tate, “‘Self-Portrait Strangulation,’ Andy Warhol, 1978,” Tate, accessed February 12, 2019, https://www.tate.org.uk/art/artworks/war-hol-self-portrait-strangulation-ar00503.

Even Balcomb Greene had got into the anti-gay act: Before arriving at Tech, he’d complained that abstract art had to compete with the pub-lic’s interest in “the vulgar homosexual” and “the living primitive,” two categories Warhol went on to build work around—see Balcolm Greene, “The American Perspective,” Plastique (Spring 1938).

We can only imagine what Greene would have included in his dis-cussion of “The homosexual as an artist, and in the art world”, which gets a line in his course notes for Tech’s art history class, Balcomb and Gertrude Greene papers, Archives of American Art, Smithsonian Insti-tution.

196. 55 issued a report: United States Congress, Employment of Ho-mosexuals and Other Sex Perverts in Government (Washington, D.C.: United States Government Printing Office, 1950), https://searchworks.stanford.edu/view/10505561\.

197. 55 “One homosexual”: Two reasons given were the “weak moral fiber” of gays and their vulnerability to “the blandishments of for-eign espionage agents.”

198. 55 “Sex Deviate” program: Douglas M. Charles, Hoover’s War on Gays: Exposing the FBI’s “Sex Deviates” Program (Lawrence, KS: Univer-sity Press of Kansas, 2015).

199. 55 bright side of the picture: The city’s newspapers would publish your name if you were caught frequenting gay hangouts—see Michael Sean Snow, “Dreams Realized and Dreams Deferred: Social Movements and Public Policy in Pittsburgh, 1960–1980” (Ph.D., Univer-sity of Pittsburgh, 2005), 63.

200. 56 two Pittsburgh judges: “County Faces Difficult Problem in


74 NOTES

Sex Crimes,” Pittsburgh Post-Gazette, December 16, 1948. The year before, a sensitive 14-year-old artiste—later an acquaintance

of Warhol’s in New York—was dragged before a judge for having written naughty letters to another boy and only escaped punishment by denying they were his—Edgar Munhall, interview by author, April 8, 2015.

My thanks to scholars Harrison Apple and Tim Haggerty for point-ers on gay culture in Pittsburgh in the 1940s.

201. 56 piled charges: “Hayden Jones Fell Victim to ‘Miscarriage of Justice,’” Pittsburgh Post-Gazette, September 1996.

202. 56 maximum sentence for sodomy: Michael Sean Snow, “Dreams Realized and Dreams Deferred: Social Movements and Public Policy in Pittsburgh, 1960–1980” (Ph.D., University of Pittsburgh, 2005), 66.

203. 56 psychiatric examination: “Bill Covering Sex Deviates Due for Review,” Pittsburgh Post-Gazette, August 16, 1951.

204. 56 “jail or shock treatments”: See the oral history conducted in 1992 with Robert “Lucky” Johns, a 56-year-old gay bar owner in Pitts-burgh interviewed for the Pitt Men’s Study.

205. 56 “Morals Squad”: See W. W. McClanahan, Jr., “What Shall We Do About the Sex Criminal: Chapter V,” Pittsburgh Post-Gazette, March 11, 1949. See also Jim Austin, “The Great Morals Squad Scandal circa 1950,” Out ( July 1980).

206. 56 “unprovoked assaults”: “Police Told to Quit,” Pittsburgh Press, January 3, 1952.

207. 56 shot two gay men: “Sharpsburg Man Shot: Morals Case Sus-pect,” Pittsburgh Post-Gazette, September 10, 1948, 8.

Warhol owned a book on policing that, as late as 1967, listed homo-sexuals as officers’ second-most-disliked kind of civilian, with “cop-fight-ers” taking the top spot. Known criminals came in ninth—see Arthur Niederhoffer, Behind the Shield: The Police in Urban Society (Garden City, NY: Doubleday, 1967). Thanks to Jay Reeg for this reference.

208. 56 loss of a job: See the case of the 32-year-old “Jerry C.” re-ported in W. W. McClanahan, Jr., “What Shall We Do About the Sex Criminal: Chapter V,” Pittsburgh Post-Gazette, March 11, 1949, 7.

209. 56 One clerk: See Jim Austin, “The Great Morals Squad Scan-dal circa 1950,” Out ( July 1980): 14.

210. 56 One straight friend: Gerald Stern, What I Can’t Bear Losing (New York: Norton, 2004), 110.

211. 56 paranoid panic: “It was everybody for themselves,” remem-bered one gay man alive at the time—see Jim Austin, “The Great Morals


NOTES 75

Squad Scandal circa 1950,” Out, July 1980, 15.Ironically, the crackdown at the Point seems to have pushed gay

cruising to Dithridge Street in Oakland, right by Tech and the Carnegie Museum and across the street from where Warhol may have briefly lived with a classmate on Mawhinney Street—see Jerry Bird, “Police Turn Spotlight on Gay Nightlife in Oakland,” Pittsburgh Press, June 2, 1980.

One source also mentions the bathrooms at the nearby Cathedral of Learning as having functioned as “tearooms,” giving Warhol yet another reason to care about that notable civic erection—see Mackenzie Carpen-ter, “A Saturday Cruise,” Pittsburgh Post-Gazette, July 15, 1991.

212. 57 “unbelievable depravity”: “Police Told to Quit,” Pittsburgh Press, January 3, 1952.

213. 57 a single description: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 157. The assignment was for the illustrator How-ard Worner, who arrived at Tech in the summer of 1947.

214. 57 a euphemism: George Chauncey, Gay New York: Gender, Ur-ban Culture, and the Makings of the Gay Male World, 1890–1940 (New York: Basic Books, 1994), 237.

215. 57 “dandy”: Willa Cather, Paul’s Case and Other Stories (New York: Dover Publications, 2011), 34.

216. 57 blank white sheet: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 157.

217. 57 much on the mind: Betty Asche Douglas, oral history, in-terview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA. In 1955, Douglas wrote her master’s thesis on Abstract Expressionism, and was introduced to de Kooning and many of his peers by her teacher Balcomb Greene.

218. 58 semen and urine: Warhol’s Oxidation works used urine as a painting material in the late 1970s, and he claimed to have done similar experiments in the early 1960s, even before he launched into Pop Art. See Ronnie Cutrone in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Ar-bor: UMI Research Press, 1986), 287. The catalogue raisonné casts some doubt on Warhol’s story about them—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 469.

Warhol mentioned using semen as a material in 1978—see the De-cember 24, 1978, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 5277, Kindle edition. Some of


76 NOTES

these “come” paintings survive.219. 58 “we dreamed of love”: See the oral history conducted in

1992 with Robert “Lucky” Johns, a 56-year-old gay bar owner in Pitts-burgh interviewed for the Pitt Men’s Study. Johns’s first bartending job was at The Horseshoe, which had the only entry for Pittsburgh in the list of American gay clubs provided in Swasarnt Nerf (pseud.), The Gay Girls Guide to the U.S. & The Western World, third edition (New York, c. 1955), reprinted in Hugh Hagius, ed., “The Gay Girl’s Guide,” in Swasarnt Nerf’s Gay Guides for 1949 (Bibliogay Publications, 2010), 41. Johns’s job at the Horseshoe was described to me by Harrison Apple, a historian of homosexual culture in Pittsburgh, in an e-mail of January 30, 2016.

See also Michael Sean Snow, “Dreams Realized and Dreams De-ferred: Social Movements and Public Policy in Pittsburgh, 1960–1980” (Ph.D., University of Pittsburgh, 2005), 69.

220. 58 “village idiot”: See Michael Sean Snow, “Dreams Realized and Dreams Deferred: Social Movements and Public Policy in Pitts-burgh, 1960–1980” (Ph.D., University of Pittsburgh, 2005), 59. As a bar-tender from a gay bar said (Snow, p. 59), “straight people would come in and watch the pretty freaks carrying on.”

221. 58 a residency: Harold V. Cohen, “The Drama Desk: Local Scrappings,” Pittsburgh Post-Gazette, May 24, 1946. See also “A John Cage Compendium,” 2019, https://cagecomp.home.xs4all.nl/.

Merce Cunningham also appeared in Pittsburgh during Warhol’s sophomore year, as a dancer in Martha Graham’s Appalachian Spring—see “Martha Graham to Return to Pittsbugh This Week,” Pittsburgh Press, February 9, 1947.

222. 58 more than just friends: On the impact of Cage’s homosexu-ality on his art, see Jonathan Katz, “John Cage’s Queer Silence or How to Avoid Making Matters Worse,” accessed February 18, 2019, http://www.queerculturalcenter.org/Pages/KatzPages/KatzWorse.html.]

223. 58 gay clubs: Bill Wood, interview by author, July 30, 2014. Wood came out on a trip to Miami Beach in 1950.

The gay scene in Pittsburgh was so limited that only a single one of Pittsburgh’s bars, The Horseshoe, is mentioned in a clandestine guide to gay America published in that era—see Swasarnt Nerf (pseud), The Gay Girls Guide to the U.S. & The Western World, third edition (New York, c. 1955), reprinted in Hugh Hagius, ed., “Gaedicker’s Sodom-On-Hudson,” in Swasarnt Nerf’s Gay Guides for 1949 (New York: Bibliogay Publications, 2010), 41.

224. 58 its entrance: See the oral history conducted in 1992 with


NOTES 77

Robert “Lucky” Johns, a 56-year-old gay bar owner in Pittsburgh inter-viewed for the Pitt Men’s Study.

225. 58 born in McKeesport: Warhol’s friend and fellow Tech stu-dent Imilda Vaughan (later Tuttle) was actually from McKeesport, ac-cording to David Newell, interview by author, May 15, 2015. Vaughan had been close to Warhol in their freshman year but had to leave Tech because her scholarship was not renewed, the college having decided that it could be more “usefully” given to a male student——Cathy Tuttle, daughter of Imilda Vaughan, interview by author, August 2, 2016.

Arthur Elias, another classmate, was also from McKeesport, ac-cording to Tech’s 1949 yearbook. Note that Elias took care to deny that Warhol was from that town—see Arthur Elias, interviewed in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwest-ern University, 1982), 527.

226. 58 gay weddings: See the oral history conducted with Herman McClain, a 75-year-old gay man interviewed in 1989 for the Pitt Men’s Study.

227. 58 went to draw: The archives of the Carnegie Museum of Art include photos of Tam o’Shanters drawing from zoological displays in the museum of natural history.

228. 58 “elegant, sparrow-boned man”: Alex Shoumatoff, Russian Blood: A Family Chronicle (New York: Coward, McCann and Geoghegan, 1982), 197. Shoumatoff, Andrey Avinoff’s nephew, said that Avinoff lived alone in rooms at the ritzy Schenley Hotel that is mentioned as the win-ter home of “a number of the big manufacturers” in Willa Cather, Paul’s Case and Other Stories (New York: Dover Publications, 2011), 36.

229. 58 successful society portraitist: Louise Lippincott, Andrey Avinoff: In Pursuit of Beauty (Pittsburgh: Carnegie Museum of Art, 2011), n. 82.

Avinoff did commercial work for Colgate and Chevrolet, no less, and won the same advertising awards that Warhol later did, although editors had rejected his beefcake cover for Machinist magazine because of “too much of a display of masculine charms.”

230. 58 felled by a heart attack: On Andrey Avinoff’s career see Louise Lippincott, Andrey Avinoff: In Pursuit of Beauty (Pittsburgh: Carn-egie Museum of Art, 2011).

231. 59 taught art: “Portfolio of Sketches Shows Commons Room,” Pittsburgh Post-Gazette, April 1, 1942.

232. 59 at Carnegie Tech: Many documents about Andrey Avinoff’s presence at Tech survive in the archives of Carnegie Mellon University.


78 NOTES

Avinoff had also been responsible for the Carnegie art museum’s landmark 1944 show of gold-ground Russian icons—the ones echoed in Warhol’s gold-ground Marilyns from almost two decades later—as well as for the design of the “Russian” classroom at the Cathedral of Learning. That was the ethnic-themed room paid for by Warhol’s Carpatho-Rusyn kin and dedicated with much fanfare in the summer of 1938, when the ten-year-old would undoubtedly have visited this popular new attraction, across the street from where he took his drawing classes. See “Cathedral of Learning Symbolizes Idealism of City Which Built It,” Pittsburgh Press, May 27, 1937. The Cathedral also housed a collection of 50,000 pictures of works of art, sure to have been catnip to Warhol.

233. 59 flower-and-butterfly paintings: “Mr. Avinoff’s beloved but-terflies . . . appear in many of the pictures [of flowers]”—Eugene F. Jan-nuzi, “Ex-Head of Museum Here Excels in New Paintings: 71 Flower Works of Andrey Avinoff Point up Technique and Imagination,” Pitts-burgh Post-Gazette, April 16, 1948.

The Warhol drawing, now in Basel, seems to be a study for the De-cember 1948 Christmas card Warhol sent to his gay friend George Klau-ber, in which the butterflies in the study are exchanged for more seasonal Christmas trees—see Mark Francis and Deiter Koepplin, Andy Warhol, Drawings 1942–1987 (Boston and New York: Little, Brown, 1998), plate 9. (Of course the butterfly image might also come after the Christmas-themed one.)

234. 59 “come and fly with me”: The drawing is in the collection of the Warhol Museum, accession # 1998.1.1871.

235. 59 circle of gays: Louise Lippincott, interview by author, March 29, 2015.

236. 59 Edgar Kaufmann Jr.: See the discussion of Warhol’s con-tacts with Edgar Kauffman, Jr., later in this book.

237. 59 “the idol of my youth”: An anonymous source quoted in Alex Shoumatoff, Russian Blood: A Family Chronicle (New York: Coward, McCann and Geoghegan, 1982), 192.

One gay Pittsburgher remembered running into Avinoff in the Carn-egie Institute’s halls as a boy, when he went there for his Tam o’Shanter lessons: “He was a celebrity that one recognized—he was just so glamor-ous, being a White Russian. He was just my ideal man”—Edgar Mun-hall, interview by author, April 8, 2015.

238. 59 “nobody was bothered by it”: Louise Lippincott, Andrey Avinoff: In Pursuit of Beauty (Pittsburgh: Carnegie Museum of Art, 2011), n. 83. Lippincott cites her source as “Richard Hunt quoting Margherita


NOTES 79

Langer, letter to the author, May 30, 2010, Carnegie Museum of Art, Avinoff artist file.”

239. 59 as a butterfly: The caricature of Avinoff, from the Decem-ber 12, 1936, Pittsburgh Post-Gazette, is illustrated in Louise Lippincott, Andrey Avinoff: In Pursuit of Beauty (Pittsburgh: Carnegie Museum of Art, 2011), 30.

Butterflies were already a recognized symbol for gays—see The Curse of the Butterfly, the 1919 play by the gay author Federico Garcia Lorca (my thanks to Harrison Apple for the reference). See also Ángel Sahuquillo, Federico García Lorca and the Culture of Male Homosexuality ( Jefferson, NC: McFarland, 2007), 102. Blood Wedding, a Lorca play with themes that might be gay, was performed at the Outlines gallery in Pittsburgh in 1946. The writer Truman Capote, a junior-year hero of Warhol’s who became a symbol of gay culture, once referred to the butterfly as his coat of arms—“let other men have their crossed maces or guns”—see Capote in Virginia Sheward, “Butterflies at the Beach: Capote’s Studio,” Newsday, June 21, 1966.

Warhol’s pictures of butterflies were mentioned in his very first re-view, which was a mildly homophobic pan—see James Fitzsimmons, “Irving Sherman, Andy Warhol,” Art Digest ( July 1952): 9. Someone who knew Warhol in the 1950s described him as “this fey sort of butterfly person. He seemed to flutter”—see John Mann in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 19.

240. 59 a gay association: Louise Lippincott, Andrey Avinoff: In Pur-suit of Beauty (Pittsburgh: Carnegie Museum of Art, 2011), 65.

241. 59 his nude models: In a letter to art historian Louise Lippin-cott one model recruited from among Tech’s students even remembered being offered a warm bath with the Russian—Louise Lippincott, inter-view by author, March 29, 2015.

242. 59 Scholastic art contest: “Judging Begins Today in Art Con-test Here,” Pittsburgh Post-Gazette, April 14, 1945, 8.

243. 59 Alfred Kinsey: Andrey Avinoff to Alfred Kinsey, holograph letter, n.d., Kinsey Institute collection, transcribed by art historian Lou-ise Lippincott in a March 30, 2015, e-mail to the author.

244. 60 stodgy old whiskey: Dorothy Kilgallen, “News! News! News!,” Pittsburgh Post-Gazette, April 20, 1948, 24.

245. 60 huge play: Francis Sill Wickware, “Report on Kinsey,” Life (August 2, 1948): 86. Warhol’s teacher Balcomb Greene was already quot-ing the Kinsey Report in a publication from the fall of 1948, which, given


80 NOTES

publishing deadlines, must have been written quite a bit earlier still—see Balcolm Greene, “Basic Concepts for Teaching Art,” College Art Journal 8, no. 1 (Autumn 1948): 32.

246. 60 homosexual experiences: Alfred C. Kinsey, Sexual Behavior in the Human Male (Philadelphia: W. B. Saunders, 1948), 650.

The New York Times published a heartfelt rave almost as soon as the book came out. It said that Kinsey’s facts, including the discovery that homosexuality was commonplace, “provide the knowledge with which we can rebuild our concepts with tolerance and understanding”—see Howard A. Rusk, “Concerning Man’s Basic Drive,” New York Times, Janu-ary 4, 1948.

Time magazine, always leaning conservative, gleefully quoted a psy-chiatrist who claimed to “unravel” Kinsey’s findings: “The implication that because homosexuality is prevalent we must accept it as ‘normal,’ or as a happy and a healthy way of life, is wholly unwarranted”—see “Dr. Kinsey Misremembers,” Time ( June 14, 1948): 80.

247. 60 best-seller list: See “Best Seller Listings,” New York Times Book Review (February 8, 1948). See also William Fense Weaver, “Mr. Vidal’s Silver Cord,” New York Times Book Review (February 6, 1948).

248. 60 lived off its royalties: See Gore Vidal, Gore Vidal: Snapshots in History’s Glare (New York: Abrams, 2009), 62, 66.

249. 60 guide to gay life: Swasarnt Nerf (pseud.), The Gay Girl’s Guide (first edition, 1949), reprinted in Hugh Hagius, ed., “The Gay Girl’s Guide,” in Swasarnt Nerf’s Gay Guides for 1949 (Bibliogay Publications, 2010), 64. Vidal’s book was so “accurate,” however, that a young Pitts-burgher like Warhol might have had trouble getting a copy; many papers refused to review it and some bookstores wouldn’t stock it.

250. 60 “world where sex was natural”: Gore Vidal, The City and the Pillar (New York: Dutton, 1948), 287. Or as one central character in Vidal’s novel declares (p. 140): “There should be no need to hide, to sub-merge in the big city; everything should be open and declared. . . . Let [the world] see that the important thing is not the object of love but the emotion itself and let them respect anyone, no matter how different he is, if he attempts to share himself with another.”

See also where the main character imagines (p. 287) “what would happen if he were to be honest and natural; if every man like himself were to be natural and honest. It would be the end of the submerged world and it would make a better beginning for others not yet born: to be born into a world where sex was natural and not fearsome, where men could love men naturally, the way they were meant to.”


NOTES 81

251. 60 “hands of effeminate boys”: Sterling North, “The City and the Pillar,” Washington Post, January 11, 1948.

252. 60 a sultry photo: On the photo see Gerald Clarke, Capote: A Biography (RosettaBooks, 2013), loc. 2641, Kindle edition.

The novella is included in a list of gay-themed books in Swasarnt Nerf (pseud.), The Gay Girl’s Guide (first edition, 1949), reprinted in Hugh Hagius, ed., “The Gay Girl’s Guide,” in Swasarnt Nerf’s Gay Guides for 1949 (Bibliogay Publications, 2010), 65.

253. 60 nab an enlargement: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1163, Kindle edition.

254. 61 “To walk with Capote”: Cynthia Ozick, in Neil Printz, “Other Voices, Other Rooms: Between Andy Warhol and Truman Capote, 1948–1961” (Ph.D., New York University, 2000), 140.

255. 61 page of notes: The sheet survives in the Warhol archives. It is undated, and its handwriting matches samples from as early as 1948 and as late as the early 1950s.

It might have been drawn up in research for a college assignment, or for Warhol’s 1952 show of Capote-inspired drawings—his first exhibition in New York.

256. 61 “sibilant whispering”: Orville Prescott, “Books of the Times,” New York Times, January 21, 1948.

257. 61 “blond waif”: Truman Capote, Other Voices, Other Rooms (Vintage International, 2007), 2, Kindle edition.

258. 61 a gay-fabulous style: Already in June 1947, Life had given big play to a photo of the effete Truman Capote posed in just such a room, in front of a painting of absurdly phallic pears and bananas. It was the main image for a Life magazine story on young writers that the twenty-two-year-old neophyte barely deserved to be in. (Warhol beat the same banana joke to death in the 1960s.)

The setting for the photo was the overdecorated Victorian parlor of Capote’s gay writer-friend Leo Lerman, a Condé Nast staffer who kept a famous salon in a townhouse just up the street from the one Warhol bought in 1960—see Neil Printz, “Other Voices, Other Rooms: Between Andy Warhol and Truman Capote, 1948–1961” (Ph.D., New York Univer-sity, 2000), 182.

259. 61 “fairy Huckleberry Finn”: George Davis, in Gerald Clarke, Capote: A Biography (RosettaBooks, 2013), loc. 2627, Kindle edition.

260. 61 earlier fiction: See Michael Sean Snow, “Dreams Realized and Dreams Deferred: Social Movements and Public Policy in Pitts-burgh, 1960–1980” (Ph.D., University of Pittsburgh, 2005), 177.


82 NOTES

261. 61 offered hints: The psychology class that came with that homophobic textbook, taught by James B. Klee, was unusually popular because of its surprisingly frank talk about sex, according to surviving Tech students who took it. Its teacher, who was gay, was “very fascinated by Andy”, so must have given the younger man some sense of belonging and hope—see Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 527, 531.

Joseph Groell also mentions Klee as “responsive” to Warhol, and says he gave Warhol an A in the course, although that is not born out by War-hol’s Tech transcript, which shows him getting a B, a C and a D in his three terms of psychology classes—see Groell in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 645. George Klauber, p. 687 in the same volume, also mentions the class as important. See also Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Pa-pers, AWMA.

In a newspaper article Warhol could not have missed, because it sat right beside the coverage of his huckster drawings in the Post-Gazette, Max Schoen, the professor emeritus who had founded the college’s psy-chology course, talked about how Americans were at last “crawling out of the Middle Ages in their love life.” He advocated “thinking for your-self, figuring things out for yourself, and acting accordingly.” This was the kind of position, the article says, that “makes you blink your eyes and wiggle your ears and query, ‘Beg your pardon?’” See Betty-Jo Dan-iels, “Society Called ‘an Insane Asylum’ by Tech’s Psychology Professor,” Pittsburgh Post-Gazette, November 24, 1946.

262. 61 almost openly homosexual: Betty Asche Douglas, oral his-tory, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA. “There were guys around, and girls too for that matter, that were known to be gay,” said Douglas, explaining that they had to be “subtle” in expressing their sexuality.

263. 62 not totally closeted: Eleanor Simon, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 43.

264. 62 “well accepted”: Perry Davis, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc.1095, Kindle edition.

265. 62 recommended Capote: Perry Davis, “Parallels,” Portfolio (March 1949): np, Records of the Associated Artists of Pittsburgh, Senator John Heinz History Center, Pittsburgh, PA. Portfolio was a publication of


NOTES 83

the Associated Artists of Pittsburgh, with layouts—pretty bad ones—by Davis. It seems to have lasted for all of two issues.

Balcomb Greene’s outline and draft for an unfinished novel about the Tech art department (Balcomb and Gertrude Greene Papers, Ar-chives of American Art, Smithsonian Institution) includes a gay teacher and an attempt to discredit him as “queer,” as well as a line item for a passage on “Love among the students.”

266. 62 wrote lyrics: Perry Davis, in unpublished interview notes by Victor Bockris, cited in Nina Schleif, Drag & Draw: Andy Warhol, the Unknown Fifties (Munich: Hirmer, 2018), 74.

267. 62 George Klauber: Philip Pearlstein, interview by author, Au-gust 18, 2014.

268. 62 contact in that world: Marshall Reese, interview by author, April 13, 2015. Reese is a relative of Warhol’s 1950s friend Corkie Ward. See also Philip Pearlstein, interview by author, August 18, 2014.

Warhol said that it was George Klauber who had first introduced him to gay life—see July 13, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13345, Kindle edition.

269. 62 mostly closeted: Roger Anliker’s friend and student Frank Galuska, interview by author, May 18, 2015. Betty Asche Douglas also said that Anliker was gay.

One critic complained that Anliker’s bejeweled, fey style “gets out of hand in reflecting a very personal dream life”—see Jeanette Jena, “Art-ist Exhibits Jeweled Effects at Carnegie Show,” Pittsburgh Post-Gazette, February 2, 1960. Several others compared Anliker’s magic-realist paint-ings to the prose of the Decadent author Karl-Joris Huysmans, whose 1884 book Against Nature was the bible of gay aesthetes—who included Warhol, whose 1959 copy of the Huysmans book is in Time Capsule 85 of his archives.

Anliker was one of the few members of the art department who had “no truck with the so-called modern movements”—see Jeanette Jena, “Haunting Quality Marks Exhibitions by Anliker,” Pittsburgh Post-Gazette, December 11, 1958. That doesn’t seem to have stopped Warhol keeping up with Anliker after graduation, and going to his New York shows: Warhol’s Time Capsule 71 includes a note referring to a reception for an Anliker show at Seligman Gallery in New York, and several An-liker brochures survive among Warhol’s papers.

270. 62 as his friend: Roger Anliker, in Donald Miller, “Art’s Old and New Values Coexist,” Pittsburgh Post-Gazette, April 7, 1990.


84 NOTES

271. 62 life portrait: The drawing survives in the collection of Roger Anliker’s friend Dale Roberts.

272. 62 “very gay”: Dorothy Cantor, interview by author, August 18, 2014.

273. 62 pink shirts: Herman McClain, a seventy-five-year-old gay man interviewed in 1989 for the Pitt Men’s Study, said that “gay males then would probably put on colors that men wouldn’t wear. Probably a pink shirt. Well, no man wore a pink shirt.” See also the 1959 coming-of-age novel John Knowles, A Separate Peace (New York: Bantam, 1959).

A photograph of Davis appears in the Tech yearbook The Thistle (Pittsburgh: Carnegie Institute, 1947).

274. 62 “the little fruitcake”: Betty Asche Douglas, oral history, in-terview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

Douglas said that Warhol kept up with Davis after graduation, and that the teacher would report back to Tech on what “Old Andy” was up to in New York.

275. 62 hair dyed chartreuse: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1181, Kindle edition.

276. 62 a new movie: The relationship to the movie was first sug-gested in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1184, Kindle edition.

277. 62 a Hollywood party: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 53. Dean Stockwell showed up at the party along with gay icons Troy Donahue and Sal Mineo, all stars the artist said he’d always wanted to meet. In De-cember 1966, Stockwell and Warhol were close enough for Stockwell to send him a Christmas card, preserved in Time Capsule 59 in his archives.

CHAPTER 4

1. 65 “he got approval by by being impossible”: Roger Anliker, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 13.

2. 65 “find something new”: Philip Pearlstein, in “Warhol, Andy (1928–1987), Artist and Filmmaker,” American National Biography On-line, accessed February 23, 2019, https://www.anb.org/view/10.1093/anb/9780198606697.001.0001/anb-9780198606697-e-1701003.

3. 65 “do it the way you see it”: Jack Wilson, a classmate of War-hol’s, quoting Tech instructor Russell Hyde in Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 153.


NOTES 85

4. 65 “that was the new frontier”: Betty Asche Douglas, oral his-tory, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

“We became abstract,” recalled Arthur Elias in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Univer-sity, 1982), 536. Elias said that it was a deliberate rebellion against some of their more conservative teachers.

In 1971, Warhol got all excited at the idea that some AbEx-ers would be at a party he was going to—see Andy Warhol, Factory Diary: Brigid Showing Polaroids of Andy, Oct. 25, 1971, videotape, 1971. Still later, he planned to make a movie about Jackson Pollock—Warhol’s friend Stuart Pivar tells the story of the failed project in Catherine Johnson, ed., Thank You Andy Warhol (New York: Glitterati, 2012), 183.

5. 66 abstraction had to be defended: Robert Lepper, in Philip Rostek, Robert Lepper: A Personal View, documentary, 2014. The Rostek documentary was self-produced and never went into circulation.

6. 66 dribbled paint: Steve Kiselick, in Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Ben-nard B. Perlman Papers, AWMA.

7. 66 “anything representational”: Phillip Pearlstein, in Leland Wallin, “The Evolution of Philip Pearlstein, Part I,” Art International (Summer 1979): 63.

8. 66 “legitimately an art issue”: Betty Asche Douglas, oral his-tory, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA. Such debates took place at student gatherings that Perry Davis hosted almost every weekend in his flat, Douglas said, which was right near Tech and directly below the apartment of Russell Twiggs and his kindly wife Lorene, the art-department secretary and a Warhol confi-dant. (Lorene had fought for Warhol that first spring when his future at Tech was in doubt—see Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 979, 982, 1002, 1005, Kindle edi-tion.)

Davis was barely older than some of his students, and was more in-volved than the department’s older staff in their artistic experiments. He was the one instructor who contributed to Form, an ambitious and ex-perimental art journal that the top P&Ds—but strangely not Warhol—launched in early spring of 1948. (See “Jack Hacler Announces FORM Staff,” The Carnegie Tartan, January 27, 1948, 6.) It was laid out according to the radical ideas of Paul Rand, a prodigy graphic designer whose book Thoughts on Design came out in 1947, and who had shown at Outlines


86 NOTES

gallery the previous year. Form’s avoidance of capital letters—there’s not a single one in the entire issue—comes from Rand; Warhol stopped us-ing capitals around this time, even on his school assignments, and aban-doned them for many years to come. (The text on the back of his “Living Room” assignment, discussed later in this book, is entirely lower-case.)

Weekly gatherings also happened at Balcomb Greene’s house, ac-cording to Philip Pearlstein in Kynaston McShine, ed., Andy Warhol, a Retrospective (New York: Museum of Modern Art, 1989), 423. Greene lived at 5202 Woodlawn Place, also minutes from the Tech campus, according to an unidentified clipping on Greene being named “Man of the Year” in Pittsburgh art (Balcomb and Gertrude Greene Papers, Archives of American Art, Smithsonian Institution).

Balcomb Greene covered Duchamp and the Dada movement in his classes—see the course notes in the Balcomb and Gertrude Greene Papers, Archives of American Art, Smithsonian Institution. The min-utes of a fine-arts Curriculum Committee meeting for January 13, 1948 (Carnegie Mellon University Archives) show Greene getting approval to teach a new especially advanced one-semester course called “Problems in Present-Day Creative Expression,” although Warhol’s transcript does not show him taking it.

9. 66 “was to do something unique”: Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

10. 66 love of Shirley Temple: Betty Asche Douglas, oral his-tory, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

11. 66 “rode out to the campus”: Betty Asche Douglas, oral his-tory, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

12. 66 “first underground films”: Jack Wilson, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 10. The student film seems to have been screened at a cross-disciplinary Arts Day held at Tech in May 1948—see Carnegie Tartan, May 18, 1948, 5. Warhol seems to have de-signed a kind of signboard for that Arts Day, according to an uncaptioned photograph in a folder marked “Andy Warhol” in the Carnegie Mellon University Archives.

13. 66 placed gels: Jack Wilson, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 10. The film also included details painted


NOTES 87

directly onto the celluloid, in homage to the Canadian animator and di-rector Norman McLaren, who’d once made a film about a day in the life of an art school and whose works were shown at Tech—see Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

14. 66 a notable role: Tech instructor Russell Twiggs, in a type-script of a 1960s interview, Gene Swenson papers, Sean Carrillo collec-tion, Hudson, NY. Twiggs said the film’s title was The Storming of the Castle and that a student named Lee Goldman was in charge of it.

15. 66 struggling to keep up: See College of Fine Arts departmen-tal meeting notes, Carnegie Mellon University Archives.

16. 66 Film Arts club: The Thistle (Pittsburgh: Carnegie Institute, 1947).

17. 66 weekly screenings: See the June 19, 1948, draft of the “Col-lege of Fine Arts Annual Report, 1947–1948,” Carnegie Mellon University Archives.

18. 67 “talking motion picture”: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 819.

19. 67 quit painting for film: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 144.

20. 67 “rock and roll and movies”: Curator Sam Green, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 218.

21. 67 piano lessons: Philip Pearlstein, in Rainer Crone, “Das Bild-nerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 263.

22. 67 modern compositions: The college had just launched its first composition program—see Carnegie Mellon University, “History—College of Fine Arts—Carnegie Mellon University,” accessed March 1, 2019, http://cms-staging.andrew.cmu.edu/cfa/about/history/index.html.

23. 67 “tore all the pads off”: Betty Asche Douglas, oral his-tory, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

24. 67 Cage himself had appeared: “John Cage and Merce Cun-ningham worked together more than they do now, and came here to do a program together. John played the piano and Merce danced. Many people came to see them and asked so many questions afterwards. They thought there might be enough interest in Pittsburgh to hold a class in composition and a workshop in dance. So John had a composition class of about 15 and Merce had a slighty larger group for dance. They rented


88 NOTES

an apartment near the Playhouse where the gallery was at the time. . . . They stayed about 6 weeks”—Betty Rockwell, founder of Outlines, in “Elizabeth Rockwell Raphael Interview on Contemporary Craft,” Con-temporary Craft, accessed November 26, 2019, https://contemporary-craft.org/about/history/elizabeth-rockwell-raphael-interview/.

Cage appeared at Outlines in 1943 and 1946 and twice in 1947—Out-lines Gallery, scrapbook (n.d.), Rockwell family collection.

25. 67 meeting the composer: Warhol, in Benjamin Buchloh, “An Interview with Andy Warhol,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 121.

In a conversation with his friend Emile de Antonio, Warhol said he was 10 when he first saw John Cage in Pittsburgh—Emile De Antonio, notes from an interview, September 27, 1976, box M88, AWMA. He might in fact have been as young as 14, given Cage’s appearance at Outlines gal-lery in April 1943.

26. 67 Cage at the root: Henry Geldzahler, in Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt per-sonal papers.

27. 67 a Cage lecture: Philip Pearlstein, full unpublished tran-script for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

See also Pearlstein in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 261.

On Cage and Warhol see Gary Comenas, “When Did Andy Warhol Meet John Cage?” Warholstars (blog), 2009, http://www.warholstars.org/andy_warhol_john_cage.html. A Cage record, with a track for prepared piano, got a strong review in a Pittsburgh paper in June 1947—see Donald Steinfirst, “The New Records: Americans All,” Pittsburgh Press, June 14, 1947. Another Cage record was mentioned by Warhol’s instructor Perry Davis, “Parallels,” Portfolio (March 1949): np, Records of the Associated Artists of Pittsburgh, Senator John Heinz History Center, Pittsburgh, PA.

28. 67 “whether they like it or not”: “B.I. Biography,” The Bulletin Index, February 22, 1947, 21.

29. 67 frequented the place: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. Pearlstein is interviewed in Cayce Mell, Tracing Outlines, documentary, 2015, http://www.imdb.com/title/tt2923306/.


NOTES 89

30. 67 media coverage: “B.I. Biography,” The Bulletin Index, Febru-ary 22, 1947, 20.

Looking at the exhibition schedule at Outlines, you realize that the gallery functioned almost as an extension of the art department at Tech: Russell Twiggs showed silkscreens there and Balcomb Greene and Rob-ert Lepper were invited as speakers.

31. 67 a “socialite”: “Mixed Emotions Greet Miss Rockwell’s ‘Out-lines’ Show,” Pittsburgh Sun-Telegraph, October 13, 1941.

32. 67 a branch of the Museum of Modern Art: Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 534.

33. 67 “gallery of tomorrow”: Clipping dated 1946, Outlines Gal-lery, scrapbook (n.d.), Rockwell family collection.

34. 67 Paul Klee: See Arthur Elias in Patrick S. Smith, “Art in Ex-tremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 536.

The Klee show had Balcomb Greene as its master of ceremonies—see “Klee’s ‘Fantastic Abstractions’ Get Preview Showing,” Pittsburgh Press, January 18, 1943.

35. 68 Boîte-en-valise: The Rockwell Boîte was sold at Christies on May 15, 2015—see “Marcel Duchamp (1887–1968) , de Ou Par Marcel Duchamp Ou Rrose Sélavy (La Boîte-En-Valise) [Series A] Untitled,” ac-cessed February 28, 2019, https://www.christies.com/lotfinder/lot_de-tails.aspx?intObjectID=5893256.

36. 68 several Duchamps: Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 92.

The gallery also built programs around almost all the greats in mod-ernist culture. In music, it promoted Igor Stravinsky, Paul Hindemith, Bela Bartok and, of course, John Cage. Among writers, it featured radi-cals such as James Joyce (Joseph Campbell himself lecturing on Finnegans Wake) and Pittsburgher Gertrude Stein (a “concert drama” performance of her “Four Saints in Three Acts”). Stein remained in Warhol’s pantheon for the rest of his life: He owned a second-edition copy of Stein’s chil-dren’s book The World is Round, from 1939 (TC71, AWMA), that includes an undated birthday inscription to Warhol from his classmate Leonard Kessler. In the 1950s, Warhol drew a comic image titled The Autobiogra-phy of Alice B. Shoe and in 1980 he included Stein as one of his ten Jewish Geniuses.

37. 68 “direct painting medium”: See the exhibition announce-ment in Outlines Gallery, scrapbook (n.d.), Rockwell family collection.


90 NOTES

See also the detailed discussion of the show at this author’s blog post “Discovered: A Certificate of Warhol’s Birth (as an Artist),” Warholiana (blog), April 24, 2015, http://warholiana.com/post/117262427996/discov-ered-a-certificate-of-warhols-birth-as-an.

38. 68 Maya Deren: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 39.

Deren’s Meshes of the Afternoon was presented at Outlines within months of its making in 1943, then screened again several times “by pop-ular request” in 1947, the year it won a prize at Cannes—see Outlines Gallery, scrapbook (n.d.), Rockwell family collection. Deren actually shot footage in Pittsburgh, in Betty Rockwell’s parents’ own house.

In Warhol’s senior year, an influential gay teacher wrote about Maya Deren as a new cultural figure worth attending to—see Perry Davis, “Parallels,” Portfolio (March 1949): np, Records of the Associated Artists of Pittsburgh, Senator John Heinz History Center, Pittsburgh, PA. Decades later, when Warhol himself had become a famous filmmaker, he must have been pleased to see his work featured at the great Film-Makers’ Cin-ematheque in the same week as a Deren festival; he kept the September 1965 program (box B500, AWMA) that pairs the two.

39. 68 visits by Parker Tyler: Parker Tyler—famous for his long hair and mascara—was a friend of Maya Deren and lectured at Outlines twice in 1945 and again in ’47, when he published Parker Tyler, Magic and Myth of the Movies (New York: Henry Holt & Co, 1947). That was a book which Warhol owned, probably while still in college, and then channeled into his Pop Art; Tyler later became a big supporter of Warhol’s films and a good friend. A photo survives of Warhol holding Tyler’s crotch—see “Archives Malanga,” accessed March 6, 2019, http://gerardmalanga.net/stock_fulllist.htm.

For more on Tyler see his life-partner Charles Henri Ford in Winston Leyland, ed., “Ira Cohen Interviews Charles Henri Ford,” in The Gay Sun-shine Interviews (San Francisco: Gay Sunshine Press, 1978), 42.

40. 68 A grades: See Warhol’s transcript, Office of the Registrar, Carnegie Mellon University.

41. 68 “He was talented”: Martha Sutherland, interview by au-thor, March 18, 2015.

42. 68 G.I.-filled class: Annual reports of the College of Fine Arts, July 1947 and July 1948, Carnegie Mellon University Archives.

“The influence of more mature students has been stimulating while their diligence and serious purpose have inevitably raised standards of accomplishment throughout the college,” says a June 28, 1946, draft of


NOTES 91

part I of the 1945–1946 annual report for the CFA, Carnegie Mellon Uni-versity Archives.

43. 68 his mother decided: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 38.

44. 68 Tuition had gone up: Yearly expenses for art students, who lived at home, including tuition, were estimated at $600—Bulletin of the Carnegie Institute of Technology: College of Fine Arts, February 1, 1945, xxvii. By Warhol’s senior year that estimate was increased by $200—Bulletin of the Carnegie Institute of Technology: College of Fine Arts, April 1948, 28. The increase is recommended in “Minutes of Special Meeting of Curriculum Committee, March 19, 1946,” Carnegie Mellon University Archives.

45. 69 Warhol couldn’t join: Robert Lepper, in a January 1974 doc-ument compiled in response to queries from the German scholar Rainer Crone, Robert L. Lepper Papers, Carnegie Mellon University Archives.

46. 69 “why can’t you use common sense”: Paul Warhola, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 13. See also Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 68.

47. 69 scraps of fine paper: Betty Asche Douglas, oral history, in-terview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA. This may explain a large body of Warhol drawings that cross over several scruffy sheets taped together; many of them may therefore need to be redated to his student days.

48. 69 emergency funding: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 39. There is a discussion of need-based assistance at Tech in Bulletin of the Carnegie In-stitute of Technology: College of Fine Arts, February 1, 1945, xxx. In April 1948 Warhol received a small sum from Tech’s “Committee on Financial Aid for Students”—see committee chairman J. C. Dickenson to Warhol, April 18, 1948, AWMA.

Warhol’s brother John said that their father’s bequest was enough to pay for the first two years at Tech and that scholarships funded the rest—John Warhola, oral history, typed notes, June 30, 1993, Andy War-hol Museum Institutional Oral Histories, AWMA.

49. 69 majoring in art education: The choice of majors is dis-cussed in Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 156. For the list of art degrees granted by Tech see Bulletin of the Carnegie Insti-tute of Technology: College of Fine Arts, February 1, 1945, 8. Perlman claims that the change came about after Warhol tried his hand at teaching at


92 NOTES

the local YMHA, but documents prove that that opportunity came at the very end of college (see note below).

50. 69 Advance Guard in Advertising: Outlines advertising indi-cates that an exhibition by the same name had been planned for July 1943, but had to be cancelled when the gallery moved; the lecture seems to have happened on May 21, 1944—Outlines Gallery, scrapbook (n.d.), Rockwell family collection.

51. 69 crucial influences: Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 531.

52. 69 Warhol went to it: See Bennard B. Perlman, “Is Warhol’s Art Art Yet?” baltimoresun.com, March 26, 1997, https://www.balti-moresun.com/news/bs-xpm-1997-03-26-1997085148-story.html.

53. 69 “becomes a fine artist”: Homer Saint-Gaudens, in “Ameri-can Weekly’s Art Exhibit Praised at Preview Here,” Pittsburgh Sun-Tele-graph, October 9, 1947.

54. 69 emblems of gay companionship: See Jonathan D. Katz and David C. Ward, Hide/Seek: Difference and Desire in American Portraiture (Washington, D.C.: Smithsonian Institution, 2010).

55. 69 “trend towards modern art”: Edward H. Martin, “Adver-tising Art Exhibit Reflects Trend: Stylization Seems to Overshadow Con-ventional School,” Pittsburgh Post-Gazette, March 29, 1946. The exhibition had toured to a fancy Pittsburgh hotel. Martin’s comment echoes the ar-gument of a book and touring show called “Modern Art in Advertising” that was making a splash during all of Warhol’s college years by forging “a connection between the collective masses and the art of their time,” as Fernand Leger himself wrote in its catalog—see Egbert Jacobson, Modern Art in Advertising: Designs for Container Corporation of America (Chicago: Theobald, 1946), np. A partial list of venues is given in the catalogue. That book was owned by Warhol’s two local libraries, at the Carnegie Institute and in the Tech art department, and the show travelled to vari-ous nearby cities.

In 1948, almost 190 of Pittsburgh’s own designers and illustrators, including a number from Horne’s department store where Warhol found summer work, formed the Advertising Artists Club of Pittsburgh. An exhibition of their self-portraits had a wild, Dada edge—see “Advertising Artist Designs Club Insigne,” Pittsburgh Post-Gazette, September 14, 1948. See also “What Is This . . . ART,” Pittsburgh Press, January 30, 1949.

56. 69 “everything is craft”: Jonas Mekas, “Movie Journal,” Village Voice, February 17, 1966.


NOTES 93

57. 70 short story illustrations: Robert Lepper dates Warhol’s il-lustrations for a story by Katherine Anne Porter to 1947, when he was getting his students to draw from her writings—see Robert Lepper, “An-drew Warhola: Student in Pittsburgh,” typescript of a 1976 essay, Robert L. Lepper Papers, Carnegie Mellon University Archives.

58. 70 “coarse, slightly hairy twine”: Marjorie Freund, Lord and Taylor art director, typescript memoir (n.d.), David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

59. 70 hero of Warhol’s: “He actually mentioned Ben Shahn with great admiration” said Tech classmate Jack Wilson in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 11.

60. 70 “became the Andy Warhol line”: Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA. Many of Warhol’s clients from the 1950s speak of Ben Shahn as his model, although the style wasn’t unique to Shahn: The car-toon published on the handbill for the William Steig show at Outlines also uses a broken line and it’s even closer to Warhol’s—Outlines Gal-lery, scrapbook (n.d.), Rockwell family collection. A broken line was also used by Paul Rand, whose book Thoughts on Design would already have been a Warholian source, and who had been in charge of the daring ad campaign for Kaufmann’s department stores in Pittsburgh while Warhol was at Tech—see Paul Rand, Thoughts on Design (New York: Wittenborn and Company, 1947). Rand had shown at Outlines in 1946.

61. 70 knew Shahn’s work: Ben Shahn was in the Carnegie an-nuals for 1945, ’46 and ’48. The Shahn show at MoMA was discussed in class and its catalog was in the Carnegie library—see the catalog of the Carnegie Library of Pittsburgh, main branch, and Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pitts-burgh: The Andy Warhol Museum, 1994), 158. Warhol seems to have seen MoMA’s show in person: Arthur Elias said that they visited MoMA on their first trip to New York, and mentions Warhol’s admiration for Shahn in that context—Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 536. Note that the Museum of Modern art dedicated an entire issue of its bulletin to Shahn just before the start of Warhol’s junior year—see “Ben Shahn,” Museum of Modern Art Bulletin, Summer 1947, 5.

62. 70 ten best artists: Look (February 3, 1948).One P&D believed that Warhol’s original move away from fine art

and into illustration came about, and felt culturally acceptable to War-


94 NOTES

hol the avant-gardist, because of his admiration for Ben Shahn’s work, “which leads itself right into commercial art”—see Arthur Elias in Pat-rick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., North-western University, 1982), 538.

63. 71 “if it was printed”: Jesse Kornbluth, Pre-Pop Warhol (New York: Random House, 1988), 48. The source of Warhol’s quote is not given, but the implication is that it refers to his blotted line.

64. 71 fascination with mass production: “What was radical in Warhol was that he adapted the means of production of soup cans to the way he produced paintings, turning them out en masse—consumer art mimicking the process as well as the look of consumer culture. This was a startling act of confrontation”—Robert Hughes, “Man for the Ma-chine,” Time (May 17, 1971): 80.

65. 71 cheap newsprint: Robert Lepper, in a January 1974 docu-ment compiled in response to queries from the German scholar Rainer Crone, Robert L. Lepper Papers, Carnegie Mellon University Archives.

66. 71 with a napkin: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy War-hol Museum, 1994), 158.

67. 71 he had “hated”: Warhol, in Robert Nickas, “Andy Warhol’s Rorschach Test,” in Andy Warhol: The Late Work (Munich: Prestel, 2004), 98.

68. 71 “you can do an ink blot”: Warhol, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 336. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1110, Kindle edition. A classmate of Warhol’s insisted that the blotted line was something many of Tech’s students were trying—Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

There are hints that the blotted line might have roots that date back even earlier, to Warhol’s childhood: The Warhola brothers would draw with wax crayons on paper then use a hot iron to transfer their drawings onto fabric, no doubt watching their lines break down in the process—see Paul Warhola, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

The blot’s potential in art has a long history, anyway, dating back to Leonardo da Vinci and continuing through the ink-works of Alexander


NOTES 95

Cozens (“blotmaster-general”) and Victor Hugo, who made blotty art whenever he wasn’t writing—see Christopher Turner, “The Deliberate Accident in Art,” Tate Etc. (Spring 2011).

The most famous blot of all, from the psychiatric Rorschach Test, was quite new and also widely known in Warhol’s student days. A ver-sion of it, “made by the author according to the same principles,” is one of the very few illustrations in Warhol’s college psych text—Laurance Frederic Shaffer, The Psychology of Adjustment: An Objective Approach to Mental Hygiene (Boston: Houghton Mifflin, 1936), 302. Rorschachs were also used to weed out gay men during the draft for the Korean War, as Warhol himself was weeded out after college—quite how or why we don’t know.

69. 71 $20 prize: Warhol’s winning of the Mrs. John L. Porter Prize for Progress was announced to him in a letter from the chair of the Committee on Financial Aid—see J. C. Dickenson to Andy Warhol, April 18, 1948, AWMA.

70. 72 “proto–Pop Art backdrop”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

The May 1948 production of the play, by Louis Adelman, was dis-cussed in the same issue of the Tech newspaper that mentioned Warhol as the new art director of the student literary magazine called Cano—see Carnegie Tartan, May 18, 1948, 1, 5.

71. 72 one surviving photo: The photo is in the Carnegie Mellon University Archives, and its subject was confirmed by Philip Pearlstein in a September 22, 2015, e-mail to the author. Another photo from the May ’48 Arts Night, of a standing sign that Warhol seems to have produced (his name is on the photo’s envelope in the Carnegie Mellon University Archives) shows that it too incorporated scraps of torn newspaper. A re-vival of the play at Tech in January of ’49 was reviewed by Gene Feist, later a good friend of Warhol’s in New York, in Carnegie Tartan, January 19, 1949, 2. Photos of the later production make clear that the Warhol/Pearlstein backdrop wasn’t used for it.

There’s a story that a year later, Warhol entered a contest to design the announcement for an “Atomic-Zany Musical Satire” called Molecule Man, but was turned down by the students directing it. His idea was for “a tiny molecule-sized man floating through the air,” whereas the direc-tors were thinking of a super hero. That is what we see on the cover of their brochure, meaning it, too, can claim proto-Pop status—see “The Warhol Rejection,” Carnegie-Mellon Magazine (Fall 1996): 21.


96 NOTES

72. 72 activist Kesslers: Philip Pearlstein, in a typescript of a con-versation between him and Rainer Crone, Robert L. Lepper Papers, Carnegie Mellon University Archives.

73. 72 massier Russell Twiggs: Russell Twiggs is mentioned as the instigator by Arthur Elias in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 532.

74. 72 signed a petition: Philip Pearlstein confirms Warhol’s sig-nature on the Wallace petition in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 262.

75. 72 crowds of supporters at Tech: See Blake Stimson, “Andy Warhol’s Red Beard,” Art Bulletin, no. 82 (September 2001): 541.

76. 72 designed by Ben Shahn: See Blake Stimson, “Andy War-hol’s Red Beard,” Art Bulletin, no. 82 (September 2001): 541. See also John J. Curley, A Conspiracy of Images: Andy Warhol, Gerhard Richter, and the Art of the Cold War (New Haven, CT: Yale University Press, 2013), 56. For the Ben Shahn poster see http://americanart.si.edu/exhibitions/online/post-ers/essay-shahn.html, accessed May 18, 2015.

There’s a story that Warhol also did a Henry Wallace poster and that it made a splash, but the only trace or mention of it is in Fred Law-rence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 42.

77. 72 Shahn’s leftist politics: Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 538.

78. 72 had adopted the medium: On Warhol, Ben Shahn and silkscreening see Rainer Crone, Andy Warhol: A Picture Show by the Art-ist (New York: Rizzoli, 1987), 50. On silkscreening and leftist art, see Cynthia Burlingham “A Very Democratic Form: Corita Kent as a Print-maker,” in Someday Is Now: The Art of Corita Kent, ed. Ian Berry and Mi-chael Duncan (Saratoga Springs, NY: DelMonico/Prestel, 2013), 25.

79. 72 publishing all the names: “First List of Signers of Wal-lace Petitions,” Pittsburgh Press, April 7, 1948. Warhol’s name isn’t in the printed list, so it may have been among the many (deliberately?) illegible signatures the newspaper mentions.

80. 72 parents were not happy: Philip Pearlstein, interview by au-thor, August 18, 2014.

81. 72 a dastardly communist plot: See for example “Modern Art Shackled to Communism,” an August 16, 1949, speech given in the U.S. Congress by Michigan Republican congressman George Donderos, re-printed from the Congressional Record at “Better Read #013: Modern Art


NOTES 97

Shackled To Communism, by Congressman George Dondero,” Greg.Org (blog), accessed February 28, 2019, https://greg.org/archive/2017/04/17/better-read-013-modern-art-shackled-to-communism-by-congressman-george-dondero.html.

82. 72 miners’ strike: “Coal Shutdown Tonight Likley,” Pittsburgh Press, October 2, 1945. See also “Yevgeniy Fiks: Andy Warhol and The Pittsburgh Labor Files” an exhibition at The Andy Warhol Museum in Pittsburgh, October 10 to January 10, 2015.

83. 72 Warhol designed a poster: Instead of portraying the candi-dates they were supporting, Warhol promoted George McGovern with a picture of an evil-looking Richard Nixon, just as Shahn had sold Henry Wallace to the public with a creepy image of his opponents—see this author’s blog post, “Vote McGovern,” Warholiana (blog), May 7, 2015, http://warholiana.com/post/118384935325/reposted-from-my-daily-pic-of-may-7-2015-this.

84. 72 “How can we let this keep happening”: Andy Warhol, America (New York: Harper & Row, 1985), 194.

85. 73 “fooling around with abstraction”: Philip Pearlstein, in Leland Wallin, “The Evolution of Philip Pearlstein, Part I,” Art Interna-tional (Summer 1979).

86. 73 in the Barn: The Barn stay is dated to 1948 in Philip Pearl-stein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (type-script draft, 2014), shared with the author by Pearlstein. While two early Warhol biographers say the Barn was rented the previous summer, given the art made there the 1948 date must be right—Warhol’s Nosepicker painting, in particular, is visible in a photo in the barn, and it is almost certainly a senior-year work. Also, the summer of 1947 would have been filled with Warhol’s job at Horne’s. The students payed $10 to rent the Barn, which was later demolished along with its mansion—see Arthur Elias in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 530.

The barn stay is also dated to 1947 in Russell Bowman, Philip Pearl-stein: The Complete Paintings (New York: Alpine, 1983), xiv.

87. 73 “we all decided that summer to be painters”: Arthur Elias, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 537.

88. 73 Mawhinney Street: Anne Marie Slinky, “Letter to the Edi-tor: Early Warhol,” Pittsburgh Post-Gazette, February 1987. Slinky says Warhol was living on Mawhinney when he submitted his entry to the 1948 Associated Artists of Pittsburgh.


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His teacher Russell Twiggs also mentions Warhol living on Mawhin-ney in the typescript from a 1960s interview, Gene Swenson papers, Sean Carrillo collection, Hudson, NY. Mawhinney Street is further mentioned in James M. Walton, president of the Carnegie Insitute, to Warhol, Octo-ber 5, 1979, AWMA. A Tech classmate of Warhol’s had a vague memory of Warhol living in a shared apartment—Leonard Kessler, interview by author, May 10, 2015.

89. 73 in the top 10 percent: Philip Pearlstein took his turn win-ning the Leisser prize that Warhol had won two years earlier—rank-ings and the prize are recorded in the program for Tech’s celebration of “Carnegie Day” in the fall of 1948, Carnegie Mellon University Archives.

90. 73 student literary magazine: The first issue of Cano in the Carnegie Mellon University Archives is from April 1947, and the maga-zine doesn’t seem to have survived into the 1950s. Warhol’s appointment to Cano had been decided the previous spring and was announced in the college newspaper—Carnegie Tartan, May 18, 1948, 1.

Warhol came well prepared for the job: According to Pearlstein, he had become a graphic-design connoisseur during the time he spent digging through magazines at Horne’s. That, said Pearlstein, was how Warhol got “his knowledge of page design, the effect of placement of marks and areas of color on white paper, the transformation of the look of art work that resulted from being printed; the effectiveness of differ-ent approaches to stylization, and the kinds of marks that caught the eye”—Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Lit-tle Beyond” (typescript draft, 2014), shared with the author by Pearlstein. The junior-year course that Warhol took on “Mediums and Reproduc-tions” might have had just as much effect as his time at Horne’s, however.

Warhol went so far in his “research” at the department store that he made off with a Horne’s copy of the design journal Graphis, a pioneer-ing Swiss magazine he later bought all the time—see the collection of Graphis magazines in the Warhol archive, including a winter 1945 issue stamped Property of Horne’s Display Department. That issue has a ma-jor feature on Edvard Munch, who became the subject of late works by Warhol.

91. 73 quoted Ayn Rand: See the editorial in Cano’s second issue, in the summer of 1947.

92. 73 Wind Orchestra: Max Weber’s piece is mentioned in an un-identified press clipping, Outlines Gallery, scrapbook (n.d.), Rockwell family collection.

93. 73 all the folk art: Balcomb Greene, lecture notes, Balcomb


NOTES 99

and Gertrude Greene Papers, Archives of American Art, Smithsonian Institution.

94. 74 dotty-blotty drawings: See Larry Rivers, A Girl With Sad Eyes, illustrated in Larry Rivers and Carol Brightman, Drawings and Di-gressions (New York: Clarkson N. Potter, 1979), 39.

95. 74 At this early point: Several months later, inside the very last issue of Cano from April 1949, Warhol moved further in a sober, AbEx direction with a full-page image that has somehow gone unno-ticed—see this author’s blog post , “Discovered: Warhol’s Second Pub-lished Image,” Warholiana (blog), April 22, 2015, http://warholiana.com/post/117119935931/it-didnt-take-that-much-to-unearth-the-new-warhol. The illustration is for a grim wartime story about two ill-fated lovers, and Warhol uses the blotted line and allover style of his earlier musical cover to convey their tragedy. An elegant Matissean image of the couple gets covered in weird inky whorls, making the tragic pair look almost pustulent. The attempt at radicalism is valiant: That network of whorls is a clear nod to the new allover abstractions coming out of New York. But its marriage to Warhol’s more traditional figuration produces a mess, as he struggles to figure out how to achieve a truly modern style without letting go of an old-fashioned love of subject matter. It takes him another dozen years of hard work to get the combination right.

96. 74 “build a solid foundation”: “Department of Painting and Design,” in The Thistle (Pittsburgh: Carnegie Institute, 1949).

97. 74 fine art at night: Betty Asche Douglas, oral history, inter-view by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

98. 74 “illustration” had been excised: See Carnegie Mellon Uni-versity, “A Rich History—College of Fine Arts—Carnegie Mellon Uni-versity,” accessed November 27, 2019, http://cms-staging.andrew.cmu.edu/cfa/about/history/index.html.

99. 74 newly arrived: Howard Worner is listed as a new hire, as is Perry Davis, in the July 1947 annual report of the College of Fine Arts, Carnegie Mellon University Archives.

100. 74 “the joke” of the school: Robert Lepper to Fred Lawrence Guiles, February 4, 1989, Robert L. Lepper Papers, Carnegie Mellon Uni-versity Archives.

101. 74 telling cruel stories: Gillian Jagger, interview by author, January 9, 2015. Jagger was from the Tech class of ’53.

Another account has Howard Worner stirring up trouble for Warhol because he’d started to take inspiration from the debauched art of Au-brey Beardsley, the Victorian decadent, a controversial style which Philip


100 NOTES

Pearlstein is said to have convinced Warhol to drop and which only sur-vives in traces in Warhol’s student works—see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 37. One New York reviewer spotted the Beardsley influence in Warhol’s first solo show, three years later in New York—see James Fitzsimmons, “Ir-ving Sherman, Andy Warhol,” Art Digest ( July 1952).

On the other hand, it’s also claimed that Worner called Warhol “the only student with a saleable product,” which Warhol might or might not have taken as a compliment—see Bennard B. Perlman, “The Edu-cation of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 157. Warhol’s nephew James Warhola, an illustrator who also studied with Worner at Tech, has claimed that his teacher was a Warhol fan—Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 115.

102. 74 “confines of an assignment”: Howard Worner, in Robert Tomsho, “Looking for Mr. Warhol,” Pittsburgher Magazine (May 1980): 57.

Arthur Elias mentioned the faculty’s irritation at Warhol’s “outra-geous answers to a lot of the problems” in Patrick S. Smith, “Art in Extre-mis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 535.

103. 74 “a lovely coat.”: Howard Worner, interview by Bennard B. Perlman, typed note, April 23, 2003, Bennard B. Perlman Papers, AWMA. A P&D at Tech in the early 1950s recalled Warhol being held up, that soon, as a cautionary example of what happens when you don’t follow the rules. “If you go that way,” teachers would say, “you’ll end up being Andy Warhola”—Gillian Jagger, interview by author, January 9, 2015. (Whereas within a couple of decades, art instructors everywhere would be saying, “If you don’t push further, you’ll never be Andy Warhol.”)

104. 74 “he damn well pleased”: Roger Anliker, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCol-lins, 2009), 13.

105. 74 led to tension: Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

106. 74 “provocative”: Robert Lepper, in Maggie Carlin, “Andy Warhol . . . Is He for Real?” The Pittsburgh Press Roto, October 22, 1972, 18.

107. 74 when they first met: Robert Lepper, in Noreen Seebacher and Patricia Lowry, “Andy Warhol Recalled as Evasive but Good,” Pitts-burgh Press, February 28, 1987.

108. 75 “academic difficulty”: Robert Lepper, in a January 1974 document compiled in response to queries from the German scholar


NOTES 101

Rainer Crone, Robert L. Lepper Papers, Carnegie Mellon University Ar-chives.

109. 75 “direct contact”: Robert Lepper, in a January 1974 docu-ment compiled in response to queries from the German scholar Rainer Crone, Robert L. Lepper Papers, Carnegie Mellon University Archives.

110. 75 he barely remembered: Warhol in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 331.

111. 75 Lepper vaguely recalled: Robert Lepper, in David Guo, “Heart Attack Claims Warhol,” Pittsburgh Post-Gazette, February 23, 1987. Horne’s is also mentioned by Lepper in Ann Curran, “CMU’s Other Andy,” Carnegie-Mellon Magazine (Spring 1985): 17. But Lepper may be conflating his knowledge of Warhol’s work at Horne’s during the sum-mer of 1947—before the two met—with the fact that Andy was often absent from class.

112. 75 three A grades: See Warhol’s transcript, Office of the Reg-istrar, Carnegie Mellon University.

113. 75 “flunked the bastard”: Robert Lepper, typescript of a talk for the 1988 Warhol symposium at the Carnegie Museum of Art, Robert L. Lepper Papers, Carnegie Mellon University Archives.

114. 75 “least likely to succeed”: Robert Lepper, in David Guo, “Heart Attack Claims Warhol,” Pittsburgh Post-Gazette, February 23, 1987.

115. 75 “as a social critic”: Robert Lepper, in Patricia Lowry, “Andy Warhol’s College Teacher Being Rediscovered as an Artist,” Pittsburgh Press, March 15, 1987.

116. 75 “tobacco stain”: See Arnold Wasserman, “Carnegie Tech in the Fifties,” January 2010, http://arnoldwasserman.com/wp-content/uploads/2010/07/CARNEGIE-TECH-IN-THE-FIFTIES1.pdf.

117. 75 “radiated enthusiasm”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

Lepper often denied a direct connection to the American heirs of the Bauhaus in Chicago, but his and Tech’s general adherence to the ideals of the earlier, German Bauhaus is clear.

118. 75 degree in lowly illustration: Robert Lepper to Donna de Salvo, November 27, 1987, Robert L. Lepper Papers, Carnegie Mellon University Archives. In that letter he protests—too much, methinks—for the dignity of illustration.

The following discussion draws on Matt Wrbican, “Robert Lepper, Artist & Teacher,” curatorial essay for an archives exhibition at The Andy


102 NOTES

Warhol Museum, Pittsburgh, September 10, 2002, to January 12, 2003.119. 75 course on Pictorial Design: The course was team-taught

with Harold Worner, who mostly taught illustration—see Bulletin of the Carnegie Institute of Technology: College of Fine Arts, April 1948, 92. It was novel enough that Science Illustrated was planning to cover it, as a “cul-tural anthropology course,” in the fall of 1948—see correspondence in the Robert L. Lepper Papers, Carnegie Mellon University Archives.

120. 75 “social participator”: See Bulletin of the Carnegie Institute of Technology: College of Fine Arts, February 1, 1945, 43.

121. 75 advanced texts: Matt Wrbican, “Robert Lepper, Artist & Teacher,” curatorial essay for an archives exhibition at The Andy Warhol Museum, Pittsburgh, September 10, 2002, to January 12, 2003.

Classmates said Warhol was particularly impressed by Ruth Bene-dict’s description of the all-American city of Middletown (the name is scribbled onto Warhol’s caricature of Lepper) where “the fear of being different is the dominating motivation”—see Matt Wrbican, “Robert Lepper, Artist & Teacher,” curatorial essay for an archives exhibition at The Andy Warhol Museum, Pittsburgh, September 10, 2002, to Janu-ary 12, 2003.

122. 75 “with ideas”: Robert Lepper to Donna de Salvo, Novem-ber 27, 1987, Robert L. Lepper Papers, Carnegie Mellon University Ar-chives.

123. 75 “critical-thinking” pedagogy: See Robert E. Doherty, The Development of Professional Education: The Principles Which Have Guided the Reconstruction of Education at Carnegie Institute of Technology, 1936–1950 (Pittsburgh: Carnegie Institute, 1950).

124. 75 pedagogical exercises: Norman Dawes, “Characteris-tic Processes and Disciplines Used in the Department of Painting and Design: Part I—Processes in Professor Lepper’s Courses in Pictorial Design—August 1948,” typescript, Robert L. Lepper Papers, Carnegie Mellon University Archives. (The attribution to Dawes is in Robert Lep-per to Nan Rosenthal, May 1989, Robert L. Lepper Papers, Carnegie Mellon University Archives.) Although the Dawes typescript states that there are six problems in the course—five in the first year and one in the second—it actually counts out and numbers seven in its marginalia, and mentions others in the second year that aren’t counted in the total.

125. 75 Doherty’s favorite term: See Robert E. Doherty, The De-velopment of Professional Education: The Principles Which Have Guided the Reconstruction of Education at Carnegie Institute of Technology, 1936–1950 (Pittsburgh: Carnegie Institute, 1950), 14. Though an electrical engineer,


NOTES 103

Doherty gives perspectival-based art education as an example of the bad old way of doing things in college, and cites the Yale School of the Fine Arts as a new educational model.

Not all P&Ds appreciated the more conceptual approach encour-aged by Doherty: “There were a lot of things we didn’t learn which we should have in the fine arts,” one Tech student complained, “technical things—just how to stretch a canvas. We never stretched a canvas the entire four years that we were there”—Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 532.

126. 75 over the head: Philip Pearlstein, in a typescript of a conver-sation between him and Rainer Crone, Robert L. Lepper Papers, Carn-egie Mellon University Archives.

127. 75 “interpret for him”: Philip Pearlstein, interview by author, August 18, 2014.

128. 76 future professional deadlines: Robert Lepper to Donna de Salvo, November 27, 1987, Robert L. Lepper Papers, Carnegie Mellon University Archives.

129. 76 workload was massive: Other students at Tech complained that the fine-arts majors were too busy to participate in extra-curricular activities—see “Student Conference Committee Discusses Items of In-terest,” The Carnegie Tartan, May 13, 1947, 6. Lepper’s course officially demanded 18 hours per week from each student.

The very last of Lepper’s assignments for the Tech art program con-sisted of designing a diorama for the Carnegie’s museum of natural his-tory that would illustrate a geological or cultural era—see Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA. A few pages survive on which Warhol scribbled notes about geological eras, and they seem to date the project to early in 1949. The notes, clearly in Warhol’s writ-ing and surrounded by his trademark doodles, survive among the pages of a 1940 copy of Funk and Wagnalls Standard Junior School Dictionary (New York: Funk and Wagnalls) with “Pap” Kessler’s name in it (TC51, AWMA). They are written on stationery of the Irene Kaufman Jewish Center where Warhol worked, briefly, in January 1949. (Note that the attribution to Warhol is doubted in Matt Wrbican, “Warhol’s ‘Time Cap-sule 51,’” Criticism 56, no. 3 (March 3, 2015): 688, https://digitalcommons.wayne.edu/criticism/vol56/iss3/11.

Warhol’s “off-the-path” solution to the diorama assignment, as Lep-per remembered it forty years later, was “brilliantly executed and quite


104 NOTES

beautiful”: Warhol had filled a shallow vitrine with a perfectly-spaced grid of little trees made from balled up red, silver and gold foil on sticks, the first appearance of a love of shiny metal in the Warhol record. What era was it meant to illustrate? “God knows,” Lepper said, “Was it the garden of Eden? If not, why not?” Warhol got in trouble with other staff for his fanciful project and Lepper himself was attacked for allowing Warhol to go ahead with it. See Lepper’s signed and annotated drawing of Warhol’s vitrine, dated 1988, in the Robert L. Lepper Papers, Carnegie Mellon University Archives. See also Robert Lepper to Fred Lawrence Guiles, February 4, 1989, Robert L. Lepper Papers, Carnegie Mellon Uni-versity Archives. On the drawing, Lepper describes the foil as pink and gold, but Warholian silver creeps into the typescript of his talk for the 1988 Warhol symposium at the Carnegie Museum of Art, Robert L. Lep-per Papers, Carnegie Mellon University archives.

130. 76 in a makeshift studio: Philip Pearlstein, “My Warhol(a) Ex-perience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. Pearlstein’s memory of Warhol’s work in that cellar may actually relate to an earlier moment on Dawson, since the Paul Warholas seem to have moved out sometime in 1946.

131. 76 new modernist houses: Philip Pearlstein, interview by au-thor, October 16, 2015.

132. 76 a classmate spent $30: Martha Sutherland, interview by au-thor, March 18, 2015. Sutherland donated Warhol’s work to the Crystal Bridges Museum of American Art in Arkansas—see Andy Warhol, “Un-titled,” Crystal Bridges Muesum of Art, 1949, https://collection.crystal-bridges.org/objects/details/4397. Sutherland thought the drawing might have been inspired by similar Toulouse-Lautrec images, and in fact sev-eral “bed” pictures, although all showing single women, were in a 1947 Lautrec show at the Carnegie Institute’s art museum.

Perlman says that the couple were Warhol’s mother and father and reports the instructor’s accusation of immorality—see Bennard B. Perl-man, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

133. 76 the brief: Another Lepper “problem” according to Warhol’s classmate Betty Asche Douglas, was a study in surfaces for which “you had to go out and pick up any texture from out of the natural world”—she chose a patch of grass—“and then you had to paint it in as many different ways as you could think of,” finally turning in a series of iden-tically-sized pictures—Betty Asche Douglas, oral history, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA. That level


NOTES 105

of method and rigor apparently didn’t sit well with Warhol, still married to an intuitive and expressionist approach to artmaking that he would later shed. At one student party, apparently at the end of his final term, the supposedly shy Warhol dressed up as Lepper, complete with coke-bottle glasses made from little paint jars, then sang a comic song about “sticking to emotion”—just what Lepper didn’t permit in his course.

But Douglas and many others have also pointed out the likely after-effect of Lepper’s rigorous approach, as seen in the serial and systematic tendencies that Warhol came to later: his complete inventory of all 32 of the Campbell’s soup flavors; his grids of barely different Marilyn lips; even his hundreds of Screen Tests, those not-quite-all-alike filmed por-traits.

134. 76 Warhol photographed: The polaroid photograph, appar-ently from 1962 or ’63, survives in The Andy Warhol Museum, accession #1998.3.14448.1.

135. 76 were exhibited in the college halls: Robert Lepper, type-script of a talk for the 1988 Warhol symposium at the Carnegie Museum of Art, Robert L. Lepper Papers, Carnegie Mellon University Archives.

Russell Twiggs, who was in charge of student work, eventually passed some of Warhol’s Penn Waren drawings on to the Carnegie Mu-seum of Art.

136. 76 still considered shocking: Bennard B. Perlman, “The Edu-cation of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 161. Robert Lepper wrote that he permit-ted the occasional use of photography in his Oakland Problem, but it’s not clear whether the same was true for the illustration assignments, given that he considered Tech to be “a drawing school”—see Robert Lep-per to Donna de Salvo, November 27, 1987, Robert L. Lepper Papers, Carnegie Mellon University Archives.

The outsider artist John Kane had been pilloried in Pittsburgh’s newspapers when they discovered that, in his first solo show, he’d painted right over photos—see Sidney Janis, They Taught Themselves: American Primitive Painters of the 20th Century (New York: Dial Press, 1942), 78.

137. 76 use of photographs: Joseph Groell, interview by author, June 11, 2015. Groell was close to Greene.

138. 76 “documentary quality”: Balcomb Greene, in a 1938 clip-ping in the Balcomb and Gertrude Greene Papers, Archives of American Art, Smithsonian Institution.

139. 76 Ben Shahn: Frances K. Pohl, Ben Shahn: New Deal Artist in a Cold War Climate, 1947–1954 (Austin: University of Texas Press, 1989), 56.


106 NOTES

Cited by Gary Comenas, “Andy Warhol: From Nowhere to Up There 10,” Warholstars (blog), 2014, http://www.warholstars.org/nowhere/andy_warhol_q10.html.

140. 76 Oakland Project: The goal of the problem was to get a stu-dent “re-sorting and reexamining his prejudices concerning both people and painting under the stimulus of direct experience”—see Robert Lep-per, curriculum summary, Robert L. Lepper Papers, Carnegie Mellon University Archives.

141. 77 attaching actual Kleenex: Tech instructor Russell Twiggs, from a 1960s typescript, Gene Swenson papers, Sean Carrillo collection, Hudson, NY.

142. 77 “ignore you if he chose to”: Betty Asche Douglas, oral his-tory, interview by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

143. 77 “how they looked”: Paul Warhola, interviews from 1993 and 1994 in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslo-vakia (New York: Arbor Vitae, 2012), 68.

144. 77 soon reworked: A photograph of Warhol at work in the “Barn” studio, displayed at The Andy Warhol Museum, reveals that the painting originally showed a dark-haired child wearing shorts and t-shirt. That original version is faintly visible under the current paint layers of the finished painting.

145. 77 a brazen self-portrait: Warhol’s intimates might have had another reason for recognizing him in the portrait: the fact that it was ac-curate. A family photo of the Warholas when Andy was about two years old, held in facsimile at The Andy Warhol Museum, shows him with a finger up his nose. In 2015, Balcomb Greene’s widow, with much reluc-tance, eventually explained why her husband had come to dislike his most famous student: “He was a nuisance in class; he’d pick his nose”—Terryn Greene, interview by author, February 26, 2015.

146. 78 annual exhibition: The exhibition normally functioned as a venue for the best student artists from Tech, and the Tech yearbook for 1948 specifically mentions that P&Ds were encouraged to submit to the Associated Artists of Pittsburgh exhibitions—see “Associated Artists’ Exhibition Displays Student, Faculty Work,” Carnegie Tartan, February 6, 1949, 6. That detailed article on the show mentions the inclusion of four-teen faculty members and a dozen Tech art students, including Dorothy Cantor, who won several prizes and later married Warhol’s friend and roommate Philip Pearlstein, as well as Pearlstein himself and Arthur Elias, Joseph Groell and Leonard Kessler—all of whom Warhol stayed


NOTES 107

close to when the crowd of them moved to New York after graduating. Warhol had been included in the AAP show the year before with

some innocuous (if subtly homophilic) pictures of male dancers done in a vaguely Picassoid style that he copied from a piece in the previous Carnegie annual by Margaret Stark, called The Entertainer—see Painting in the United States (Carnegie Institute, 1941), plate 75. Other works by Stark, especially her Puppeteer, are very close indeed to Warhol’s picture.

Warhol’s name is already recorded as “Andrew Warhol” in the 1948 AAP exhibition brochure, once again contradicting various fables about him losing the “a” on Warhola years later in New York.

147. 78 celebrity jurors: “Art Jury Dinner,” Pittsburgh Post, January 18, 1949.

Joe Jones had once been at loggerheads with Balcomb Greene, speak-ing out against abstraction at a meeting of Greene’s American Abstract Artists group—see Irving Sandler, oral history, interview by John Opper, September 9, 1968, Archives of American Art, Smithsonian Institution, https://www.aaa.si.edu/collections/interviews/oral-history-interview-john-opper-12476.

The three jurors would have been well known to Warhol: Grosz and Jones had both been featured in the Carnegie Annual and Archipenko had lectured at Outlines gallery.

148. 78 lost the battle: See the account by Warhol’s Tech classmate Jack Wilson in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 16. On February 28, 1987, soon after Warhol’s death, the Pittsburgh Post-Gazette published a letter from the AAP commemorating his involve-ment in their exhibitions, mentioning that he showed “I Like Dance” in the 1948 edition and “I’m a Bird and When I Fly” in the one for 1949—and falling silent on the subject of the Nosepicker.

In any case, one local reviewer who doesn’t even mention Warhol’s rejected piece still complained that the jury had been too “audacious” and had included much “incomprehensible” work—see Eugene F. Jan-nuzi, “Associated Artists Jury Leans to Modern Side in Prize Awards,” Pittsburgh Press, February 11, 1949.

149. 78 graduation show: “Preview of Show,” Pittsburgh Press, June 10, 1949. The Arts and Crafts Center also housed the gallery of the As-sociated Artists of Pittsburgh, so Warhol was in fact showing in the same building as the exhibition he’d been rejected from.

Philip Pearlstein talks about him and Warhol sketching four-dollar portraits to raise money for the Center, and images survive of a few of


108 NOTES

those portraits that are competent, but unimpressive—see Philip Pearl-stein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (type-script draft, 2014), shared with the author by Pearlstein. The four-dollar price-tag is mentioned in Sherley Uhl, “Warhol Life, Training Here Re-called,” Pittsburgh Press, June 4, 1968.

Tech grads Suzanne and Edward Salkovitz seem to have had their portraits drawn by Warhol at that “booth” or a similar one, and Suzanne later said they’d cost $25—see photos of those portraits and the sitters notes on them, AWMA.

150. 78 “outlawed painting”: Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 164. See also Jack Wilson in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 16.

The closest thing to a mention of the controversy is when a review of the earlier AAP show insists on the jury’s right to “thumbs down any piece of art which in its opinion does not warrant showing,” as they did with more than one sixth of the submissions—see “The Review: Art, the Shock of Recognition,” The Bulletin Index, February 12, 1949, 10. Out of 853 submissions, 702 works were hung. See also similar references to the jurors’ selectivity in Charles le Clair, “Review of the 39th Annual Associ-ated Artists Show,” Portfolio (March 1949): np, Records of the Associated Artists of Pittsburgh, Senator John Heinz History Center, Pittsburgh, PA.

The detailed coverage in the February 16 issue of the Tartan, Tech’s own newspaper, doesn’t give a hint of any controversy—see “Associated Artists’ Exhibition Displays Student, Faculty Work,” Carnegie Tartan, February 6, 1949, 6.

In June, the Post-Gazette’s thorough and glowing preview of the Arts and Crafts Center show is completely silent on the matter of the picked nose, which would seem strange for newspaper coverage of an event supposedly tinged with scandal—see Jeanette Jena, “Design for Seeing,” Pittsburgh Post-Gazette, June 5, 1949. Jena describes the show as being built around the GIs in Sam Rosenberg’s “notable graduating class . . . whose talents and maturity have been a joy to their instructor.”

Philip Pearlstein, whose work had been shown in the February AAP exhibition, actually remembers a Nosepicker having been included along-side his own piece—see Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

If Warhol did gain notoriety from the AAP affair, it wasn’t enough


NOTES 109

to disgrace him: About the same time as that show, Samuel Rosenberg got him and his friend Pearlstein jobs giving night classes in drawing at a Jewish community center where Rosenberg had worked for a de-cade before coming to Tech—see “Settlement Announces Opening of Art School,” American Jewish Outlook, January 14, 1949. It’s said Warhol was acutely shy in front of his teenage students and didn’t last long as a teacher—see Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pittsburgh: The Andy Warhol Museum, 1994), 156.

151. 78 despite rumors: Howard Worner, in Bennard B. Perlman, “The Education of Andy Warhol,” in The Andy Warhol Museum (Pitts-burgh: The Andy Warhol Museum, 1994), 165.

152. 78 mandatory Phys. Ed. credits: Bulletin of the Carnegie Insti-tute of Technology: College of Fine Arts, February 1, 1945, 15. The curriculum is described year by year. Robert Lepper mentions Warhol’s refusal to attend gym in Ann Curran, “CMU’s Other Andy,” Carnegie-Mellon Maga-zine (Spring 1985): 17.

153. 78 shows him passing: See Warhol’s transcript, Office of the Registrar, Carnegie Mellon University.

154. 78 forty-seven P&Ds: Commencement brochure, 1949, Carn-egie Mellon University Archives.

155. 78 largest graduating class: “Tech to Award Largest Class 906 Degrees,” Pittsburgh Press, June 5, 1949.

156. 78 his portfolio wasn’t well received: John Warhola, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1227, Kindle edition.

157. 78 once or twice a year: Philip Pearlstein, in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 267.

158. 78 with Pearlstein and other friends: Heather Robinson, “Philip Pearlstein Exhibition,” New York Press, January 8, 2006, http://web.archive.org/web/20060108023649/http://www.nypress.com/list-ings/listing.cfm?listings_id=109829. The article was identified in Gary Comenas, “Warholstars Sources (Updated 2019),” Warholstars (blog), 2019, https://warholstars.org/sources.html.

159. 78 chess with Marcel Duchamp: Jesse Kornbluth, Pre-Pop War-hol (New York: Random House, 1988), 42.

160. 79 “the hazards of perfection”: W. G. Rogers, “Literary Guide-post,” Pittsburgh Post-Gazette, October 14, 1945.

161. 79 to autograph a copy: The autographed book is preserved in


110 NOTES

Time Capsule 51 of The Andy Warhol Museum Archives.162. 79 young protagonist: Gladys Schmitt, Alexandra (Dial Press,

1940), 211.163. 79 “I would like to be famous”: Gladys Schmitt, Alexandra

(Dial Press, 1940), 26.164. 79 “homosexuals had come to New York”: Gore Vidal, The

City and the Pillar (New York: Dutton, 1948), 246. 165. 79 New York trip: The visit to New York didn’t conflict with

the Warhola observance of Easter because the Greek Catholic church was still using the old Julian calendar, and Warhol would have got back in time to join his mother for deluxe Easter liturgies.

166. 79 three of them in one bed: Philip Pearlstein, audio guide track for “The Warhol Look” (Antenna Audio for the Art Gallery of Ontario and The Andy Warhol Museum, 1998), provided to the author by producer David Tarnow. Elsewhere, Pearlstein is quoted as saying that the crowded bed was in George Klauber’s apartment in Pittsburgh just before the New York trip—see Helene Verin, “Musing: Sitting for a Portrait by Philip Pearlstein,” Medium, November 27, 2016, https://medium.com/heleneverin/musing-sitting-for-a-portrait-by-philip-pearl-stein-9b5e106846f2. But it seems very likely his story was simply misun-derstood by Verin.

Klauber himself remembered Pearlstein and Warhol staying with his family, not with him, although that could have been on an earlier visit—see Klauber in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 693.

167. 79 cajoled a promise: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 235, Kindle edition. This is reprinted from Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977).

In Fredericks’s own memoir of Warhol she doesn’t mention meeting him while he was still a student—see Tina Fredericks, “Remembering Andy: An Introduction,” in Jesse Kornbluth, Pre-Pop Warhol (New York: Random House, 1988), 11.

168. 79 Museum of Modern Art: A photo of Warhol and friends in the sculpture garden at MoMA survives in the Warhol archives among documents regarding Andreas Brown’s Gotham Book Mart show in 1971. The photo’s setting at MoMA was confirmed by MoMA archivist Michelle Harvey in a June 1, 2017, e-mail to the author. The same group of friends—with Warhol and Philip Pearlstein in the same clothes—are


NOTES 111

shown on the steps of the Metropolitan Museum of Art in a photo dated c. 1949 in the Philip Pearlstein Papers, Archives of American Art, Smith-sonian Institution. At the Met, they would almost certainly have visited a show of leading American book designers organized by the American Institute of Graphic Arts—see the Met’s list of exhibitions at “The Met: Special Exhibitions at the Museum,” The Met Digital Collections, ac-cessed March 2, 2019, https://libmma.contentdm.oclc.org/digital/collec-tion/p16028coll12/id/415.

169. 79 “The Exact Instant”: See the press release for the exhibi-tion, which ran to May 1, at “The Exact Instant (1949),” The Museum of Modern Art, accessed November 27, 2019, https://www.moma.org/calendar/exhibitions/3245.

170. 79 organized by Will Burtin: The exhibition at the Museum of Modern Art ran March 16 to April 17 and Warhol’s Easter break was April 9 to 19—see “Carnegie Alumnus,” March 1949, 4, http://digitalcollections.library.cmu.edu/portal/main.jsp?flag=browse&smd=1&awdid=5.

When Warhol was in the same advertising show a few years later, he must have been disappointed that it was no longer being held at MoMA.

MoMA also had up a pioneering exploration of news photographs, such as Warhol never stopped using as sources for his art, as well as the biggest-ever survey of Georges Braque, whose work Warhol later bought.

171. 80 “most advanced trends”: Aline B. Loucheim, “Advertising Takes on New Look,” New York Times, March 20, 1949.

172. 80 a certain “Bogdansky”: Victor Bockris, Warhol: The Biogra-phy (Cambridge, MA: Vintage Books, 2003), loc. 1230, Kindle edition.

173. 80 “too young to go to New York”: Paul Warhola, interview provided to the author by Jesse Best, digital audio, n.d.

174. 80 “only on the condition”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

175. 80 a three-month sublet: Philip Pearlstein, “My Warhol(a) Ex-perience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. Greene’s friend was Byron Browne—see “Byron Browne,” Abstract Artist (blog), April 6, 2011, http://abstractartist.org/byron-browne/.

176. 80 cheapskate idea: Philip Pearlstein, “My Warhol(a) Experi-ence, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

177. 80 all-night Greyhound: Philip Pearlstein, “My Warhol(a) Ex-perience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared


112 NOTES

with the author by Pearlstein.An acquaintance named Gerald Stern recalls instead that he drove

Warhol, alone with his goods in a cardboard suitcase, to the Pittsburgh train station that night—see Gerald Stern, What I Can’t Bear Losing (New York: Norton, 2004), 159. The documentarian Ric Burns also has War-hol arriving in New York by train to Penn Station, rather than by bus as Pearlstein has indicated—see Ric Burns, Andy Warhol: A Documentary Film, documentary (PBS and Steeplechase Films, 2006).

CHAPTER 5

1. 83 “he did it all on his own”: Leila Davies Singelis, oral his-tory, audiocassette, December 12, 1995, AWMA.

2. 83 Life magazine: “Jackson Pollock: Is He the Greatest Painter in the United States?” Life (August 8, 1949): 33.

3. 83 a documentary series: Sarah Dalton, interview by author, September 26, 2017. Work on the documentary, meant to focus on 10 iconic figures who were to be paired with their images rendered by War-hol, was interrupted by the artist’s death.

4. 84 a well-recognized painter: Balcomb Greene’s friend Byron Browne had shown at Outlines gallery in Pittsburgh in April 1945—Out-lines Gallery, scrapbook (n.d.), Rockwell family collection. At just about the moment Warhol was subletting his place Browne had started paint-ing wacky figures that look halfway between Picasso and Paul Klee, and that come decorated with swoopy squiggles that evoke the kind of funky illustrations that Warhol was about to start doing—see exhibition pam-phlet for “Byron Browne, By the Sea: Paintings on Paper 1948–1955,” Yares Art Projects, Santa Fe, NM, November 9 to December 31, 2012. The pamphlet is preserved in the artists files of the New York Public Library.

Philip Pearlstein unequivocally cites the apartment as belonging to Browne—see Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. Browne’s son categorically denied his father’s involvement, in a September 6, 2015, e-mail to the author. The Manhattan telephone and address directories for July 1949 has a Byron Browne living at 216 East Fifteenth Street, as does the directory for November 1948, and no such person on Saint Mark’s Place.

5. 84 The apartment: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 52. Guiles’s description of the sublet as a “cold-water flat” is at odds with Philip Pearlstein’s later account of a bath in hot water. They were just a door or two east of Av-


NOTES 113

enue A, above a liquor store, according to Philip Pearlstein, interview by author, October 16, 2015. Period phone directories identify this as AAA Wine & Liquor, at 121 Saint Mark’s Place.

6. 84 ornate 1907 structure: City records indicate that approvals for the building were completed in 1907—see the block and lot folder in the New York City Municipal Archives.

7. 84 “a tenement”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

8. 84 Three rooms: Philip Pearlstein, in David Bourdon, “Andy Warhol 1928–87,” Art in America (May 1987): 137.

9. 84 “shy, very shy”: Margery Bedow, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 411.

10. 84 “Get him on the phone”: Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA.

11. 84 had a phone until he was fifteen: See Matt Wrbican, di-dactic materials for the exhibition “Really Phoney: Warhol and the Tele-phone” at The Andy Warhol Museum, Pittsburgh, July 9 to September 19, 2004.

12. 84 calling friends: George Klauber, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 81.

13. 84 Reva Wolf: Reva Wolf, Andy Warhol, Poetry, and Gossip in the 1960s (Chicago: University of Chicago Press, 1997), 1.

14. 84 eating art supplies: Philip Pearlstein, “My Warhol(a) Ex-perience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

15. 85 “Cockroach Period”: Bob Colacello, Holy Terror: Andy War-hol Close Up (New York: Vintage Books, 1990), loc. 738, Kindle edition.

16. 85 lice: Paul Warhola to David Bourdon, August 10, 1987, Da-vid Bourdon papers, Archives of American Art, Smithsonian Institution.

17. 85 a “tiny island”: Edmond J. Bartnett, “Village Spills across 3D Ave.: Demolition of El Opened the Way for Bohemia’s Expansion,” New York Times, February 7, 1960.

18. 85 Larry Rivers: John Ashbery, “Introduction,” in Drawings and Digressions by Larry Rivers and Carol Brightman (New York: Crown, 1979).

19. 85 “Little Ukraine”: Meyer Berger, “About New York: Ancient Art of Ukrainian Egg Jewelers, Still Popular, Goes on Exhibition Today,” New York Times, November 7, 1955, 22.


114 NOTES

20. 85 Greek Catholics: See NYC Landmarks Preservation Com-mittee, “East Village/Lower East Side Historic District Designation Re-port: October 9, 2012,” n.d., 36, https://www.gvshp.org/_gvshp/pdf/PDFs/eastvillage-report.pdf.

21. 85 demolition of the elevated train: Edmond J. Bartnett, “Vil-lage Spills across 3D Ave.: Demolition of El Opened the Way for Bohe-mia’s Expansion,” New York Times, February 7, 1960, 1.

22. 85 “they never complained”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

23. 85 gift from his brother: John Warhola, in Ric Burns, Andy Warhol: A Documentary Film, documentary (PBS and Steeplechase Films, 2006).

24. 85 less “salable” portfolio: Philip Pearlstein, interview by au-thor, October 16, 2015.

25. 85 wait another ten days: Philip Pearlstein, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

Another story has Warhol and Pearlstein consulting the Yellow Pages business directory to find the names of clients to approach—Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 53.

26. 85 close to one hundred degrees: See https://weatherspark.com/history/31081/1949/New-York-United-States, accessed August 7, 2015.

27. 85 “dream suit”: Philip Pearlstein, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 51. See also photographs by Leila Davies Singelis, AWMA.

28. 85 “help him get comfortable”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

29. 85 tepid responses: Philip Pearlstein, “My Warhol(a) Experi-ence, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

30. 85 Graybar Building: “Vanity Fair’s New Home—the Graybar Building,” Vanity Fair (March 1927).

31. 86 central point in his life: December 13, 1978, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette,


NOTES 115

1989), loc. 5157, Kindle edition. 32. 86 a twenty-two-year-old: Kett Zegart, interview by author,

July 18, 2015. At that first meeting with Warhol, Zegart also bought herself a sheet

of stylized portrait drawings that Warhol had shown her; a polaroid of it survives in Time Capsule 158 (AWMA), together with a 1977 letter from Zegart to Warhol about it.

33. 86 spilled ink: Seymour Berlin, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 415.

34. 86 “His ink lines”: Tina Fredericks, “Remembering Andy,” in Jesse Kornbluth, Pre-Pop Warhol (New York: Random House, 1988), 11. Fredericks’s telling of the story omits Warhol’s first visit to her assistant, or any earlier one on Warhol’s Easter break from Tech, which Zegart also did not recall.

35. 86 Tina Fredericks: Tina Fredericks had the best of publishing pedigrees: She’d grown up in Berlin, where her father Kurt Safranski edited the pioneering Berliner Illustrierte Zeitung, which he’d proffered as a model to Henry Luce when Life was launched as a picture magazine in 1936—see Louis Pizzitola, Hearst over Hollywood: Power, Passion, and Propaganda in the Movies (New York: Columbia University Press, 2002), 306. Pizzitola quotes letters from Safranski supplied by Tina Fredericks. The family had fled Hitler for New York in 1933 with the promise of a job from Richard Berlin, an executive at the Hearst publishing empire whose daughter was Brigid, later Warhol’s close friend and Factory superstar.

36. 86 six hundred thousand: N.W. Ayer & Son’s American Newspa-per Annual and Directory (Philadelphia: Ayer, 1950), 145.

37. 86 “pale wispy hair”: Tina Fredericks, “Remembering Andy,” in Jesse Kornbluth, Pre-Pop Warhol (New York: Random House, 1988), 11.

38. 86 “slight, un-emphatic”: Tina Fredericks, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 54.

39. 86 a bigger, color version: A reproduction of this Orchestra is in Jesse Kornbluth, Pre-Pop Warhol (New York: Random House, 1988), 35. See also David Bourdon, Warhol (New York: Abrams, 1989), 26.

40. 86 “his basic thing wasn’t fashiony”: Tina Fredericks, in Donna De Salvo, “Success Is a Job in New York . . .”: The Early Art and Busi-ness of Andy Warhol (New York and Pittsburgh: Grey Art Gallery and Carnegie Museum of Art, 1989), 4.

41. 87 new “shoe editor”: Kett Zegart, interview by author, July


116 NOTES

18, 2015. See also Eric Wilson, “Geraldine Stutz Dies at 80; Headed Ben-del for 29 Years,” New York Times, April 9, 2005.

42. 87 Stutz, who became a major client: Elizabeth Penrose Howkins, “Youthful Store President Embarks on Third Year,” New York Times, November 14, 1959.

43. 87 “Andy Paperbag”: Robert Galster, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 304. See also Nathan Gluck on p. 324.

44. 87 for an assignment at Tech: Bennard B. Perlman, “Andy Warhol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perlman Papers, AWMA.

45. 87 “they have to look fresh”: Tina Fredericks, in Donna De Salvo, “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol (New York and Pittsburgh: Grey Art Gallery and Carnegie Mu-seum of Art, 1989), 4.

46. 87 stayed up all night: Philip Pearlstein, full unpublished tran-script for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

47. 87 high-end insert: The insert was printed on book paper rather than the magazine’s normal glossy stock, which set it off as a pres-tige feature—see Richard Martin, “Illuminations,” in The Warhol Look, ed. Margery King and Mark Francis (Boston: Little, Brown, 1997), 70.

48. 87 “to get that kind of job”: Philip Pearlstein, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

49. 88 “rather full social life”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

50. 88 Pittsburgh friends: These friends included Philip Pearl-stein’s future wife Dorothy Cantor and her sister, as well as the Kessler clan (the lefty couple “Pappy” and Ethel, plus bohemian sister “Corky”) and P&D Joseph Groell, with his girlfriend and brother.

51. 88 trips to the beaches: The beach trips were apparently initi-ated by Louis Adelman, the Tech drama student who had commissioned that proto-pop backdrop from Warhol and Philip Pearlstein when they were all in college together—Lee Adelman, interview by author, n.d.

52. 88 “turtleneck turned up”: Stephen Bruce, in Patrick S. Smith,


NOTES 117

“Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 460.

53. 88 friend from the Tech drama department: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. The friend who gave theatrical advice was the Tech drama student and later playwright Louis Adelman.

54. 88 a huge hit: See Robert Gottlieb, “Performing Arts,” in New York Mid-Century 1945–1965: Art, Architecture, Design, Dance, Theater, Night-life (New York: Vendome Press, 2014), 246.

55. 88 “the most expensive seats”: Carlton Willers, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 144.

56. 88 radically experimental: Warhol saw and admired radically disjunctive plays by the poet Michael McClure—see Reva Wolf, Andy Warhol, Poetry, and Gossip in the 1960s (Chicago: University of Chicago Press, 1997), 45.

57. 88 an obsession of Warhol’s: See Carlton Willers, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 146.

58. 88 newly fashionable: See Robert Gottlieb, “Performing Arts,” in New York Mid-Century 1945–1965: Art, Architecture, Design, Dance, The-ater, Nightlife (New York: Vendome Press, 2014), 241.

59. 89 “80 to 90 percent of the gay world”: Jacques d’Amboise, interview by author, August 15, 2016. The importance of ballet for gay culture was also stressed by the poet Edward Field, interview by author, May 2, 2016.

60. 89 “dedicated balletomane”: Alan Helms, Young Man from the Provinces: A Gay Life before Stonewall (Boston: Faber and Faber, 1995), 57. The performance seems to have taken place in the fall of 1957—see John Martin, “City Ballet Gives Two Performances,” New York Times, Novem-ber 30, 1957.

61. 89 speaking fondly of the Balanchine dancers: Danny Fields, in Stephen Shore, The Velvet Years: Warhol’s Factory, 1965–67 (New York: Thunder’s Mouth Press, 1995), 115.

62. 89 “on the edge of his seat”: Nora Zavacky, in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vi-tae, 2012), 84.

63. 89 “he did it all on his own”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014),


118 NOTES

shared with the author by Pearlstein.64. 89 ninety days: The Warhol archives include a December 11,

1952, payment for drawings for the Spring 1953 issue of Modern Bride, meaning that Warhol must have done them a good bit earlier than that already. Other payments and invoices in the archives show similar lead times.

65. 89 “reach more people”: John P. Cunningham, “What Do Art Directors Need Most?” Advertising Agency and Advertising and Selling, July 1950: 118, 121. This issue, preserved by Warhol in his Time Capsule 51, also has the first little mention of him as a talented illustrator.

66. 89 trip to Columbia’s offices: Robert M. Jones, from a Feb-ruary 10, 1984, interview in Martina Schmitz, Album Cover: Geschichte und Ästhetik einer Schallplattenverpackung in den USA nach 1940 (Munich: Scaneg, 1987), appendix. Note that a brief profile of Warhol in 1952, with information no doubt supplied by the artist, specifies that he only did two Columbia covers—see “Upcoming Artist: Andy Warhol,” Art Direc-tor & Studio News (April 1951): 20. Philip Pearlstein for his part said that Warhol’s heavy workload included an “unending” series of album cov-ers for Columbia Records—Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

Warhol’s contact with Jones might have come via George Klauber, the eminence grise (or maybe rose) at this moment in Warhol’s career, since Klauber’s boss Will Burtin had links to Jones—see Paul Maréchal, Andy Warhol: The Complete Commissioned Record Covers, 1949–1987, Catalogue Raisonné (New York: Prestel, 2015), 12.

67. 90 made to do album covers: See Warhol’s Tech classmate Jack Wilson, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 11.

68. 90 $50 per cover: Warhol, handwritten list of receivables, c. 1955, TC28, AWMA.

69. 90 the average bill: “Price-Tagged Art for Mass Markets,” Art Director & Studio News, 1950, 13.

70. 90 Warhol’s first Columbia covers: Both records have copy-right stamps from 1949.

71. 90 “revolutionary new Columbia long-playing (LP) Micro-groove Record”: Catalogue of Columbia Records (Bridgeport, CT: Colum-bia Recording Corp., 1949), np.

72. 90 “opportunity for expression”: Robert M. Jones, Febru-


NOTES 119

ary 10, 1984, interview in Martina Schmitz, Album Cover: Geschichte und Ästhetik einer Schallplattenverpackung in den USA nach 1940 (Munich: Scaneg, 1987), 5 of appendix.

73. 90 Prestigious classical recordings: Robert M. Jones, Feb-ruary 10, 1984, interview in Martina Schmitz, Album Cover: Geschichte und Ästhetik einer Schallplattenverpackung in den USA nach 1940 (Munich: Scaneg, 1987), 10 of appendix.

74. 90 “crucified” at sales meetings: Robert M. Jones, February 10, 1984, interview in Martina Schmitz, Album Cover: Geschichte und Ästhetik einer Schallplattenverpackung in den USA nach 1940 (Munich: Scaneg, 1987), 112.

75. 90 a seventeenth-century manuscript: Paul Maréchal, Andy Warhol: The Complete Commissioned Record Covers, 1949–1987, Catalogue Raisonné (New York: Prestel, 2015).

76. 91 “three or four albums laying out”: Robert M. Jones, Feb-ruary 10, 1984, interview in Martina Schmitz, Album Cover: Geschichte und Ästhetik einer Schallplattenverpackung in den USA nach 1940 (Munich: Scaneg, 1987), 10 of appendix.

When Warhol decided to turn out some practice sketches for the cover of an imaginary Billie Holiday album (there’s no sign of a client that asked for them) he was deliberately choosing a performer whose music, at the time, was considered the epitome of hipster cool—Holiday is portrayed as a favorite of with-it teenagers in one of the first novels of postwar youth culture, Colin MacInnes, Absolute Beginners (London: MacGibbon & Kee, 1960).

For images of the three known Billy Holiday sketches by Warhol see Guy Minnebach, “Happy 100, Lady Day!,” Andy Earhole (blog), April 4, 2015, https://warholcoverart.com/2015/04/04/happy-100-lady-day/. Note that the songs included on one those sketches match the songs listed on the cover of volume one (catalog number #5020) of a real Holiday series put out on the Jolly Roger label in 1954. Either Warhol was copying from that album in making his self-assigned cover art, or he had been assigned the contract and then lost it—which might make sense given that his Holiday drawings, based on his old Cano cover, seem entirely un-bluesy and unsuited to the music.

77. 91 “personal mode of consumption”: Rosalind H. Williams, Dream Worlds, Mass Consumption in Late Nineteenth-Century France (Berke-ley: University of California Press, 1982), 67. See also Benjamin Buchloh, “Andy Warhol’s One Dimensional Art: 1956–1966,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge,


120 NOTES

MA: MIT Press, 2001), 7. Buchloch: “During his early career as a com-mercial artist, [Warhol] featured all those debased and exhausted quali-ties of the traditional concepts of the ‘artistic’ that art directors and ad men then would still have adored—that is, the whimsical and the witty, the wicked and the faux naïf. . . . One of the resources for such an ar-tistically contrived realm of unbridled pleasure before/beyond mecha-nization would be the aristocratically refined preindustrial charms of rococo and neoclassical drawing. . . . Warhol’s success as a commercial designer depended in part on this ‘artistic’ performance, on his delivery of a notion of creativity that was bound to appear all the more rarefied in a milieu whose every impulse is geared to increase the efficacy of com-modification and the professional eradication of individual subjectivity.”

78. 91 pointed to Warhol: See Edgar Kauffman, Jr., to Charles Coiner, April 13, 1950, AWMA.

79. 91 billed the young artist: See Charles Coiner, “Clipping Board,” Advertising Agency and Advertising and Selling ( July 1950): 64.

Although the little blurb appeared in July, Coiner’s opinion would have been formed months before, when he was writing the copy. As far as we know Warhol had only done a few covers by that point, while squeezing an assortment of other assignments out of the town’s art di-rectors.

One Warhol assignment discovered in the research for this book, with the help of Warhol scholar Paul Maréchal, was for the March, 1950, issue of Seventeen magazine, whose new art director, Cipe Pineles, was known for commissioning illustrations from fine artists—including Ben Shahn.

Joan Fenton, Pineles’s assistant, remembered the commission: “He [Warhol] left his portfolio and when I saw it I thought, ‘Ah I’ve got just the right, just the right job for him’ and it was a story we were doing on allergies and, so, ‘cause his line was very scratchy and a little bit upsetting and when he came in I thought, ‘Oh, here is a very, you know, strange young man, he will fit in exactly, you know, he’ll understand what to do.’ And what I did was I gave him a double page spread of all the things that make you itch and scratch and sneeze and cough and he understood”—Fenton in Chris Rodley, Andy Warhol: The Complete Picture, documentary (Channel 4 and Bravo, 2002). The citation to Rodley was found in Gary Comenas, “Andy Warhol: From Nowhere to Up There 11,” Warholstars (blog), 2014, http://www.warholstars.org/nowhere/andy_warhol_q11.html. See also Fenton’s interview in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 541.


NOTES 121

80. 91 “Do you have any work for me?”: Andy Warhol to Robert Cato, nd, AWMA.

81. 91 just then being revamped: N.W. Ayer & Son’s American Newspaper Annual and Directory (Philadelphia: Ayer, 1950), 702.

82. 91 October issue: The magazine is preserved in the Warhol archives.

One other notable feature of that issue of Theater Arts: Its cover is a Bauhausy composition by a 26-year-old Richard Avedon, already billed on the masthead as “editorial associate” and part of the crop of star pho-tographers who, by the end of that decade, were destroying the market for illustrators like Warhol. The two men, and their careers, intersected and competed for the next several decades. In 1954, Warhol’s first front-page assignment for Harper’s Bazaar consisted of drawing four funky stars on top of the cover’s elegant Avedon photo; the next year, in his first fashion assignment in Mademoiselle, Warhol’s drawings provided the setting for a suite of Avedon fashion shots—with only the photographer getting a credit line. Who was more annoyed, Warhol, at being cast in a secondary role, or Avedon, at Warhol’s disruption of his sleek style?

See Paul Maréchal, Andy Warhol: The Complete Commissioned Maga-zine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 113.

83. 91 out to 150,000 elite culturati: N.W. Ayer & Son’s American Newspaper Annual and Directory (Philadelphia: Ayer, 1950), 672.

84. 91 wrote back to Tech: “Class Notes,” Carnegie Alumnus (Sep-tember 1952): 27.

Appropriately enough, and maybe not by accident, the story in Harp-er’s was about the trials of a family of Slavic immigrants in America, and Warhol’s three images are based on the fiction illustrations he did in his last term at Tech. The story’s first illustration is a direct repeat of one Warhol had done at Tech, based on a photo in a 1946 issue of Life—see Alexandra Barcal et al., eds., Andy Warhol: The LIFE Years 1949–1959 (Mu-nich: Hirmer, 2015), 122. It seems likely that some of those earlier illustra-tions were in the portfolio he showed to Harper’s managing editor Russell Lynes—younger brother of the famous gay photographer George Platt Lynes—who was passing out art assignments at that time. Warhol got a mention in the Harper’s “Contributors” column—his line about how his life “couldn’t fill a penny postcard”—and he also got a nice “drawings by” credit that was almost as big as the “story by” credit above it, given to a young John Cheever, just then winning attention for the first of his writings in The New Yorker.

85. 91 Philadelphia fabric company: The ad was for Moss Rose


122 NOTES

textiles of Philadelphia, and a copy is preserved in the Warhol archives. The ad seems to have been commissioned by the Auerbach Associates agency—see “Upcoming Artist: Andy Warhol,” Art Director & Studio News, April 1951, 20.

86. 91 work around textiles: See Geoffrey Rayner, Richard Cham-berlain, and Annamarie Stapleton, Artists’ Textiles: Artist Designed Textiles 1940–1976 (Woodbridge, UK: Antique Collectors Club, 2012), 229.

87. 92 “women are the world’s major artists”: Rita Reif, “To Col-lectors, Navajo Design Is Irresistible,” New York Times, November 28, 1972.

CHAPTER 6

1. 93 “the world was our oyster”: Leila Davies Singelis, oral his-tory, audiocassette, December 12, 1995, AWMA.

2. 93 “a very arty place”: This letter is ©The Andy Warhol Foun-dation for the Visual Arts, Inc.

An image of the undated letter to Kett Zegart was provided to the author by Mark Loiacono of the Whitney Museum of American Art, NY.

3. 93 “immediately interesting”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

4. 93 “he became the personality that became famous”: Philip Pearlstein, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 63.

5. 94 all-percussion ensemble: See “Biographical Sketch” in Franziska Boas Collection: Guides to Special Collections in the Music Division of the Library of Congress (Washington, D.C.: Library of Congress, 2006, revised 2010) accessed August 17, 2015, http://lcweb2.loc.gov/service/music/eadxmlmusic/eadpdfmusic/2006/mu006001.pdf

6. 94 John Cage: See undated brochure for the Franziska Boas School, Franziska Boas Collection, Music Division, Library of Congress, Washington, D.C.

7. 94 Merce Cunningham: See http://www.kreatingsound.com/pages/products/audiorecordings/pages/linernotes/origins1notes.pdf, accessed August 14, 2015. See also David Wayne Patterson, ed., John Cage: Music, Philosophy, and Intention, 1933–1950, Studies in Contemporary Music and Culture, v. 3 (New York: Routledge, 2009). Patterson mentions a performance that included Cunningham. Cunningham’s presence in Boas’s circle was also mentioned by Franziska Boas’s daughter Gertrud Michelson, interview by author, August 16, 2015.


NOTES 123

8. 94 “prepared” by Cage: Gertrud Michelson, interview by au-thor, August 16, 2015.

9. 94 first of September: Warhol’s first rent payment to Franziska Boas was received on August 31, 1949, as documented in her ledger, Franziska Boas Collection, Music Division, Library of Congress, Wash-ington, D.C.

10. 94 drowned roaches: Philip Pearlstein, “My Warhol(a) Experi-ence, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

11. 94 323 West Twenty-First Street: David Bourdon, Warhol (New York: Abrams, 1989), 28.

12. 94 run-down neighborhood: Frances Low, Neighborhood Con-servation in New York City: A Report (New York: Citizens’ Housing & Plan-ning Council, 1962), 6.

13. 94 Warhol attended: For Warhol’s churchgoing in Chelsea see Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Be-yond” (typescript draft, 2014), shared with the author by Pearlstein.

The Catholic Church of the Guardian Angels was on 21st itself, at 10th Avenue, while Columbus Roman Catholic Church was on Twenty-Fifth Street. A Greek Orthodox church, whose décor and liturgies might actually have been closer to Warhol’s childhood experiences, was on Twenty-Fifth.

14. 94 dance classes: On the location of Franziska Boas’s studio see Allana C. Lindgren, “Holistic Pedagogy in Practice: The Curriculum and Ideology of Embodied Self-Discovery in Franziska Boas’s Dance Classes, 1933–1965,” Journal of Dance & Somatic Practices 4, no. 2 (2012): 163n4. See also Tom Miller, “The ‘Chelsea Firehouse’—No. 323 West 21st Street,” Daytonian in Manhattan (blog), March 16, 2012, http://daytoninmanhat-tan.blogspot.com/2012/03/chelsea-firehouse-no-323-west-21st.html. An item in the New York Times suggests that Boas didn’t lease the Twenty-First Street space until 1940: “Executive Takes Full-Floor Suite,” New York Times, October 5, 1940.

On the racial mixing in Boas’s classes see Mary B. Edsall, “Boas, Franziska Marie (1902–1988),” American National Biography Online, accessed March 3, 2019, https://doi.org/10.1093/anb/9780198606697.ar-ticle.1802157.

15. 94 charge tuition to blacks: Allana C. Lindgren, “Civil Rights Strategies in the United States: Franziska Boas’s Activist Use of Dance, 1933–1965,” Dance Research Journal 45, no. 2 (August 2013): 31.

16. 94 “beating drums”: Philip Pearlstein, “My Warhol(a) Experi-


124 NOTES

ence, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

17. 94 “Here is your body, and you”: “We Visit a Night School for Dancers,” PM, January 20, 1946, 4. The PM article is cited in Allana C. Lindgren, “Holistic Pedagogy in Practice: The Curriculum and Ide-ology of Embodied Self-Discovery in Franziska Boas’s Dance Classes, 1933–1965,” Journal of Dance & Somatic Practices 4, no. 2 (2012): 170.

18. 94 “give the tenants a rest”: See an anonymous, undated, handwritten note, and also Mark Duross, the building manager for the Twenty-First Street studio, to Franziska Boas, July 25, 1945, Franziska Boas Collection, Music Division, Library of Congress, Washington, D.C.

19. 94 one hundred feet deep: The Bromley map for that era, held at the New York Public Library, lists the building as 100 feet deep and 25 wide, although it is described as 75 feet deep in Franziska Boas, interview by David Bourdon, typed notes, July 12, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

20. 94 curtained off for Boas: Floorplan shared with the author by Boas’s daughter Gertrud Michelson, August 26, 2015.

21. 95 an illegal arrangement: David Bourdon, Warhol (New York: Abrams, 1989), 28.

Warhol mentions the icebox being in the bathroom on the contribu-tors page of Mademoiselle (February 1950): 67.

22. 95 “Contributors” page: Mademoiselle (February 1950): 67. 23. 95 was furnished with: Philip Pearlstein, “My Warhol(a) Ex-

perience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. The reproductions are visible in a 1949 photo in the Philip Pearlstein papers, Archives of American Art, Smith-sonian Institution.

Curiously, only three years earlier that room had been home to some of the very earliest pictures you could call Abstract Expressionist, before the term even existed, when Franzisca Boas hosted the first-ever show of the Automatistes group from Montreal—see the August 19, 2015, e-mail to the author from Allana Lindgren, expert on Franziska Boas, citing documents in the Franziska Boas Collection, Music Division, Library of Congress, Washington, D.C. See also Roald Nasgaard, Abstract Painting in Canada (Vancouver: Douglas & McIntyre, 2008), 67.

24. 95 training as a sculptor: See the undated draft of Franziska Boas’s resume, Franziska Boas Collection, Music Division, Library of Congress, Washington, D.C. Boas’s drawings are preserved throughout her papers.


NOTES 125

25. 95 Jan Gay: The most complete biography of Jan Gay seems to be at “Helen Reitman—Gay History Wiki,” accessed March 3, 2019, http://gayhistory.wikidot.com/helen-reitman. Like her partner Franziska Boas, Gay was the daughter of a celebrity—Ben Reitman, the free-loving anarchist “hobo doctor” who had been Emma Goldman’s great paramour.

26. 95 publishing in the same series: See the June 26, 1957, con-tract between Warhol and Nelson Doubleday Inc. (AWMA) for a Best in Children’s Books volume.

27. 95 notorious movie: See Michael Mindlin, This Nude World, documentary, 1933, https://catalog.afi.com/Film/7798-THIS-NUDEWORLD?sid=d77fabdb-2cbc-4c18-9b22-9c0cfad51b35&sr=13.378053&cp=1&pos=0&cxt=Filmography1.

28. 95 activist for homosexual rights: Letters and notes on Jan Gay’s extensive sociological research into homosexuality, in the 1930s al-ready, survive in the Franziska Boas Collection, Music Division, Library of Congress, Washington, D.C.

29. 95 cropped hair and masculine dress: Photos of Jan Gay sur-vive the Franziska Boas Collection, Music Division, Library of Congress, Washington, D.C. One is by the great, openly lesbian photographer Ber-enice Abbott, who was a friend or acquaintance of Boas (her name is in Boas’s address book) and who would have been known to Warhol from her appearance at Outlines gallery in Pittsburgh—Outlines Gal-lery, scrapbook (n.d.), Rockwell family collection.

30. 95 mostly meant “cheery”: Jack Lait and Lee Mortimer, New York: Confidential! (Chicago: Ziff-Davis, 1948), 72. Says Lait, “Not all New York’s queer (or as they say it, ‘gay’) people live in Greenwich Village.” (Lait uses “gay” throughout the rest of the book to mean “cheerful”.) The word “gay,” referring to homosexuality, is still used in quotes more than a decade later in Paul Welch, “The Gay World Takes to the City Streets,” Life ( June 26, 1964): 68.

See also the period glossary in Hugh Hagius, ed., “The Gay Girl’s Guide,” in Swasarnt Nerf’s Gay Guides for 1949 (Bibliogay Publications, 2010), 9. The entry reads, “GAY: Homosexual, queer (adj.). The only word used by homosexuals with reference to themselves, their friends their haunts, etc.” The poet Edward Field said that “gay” was “newly in use” when he returned to New York after the war in 1946—Edward Field, interview by author, May 2, 2016.

Duane Michals, a homosexual on military service in Germany, used the word “gay” in its current sense in a letter sent to a queer friend on


126 NOTES

May 9, 1954—see Duane Michals, The Lieutenant Who Loved His Platoon: A Military Memoir (Antinous Press, 2011), np.

31. 95 had actually met Jan Gay: Franziska Boas’s daughter Ger-trud Michelson, interview by author, August 16, 2015.

32. 95 nude under an untied kimono: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

33. 95 “filled with roaches”: Philip Pearlstein, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

34. 95 “Neev” or “Niehve”: Franziska Boas’s daughter Gertrud Michelson, interview by author, August 16, 2015. Later Warholians have mistakenly thought that the dog was called “Name,” and therefore billed it as foreshadowing (or causing) the moment in the 1960s when Warhol’s assistant Billy Linich became known as Billy Name—see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 67.

35. 96 a litter of eight pups: Franziska Boas, interview by David Bourdon, typed notes, July 12, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

36. 96 in the subletters’ room: Philip Pearlstein, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

37. 96 remembered the pet: Philip Pearlstein, interview by author, October 16, 2015.

38. 96 listing payments: See the account ledger in the Franziska Boas Collection, Music Division, Library of Congress, Washington, D.C.

39. 96 his connection to dance: Warhol would also have got to know Boas’s complete run of Dance Magazine, which might have given him the idea of contacting its editors, who soon started buying his illus-trations; his time with Boas might even have counted as credentials for getting that work. See the list of titles for sale by Boas on leaving New York in the Franziska Boas Collection, Music Division, Library of Con-gress, Washington, D.C.

40. 96 Judson Church dancers: This connection was suggested to the author by the Boas scholar Allana Lindgren in a September 28, 2015,


NOTES 127

e-mail.41. 96 techniques of moviemaking: Boas explores techniques of

lighting and editing and cinematography in a private notebook, Franziska Boas Collection, Music Division, Library of Congress, Washington, D.C.

42. 96 “pleasant to be around”: Franziska Boas, interview by Da-vid Bourdon, typed notes, July 12, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

43. 96 “took Andy over”: Philip Pearlstein, interview by author, October 16, 2015.

44. 96 “assuming it was homosexual”: Philip Pearlstein, full un-published transcript for the video documentary “Andy Warhol: 15 Min-utes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

45. 96 almost silent relationship: Philip Pearlstein, in Jean-Michel Vecchiet, Vie et morts d’Andy Warhol, documentary (Eva Productions, 2005).

46. 96 soaked in a downpour: Philip Pearlstein, interview by author, October 16, 2015. The photograph of George Klauber and War-hol, pantless, is in the Philip Pearlstein papers, Smithsonian Archives of American Art, Smithsonian Institution.

47. 96 Brooklyn Heights scene: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 62.

The gay poet Edward Field (interviewed May 2, 2016) who was on the scene and “out” at the time, posited that Klauber could have been as-sociated with the bohemian filmmakers Marie Menken and her husband Willard Maas, who was gay and held “boy-parties” in their Brooklyn Heights home near Klauber’s. Field met Menken at the Yaddo artists’ retreat in 1951—see Edward Field, The Man Who Would Marry Susan Son-tag and Other Intimate Literary Portraits of the Bohemian Era (Madison, WI: University of Wisconsin Press, 2005), 48.

48. 96 “who told me about the gay life”: July 13, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 13345, Kindle edition.

In an unlikely coincidence, both Warhol and Klauber died from a gallbladder problem that was left untreated for too long—Elizabeth Laub, niece of George Klauber, interview by author, August 9, 2015.

49. 96 cruising action: Edward Field, interview by author, May 2, 2016.

50. 97 “sense of being affiliated with a group”: George Klauber,


128 NOTES

in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 24.

51. 97 attacked them as “kitsch”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

52. 97 “abstract patterns”: See the press release for Edith Sitwell’s January 19, 1949, appearance at the Museum of Modern Art in New York, accessed August 18, 2015, https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/1290/releases/MOMA_1949_0004_1949-01-14_490114-4.pdf.

The recording (over-)played by Warhol was of that MoMA perfor-mance, which their friend George Klauber had seen the previous January, when Sitwell was on a triumphant, much-publicized American tour—Philip Pearlstein, interview by author, October 16, 2015. (Pearlstein could not remember whether he or Klauber had bought the album that Warhol played.) The tour’s coverage included the famous Life magazine photo of cutting-edge poets at the Gotham Book Mart, which became a Warhol hangout in the 1950s—see the undated 2015 letter to the author from Carlton Willers. Warhol actually clipped that Life photo, and kept it—see Reva Wolf, Andy Warhol, Poetry, and Gossip in the 1960s (Chicago: Univer-sity of Chicago Press, 1997), 7.

On the Sitwell tour see Stephen Lloyd, William Walton: Muse of Fire (Rochester, NY: Boydell Press, 2001), 53.

The Sitwell record was released in 1949 as “Façade,” a Columbia Mas-terworks LP sponsored by MoMA, just as Warhol’s own Mexican album had been. The wild cover image for “Façade,” by the star illustrator Jim Flora, takes up the entire surface of the cardboard sleeve and makes War-hol’s tyro efforts for Columbia look particularly slight.

53. 97 love of Sitwell: See William Burroughs and Andy Warhol, notes from a conversation, January 28, 1980, TC578, AWMA.

54. 97 links between popular and high-art forms: Thomas E. Crow, The Long March of Pop: Art, Music, and Design, 1930–1995 (London and New Haven: Yale University Press, 2014).

55. 97 an alcoholic: Franziska Boas, interview by David Bourdon, typed notes, July 12, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

56. 97 “like Hindu god positions”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

57. 97 already a regular: Philip Pearlstein, “My Warhol(a) Experi-


NOTES 129

ence, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

Franziska Boas herself had volunteered at Bellevue, using dance to treat young mental patients there—see Allana C. Lindgren, “Holistic Pedagogy in Practice: The Curriculum and Ideology of Embodied Self-Discovery in Franziska Boas’s Dance Classes, 1933–1965,” Journal of Dance & Somatic Practices 4, no. 2 (2012): 163.

58. 97 dollar sign: That dollar sign began life as a detail in a self-assigned illustration for a true-crime tale about an oppressed seamstress who ax-murdered her kids; one allegorical panel in the series included an image of the dead children impaled on the bars of a dollar sign. Pearlstein was so pleased with that detail that he worked it up as an independent painting in oils—see didactic materials for “Pearlstein, Warhol, Cantor: From Pittsburgh to New York,” an exhibition at The Andy Warhol Mu-seum, Pittsburgh, May 30 to September 6, 2015.

59. 97 shocked silence: Philip Pearlstein, full unpublished tran-script for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

60. 98 The Superman: See didactic materials for “Pearlstein, War-hol, Cantor: From Pittsburgh to New York,” an exhibition at The Andy Warhol Museum, Pittsburgh, May 30 to September 6, 2015.

61. 98 “workaholic”: Philip Pearlstein, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 73.

62. 98 one record cover known from late 1949: The record cover was part of a promotional package for an episode of NBC radio’s “Night Beat” dramatic series that was broadcast in February 1950, suggest-ing that the package was sent out to potential advertisers before then, and probably assigned to Warhol in late summer or very early fall. See https://recordart.wordpress.com/andy-warhol-art-on-45s-part-1/, ac-cessed August 14, 2015. Paul Maréchal offers a date of 1952 based on a similar Warhol image that appeared that year in Billboard magazine—Paul Maréchal, Andy Warhol: The Complete Commissioned Record Covers, 1949–1987, Catalogue Raisonné (New York: Prestel, 2015).

63. 98 standard fee: Tina Fredericks, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 55.

64. 98 “but nothing that paid as wonderful as the glamour job”: An image of the letter was sent to the author by Mark Loiacono of the Whitney Museum. The letter is undated but must have been sent before September 1953, when Zegart left New York—Kett Zegart, interview by


130 NOTES

author, July 18, 2015.65. 98 the last few Carnegie annuals: The catalogs to the 1947

and 1948 Carnegie Annuals give thanks to such important galleries as The Downtown Gallery, Durlacher Brothers, M. Knoedler & Company, Samuel M. Kootz Gallery, Julien Levy Gallery, Betty Parsons Gallery and Galerie St. Etienne, all of which had artists in the Carnegie’s exhibitions, with the gallery name prominently displayed.

66. 98 to Jean Dubuffet: “Art Lovers Face Variety of Shows,” New York Times, January 23, 1950.

67. 98 of folk objects: “Water-Colors Go on View: Record of Our Folk Arts to Open Today in Whitney Museum,” New York Times, October 18, 1950.

68. 98 absolutely confirmed it: See for example Warhol’s class-mate Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 536.

The “Modern Art in Your Life” exhibition and its catalog argued that the “determined uncertainty” favored by the best of America’s illustra-tors, including Warhol’s idol Ben Shahn, was inspired by the fractured, “wandering line” of the venerated painter Paul Klee, “apparently spon-taneous and thoughtless and yet achiev[ing] an extraordinary subtlety” (shades of Warhol’s own blottings)—see Robert Goldwater, Modern Art in Your Life (New York: Museum of Modern Art, 1949), 32. In fact, the very next show to open at MoMA was a big retrospective for Klee, who has always been cited as a central influence on Warhol’s early art.

The great Paul Rand himself designed the Klee catalog, as he’d de-signed the one for “Modern Art in Your Life” (he’d marked it by stick-ing his signature on Klee the cover), while the Times declared the Klee show “a sparkling spectacle”—see Robert Devree, “Artists of Vision: Paul Klee’s Development—Marin’s Recent Work,” New York Times, Decem-ber 25, 1949. Marcel Duchamp was soon raving about Klee in print, in very Warholian terms, in his entry on the artist in Collection of the Société Anonyme (New Haven, CT: Yale University Art Gallery, 1950), reprinted in The Société Anonyme and the Dreier Bequest at Yale University: A Cata-logue Raisonné (New Haven, CT: Yale University Press, 1984), 376. “Most of [Klee’s] compositions show this delightful side of unsophisticated, naive expression,” wrote Ducahmp. “But this is only the first contact with his work and a very appealing one. . . . If Klee often uses a ‘child-ish’ technique, it is applied to a very mature form of thinking.” MoMA’s Klee show was especially full of simple line drawings that come close to the Warhols they inspired—see Paul Klee (New York: Museum of Mod-


NOTES 131

ern Art, 1949). It looks as though by 1951 Warhol had acquired (TC46, AWMA) a big Klee book—Paul Klee: Documents and Pictures from 1896–1930 (Bern: Klee-Gesellschaft, 1951).

Also of interest to Warhol would have been MoMA’s full-scale ret-rospective of Franklin Watkins, who Warhol would have known for his Suicide in Costume, the clown painting that had rocked Pittsburgh when it won first prize at the 1931 Carnegie International and that never lost its celebrity in Warhol’s home town—see for example Charles F. Dan-ver, “Pittsburghesque: International Mob Scene,” Pittsburgh Post-Gazette, April 24, 1949.

69. 99 kicked the lot of them out: Allana C. Lindgren, “Civil Rights Strategies in the United States: Franziska Boas’s Activist Use of Dance, 1933–1965,” Dance Research Journal 45, no. 2 (August 2013): 56n72. The original documents from Boas’s landlord and her lawyer are in the Franziska Boas Collection, Music Division, Library of Congress, Wash-ington, D.C. The landlord had reminded her—often—that the studio’s Certificate of Occupancy was for office space and did not permit dance lessons or residents of any kind.

For the rest of his life, Pearlstein believed (wrongly) that his and War-hol’s sublet money had gone toward Boas’s living expenses rather than toward paying the rent she owed—see Philip Pearlstein, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d. Pearlstein also said that Boas had lied about the eviction just to get rid of him and Warhol, and that she was actually the owner of the loft, but legal documents make clear that this wasn’t the case, and Boas’s daugh-ter denied it—Gertrud Michelson, interview by author, August 16, 2015.

70. 99 Warhol was heartbroken: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 67.

Boas did find good homes for her pets before leaving New York—see Franziska Boas to Gertrud Michelson, June 12, 1950, Franziska Boas Col-lection, Music Division, Library of Congress, Washington, D.C.

71. 99 “That ruined the friendship”: Gertrud Michelson, inter-view by author, August 16, 2015.

72. 99 Leila Davies: Leila Davies had recently fallen into a career as a jeweler in Greenwich Village and had been living there in “a roach infested little hovel” and was thus happy to make the move—Leila Da-vies Singelis, oral history, audiocassette, December 12, 1995, AWMA.

73. 99 illegal sublet: Thomas Kiedrowski, Andy Warhol’s New York


132 NOTES

City: Four Walks, Uptown to Downtown (New York: Little Bookroom, 2011), 36.

74. 99 “very Puerto Rican”: Leila Davies Singelis, oral history, au-diocassette, December 12, 1995, AWMA. Davies suggested that the girls’ original contact in the group flat was the dancer Victor Reilly.

There is a claim that Davies and Eleanor Simon first lived together in “an apartment on West 74th Street near West End Avenue”—see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 59. But that is not mentioned in Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA. The Northport Building, at 74 West 103rd Street, made way in the 1960s for one of New York’s most ambitious public housing projects.

75. 99 around April 1: “Warhol Andy, Artist” is first listed at 103rd Street in the Manhattan Address Directory for April 1950; he is absent from the edition for the month before—although he could have moved earlier and waited a while to get a phone. Warhol and Philip Pearlstein’s rent payments to Franziska Boas end in December according to her ac-count ledgers, Franziska Boas Collection, Music Division, Library of Congress, Washington, D.C.

76. 99 seventh or eighth roommate: Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA. Davies said that El-eanor Simon fled back to Pittsburgh after one week.

77. 99 drama students: Philip Pearlstein, “My Warhol(a) Experi-ence, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

78. 99 a painter in graduate school and a young man in publish-ing: See Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA. Davies mentions a certain Jack Hudson “in publishing” as one roommate.

“The other men sharing the place were Jack (‘Mitch’) Beaber, also from Pittsburgh and then with the American Ballet Theater; Joey Ross, who was working in musical comedy; and a serious artist named Tommy Quinlan who was supporting his career through an advertising job”—Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 76.

79. 99 “transient, uncomfortable places”: George Klauber, in Pat-rick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 24.

80. 99 “everything was in its place”: Dancer Elaine Finsilver, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D.,


NOTES 133

Northwestern University, 1982), 552.81. 99 prepared for these goofy males: The description is by

dancer Elaine Finsilver, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Re-search Press, 1988), 36.

82. 99 an “art commune”: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 22, Kindle edition.

83. 100 the latest Fred Astaire: Margery Bedow, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 410. The crew saw Cocteau’s Beauty and the Beast “several times,” according to Elaine Finsilver in Smith, “Art in Extremis,” 556.

84. 100 “we’d all congregate”: Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA.

85. 100 he “shyly” went up: Lydia Joel tells the story in Andy War-hol: Drawn to Dance (New York: Westwood Gallery, 2012), 67.

86. 100 “That’s so beautiful! Gosh”: Leila Davies Singelis, oral his-tory, audiocassette, December 12, 1995, AWMA.

87. 100 exulted in all sorts of details: Marjorie Freund, Lord and Taylor art director, typescript memoir (n.d.), David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

88. 100 “It’s really much more interesting”: Roberta Bernstein, interview by author, September 18, 2018.

89. 100 “young people in those days”: Robert Fleischer (misspelled “Fleisher”), in Patrick S. Smith, ed., Warhol: Conversations About the Art-ist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 113. Fleischer eventually gave Warhol contracts doing stationery for Bergdorf Goodman, where he had become a buyer—Warhol’s later successes often depended on the networks he’d established early on.

90. 100 $125 rent: Margery Beddow, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 413.

91. 100 “I was making $35 a week”: Leila Davies Singelis, oral his-tory, audiocassette, December 12, 1995, AWMA.

92. 100 “whatever few little jobs”: Leila Davies Singelis, oral his-tory, audiocassette, December 12, 1995, AWMA.

93. 100 a couple of new drawings: See Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 37.

94. 100 a contract for a shoe drawing: Elaine Finsilver, in Patrick S.


134 NOTES

Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwest-ern University, 1982), 552.

95. 100 a wounded baby crying: The piece is described by Robert Fleischer (misspelled “Fleisher”) in Patrick S. Smith, ed., Warhol: Conver-sations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 113. See also Life (October 4, 1937): 18.

96. 101 “somewhat of a whiner”: Elaine Finsilver, in Catherine Johnson, ed., Thank You Andy Warhol (New York: Glitterati, 2012), 18.

97. 101 he felt “left out”: Andy Warhol, THE Philosophy of Andy War-hol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 22, Kindle edition.

98. 101 “we had one problem, which was money!”: Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA.

99. 101 Hurd Hatfield: Elaine Finsilver, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 556.

100. 101 “too ahead of its time”: Hurd Hatfield, in Gregory W. Mank, Hollywood Cauldron: Thirteen Horror Films from the Genre’s Golden Age ( Jefferson, NC: McFarland, 1994), 321.

The scholar Harry M. Benshoff describes the film as “possibly the most overtly queer film of the period” and quotes the original review in Variety: “Albert Lewin, who directed, has very subtly but unmistakably pegged Gray for what he was, but it may go over the heads of a lot of people”—Harry M. Benshoff, Monsters in the Closet: Homosexuality and the Horror Film (Manchester: Manchester University Press, 1997), 113.

101. 101 “star-idolizer”: Elaine Finsilver, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 7.

102. 101 “communal crush”: Calvin Tomkins, “Raggedy Andy,” in The Scene: Reports on Post-Modern Art (New York: Viking Press, 1976), 8.

103. 101 costumed as a garland: Elaine Finsilver, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 553.

104. 101 gay slang: “Daisy chain” is defined as “Homosexual activity, anal, oral, or in combination, involving more than two persons”, in the period glossary in Hugh Hagius, ed., “Gaedicker’s Sodom-On-Hudson,” in Swasarnt Nerf’s Gay Guides for 1949 (New York: Bibliogay Publications, 2010), 6.

105. 101 “his habits and his way of life”: Robert Fleischer (mis-spelled “Fleisher”), in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research


NOTES 135

Press, 1988), 113. Elaine Finsilver describes the daisy chain costume as “created” by Warhol—Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 555.

106. 102 known to turn heads: See Michael Rumaker, Black Moun-tain Days (New York: Spuyten Duyvil, 2012), 86.

107. 102 Jackson was straight: Tommy Jackson, interview by au-thor, May 24, 2016.

108. 102 penny postcards started flying back and forth: Dozens of Jackson’s cards survive in Warhol’s archives. Jackson has said that War-hol’s cards to him survive, but are inaccessible in an abandoned country cabin. Cards that Warhol wrote but never sent to Jackson also survive in Warhol’s archives.

109. 102 “blood test for syphilis”: That blood test is also described in a period handbook to homosexual culture—Hugh Hagius, ed., “The Gay Girl’s Guide,” in Swasarnt Nerf’s Gay Guides for 1949 (Bibliogay Publi-cations, 2010), 24.

110. 102 around February 1951: Tommy Jackson, in a May 22, 1996, telephone conversation with scholar Branden W. Joseph, reported to the author by Joseph in a February 4, 2015, e-mail. Jackson’s first postcard to Warhol from Black Mountain is dated February 28, 1951.

111. 103 Black Mountain’s strong ties: See Elizabeth Rockwell, in “Elizabeth Rockwell Raphael Interview on Contemporary Craft,” Con-temporary Craft, accessed November 26, 2019, https://contemporary-craft.org/about/history/elizabeth-rockwell-raphael-interview/.

112. 103 a poker partner: Tommy Jackson, in a May 22, 1996, tele-phone conversation with scholar Branden W. Joseph, reported to the au-thor by Joseph in a February 4, 2015, e-mail.

113. 103 refuge for homosexuals: See Ruth Erickson, “The 1950s: Ways of Life,” in Helen Anne Molesworth and Ruth Erickson, Leap before You Look: Black Mountain College, 1933–1957 (Boston: Institute of Contem-porary Art/Boston, 2015), 279n4.

114. 103 the first issue of the Black Mountain Review: Reva Wolf, Andy Warhol, Poetry, and Gossip in the 1960s (Chicago: University of Chi-cago Press, 1997), 158n22.

115. 103 modernist prose poems: The poems are by Russell Edson, the great pioneer of prose poems who was the same age as Warhol. See Ken Dixon, “Poet Russell Edson of Darien Is Dead,” Ken Dixon’s Blog-O-Rama, May 2, 2014, https://blog.ctnews.com/dixon/2014/05/02/poet-russell-edson-of-darien-is-dead/. (Other sources give incorrect birth dates for Edson, but 1928 is confirmed on his death certificate.)


136 NOTES

116. 103 “if you’re smart enough”: The cards Tommy Jackson sends from Black Mountain become fancier than before, custom printed with his name and the logo of the new Grapnel Press he’d founded.

117. 103 “I’ve always loved him”: Andy Warhol, interview by David S. Rubin, audio recording, September 23, 1978, David S. Rubin papers, Archives of American Art, Smithsonian Institution.

118. 103 “What was new, really new”: Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA.

119. 103 “highly controversial works”: See the press release “Mod-ern Classics and Controversial American Paintings Recently Acquired by Museum to Be Exhibited,” accessed January 2, 2016, https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/1416/releases/MOMA_1950_0025_1950-03-23_500323-23.pdf.

MoMA also held a major survey of Edvard Munch, which wouldn’t seem particularly relevant except for the fact that Warhol went on to do an entire body of work that riffed on the Norwegian’s ghoulish pic-tures—a detour in his career that seems less peculiar once you know that Munch would have featured in Warhol’s first impressions of New York. That copy of Graphis that Warhol nabbed from the Horne’s display department in 1947 also happened to have Munch as the subject of its lead feature.

120. 104 “psychological tensions”: See the press release “Museum to Show Retrospective Exhibition of Works of Charles Demuth,” accessed August 25, 2015, https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/1408/releases/MOMA_1950_0017_1950-03-02_500302-15.pdf.

121. 104 the Golden Swan: See Jonathan Weinberg, Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde (New Haven, CT: Yale University Press, 1995), 76.

122. 104 compared “for various reasons”: James Fitzsimmons, “Ir-ving Sherman, Andy Warhol,” Art Digest ( July 1952): 9.

123. 104 printers, signmakers and waterworks: The factories are shown in the Bromley map for the area, preserved in the collection of the New York Public Library.

124. 104 sunset-orange walls: Philip Pearlstein, “My Warhol(a) Ex-perience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. To lighten the mood in his flat, Pearlstein had painted the walls “Italian sunset orange,” in memory of wartime stays in Florence and Rome. The later resident Joseph Groell, interviewed by this author June 11, 2015, said that he went on to paint over the orange.


NOTES 137

125. 104 drifts of paper: Philip Pearlstein, full unpublished tran-script for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

126. 104 annoyed colleague: Richard Banks, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 111.

127. 104 “playing with my yo-yo”: Joseph Groell, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 30.

128. 104 “I have diarrhea”: An unnamed source quoted in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 18.

129. 105 massive phone bills: By July the roommates had run up almost $100 in charges on a phone that was in Warhol’s name—see New York Telephone Company, statement, July 1, 1950, document box 189, AWMA. A lawyer was still chasing Warhol for payment a full year later—see Joseph F. Farrell, attorney-at-law, to Warhol, July 2, 1951, AWMA. A roommate claimed that they were made to leave 103rd Street when it was slated for demolition—Elaine Finsilver, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 37. It is true that the site was eventually used for a major public housing project known as the “Douglas Houses,” for which the city was seeking financing by the fall of 1952—see “Municipal Loans,” New York Times, November 1, 1952. But period phone directories indicate that many tenants were still living in the Northport well into the late 1950s

130. 105 “Andy Warhol, c/o Groell”: Joe Slevin to Warhol, postcard, September 22, 1950, AWMA, is addressed to 103rd Street, so Warhol must have left in October or November. An anonymous postcard dated No-vember 17, 1950 (AWMA) inscribed with the motto of the Order of the Garter (“honi soit qui mal y pense”—“shame on anyone who thinks ill of my act”), is addressed to Warhol on Twenty-Fourth Street.

131. 105 given up that August: Philip Pearlstein, “My Warhol(a) Ex-perience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. Warhol had gone to Pittsburgh for Pearl-stein’s wedding, as he’d also returned the previous Christmas, Pearlstein said, somehow feeling flush enough to go by plane both times. He’d never go back half that often again.

The telephone on Twenty-Fourth Street is in Pearlstein’s name in the


138 NOTES

April 1950 Manhattan Address Directory, but Groell’s name takes over in December. The phone remains in his name through 1954.

132. 105 “worked in the New York studio”: Joseph Groell, interview by author, June 11, 2015.

133. 105 affected a cape: See Arnold Wasserman, “Carnegie Tech in the Fifties,” January 2010, http://arnoldwasserman.com/wp-content/uploads/2010/07/CARNEGIE-TECH-IN-THE-FIFTIES1.pdf. Note that Astere Evarist Claeyssen’s English course concentrated on Robert Penn Warren’s All the King’s Men, the same book that Robert Lepper had stu-dents work from in his illustration assignments.

134. 105 “I thought he appeared to be a homosexual”: Joseph Gro-ell, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 24.

135. 105 “one way or the other”: Philip Pearlstein, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

136. 105 “diagnose” him as gay: See Vernon A. Rosario, Homosexu-ality and Science: A Guide to the Debates (Santa Barbara, CA: ABC-CLIO, 2002), 91.

137. 105 deliberately camped it up: See Lawrence M. Baskir and William A. Strauss, Chance and Circumstance: The Draft, the War, and the Vietnam Generation (New York: Knopf, 1978), 45.

In addition to the 1949 draft card, a series of selective-service docu-ments survive in the archives of The Andy Warhol Museum, dated De-cember 7, 1950, to February 22, 1951, all addressed to the Twenty-Fourth Street apartment. They show that Warhol was allowed to undergo his Pittsburgh draft exam in New York, and that it was at this point that he was rated 4F.

138. 105 to New York shortly after him: Imilda Vaughan (later Tut-tle), interview by David Bourdon, typed notes from an earlier conversa-tion, April 1, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

139. 105 Warhol visiting MoMA: Imilda Vaughan (later Tuttle), in-terview by David Bourdon, typed notes from an earlier conversation, April 1, 1968, David Bourdon papers, Archives of American Art, Smithso-nian Institution. The Warhol archives include a MoMA Christmas card, decorated with Warhol’s trademark cherubs, that bears a copyright of 1952. It or one like it was mentioned in a September 15, 1952, MoMA


NOTES 139

press release: https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/1644/releases/MOMA_1952_0066.pdf, accessed October 27, 2017. Other documents (AWMA) show Warhol continuing to make cards for MoMA for many years—and earning surprisingly little from them. A March 3, 1953, statement sent to Warhol from MoMA (TC28, AWMA), covering a period beginning July 1, 1952, reports the $128.83 royalty that he earned, and several similar letters, from a range of card companies, record similar or smaller amounts, sometimes with sheepish apologies from the publisher.

140. 106 “fifteen companies he called”: Imilda Vaughan, in David Bourdon, Warhol (New York: Abrams, 1989), 31.

141. 106 recommending Warhol: See Edgar Kauffman, Jr., to Charles Coiner, April 13, 1950, AWMA. On Coiner see http://www.aiga.org/medalist-charlescoiner/, accessed September 9, 2015.

The Coiner contact seems to have paid off, first with that maga-zine item Coiner wrote about Warhol as a record-cover illustrator—see Charles Coiner, “Clipping Board,” Advertising Agency and Advertising and Selling ( July 1950): 64. There was also a small Coiner contract in 1957 and then another in 1964, when Warhol—by then a famous fine artist—did a major advertising project for the art director’s firm. On the small con-tract see the December 11, 1957, payment advice (AWMA) from Warhol’s agent Anna Mae Wallowitch regarding a commission from N. W. Ayer & Son, Coiner’s firm, for “Plymouth’s 16-page booklet.” On the later con-tract see Edward W. Warwick, Coiner’s subordinate at Ayer, to Fritzie Miller, Warhol’s later agent, February 7, 1964, AWMA. Warhol’s Time Capsule 87 preserves preparatory images of a plastic chair and a steering wheel done for the same ambitious, 30 painting project. Only 12 paint-ings were reproduced in the finished ad: See Warwick’s letter and items 521–528 in Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002).

142. 106 constantly on the phone: Joseph Groell, in Philip Pearl-stein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (type-script draft, 2014), shared with the author by Pearlstein.

143. 106 to come off as “creative”: Joseph Groell, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 30.

144. 106 used his “diarrhea” line: Seymour Berlin, in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 18.


140 NOTES

145. 106 “He’s sharp”: Seymour Berlin, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 419.

146. 106 “opportunistic person”: Seymour Berlin, in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 18.

147. 106 “Isn’t that ridiculous?”: See Joseph Groell, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwest-ern University, 1982), 646.

148. 106 “taking things so seriously”: Carlton Willers, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 144.

149. 106 “poking fun at everything”: Beezy Mitler, in Catherine Johnson, ed., Thank You Andy Warhol (New York: Glitterati, 2012), 18.

150. 107 “someone would accuse me of being evil”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 136.

151. 107 as a TV program: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 91, Kindle edition.

152. 107 had recently been recast: Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 39.

153. 107 for free: See Paul Maréchal, Andy Warhol: The Complete Com-missioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Pres-tel, 2014), 39. See also George Goodman Jr., “Charles E. Whitney Is Dead at 73,” New York Times, November 5, 1976. One of Warhol’s Interiors covers won a spot in the 1954 Art Directors Club exhibition and annual (as item #97, p. 99 in the annual).

154. 107 got an early boyfriend to subscribe: See Carlton Willers to Andy Warhol, August 20, 1954, AWMA.

155. 107 “Upcoming Artist” feature: “Upcoming Artist: Andy War-hol,” Art Director & Studio News, April 1951, 20.

156. 107 introduced to the company: See Ian S. MacNiven, “Liter-choor Is My Beat”: A Life of James Laughlin, Publisher of New Directions (New York: Farrar, Straus & Giroux, 2014), 276.

157. 107 tripled their sales: Julia J. Thomson, “The Art of Graphic Design: Lustig, Albers, Johnson, and the 1945 Summer Session,” black-mountainstudiesjournal.org, accessed March 3, 2019, http://www.blackmountainstudiesjournal.org/volume-6-alma-stone-williams-race-


NOTES 141

democracy-arts-and-crafts-and-writers-at-bmc-summer-2014/6-4-julie-j-thomson/.

158. 107 close friends with Will Burtin: Elaine Lustig Cohen, widow of Alvin Lustig, September 23, 2015, e-mail to the author.

Lustig had suggested Will Burtin as a likely job contact to his Black Mountain student Ray Johnson, the neo-Dada “mail artist” who Warhol later befriended and who did New Direction covers in the later 1950s; like Warhol, both Lustig and Johnson had also done covers for Interiors maga-zine. See Julia J. Thomson, “The Art of Graphic Design: Lustig, Albers, Johnson, and the 1945 Summer Session,” blackmountainstudiesjournal.org, accessed March 3, 2019, http://www.blackmountainstudiesjournal.org/volume-6-alma-stone-williams-race-democracy-arts-and-crafts-and-writers-at-bmc-summer-2014/6-4-julie-j-thomson/. Lustig was also in-volved with the founding of I.D. magazine, whose second issue featured a big spread by Warhol—see Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 38, 82.

There is also the notable coincidence (or not) that the founder of New Directions, James Laughlin, was one of the Pittsburgh Laughlins, whose steel mill had blackened Warhol’s first childhood home. It could be that, as with Laughlin’s friend Edgar Kaufmann, Jr., at MoMA—whose writ-ings on design Laughlin had published—Steeltowners high and low were sticking together in New York, which included giving a hand up to a newcomer like Warhol.

159. 108 accommodations in Brooklyn Heights: See “Muriel” to Andy Warhol, postcard, December 29, 1950, AWMA.

160. 108 a lease: See “Landlord’s Report of Lease,” April 13, 1951, AWMA. The document backdates Warhol’s first official day of occupancy to December 4, 1950, but the much later date on the lease report itself as well as the postmarks and addresses on cards from Tommy Jackson sug-gest that Warhol didn’t move in until mid-March. On January 24, 1951, someone named Tish Hudson was still sending Warhol a card addressed to the Twenty-Fourth Street flat, while a Jackson card from March 10 is addressed to Twenty-Fourth Street and one from March 22 gets sent to Seventy-Fifth. Warhol’s archives include an April 6 receipt for a deposit toward future utility bills, and that might be from the start of his stay on Seventy-Fifth Street. Warhol kept a similar receipt, addressed to Vic-tor Reilly on March 20, for a refundable deposit for phone service on Seventy-Fifth Street.

A check to Warhol’s landlord dated April 8, 1952 (AWMA) shows him


142 NOTES

paying $52.90.161. 108 “as cheap as you could possibly get”: Leila Davies Singelis,

oral history, audiocassette, December 12, 1995, AWMA.162. 108 classic New York building: A 1940s photo of the building

can be seen at nycma.lunaimaging.com, accessed November 13, 2018. The building survives but has been significantly altered.

163. 108 two windows wide but with kitchen and bathroom: George Klauber, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 26. For the full address see Nathan Gluck to Warhol, postcard, May 22, 1951, AWMA. Although the lease for the apartment (AWMA) lists it as #2A, Warhol’s own invoices record his address as apartment 1A.

164. 108 plenty of rats: David Bourdon, Warhol (New York: Abrams, 1989), 30. Rats are also mentioned in Paul Warhola, interview provided to the author by Jesse Best, digital audio, n.d. See also Carlton Willers, interview by David Bourdon, typed notes, March 21, 1968, David Bour-don papers, Archives of American Art, Smithsonian Institution.

165. 108 Warhol complained of its pink wallpaper: Interiors, June 1951, 8.

166. 108 recently moved in: Philip Pearlstein, “My Warhol(a) Experi-ence, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein. “Dorothy found a pleasant apartment on 2nd Ave at Eighty-First Street,” wrote Pearlstein. “Within a few months Andy moved into an apartment within walking distance.”

167. 108 dancer Victor Reilly: There are phone bills (AWMA) ad-dressed to Victor Reilly in Warhol’s Seventy-Fifth Street building, and it’s hard to see why they’d have ended up in Warhol’s hands if he and Reilly weren’t in the closest of contact at the time, maybe even sharing a phone. The phone bills are for a new telephone number on East Seventy-Fifth Street, and they include a deposit for the phone paid by Reilly on March 20, 1951, at 218 East Seventy-Fifth, and then a payment on Au-gust 6 at number 216.

There has been some confusion over the fact that Warhol and Reilly have each been associated with those two different addresses on the street. A visit to the property shows that those are (and always were, judging from period photos) simply two doors to the same building, with the main lobby at 216 and a basement entrance at 218. Although the “Landlord’s Report of Lease” for Warhol’s unit is for apartment 2A at number 216, all the sources speak of him living in the basement that we see as his address on mail.


NOTES 143

David Bourdon reports that the June 1951 New York telephone book listed Reilly at 218 East Seventy-Fifth Street, and then the next year he was listed at 216—David Bourdon, Warhol (New York: Abrams, 1989), 39n4.

One likely scenario would have Reilly getting the basement apart-ment at number 218 first, then ceding it to Warhol and moving upstairs to 216, with the two of them continuing to share a single phone. Of course it could be that residents used the two addresses interchangeably. If Reilly got to the building—or the apartment—before Warhol, the December 4 occupancy date given on its Lease Report might refer to his arrival, not Warhol’s.

CHAPTER 7

1. 111 “That wasn’t a chick”: Anonymous art director from the firm of Benton and Bowles, in Andrew Cracknell, The Real Mad Men: The Renegades of Madison Avenue and the Golden Age of Advertising (Philadel-phia: Running Press, 2011), 74.

2. 111 “little bit of money”: Leila Davies Singelis, oral history, au-diocassette, December 12, 1995, AWMA.

3. 111 “could only talk about shoes, shirts”: David Mann, inter-view by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

4. 111 “so terribly fey”: Robert Galster, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 154.

5. 111 more than a month’s rent: Cancelled check to Brooks Brothers for $63.60, March 15, 1952, AWMA.

6. 111 stylish single button: See the photo of Warhol at work, The Andy Warhol Museum accession #T849.2. Warhol is clearly not wearing a wig—he has a visibly receding hairline—so the photo must date to his first years in New York.

7. 111 “He was very boyish”: Carlton Willers, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 144.

8. 111 the right patina: David Bourdon, Warhol (New York: Abrams, 1989), 38.

In late 1957, on a visit to a major client, Warhol still wore shoes “cov-ered with colors like a Jackson Pollock painting”—see Arthur Edelman in Kimberly Phillips, “Happy Birthday Andy!,” August 6, 2012, http://blog.dwr.com/2012/08/06/happy-birthday-andy/.


144 NOTES

9. 112 “lived-in look”: Nathan Gluck, notes on Warhol (January 16, 1976), Luis de Jesus Los Angeles gallery.

10. 112 the Café Winslow: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 82. See also Andy War-hol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 68.

On gay bars sited off the lobbies of otherwise straight hotels see Paul Welch, “The Gay World Takes to the City Streets,” Life ( June 26, 1964): 68.

11. 112 “informal, chummy and gay”: The Theatre: A Magazine of Drama, Comedy, Music, 1961, 30.

12. 112 “discreetly ogling each other”: See Joe LeSueur, Digressions on Some Poems by Frank O’Hara (New York: Farrar, Straus & Giroux, 2003).

13. 112 “shining private washrooms”: See Ned Rorem, Knowing When to Stop (Open Road Media, 2013), eBook. Warhol owned Rorem’s Paris and New York diaries (AWMA) published in the mid-1960s.

14. 112 Café Nicholson: The restaurant had begun on Fifty-Eighth Street, but by 1954 had moved to a bigger space on Fifty-Seventh—see “City Properties in New Ownership,” New York Times, April 19, 1954.

15. 112 Johnny Nicholson (né Bulica): See the Nicholson archives at the Smithsonian Institution: https://sova.si.edu/record/NMAH.AC.1279?s=0&n=10&t=C&q=Bulica&i=0, accessed January 7, 2020.

16. 112 “liked the boys who ran it”: Carlton Willers, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 147.

17. 112 to stop off at the Plaza Hotel: Elaine Finsilver, in Catherine Johnson, ed., Thank You Andy Warhol (New York: Glitterati, 2012), 18. Ac-cording to Seymour Berlin, Warhol’s printer, he continued to breakfast at the Plaza throughout the 1950s, although “he couldn’t really afford it”—see Berlin in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 414.

The bar in the Plaza’s Oak Room was considered a safe meeting place for homosexuals, although it was understood that the nearby tables might cater to straights—gay poet and Warhol contemporary Edward Field, interview by author, May 2, 2016.

18. 112 he recommended it: Mark Lancaster, in Gary Comenas, “Mark Lancaster Interview,” Warholstars (blog), 2004, http://www.war-holstars.org/andywarhol/interview/mark/lancaster.html.

19. 112 sold cheap: Interview with Johnny Nicholson, August 7, 2015. The antique shops were only about a decade old then, established


NOTES 145

to sell old goods pouring in from Europe during the war—see Jack Lait and Lee Mortimer, New York: Confidential! (Chicago: Ziff-Davis, 1948), 52.

20. 112 gay sex was still illegal: George Painter, “The History of Sodomy Laws in the United States—New York,” accessed March 4, 2019, http://www.glapn.org/sodomylaws/sensibilities/new_york.htm#fn116.

The “New Bohemians” at the Café Nicholson were called-out as “decadents” by no less a critic than Mary McCarthy—Mary McCarthy, “Up the Ladder from Charm to Vogue,” The Reporter, August 1, 1950, 32.

21. 112 magazine feature: Charles J. Rolo, “The New Bohemia,” Flair (February 1950): 115.

22. 113 they’d tumble out: Carlton Willers, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

23. 113 “horde of homosexuals”: Jack Lait and Lee Mortimer, New York: Confidential! (Chicago: Ziff-Davis, 1948), 65. The Lait and Mortimer volume was republished and reprinted several times. Lait and Mortimer (p. 46) also describe another spot where Warhol, always the voyeur, could have watched the queer “parade”: on West Fifty-Second Street, a block over from the Museum of Modern Art.

Lait’s claims about Lexington Avenue are repeated in a period source in Hugh Hagius, ed., “Gaedicker’s Sodom-On-Hudson,” in Swasarnt Nerf’s Gay Guides for 1949 (New York: Bibliogay Publications, 2010), 8.

24. 113 the area was “groovy”: Jason Holiday, in Shirley Clarke, Portrait of Jason, documentary (Milestone Films, 1967).

25. 113 “it was charming”: Carlton Willers, interview by author, September 22, 2015.

26. 113 “quite beautiful lips”: Carlton Willers, interview by author, September 22, 2015.

27. 113 a 1951 drawing: See the two signed and dated drawings of Warhol by Nathan Gluck, AWMA.

28. 113 contact sheet of portraits: The photographs were taken by Duane Michals in around 1958 and viewed in the photographer’s studio on September 14, 2014.

29. 113 “scuffed loafers”: “Husband-Wife Artist Team Finds No Place like Home,” New York Times, May 17, 1958.

30. 113 “good-looking”: Arthur Elias, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 530.

31. 113 Pearlstein concurred: Philip Pearlstein, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-


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nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d. “I always thought he was nice-looking as a kid,” said Pearlstein. “He was not big, but he was a lot bigger than I was—taller and very slender.”

32. 113 145 pounds: For Warhol’s weight, see Dr. Denton Cox, “His-torical and Diagnostic Summary,” December 7, 1960, AWMA. His height is given as 5'8" on his August 6, 1946, Selective Service registration card (AWMA). For a 1956 passport (AWMA) Warhol listed himself as a boast-ful (and improbable) 5'11", and then for one issued in 1965 he becomes 5'4".

On autopsy, at the age of fifty-eight, he was measured at 5'6"—see Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 93.

33. 113 early shot of him: The photo (AWMA), in color and attrib-uted to Warhol’s lover Edward Wallowitch, must be from the later 1950s.

34. 113 “quite a big dick”: John Giorno, in David Shulman, “A Day in the Life of Andy Warhol,” television broadcast (BBC Scotland, 2015). Warhol’s “big grey cock” is mentioned by Warhol’s friend Taylor Mead in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2881, Kindle edition.

35. 113 Photographs confirm it: The late Warhol Museum archi-vist Matt Wrbican pointed out that a photobooth strip (TC25, AWMA) shows a close up on a large penis protruding from an open fly, and the rest of the clothing visible in the strip’s shots match what we see on War-hol in other strips.

36. 113 not what he wanted to see: See Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 368. See also documents relating to personal trainer Lidija Cengic preserved in the Warhol archives, as well as photographs there of Warhol being trained.

37. 114 lifting weights: Seymour Berlin, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 156.

38. 114 a gym membership: See the October 20, 1957, membership card to American Health Studios (TC35, AWMA), and the ad for the club in the Long Island Star-Journal, January 6, 1958. The club specialized in weight loss. Warhol didn’t pay his dues, however—see the March 19, 1958, summons (AWMA) that he was served with by the club.

39. 114 “average person could do one”: Seymour Berlin, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., North-western University, 1982), 417.


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40. 114 “his strength is incredible”: Lou Reed is quoted by Da-vid Bowie in an unsourced 1972 clipping (AWMA). The source seems to be a Bowie interview by Michael Watts in the August 1970 issue of Melody Maker—see www.americanradiohistory.com/UK/New-Musical-Express/History-of-Rock/TheHistoryOfRock1972.pdf, accessed January 18, 2020.

A doctor and friend of Warhol’s said she and Warhol worked out together with a trainer in the early 1980s—Karen Burke, interview by author, October 20, 2015. See the full account later in this biography.

41. 114 a negative impression: Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA. “When I knew him then he was practically bald, and he had this bulbous nose and discolorations on his nose, face and chest,” said Singelis. “He also had very thick glasses and a whispery voice.”

42. 114 “one of the plainest boys”: David Mann, in David Bourdon, Warhol (New York: Abrams, 1989), 32.

Billy Name was the lover who denigrated Warhol’s looks—see All Tomorrow’s Parties: Billy Name’s Photographs of Andy Warhol’s Factory (New York: D.A.P., 1997), 27.

43. 114 dwelled on Warhol’s skin: George Klauber, in Fred Law-rence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 81.

44. 114 abstractions of Helen Frankenthaler: Tina Fredericks, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 53.

45. 114 a portrait of Warhol: Philip Pearlstein, Portrait of Andy War-hola (1950), Whitney Museum of American Art, New York. Warhol kept the picture until 1974, when he gave it to the Whitney.

46. 114 his high-end dermatologist: Dr. William Leifer to Andy Warhol, April 18, 1953, AWMA. In the 1950s, Leifer’s many publications list him as the president of the Bronx Dermatological Society. For his rev-olutionary syphilis treatment see Arthur H. Aufses, This House of Noble Deeds: The Mount Sinai Hospital, 1852–2002 (New York: New York Univer-sity Press, 2002), 28, 193. See also “Icahn School of Medicine at Mount Sinai: Department of Dermatology—History,” accessed September 27, 2015, http://icahn.mssm.edu/departments-and-institutes/dermatology/about-us/history.

47. 114 the discolorations only really showed: Carlton Willers, in-terview by author, September 22, 2015. In an undated 2015 letter to the author, Willers said that Warhol “exaggerated these defects.”


148 NOTES

The pigmentation problems extended across the artist’s entire body, according to Dr. Denton Cox, “Historical and Diagnostic Summary,” De-cember 7, 1960, AWMA.

Another strike against Warhol: A woman who met him in 1949, when she was in her teens, remembered that he had terribly bad breath—Gertrud Michelson, interview by author, August 16, 2015. This hardly seems like a fact that would bubble up from a fading memory bank un-less it had been true, at least for that moment.

48. 114 bulbous nose: The notion that Warhol’s nose was also cov-ered in swollen blood vessels has been advanced by some biographers: Wayne Koestenbaum, Andy Warhol (New York: Viking Press, 2001), 31; David Bourdon, Warhol (New York: Abrams, 1989), 32. This was categori-cally denied, however, by his 1950s boyfriend Carlton Willers, interview by author, September 22, 2015. Early photos also fail to show signs of such vascularization. It may have followed from his 1957 plastic surgery and then been remembered back into his early years by some sources; it was noted in Dr. Denton Cox, “Historical and Diagnostic Summary,” December 7, 1960, AWMA.

49. 114 A photo from the late 1940s: The photo is accession #1998.3.10540 in The Andy Warhol Museum.

50. 114 “one sees worse noses”: Nathan Gluck, interview by David Bourdon, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

51. 114 “if he operated on his nose”: Charles Lisanby, in the manu-script transcript of a November 11, 1978, interview conducted by the late Patrick S. Smith and provided by him to the author.

52. 114 “surgery” on several photos: The photos are in The Andy Warhol Museum, and include one whose retouched nose, with an altera-tion visible only by raking light, seems not to have been noticed previ-ously: accession no. 2001.2.2016.

In a drawing auctioned at Sotheby’s Arcade on October 7, 1989, the figure Warhol labels as “me” has a tiny ski-jump nose—see “Andy War-hol—Artists—Susan Sheehan Gallery,” Susan Sheehan Gallery, accessed December 2, 2019, https://www.susansheehangallery.com/artists/andy-warhol/images/54. The other figure in the drawing, labeled “Johnnie Krug,” suggests that the sheet dates from after 1956, since that is the year Krug first met Warhol’s friend Otto Fenn, according to Krug’s niece Deborah Hallam, interview by author, March 12, 2017.

53. 114 “the Ping-Pong ball: Dorothy Cantor, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc.


NOTES 149

812, Kindle edition. 54. 114 reconstructive surgeon: See the bill to Warhol for the pro-

cedure (AWMA) sent by Richard Boies Stark, MD, and dated June 30, 1957. The procedure is listed as having taken place on June 13, 1957, at St. Luke’s Hospital, where Warhol later said that he’d had the opera-tion—see Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 64, Kindle edition.

55. 114 “you’re re-creating a face”: Dr. Richard Stark, in Stan-ford magazine, “The Doctor Is Out—Painting,” accessed March 4, 2019, https://stanfordmag.org/contents/the-doctor-is-out-painting. When Warhol hired him, Stark had just founded the plastic surgery department of St. Luke’s Hospital.

56. 115 leave him an Adonis: Charles Lisanby, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 138.

57. 115 “I was really disappointed”: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 63, Kindle edition.

58. 115 “heavy layers of Calamine”: John Richardson, in David Shulman, “A Day in the Life of Andy Warhol,” television broadcast (BBC Scotland, 2015).

59. 115 the lunar surface: In the mid-1960s, Warhol’s doctor de-scribed a “tendency to venous telangiectasias of nose,” a.k.a., spider veins—Dr. Denton Cox to Andy Warhol, January 25, 1965, TC25, AWMA.

60. 115 terribly nearsighted: Six pairs of Warhol’s glasses and sun-glasses were examined by Pittsburgh optician Jamie Kirkavitch on Feb-ruary 8, 2017.

61. 115 children’s frames: Marjorie Freund, Lord and Taylor art director, typescript memoir (n.d.), David Bourdon papers, Archives of American Art, Smithsonian Institution.

62. 115 Tina Fredericks: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1403, Kindle edition. See also Calvin Tomkins, “Raggedy Andy,” in The Scene: Reports on Post-Mod-ern Art (New York: Viking Press, 1976), 9. Another reference is in Nathan Gluck, interview by David Bourdon, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

63. 115 opthalmological quackery: “Marketers Withdraw False and Unsubstantiated Claims About ‘Pinhole’ Eyeglasses,” Casewatch: Your Guide to Health-related Legal Matters, accessed March 4, 2019, https://www.casewatch.net/ftc/news/1993/natural-vision.shtml.


150 NOTES

64. 115 done some good: The glasses are described as having helped Warhol “quite a bit” in Edith La Roche, of Harper’s Bazaar, to Andy War-hol, January 13, 1970, TC62, AWMA.

65. 115 Warhol had enjoyed: Nathan Gluck, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 66.

66. 115 ordering glasses: Maurice Poster, optometrist, bill for con-tact lenses, September 9, 1958, TC34, AWMA. Leon A. Klein opticians bills Warhol for five pairs of prescription glasses on September 28, 1970 (box B17, AWMA), but at least one pair seems to be for “Miss Eve War-hol,” according to a receipt dated October 16, 1970.

67. 115 prematurely gray: Carlton Willers, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 144. This was further clarified in Carl-ton Willers, interview by author, September 22, 2015.

Charles Lisanby, Warhol’s close friend in the mid-1950s, also men-tions Warhol as graying in Charles Lisanby, interview by James Madison University, video recording, March 2011.

68. 115 brown one: Carlton Willers, undated 2015 letter to the au-thor.

69. 115 natural thatch: The Warhol archives include a suite of color photos that show him with a just slightly receding hairline, and that seem to have been taken in his apartment on lower Lexington Ave., and so can’t be earlier than 1953.

70. 115 1955: See Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 82. See also Wayne Koesten-baum, Andy Warhol (New York: Viking Press, 2001), 34. Warhol was still sporting (what was left of) his own hair in 1955, according to Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA. This is when Carlton Willers says that he got Warhol to buy a wig—see Willers in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 144.

71. 115 $1,000: Carlton Willers, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

Many people never caught on to Warhol’s bewigged state. As late as 1978, Margery Beddow, his roommate from 103rd Street, thought he was bleaching his (in fact non-existent) hair: See Beddow in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 411. Duane Michaels, who befriended and portrayed War-


NOTES 151

hol in about 1958, said that he too was unaware of his toupee—Duane Michals, interview by author, May 29, 2015.

72. 115 “Look at what Andy’s got!”: Imilda Vaughan (later Tuttle), interview by David Bourdon, typed notes from an earlier conversation, April 1, 1968, David Bourdon papers, Archives of American Art, Smith-sonian Institution.

73. 115 long bangs: Robert Heide, interview by author, May 26, 2016.

74. 115 hopes of being mistaken: Fritzie Wood, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 43.

75. 115 baldness remedies: See drawings #2002.4.5 and #2002.4.6 in The Andy Warhol Museum.

76. 116 “MAKE HIM WANT YOU”: Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 27.

77. 116 “fit that fifties fairyland like a glove”: See John Mann in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 25.

78. 116 to Seventy-Fifth Street: Gluck remembered Warhol living on Seventy-Fifth Street but had no memory of being inside the flat—see Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 76.

Gluck said he first encountered Warhol when he was living in the shared apartment on 103rd street, doing the rounds with his portfolio—see Nathan Gluck, interview by David Bourdon, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution. Elsewhere Gluck said that he and Warhol were introduced by the art director Gene Federico—see Nathan Gluck, notes on Warhol (January 16, 1976), Luis de Jesus Los Angeles gallery.

79. 116 fanciful postcard: Nathan Gluck to Andy Warhol, May 22, 1951, postcard, AWMA. The drawing is in Time Capsule 87 of the Warhol archives.

80. 116 “my second great love”: George Klauber, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1500, Kindle edition.

81. 116 with yet another man: Victor Bockris, Warhol: The Biogra-phy (Cambridge, MA: Vintage Books, 2003), loc. 1500, Kindle edition.

82. 116 “we called for an ambulance”: George Klauber, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003),


152 NOTES

loc. 1506, Kindle edition. Warhol biographer Fred Lawrence Guiles dates the incident to De-

cember 1950, which seems too early, and gives a slightly different account of the Christmas dance. However, he gives the title of the French film as Forbidden Games, a movie, by René Clement, that was only released in the U.S. in December 1952, so in his discussion with Guiles Klauber might have misremembered precisely which film they had seen—see Fred Law-rence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 83.

The Warhol scholar Nina Schleif prefers to think that the film as mentioned is correct and that the episode should be re-dated to Decem-ber 1952—Nina Schleif, Drag & Draw: Andy Warhol, the Unknown Fifties (Munich: Hirmer, 2018), 127n29.

83. 116 always more fond: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc.1511, Kindle edition.

84. 116 at Ward’s place: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 83.

85. 116 Seventy-Fifth Street flat: The biographer Victor Bockris dates the start of the collaboration to the spring of 1952, which seems credible, and the information must have come from Ward himself—Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1512, Kindle edition.

86. 116 “A rendezvous with Bill”: The drawing is in The Andy Warhol Museum, #1998.1.1415.

87. 116 as gifts: Seymour Berlin, Warhol’s printer a bit later in the decade, explained that a Warhol chapbook was typically intended “not to sell, but as a means of giving it out to different customers to promote himself”—see Berlin in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 156.

Even clients with a fairly meager presence in the Warholian record received such gifts, including NBC art director Walter van Bellen, on whose (single?) project with Warhol see 32nd Annual of Advertising and Editorial Art of the Art Directors Club of New York (New York: Farrar, Straus & Young, 1953), item 195. For the promotional book by Warhol that van Bellen owned see “Andy Warhol: 25 Cats Name[d] Sam and One Blue Pussy,” Ketterkunst.com, accessed December 2, 2019, https://www.ket-tererkunst.com/details-e.php?obnr=114004303&anummer=420&detail=1.

88. 117 rejection slips: See the August 10, 1953, letters to Warhol


NOTES 153

from the publishers Grosset and Dunlap, Farrar, Strauss and Young, Har-court, Brace and Co. and Little, Brown and Co., all in the collection of Ralph Ward’s relative Marshall Reese, in New York. Rejection slips from other publishers for the same books also survive in the Warhol archives.

Warhol had also tried to find a place for his and Ward’s Love is a Pink Cake in Harper’s magazine, but its editor said it was not a good fit—see Russell [Lynes] to Andy Warhol, May 1, 1953, AWMA.

The chapbooks held more promise as art: Later in 1953, the Princ-eton University Library accepted Warhol’s donation of Love is a Pink Cake and an abecedary called A Is an Alphabet, which clearly made more sense as bibliophilic esoterica and tactful homoerotica than as products for sale to a mass audience—see William S. Dix, Princeton librarian, to Andy Warhol, November 11, 1953, AWMA.

89. 117 become close to: Otto Fenn to Andy Warhol, December 22, 1951, Christmas card, AWMA.

Unless otherwise indicated, further information on Fenn comes from his longtime partner John Krug, interview by author, May 10, 2016. On Warhol and Fenn see also Nina Schleif, Drag & Draw: Andy Warhol, the Unknown Fifties (Munich: Hirmer, 2018).

90. 117 court some of his clients: One client described meeting Warhol at Otto Fenn’s—Marjorie Freund, Lord and Taylor art director, typescript memoir (n.d.), David Bourdon papers, Archives of American Art, Smithsonian Institution.

91. 117 two-story studio: Warhol had actually first met Otto Fenn when the photographer’s studio was still in the same Graybar building that housed the offices of Glamour magazine, where Warhol had received his first New York commission—see Nina Schleif ’s lecture delivered No-vember 30, 2018, at the Whitney Museum of American Art, New York.

Fenn’s second studio is listed at 132 East Fifty-Eighth Street in both the 1948 and 1953 New York phone books, and photos of Warhol sur-vive (AWMA) with that address stamped on the back. Fenn’s partner John Krug said that the space had recently been vacated by the famous lefty night spot called Café Society, but that is always listed at 128th East Fifty-Eighth Street, not 132, so either the two addresses functioned as one building or Krug’s memory is at fault—see John Krug, interview by author, May 10, 2016.

Krug also said that he and Fenn would lunch at Serendipity 3 café but were not part of the scene there, as Warhol was.

92. 117 little rounds of glass: Carlton Willers, interview by author, September 22, 2015.


154 NOTES

93. 117 Jean Cocteau: Neil Printz, “Other Voices, Other Rooms: Be-tween Andy Warhol and Truman Capote, 1948–1961” (Ph.D., New York University, 2000), 76.

94. 117 Gore Vidal: See the Otto Fenn contact sheet reproduced in Gore Vidal, Gore Vidal: Snapshots in History’s Glare (New York: Abrams, 2009), 62. See also the guide to the Gore Vidal papers in the Houghton Library of Harvard University, accessed May 9, 2016, http://oasis.lib.har-vard.edu/oasis/deliver/~hou01943.

Fenn continued to appear in Warhol’s datebook a decade later—see the March 9 entry in Warhol’s 1961 datebook (AWMA). Fenn was calling his old friend as late as the 1980s—see Time Capsule 518, which preserves telephone messages from Fenn that are on the same paper as ones from 1980s artist Keith Haring.

95. 117 painted props: The Warhol archives include color photos, inscribed with Otto Fenn’s name, where a female model is posed in front of a folding screen with butterflies by Warhol while slides of Warhol but-terflies are projected onto her body.

See also Donna De Salvo, “Andy Warhol: Drawing Us In,” in Andy Warhol: Private Drawings from the 1950s (Köln: Walter König, 2003), np. Citing an unpublished interview with Fenn, de Salvo says that Warhol worked on butterfly-patterned screens in Fenn’s studio and that he of-fered to paint backdrops for Fenn’s photos. He did the same for another photographer, a “Mr. Barnett”—see Warhol’s invoice to Barnett, June 6, 1957, AWMA.

96. 117 a Christmas card: The Warhol-Fenn card is reproduced in Margery King and Mark Francis, eds., The Warhol Look (Pittsburgh: The Andy Warhol Museum, 1997), 67.

97. 117 a tender portrait: The portrait of Warhol by Otto Fenn is in The Andy Warhol Museum, accession #1998.3.4858.

98. 117 sending Fenn a series of clever, campy postcards: In De-cember 2015, seven of the cards, dated July to October 1952, were exam-ined by the author at Glenn Horowitz Bookseller in New York.

99. 117 took seriously: See A. H. Weiler, “By Way of Report,” New York Times, January 19, 1947.

On MoMA’s particular interest in Greta Garbo see also John Bernard Myers, Tracking the Marvelous: A Life in the New York Art World (New York: Random House, 1983), 172.

Note that Garbo’s movie The Story of Gosta Berling had already been screened as art at Outlines gallery in Pittsburgh, on June 19, 1944, at the tail end of Warhol’s junior year in high school—see Outlines Gal-


NOTES 155

lery, scrapbook (n.d.), Rockwell family collection. Like most of the films at Outlines the print almost certainly came from the Museum of Mod-ern Art, where it was one of several Garbo films acquired and shown in 1937—see Museum of Modern Art, “John Hay Whitney Announces . . . the Arrival of a Group of Important Motion Picture Films from Sweden,” June 8, 1937, https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/389/releases/MOMA_1937_0029.pdf. Note also that in 1965, Greta Garbo—along with Truman Capote—was still being listed by the New York Times as one of the city’s “in” people, while Warhol had become one of its “outs”—see “The In Crowd and the Out Crowd,” New York Times, July 7, 1965.

100. 117 “serious idol of camp”: Susan Sontag, “Notes on Camp,” in Against Interpretation and Other Essays (New York: Delta Books, 1966), 286.

On George Klauber’s shot of Warhol see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 93. See also Klauber in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 694.

Warhol repeated the Garbo pose for a studio portrait taken by “Butch” Melton and Wilbur Pippin, a pair of dance photographers who hosted an elite gay salon—on Melton and Pippin’s salon, see Joe LeSueur, Digressions on Some Poems by Frank O’Hara (New York: Farrar, Straus & Giroux, 2003). Their undated, name-stamped photograph of Warhol, pre-toupee, is in the photo collection of The Andy Warhol Museum.

Note that at some point in the 1950s Warhol made a traced drawing from the 1928 Steichen photo of Garbo—see Alexandra Barcal et al., eds., Andy Warhol: The LIFE Years 1949–1959 (Munich: Hirmer, 2015), 116. (That publication argues that Warhol’s source was the January 10, 1955, cover of Life magazine that reprinted the photo, but he could have gotten it elsewhere, leaving the date of his drawing undecided.)

In an odd reversal of Warhol’s almost-drag photo, Garbo herself once said that she’d hoped to don men’s clothing to play the tainted hero of the 1945 film version of The Picture of Dorian Gray, a part that eventually went to Hurd Hatfield, the gay heartthrob who had shown up at that party in Warhol’s 103rd street “commune”—on Garbo’s interest in the role see Gregory W. Mank, Hollywood Cauldron: Thirteen Horror Films from the Genre’s Golden Age ( Jefferson, NC: McFarland, 1994), 321.

It looks as though Warhol and Fenn’s camping on Camille may have inspired their gay crowd to produce an all-male version of the film, shot the following year by friends on Fire Island as a lark—but also deemed worthy of mention by syndicated columnist Dorothy Kilgallen, “Gossip


156 NOTES

in Gotham,” Lowell Sun, September 21, 1953.“It was like a camp funny thing to do,” remembered Jac Venza, inter-

view by author, August 1, 2018. The film gives some idea of the kind of deeply homosocial world the young Pittsburgher had moved into. It was shot in luscious color and with surprisingly high production values; the Fenn circle had mainstream skill-sets and tastes that were quite unlike Warhol’s 1960s encounters with truly underground filmmakers.

Donna de Salvo once described Camille as having been a live perfor-mance in Fenn’s studio—Donna De Salvo, “Andy Warhol: Drawing Us In,” in Andy Warhol: Private Drawings from the 1950s (Köln: Walter König, 2003), np. But since then the film itself has actually turned up—see Bruce Michael Gelbert, “Archives’ Restored ‘Camille’ Film, from ’53, Is a Camp Treasure,” Fire Island Q News, accessed March 4, 2019, http://www.fire-islandqnews.com/2016/07/cam/.

101. 117 mugging in furs: These and other Otto Fenn photos are preserved in the Warhol archive.

102. 118 brushed up against transvestitism: See Nina Schleif, Drag & Draw: Andy Warhol, the Unknown Fifties (Munich: Hirmer, 2018).

103. 118 “my name is andy”: The card’s return address is “andy 216 east 75 new york city.”

It’s often claimed that Warhol started his postal stalking of Capote a good bit earlier than Warhol’s 1951 address on this card implies. If we be-lieve Warhol himself (or at least his ghostwriter), the one-sided correspon-dence began when he was a college kid in Pittsburgh—see Andy Warhol, Andy Warhol’s Exposures, ed. Bob Colacello (London: Arrow Books, 1980), 143. See also Warhol’s friend Eleanor Simon, who also said that Warhol had written to Capote from Pittsburgh—Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 68. Philip Pearlstein has said he saw Warhol writing cards to Capote in 1949, when they were sharing their first sublets in New York. But it’s hard to imagine that, even in an unsent postcard, Warhol would have introduced him-self and mentioned getting the writer’s address if Capote had already received a pile of his fan mail. The Park Avenue address wasn’t a new one; Capote had lived there for years.

Warhol’s friends, interviewed decades after the events they describe, may have been unintentionally backdating them.

104. 118 “mr capote/1060 park avenue/new york city”: The mis-sive is one of a pair of unsent notes to Capote (AWMA), the other being a MoMA postcard of Garbo in Camille—the same one Warhol sent again and again to Fenn—that’s collaged with cute Christmas greetings from


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“me and my cat.”105. 118 “I became Andy’s Shirley Temple”: Truman Capote, in

Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), loc. 2749, Kindle edition.

106. 118 had described: Neil Printz, “Other Voices, Other Rooms: Between Andy Warhol and Truman Capote, 1948–1961” (Ph.D., New York University, 2000), 42.

107. 118 “thinks you must be slightly insane”: Marian Ives to Andy [Warhol], March 1, 1952, AWMA.

108. 118 waiting to pounce: Gene Feist, interview by David Bour-don, typed notes, May 1, 1987, David Bourdon papers, Archives of Ameri-can Art, Smithsonian Institution.

109. 118 “staked out”: Capote, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 68.

In his diaries from the 1970s and ’80s, Warhol talks about having a similar stalker of his own and seems ambivalent about him—see his discussions of “Crazy Matty” in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12726, 16096, Kindle edition.

110. 119 “Truman’s problems”: Andy Warhol, Andy Warhol’s Expo-sures, ed. Bob Colacello (London: Arrow Books, 1980), 143.

111. 119 “loneliest, most friendless person”: Truman Capote, in David Bourdon, Warhol (New York: Abrams, 1989), 143.

112. 119 why Capote had pitied him: Andy Warhol, Andy Warhol’s Exposures, ed. Bob Colacello (London: Arrow Books, 1980), 143.

“I sat down and talked to him. . . . He told me all about himself and how he lived someplace with his mother and twenty-five cats,” said Truman Capote in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 196, Kindle edition. In the unlikely case that this is an actual memory, the reference to the cats would place the incident long after the warning note from Ives, once Andy had settled further downtown with Julia and their infamous pride of felines.

113. 119 “every day”: Truman Capote, in David Bourdon, Warhol (New York: Abrams, 1989), 31.

114. 119 a tirade: See David Bourdon, Warhol (New York: Abrams, 1989), 31. See also Andy Warhol, Andy Warhol’s Exposures, ed. Bob Cola-cello (London: Arrow Books, 1980), 143.

115. 119 in the 1970s: Truman Capote did echo Warhol’s Garbo pose in a portrait shot in 1959, so there may have been more 1950s contact than we imagine—see the photo by Roger Higgins, “Truman Capote, Head-


158 NOTES

and-Shoulders Portrait, Facing Front, Holding Head in Hands,” still im-age, 1959, https://www.loc.gov/pictures/item/98500455/. Of course the two men could have been independently riffing on Garbo.

116. 119 “she gave me a job”: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 23, Kindle edition.

117. 119 Avedon once said: Richard Avedon, quoted from one of his last interviews, at http://www.peneloperowlands.com/, accessed Janu-ary 15, 2016.

118. 119 sixty-nine issues: See Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014).

119. 119 tongue-lashings: January 27, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12584, Kindle edition. One source says that Warhol also went on to do “literally hundreds” of minor, uncredited pieces of spot art for the maga-zine, which must have helped his bottom line and not much affected his workload, since his assistant Nathan Gluck could easily have done most of those projects—see Charlie Scheips, “Forward,” in Anthony T. Maz-zola, Andy Warhol: The Bazaar Years 1951–1964 (New York: Hearst Fine Arts, 2009), 3.

Alexey Brodovitch and Warhol are credited jointly, as art director and artist, for a Bazaar spread that was included (as item #416) in the 1956 Art Director’s Club exhibition and book.

120. 120 “He was a slim thing in dirty sneakers”: Amy Vanderbilt, in an undated clipping of Martha MacGregor, “The Week in Books,” New York Post, c.1966, TC58, AWMA.

Warhol’s first Bazaar work appeared on newsstands in September 1951—see Paul Maréchal, Andy Warhol: The Complete Commissioned Maga-zine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 44–45. There’s something else important about the magazine that year: In July, it had published an excerpt from The Grass Harp, Capote’s second novella. Warhol owned and annotated a copy of the volume (TC71, AWMA) that the novella came out in, A Tree of Night and Other Stories (New York: Sig-net Books, 1951). The appearance of the two men in the pages of Bazaar must have helped cement Warhol’s fascination with Capote, who he had not met by that point. But the new book itself must have disappointed him. Parts of it were painfully coy while gay themes were now so sub-merged that the New York Times could celebrate the new book as “practi-cally wholesome” and free of the “grotesque and repulsive shadows who


NOTES 159

populated Other Voices, Other Rooms”—just what had made the earlier work worth reading, especially for Warhol. For the review see Orville Prescott, “Books of the Times,” New York Times, October 2, 1951.

121. 120 unlikely ad: The ad ran in the New York Times, October 4, 1951, AWMA.

122. 120 “Drawings by Andy”: See illustrations for Virginia Pope, “Casuals Turn Sophisticated,” New York Times, September 21, 1952. A Warhol illustration appeared under his full name in the Times on Sep-tember 12, 1954, but he is still using “Drawings by Andy” in the Times as late as April 18, 1956.

123. 120 Condé Nast and the Hearst Corporation: See Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 57.

124. 120 drug company brochures: The Warhol archives include brochures, apparently from 1952, that Warhol illustrated for drugs by both Ciba (for an allergy medication) and Upjohn (for a cortisone treat-ment for arthritis, copyrighted 1952, and for an anemia pill). The lat-ter brochure was apparently designed by Will Burtin, George Klauber’s boss and one of Warhol’s first contacts in New York—see Ellen Lupton and J. Abbott Miller, “Line Art: Andy Warhol and the Commercial Art World of the 1950s,” in “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol, ed. Donna De Salvo (New York and Pittsburgh: Grey Art Gallery and Carnegie Museum of Art, 1989), 30. On Burtin’s important work for Upjohn see Paul Maréchal, Les Imprimés éphémères de Andy Warhol (Lyon: Musée de l’imprimerie et de la communication graphique, 2018). Burtin became a design consultant to Upjohn in 1948 and continued in that role for twenty years—see William Castagnoli, Medicine Avenue: The Story of Medical Advertising in America (Huntington, NY: Medical Advertising Hall of Fame, 1999), 33. At least one of Warhol’s drug pamphlets actually survived in Klauber’s own papers—see David Bourdon, Warhol (New York: Abrams, 1989), 31.

The drug contracts were assigned to Warhol by Herb Lubalin, art director at the great design and advertising agency called Sudler & Hen-nessey, several of whose 1955 purchase orders survive in the Warhol ar-chive. Warhol’s friend and then assistant Vito Giallo said that he was working for Lubalin on the mechanicals for Warhol drug drawings when he and Warhol first met in 1954—Vito Giallo, interview by author, Janu-ary 1, 2015.

A feature on Sudler & Hennessey in the September 1956 issue of Graphis (AWMA) includes a Warhol illustration for a Ciba brochure on


160 NOTES

alcoholism. The article makes clear that Lubalin was also connected to Robert M. Jones, the art director who assigned Warhol his first LP cov-ers in 1949. Warhol and Lubalin were in touch throughout the late 1960s, when the two exchanged correspondence (AWMA) about Warhol’s con-tributions to Lubalin’s Avant Garde magazine.

Warhol’s Tech friend Art Elias once said that, “for survival,” Warhol did as many medical illustrations as shoe images—see Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 538. Already in 1953 Warhol’s work in pharmaceutical il-lustration was acknowledged in a feature on the topic in Graphis for May 1953. And then in 1954, he won an American Institute of Graphic Arts award (AWMA) for an illustration of “Malnutrition and Alcoholism” that must have related to one of his big-pharma campaigns. That same year an ad he did for the antibiotic pain killer Lozothricin, commissioned by the Dobeckmun company, was included (as item 77) in the exhibition and annual of the Art Directors Club.

125. 120 “express [your] creativity”: Robert M. Jones, in Martina Schmitz, Album Cover: Geschichte und Ästhetik einer Schallplattenverpackung in den USA nach 1940 (Munich: Scaneg, 1987), 6.

126. 120 staffer at the New York Times: Phyllis A. Ehrlich, of the New York Times, as reported by her daughter Abby Ehrlich, interview by author, March 4, 2018.

Warhol’s earliest known illustration work commissioned by the New York Times seems to date from September 1954, so the Ehrlich anecdote may be set then. Earlier assignments for the Times might exist, however, if they omitted his credit line or were signed in a manner that optical character recognition failed to record in the Times databases.

127. 120 stretch some canvases: Although Philip Pearlstein has of-ten stated that Andy used these canvases for his very first Pop paintings, in 1961 and ’62, he recently revealed that this was simply an assumption he’d always made—Philip Pearlstein, interview by author, October 16, 2015. It is unlikely Warhol would have left a number of stretched can-vases unused for almost a decade.

128. 120 Saul Steinberg: Note also that Warhol’s September 1956 issue of the prestigious Swiss journal Graphis (AWMA) that included a Warhol illustration also had a major feature on “Steinberg—As an Ad-vertising Artist.”

The possible co-existence between fine art and illustration had al-ready been suggested by the example of Carol Blanchard, that artist War-hol had admired at Tech: “She did Lord and Taylor ads, and she was in


NOTES 161

the Carnegie International Show,” Warhol said, in Glenn O’Brien, “In-terview: Andy Warhol,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 236, Kindle edition. That is reprinted from Glenn O’Brien, “Interview: Andy War-hol,” High Times (August 1977).

129. 120 “sublimated and objectivized”: Saul Steinberg, in Aline B. Loucheim, “Steinberg: Artist and Humorist,” New York Times, February 3, 1952.

Decades later, Warhol joked about the early “mistake” he’d made—financially, at least—by buying a Steinberg instead of a Jackson Pollock—see Trevor Fairbrother, “Warhol Meets Sargent at the Whitney,” Arts (February 1987): 65.

130. 120 Steinberg: In the mid-1950s, when Warhol started design-ing textiles, he and Saul Steinberg were direct competitors in that niche market—see Geoffrey Rayner, Richard Chamberlain, and Annamarie Stapleton, Artists’ Textiles: Artist Designed Textiles 1940–1976 (Woodbridge, UK: Antique Collectors Club, 2012). Fifteen years later the two men had studios in the same building on Union Square, as Warhol took care to note: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 331.

131. 121 winter of 1952: Financial documents in the Warhol archive show that Julia Warhola had a bank account in New York, registered to the Seventy-Fifth Street address, by March 1, 1952, a timing that contra-dicts the Warhola family story that she drove down with her son Paul and his wife and kids for a summer-vacation visit, and never left—James Warhola, interview by author, April 25, 2014. Julia Warhola was still in Pittsburgh on January 13, 1952, when she sent Andy a note in Rusyn (AWMA) asking why he never called.

132. 121 “When are you coming home?”: Paul Warhola, Jr., to Julia Warhola, October 26, 1952, AWMA.

133. 121 married that year: John Warhola, interview by Robert Gangewere, typed notes, November 11, 2003, Robert Gangewere per-sonal papers.

134. 121 “Andy was never okay”: Leonard Kessler, interview by au-thor, May 10, 2015.

135. 121 “someone to take care of him”: See Imilda Vaughan (later Tuttle), interview by David Bourdon, typed notes from an earlier conver-sation, April 1, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

136. 121 ninety-seven unwashed shirts: Joseph Giordano, in Patrick


162 NOTES

S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 127.

137. 121 until she found one: Julia Warhola, as reported by Eleanor Simon in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 79.

138. 121 Andy was “different”: John Zavacky, interview by author, September 25, 2014. Julia Warhola’s letter survives in John Zavacky’s col-lection. See also Nora Zavacky, in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 84.

139. 121 referred to a lover: Carlton Willers, in Thom Nickels, Out in History (Sarasota, FL: STARbooks Press, 2010), loc. 469, Kindle edition. Willers believed that Julia was too innocent to recognize their relation-ship as more than chummy.

140. 121 what the score was: Charles Lisanby, in “E! True Holly-wood Story: Andy Warhol,” television broadcast, March 1998.

141. 121 “she resented that very much”: Joseph Giordano, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 127.

142. 121 sex at home: Carlton Willers, interview by author, June 28, 2016.

143. 121 a burglar alarm: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 5.

144. 121 “brilliant beyond belief”: Joseph Giordano, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 130.

145. 122 “I am Andy Warhol”: Joseph Giordano, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 127.

146. 122 wouldn’t eat with them: Carlton Willers, in Thom Nickels, Out in History (Sarasota, FL: STARbooks Press, 2010), loc. 481, Kindle edi-tion.

147. 122 Lunch: Vito Giallo, interview by author, January 1, 2015. See also Charles Lisanby in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 377.

Carlton Willers explained that Warhol was almost always out for lunch during the week and that his mother would cook Rusyn food for weekend dinners, leaving Saturday lunch as the time for canned soup and crackers—Carlton Willers, interview by author, June 28, 2016.

Nathan Gluck’s recollections of weekday lunches included sand-


NOTES 163

wiches made with “mayon-eggs” (Julia Warhola’s coinage) but no Campbell’s soups, something he surely would have remembered and mentioned had they been served—see Nathan Gluck, notes on Warhol (January 16, 1976), Luis de Jesus Los Angeles gallery. On one occasion he called the idea of Julia serving canned soup “ridiculous” because in fact she always cooked her own—see Gluck, in a recording (AWMA) of an April 27, 2001, talk at The Andy Warhol Museum in Pittsburgh.

148. 122 cabbage and beef: Leonard Kessler, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1645, Kindle edition.

149. 122 “Czechoslovakian pancakes”: Charles Lisanby, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 377.

150. 122 Slavic food: Warhol cooked himself an Easter meal of cab-bage with caraway on April 16, 1981—see the entry for that date in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9948, Kindle edition.

151. 122 ambitious cook: See Beverly Russell, “Andy Warhol on Food, from Ketchup to Caviar,” House & Garden ( July 1974): 70.

152. 122 pheasant: Cathy Tuttle said she was told the story by her mother Imilda Vaughan—interview by author, August 2, 2016.

153. 122 “but she was quite astute”: Carlton Willers, interview by author, September 22, 2015.

154. 122 spoke and read: Several videotapes in The Andy Warhol Museum show Warhol speaking to his mother in Rusyn. That he also read the language is clear from a January 13, 1952, note from his mother to him in Rusyn (AWMA).

155. 122 perfectly communicative: Ted Carey, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 251.

156. 122 “grow bigger”: Julia Warhola, in Andy Warhol, Mrs. Warhol, experimental film, 1966.

157. 122 stylish getups: See Duane Michals’s 1958 photos of Julia Warhola and Warhol together, as well as the photograph in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vi-tae, 2012), 122. Several photographs in the Warhol archives show Julia Warhola in the latest fashions; in one, from around 1946, that’s in notable contrast with the matronly garb of her sister Mary.

158. 122 Grandma Moses: Nathan Gluck, interview by David Bour-don, typed notes, March 22, 1968, David Bourdon papers, Archives of


164 NOTES

American Art, Smithsonian Institution.159. 123 “real good and correct”: Warhol, in Victor Bockris, Warhol:

The Biography (Cambridge, MA: Vintage Books, 2003), loc. 346, Kindle edition.

160. 123 had idolized: Warhol remembered Carol Blanchard as hav-ing been his favorite artist when he was in art school: “She did Lord and Taylor ads, and she was in the Carnegie International Show,” said Warhol in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 21. The interview is also available in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), Kindle edition.

161. 123 all her correspondence: The Warhol archives include many letters from her in that script.

162. 123 “maestro performing”: James Warhola, in Julie Mick-ens, “Warholas at Work,” Pittsburgh City Paper, accessed March 4, 2019, https://www.pghcitypaper.com/pittsburgh/warholas-at-work/Content?oid=1335573.

163. 123 perfect addition: “He always liked his mother’s ‘Middle Europa’ penmanship, so whenever he was finished with a drawing, he would give it to her and indicate where she was to sign it,” said Nathan Gluck in David Bourdon, Warhol (New York: Abrams, 1989), 43. “When Andy wanted a sentence written, we would write out the words and then his mother—whose English was not the greatest—would copy it letter for letter,” said Gluck. “If you wrote, ‘the,’ and the ‘h’ looked like a ‘b,’ she would make a ‘b.’”

The Museum of Modern Art would have given Warhol other models of naïf and faux-naïf art: In 1948, the museum hosted an exhibition of the folk-influenced sculptor Elie Nadelman, a major figure at the time, as well as any number of exhibitions of art by children—see this author’s “Andy Warhol Outside-In,” in Andy Warhol: Ad Man, ed. Nicholas Cham-bers (Sydney and Pittsburgh: Art Gallery of New South Wales and The Andy Warhol Museum, 2017), 23.

164. 123 scrawls of his own: “He would write like a child writes in reverse and spell ‘butterfly’ wrong,” said Robert Fleischer (misspelled “Fleisher”) in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 113.

165. 123 “maze of curlicues and dainty i’s dotted”:Truman Capote, Other Voices, Other Rooms (Vintage International, 2007), loc. 113, Kindle edition.


NOTES 165

166. 123 Moondog: See Robert Scotto and Philip Glass, Moondog, The Viking of 6th Avenue: The Authorized Biography (Los Angeles: Process Me-dia, 2007), 123.

167. 123 graphic-arts prize: Julia Warhola’s 1957 Certificate of Merit from the Art Director’s Club of New York—the same body that had given Andy his first award in 1952 and others later in the decade—is preserved in the Warhol archives. “Andy Warhol’s Mother” received yet another prize from the ADC in 1959, also preserved in the archives. Both Warhol and Julia’s works were also featured in a prestigious journal Warhol had been reading for years: See his January, 1959, copy of Graphis (AWMA).

168. 124 cut-and-paste job: Nathan Gluck, interview by David Bour-don, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

169. 124 copy her handwriting: Nathan Gluck, interview by David Bourdon, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution. A fine and obvious example of such “impersonation” is the text-heavy Warhol illustration for “Sailor’s Cookout,” in the June 1960 issue of Barbecue Magazine: It must have been lettered by the Warhol assistant Nathan Gluck, since it’s in a style that’s close to Julia Warhola’s but much more regular and controlled and with-out her spelling errors or other signature eccentricities. Thanks to Jay Reeg for pointing out that item.

170. 124 Letraset: The Letraset survives in the Warhol archives.171. 124 “If you got to meet Andy’s mother”: Ted Carey, in Patrick

S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 252.

172. 124 drink more and more: Emile de Antonio, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 294. Warhol himself claimed that Julia drank a case of whiskey per week—see David Bour-don, Warhol (New York: Abrams, 1989), 68. In the early 1960s he told a teenage friend that his mother drank a bottle of whisky a day—Sarah Dalton, interview by author, September 26, 2017.

173. 124 “for her heart”: Nathan Gluck, interview by David Bour-don, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution. On the other hand, Gluck denied at least once that Julia was ever an alcoholic, saying that a doctor had prescribed her “a shot of scotch now and then” for her heart—see Nathan Gluck to Andreas Brown, May 16, 1971, AWMA. Julia’s son Paul also de-nied that she drank, in Patricia Lowry, “Warhol’s Big Brother,” Pittsburgh


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Press, March 5, 1990.174. 124 gold-colored medal: The medal is in the Warhol archives.175. 124 included his winning piece: “‘Ad’ Men Alerted to ‘Hard-

Selling’: Role of Art Director Stressed in Sale of Product—Award Win-ners Are Announced,” New York Times, May 14, 1952.

Warhol is included in the Art Directors Club exhibitions and Annuals for 1952 (with two items) 1953, 1954 (two items), 1956 (five items), 1957 (four items), 1958 (seven items), 1959 (three items), 1960 (three items), 1961 (two items).

176. 124 giving him work in ’52: See Ellen Lupton and J. Abbott Miller, “Line Art: Andy Warhol and the Commercial Art World of the 1950s,” in “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol, ed. Donna De Salvo (New York and Pittsburgh: Grey Art Gallery and Carnegie Museum of Art, 1989), 30.

Warhol was skilled at building connections with the very same pro-fessional associations that went on to give him awards: Already in 1952, the American Institute of Graphic Arts was thanking him for an illustra-tion he did, apparently for free, for the cover of their annual book-fair catalog—see Leonard B. Schlosser, a sponsor of the AIGA, to Warhol, December 16, 1952, AWMA. Two years later Warhol was awarded a prize in their show of industry talent and then won again in 1956 and 1958.

177. 124 winning illustration: It looks like Warhol may have got the gig in some kind of competition against other illustrators—see gallery owner David Mann, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 95.

178. 125 keep radio vital: Around this same time, Warhol was also doing ads for NBC radio, including publicity material sent out to adver-tisers and local radio stations to convince them of the continuing rel-evance of NBC radio’s offerings in the brand-new age of television. The material survives in the Warhol archives, and an image from one such ad was included in the 32nd Annual of Advertising and Editorial Art of the Art Directors Club of New York (New York: Farrar, Straus & Young, 1953), item #195.

179. 125 “art rather than illustration”: Lou Dorfsman, in Donna De Salvo, “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol (New York and Pittsburgh: Grey Art Gallery and Carnegie Mu-seum of Art, 1989), 53.

180. 125 “a gritty quality about [his] style”: Lou Dorfsman, in Donna De Salvo, “Success Is a Job in New York . . .”: The Early Art and Busi-ness of Andy Warhol (New York and Pittsburgh: Grey Art Gallery and


NOTES 167

Carnegie Museum of Art, 1989), 53. Surprisingly, on October 4, 1951, just a few weeks after the CBS ad, the Times ran a Warhol ad (AWMA) in an almost identical style but for sports coverage from NBC-TV, CBS’s direct competitor.

TV’s other art directors caught on to Warhol: He went on to get a bunch of commissions, and in 1953 he was singled out as one of the in-dustry’s top-twelve choices for title artist (which can’t have been the most exclusive of clubs to join)—see Lynn Spigel, TV by Design: Modern Art and the Rise of Network Television (Chicago: University of Chicago Press, 2008), 255.

181. 125 “a cheaper Ben Shahn”: Lou Dorfsman, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 28. See also Peter Palazzo (p. 108 in the same volume) for a similar quote: “We used him primarily because he had a style and a technique that was very reminiscent of Ben Shahn, [who] was a lot more expensive and [who was] not available.” George Klauber says something similar on p. 28.

182. 125 far-left politics: See Frances K. Pohl, Ben Shahn: New Deal Artist in a Cold War Climate, 1947–1954 (Austin: University of Texas Press, 1989).

183. 125 “the model for “every art student”: Art director and War-hol client Robert M. Jones, in Martina Schmitz, Album Cover: Geschichte und Ästhetik einer Schallplattenverpackung in den USA nach 1940 (Munich: Scaneg, 1987), 13.

Another noted graphic designer and contemporary of Warhol’s re-called that “Ben Shahn was an icon, so all of us art students tried to emu-late him”—Bob Gill, interview by author, September 27, 2016.

184. 125 collected Shahn’s work: Art director George Hartman, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 119. See also printer Seymour Berlin, quoted on p. 158, and Warhol’s $36.05 receipt from the prestigious Downtown Gallery for a Shahn print, March 26, 1959, box B564, AWMA.

185. 125 A.D.C. competition: See the 31st Annual of National Advertis-ing and Editorial Art (New York: Pellegrine & Cudahy/Art Directors Club of New York, 1952).

186. 125 just below his: Art Directors Club of New York, prize bro-chure, 1952, AWMA.

187. 125 “the big new thing”: Warhol, in Donna De Salvo, “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol (New York


168 NOTES

and Pittsburgh: Grey Art Gallery and Carnegie Museum of Art, 1989), 17.The overall CBS campaign that Warhol played a part in also won a

prize, but it was represented in the awards exhibition by one of its ads that featured a photo, not by Warhol’s Shahn-derived drawing from the campaign—see 31st Annual of National Advertising and Editorial Art (New York: Pellegrine & Cudahy/Art Directors Club of New York, 1952), item #27.

Strangely, Warhol’s winning drawing got into the Annual twice—once for the CBS ad that had run in the Times and then again as the cover to a CBS record album that presented the radio series.

188. 125 photos he used: Warhol’s sources in photojournalism are confirmed in Alexandra Barcal et al., eds., Andy Warhol: The LIFE Years 1949–1959 (Munich: Hirmer, 2015).

189. 126 in Warhol’s signature styles: See 31st Annual of National Ad-vertising and Editorial Art (New York: Pellegrine & Cudahy/Art Directors Club of New York, 1952). Fig. 15 in the Annual, a perfume ad by Arden Poole, is very close to Warhol’s Matissean line and includes a goofy cur-sive very like his; fig. 239, by Hans Moller, is a close-up on a hand playing marbles with planet Earth that is virtually indistinguishable from one of Warhol’s blottings; fig. 120, a coat ad illustrated by Al Parker, could eas-ily be confused with some of the drawings Warhol did with Ralph Ward. When shown these three images without their captions, the late Matt Wrbican, one of the greatest of Warhol experts, simply assumed they were all by Warhol.

190. 126 tattooed lady mural: See Jack Lenor Larsen to Andy War-hol, postcard, November 10, 1955, AWMA, sent from the Columbus Ho-tel, Miami. Warhol owned a design magazine that had an article on the importance of artists’ promotional flyers: Several that it illustrates are in styles close to Warhol’s, although none are actually by him—see Ken Baynes, “Artist’s Personal Announcements,” Graphis (March 1961): 140.

191. 126 styles very close to his: See Graphis (September 1956): 396. 192. 126 “three dozen artists to do the ads”: Peter Palazzo, an art

director who worked with Warhol in 1951 and then again from 1955 to 1957 on the famous I. Miller shoe ads, in Tony Scherman and David Dal-ton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 23.

193. 126 “not known more than other people”: Rhoda Marshall, interview by author, March 5, 2016.

194. 126 “He was regarded as an accessory artist”: Tina Freder-icks, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 21.


NOTES 169

195. 126 “Well, I just did shoes”: Warhol, in Trevor Fairbrother, “Warhol Meets Sargent at the Whitney,” Arts (February 1987): 66.

196. 126 faded from view: A designer at the 1950s greeting-card firm Lilac Hedges, known for its camp products, expressed doubts about Warhol’s work: “He gave us a whole series of little funny drawings for Christmas—they were his original drawings, little sketches of an angel, or a cat all bright red—but hardly anything was suitable for Christmas. They weren’t very appealing”—see Jac Venza, of Lilac Hedges, in a 2011 oral history shared with the author in a February 21, 2019, e-mail from Linda Hocking of the Litchfield Historical Society. Use of Lilac Hedges stationery was listed among the tell-tale signs of camp culture in Niles Chignon, ed., The Camp Followers’ Guide (New York: Avon, 1965), 44.

Disatisfaction with Warhol’s work didn’t stop the company from buying $150 worth of his images: “1chritmas shoe and pointsetta . . . but-terflys . . . angles . . . pinwheels” according to Warhol’s October 19, 1957, invoice (AWMA). (The invoice was as comically misspelled as all War-hol’s others, which were still being typed by his own hand right through the 1950s, unless he trained some bookkeeper to spell as badly as he did.)

A couple of years earlier, another cardmaker had sent Warhol a let-ter lamenting the failure of its attempt to sell his Christmas cards, which it attributed to the “bad taste of the public”—see Tany Lor, of Tanylor Greeting Cards, to Andy Warhol, March 12, 1955, TC28, AWMA.

197. 126 Shahn as passé: Betty Asche Douglas, oral history, inter-view by author and Matt Wrbican, digital audio, July 2, 2014, AWMA.

198. 127 choice was being offered: Carol DeCamp, “DeCamp Dis-cusses Cage, Shahn; Their Approach to Art,” Vassar Chronicle, March 6, 1948, 3.

199. 127 “John Cage is really so responsible”: Warhol, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

200. 127 “Your virility shows”: Philip Pearlstein, “My Warhol(a) Ex-perience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

201. 127 “It meant very effete”: Stephen Bruce, a founder of Seren-dipity 3 café, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 19.

202. 127 that word “fey”: The illustrator Robert Galster refers to Warhol’s “strange, fey mannerisms” and that he “dressed so terribly fey that I was astounded” in Patrick S. Smith, ed., Warhol: Conversations About


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the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 154. Nathan Gluck remembered how “Andy would go to an interview and he would be wearing shoes that were scrunched down in the back and pants that weren’t pressed and a shirt that may have paint spots or ink spots on it . . . and everybody would think ‘Aaaahhhh! It’s so fey! It’s so c-u-u-u-te!’”—Gluck in Mark Allen, “A Conversation with Nathan Gluck,” accessed December 4, 2019, http://www.markallencam.com/nathangluck.html.

203. 127 “It was light”: Gene Moore, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 151. See also Arthur Elias in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 531. Similar descriptions are in Elaine Finsilver (pp. 553, 555) and Robert Galster (p. 303) in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988).

204. 127 the girlishness: John Warhola, oral history, typed notes, June 30, 1993, Andy Warhol Museum Institutional Oral Histories, AWMA.

205. 127 he befriended: Carol Blanchard’s daughter said that Warhol and Blanchard were friendly in the 1950s but later became estranged, to the point that in the 1960s Blanchard used an image of Warhol as a dart-board—Angel Ortloff, interview by author, June 1, 2016. My thanks to Thomas Kiedrowski for pointing me to Ortloff.

206. 127 on the commercial scene: Carol Blanchard also showed at MoMA in 1952, which earned her a mention in the New York Times—“For Children: Toy Carnival Opens at Museum,” New York Times, December 11, 1952. Earlier that same year the Times art critic had praised her for a solo show, coincidentally suggesting that she should be commissioned to illustrate the works of Ronald Firbank, as Warhol himself had been in 1951—see Stuart Preston, “Yesterday and Today,” New York Times, Febru-ary 10, 1952.

207. 127 ads for Lord & Taylor’s: Surviving Lord and Taylor ads by Blanchard offered for sale on the Internet seem to date from the 1940s through the 1960s; several are in a spindly drawing style that is close to some work by Warhol—and especially by his mother.

208. 127 “campy” campaign: The illustrations are called “campy” in Peter Palazzo, I. Miller art director, interview by David Bourdon, typed notes, January 11, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

Warhol and Blanchard had been colleagues at Lord and Taylor’s but


NOTES 171

only she had been allowed to sign her work there—see Marjorie Freund, Lord and Taylor art director, typescript memoir (n.d.), David Bourdon papers, Archives of American Art, Smithsonian Institution. Freund spec-ifies that Warhol had not been allowed a signature because he was not a “regular” L&T artist, whereas most of Blanchard’s ads are signed, as were many of Warhol’s for I. Miller.

209. 128 for the manly Esquire: See the didactic materials for the 2015 Milan exhibition “Andy Warhol: Illustrations for Fashion Maga-zines, 1951–1963,” curated by Giorgio Maffei and Paola Varello. See also Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 66, 151.

210. 128 “feel for the delicate”: Stephen Frankfurt, in Donna De Salvo, “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol (New York and Pittsburgh: Grey Art Gallery and Carnegie Mu-seum of Art, 1989), 46. See also the October 25, 1960, invoice (AWMA) for work by Warhol on the Modess account.

211. 128 “pictured a feminized world”: Richard Meyer, “Most Wanted Men: Homoeroticism and the Secret of Censorship in Early War-hol,” in Outlaw Representation: Censorship & Homosexuality in Twentieth-Century American Art (Boston: Beacon Press, 2004), 103.

212. 128 “Miss Andie Warhol”: Three rejection letters for the books, dated August 10, 1953, were addressed to “Andie,” but only the one from Grosset & Dunlap added that “Miss.” The letters were seen in the collec-tion of Ralph Ward’s relative Marshall Reese, in New York.

Warhol may have used “Andie” to open up the possibility that the volumes, which at least one of the publishers thought were meant for children (the rejection letter from Grosset & Dunlap explained that they only dealt in adult books) were actually being offered by a woman rather than a man who was working in an excessively feminine mode.

Three other rejection letters exist (TC28, AWMA), dated June 12, 1953 (from Greenberg Publishers), April 30, 1953 (from Harper & Broth-ers) and September 22, 1953 (from Harcourt, Brace). Only the Harcourt, Brace one includes Warhol’s first name, as “Andie.” The Harper letter mentions that the submission was considered by the “Department of Books for Boys and Girls.”

213. 128 “er . . . Andy Warhol”: Andrew Cracknell, quoting an art director from the firm of Benton and Bowles, in Andrew Cracknell, The Real Mad Men: The Renegades of Madison Avenue and the Golden Age of Ad-vertising (Philadelphia: Running Press, 2011), 74.

214. 128 big play to Jackson Pollock: “Irascible Group of Artists Led


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Fight against Show,” Life ( January 15, 1951): 34. 215. 128 homosexual culture: At about the same time—the late

1950s—that the noted art critic Dore Ashton was raving about the work of Philip Pearlstein she was dismissing the work of Jasper Johns and Rob-ert Rauschenberg because they were both homosexuals, something Ash-ton found offensive, according to one of her colleagues, because “they upset the Ab-Ex mentality and threatened the bounds”—see art historian Robert Rosenblum in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 55.

216. 128 as a “fag”: Abbie Hoffman, Revolution for the Hell of It (New York: Dial Press, 1968). Thanks to Jay Reeg for bringing this passage to my attention.

CHAPTER 8

1. 131 “I didn’t know you had a pussy”: Tommy Jackson to Andy Warhol, postcard, July 2, 1951, TC55, AWMA.

2. 131 “but I need to make money”: Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA.

3. 131 “Would you like to look at my things”: David Mann, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 94. But Mann has also said that Warhol had first shown his portfolio to the gay gallery owner Alexander Iolas, who was going away to Europe and so passed the responsibility on to Mann, say-ing that the Capote-themed drawings that Warhol had presented had an “interesting” subject—see David Mann, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of Ameri-can Art, Smithsonian Institution. Mann ran the bookshop upstairs from Iolas’s Hugo Gallery, according to David Bourdon, Warhol (New York: Abrams, 1989), 32.

4. 131 “a torn portfolio under his arm”: David Mann, in David Bourdon, Warhol (New York: Abrams, 1989), 32.

5. 131 another art-world beginner: The other artist was Irving Sherman—see James Fitzsimmons, “Irving Sherman, Andy Warhol,” Art Digest ( July 1952): 26. Sherman’s show was on a higher floor according to Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 94.

Interestingly, Warhol chose to note that it was a two-man show in a little biography, otherwise full of fibs, that he included in Two Decades of American Painting (Tokyo: National Museum of Modern Art, 1967), 28.

6. 131 $100: On June 6, Warhol wrote a check (AWMA) for $100—a


NOTES 173

large sum at the time—to the Hugo Gallery, where his show was held, which in turn endorsed it over to the Bodley Bookshop, a space that seems to have been upstairs from the gallery.

Alexander Iolas, owner of the Hugo, was going out of town for the summer when he saw and liked Warhol’s portfolio, and so got Mann, from the “bookshop,” to keep the gallery open for the three weeks of the show, according to David Bourdon, Warhol (New York: Abrams, 1989), 32. Warhol’s payment could have been made to reimburse Mann for staffing the exhibition; $100 seems too much for cheese and wine and postage.

In early December 1966, Warhol received a recent clipping from Al-fred Paul Berger (TC85, AWMA) writing in the Irish Times and specifi-cally denigrating New York galleries that allowed artists to fund their own shows.

7. 131 “vanity gallery”: Nathan Gluck, interview by David Bour-don, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

8. 132 to invite the artist: Andy Warhol, Andy Warhol’s Exposures, ed. Bob Colacello (London: Arrow Books, 1980), 144.

9. 132 liked the work: Truman Capote “loved” the works, ac-cording to David Mann in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 93. But on another occa-sion Mann merely claimed that Capote thought the drawings “suited his short stories”—see Mann in David Bourdon, Warhol (New York: Abrams, 1989), 32.

On the other hand, Nathan Gluck, Warhol’s friend and later assis-tant, said that Warhol was “very hurt” that Capote never showed up—see Nathan Gluck, notes on Warhol (January 16, 1976), 197, Luis de Jesus Los Angeles gallery.

There is some doubt about whether Capote was even in New York in June to see the exhibition.

10. 132 hoped that his publisher: David Mann, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

11. 132 a slot the following winter: Andy Warhol to Frances Latt-man, of Harper’s Magazine (May 25, 1952), Russell Lynes papers, Archives of American Art, Smithsonian Institution.

12. 132 a back room: The show is said to have taken place in the Hugo’s “back Bodley Room” in Nathan Gluck, notes on Warhol (January 16, 1976), Luis de Jesus Los Angeles gallery. That room was administered by David Mann, who went on to run the Bodley Gallery in midtown,


174 NOTES

where Warhol showed later in the 1950s.13. 132 No sales: David Bourdon, Warhol (New York: Abrams, 1989),

32.14. 132 Madame Hugo: John Bernard Myers, Tracking the Marvel-

ous: A Life in the New York Art World (New York: Random House, 1983), 43. Madame Hugo is described as Princess Maria Ruspoli, whose second husband was the great-grandson (not son or grandson, as has been said) of the French novelist Victor Hugo—see “Kasmin—Alexander the Great Gallerist NY,” accessed March 5, 2019, https://www.kasmingallery.com/news/2014-03-10_alexander-the-great. Other sources on Iolas confuse her with the French surrealist Valentine Hugo, who was married to a different great-grandson of Victor Hugo.

15. 132 blue velvet: Alexander the Great: The Iolas Gallery, 1955–1987 (New York: Paul Kasmin Gallery, 2014), 72.

16. 132 “nelly Big Bang”: Adrian Dannat, in Alexander the Great: The Iolas Gallery, 1955–1987 (New York: Paul Kasmin Gallery, 2014), 15.

17. 132 Duchamp was a fan: Alexander the Great: The Iolas Gallery, 1955–1987 (New York: Paul Kasmin Gallery, 2014), 56, 72.

18. 132 favorite of the art dealers: Nicolas Carone, an artist, in Al-exander the Great: The Iolas Gallery, 1955–1987 (New York: Paul Kasmin Gallery, 2014), 86.

19. 132 “your own one man show”: Iolas biographer Nikos Stathou-lis, quoting Alexander Iolas in Michael Radou Moussou, “Andy Warhol’s ‘Last Supper’ with Alexander Iolas,” Huffington Post (blog), April 16, 2017, https://www.huffingtonpost.com/entry/andy-warhols-last-supper-with-alexander-iolas_us_58ef832ae4b04cae050dc4fe.

20. 132 European modernists: Reviews of Hugo Gallery shows for all of those artists appeared in the New York Times.

21. 132 through a mutual friend: Carlton Willers to the author, June 16, 2016. Willers wrote that Joseph Cornell had a profound effect on Warhol’s serial imagery, and that his films, which had been screened at Outlines and the New York Public Library, were an important influence on Warhol’s own.

22. 132 “designed to puzzle the world”: Henry McBride, “Modern-ism Rampant,” New York Sun, March 7, 1947. The unpaginated clipping is preserved, alongside many others, in the Hugo Gallery folder at the New York Public Library. Strangely, the titles of the reviews in the Sun and Times are the same.

23. 132 “Modernism Rampant”: Edward Alden Jewell, “Invasion from Eire,” New York Times, March 9, 1947. The main headline refers to


NOTES 175

another show reviewed that day; the Hugo review ran under “Modern-ism Rampant” as its sub-heading.

24. 132 a reputation: Warhol might also have been impressed by the Hugo’s presentation of ballet sketches by the venerable queer photog-rapher Cecil Beaton—see the New York Times, March 20, 1950. Within a few years, Warhol and Beaton had become close and Warhol was show-ing dance drawings of his own.

25. 133 drawings with washes of color: The only piece with even tenuous links to the Hugo show is a big drawing of kids at play now in the Artists Rooms collection shared between the National Gallery of Scotland and Tate, in the U.K.—see “Andy Warhol: A Field of Blue Children,” accessed March 5, 2019, https://www.nationalgalleries.org/art-and-artists/93096/field-blue-children. The drawing’s presence in the Hugo Gallery show was asserted in an auction and the information must have come from Inman Cook, the early friend of Warhol who was selling it. Cook was not necessarily a trustworthy source, however, given the added cachet that the Hugo provenance would have given the piece—see “Andy Warhol (1928–1987), A Field of Blue Children,” accessed March 5, 2019, https://www.christies.com/lotfinder/lot_details.aspx?intObjectID=1074040&intObjectID=107404. A hand-made, avant-garde Christmas card from Cook to Warhol survives in the Warhol archives.

The signature on the piece sold by Cook reads “A. Warhola,” so it may actually be a student work that Warhol repurposed for the show, especially since it has no obvious connection to Capote’s writings. This was something that Marian Ives, Capote’s agent, felt was true about any number of works at the Hugo, and that she complained about in her June 26, 1952, letter to Warhol (AWMA). Warhol’s page of detailed notes (AWMA) about the characters and costumes in Capote’s Other Voices in-dicates, however, that he had nothing against faithful illustration. Note that Ives does not mention any appearance at the show by Capote him-self—and does mention that he was away in Taormina on the day she was writing.

26. 133 review in ARTnews: Barbara Guest, “Warhol and Sher-man,” Art News (September 1952): 47.

27. 133 “neo-classical, Picassoid”: James Fitzsimmons, “Irving Sherman, Andy Warhol,” Art Digest ( July 1952): 9.

28. 133 “an air of preciosity”: James Fitzsimmons, “Irving Sher-man, Andy Warhol,” Art Digest ( July 1952): 9.

29. 133 list of accomplishments: Warhol, one of very few members of the class of ’49 to bother giving news of his doings, wrote of hoping to


176 NOTES

exhibit some drawings “next winter”—see “Class Notes,” Carnegie Alum-nus (September 1952): 27.

30. 133 the time of the Hugo show: See Joseph Groell in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 33. The Tanager’s inaugural show ran directly be-fore the one Warhol got at the Hugo, so it could be that he tried with the Tanager first, then after his rejection made his cold-call to Iolas. Groell implied that he saw very little of Warhol after they stopped rooming together, so an earlier date is more likely than a later one.

31. 133 Abstract Expressionism: See Melissa Rachleff, Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 (New York: DelMonico Books, 2017), 35.

32. 133 “embarrassed” by: Joseph Groell, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 33.

33. 133 “weren’t anything we wanted”: Joseph Groell, interview by author, June 11, 2015. Groell said that he and fellow Tanager member Angelo Ippolito looked at Warhol’s “very pointed” submission together. Several drawing of two males kissing survive, including at least one at The Andy Warhol Museum, accession #1998.1.1701.

34. 134 George Ortman: A decade later, Warhol and Ortman were in the same group show of artists’ banners—see “June Banners to Herald New Medium at Graham Gallery,” exh. announcement, March 14, 1963, TC38, AWMA.

35. 134 “Two male full figures embracing”: George Ortman, in-terview by author, July 6, 2015. See also his subsequent undated letter to the author. Ortman remembered that Warhol was bundled in a win-ter coat and that the visit took place in the Fourth Street space that the gallery left in April 1953. That probably dates the incident to between December 2, 1952, and February 1, 1953, when Ortman was in two con-secutive group shows and would have been asked to do minder’s duty for one or the other or both, or between February 24 and March 15, 1953, when Warhol’s former roommate Joe Groell was showing in the space. The dates of Tanager shows are from the chronology e-mailed to the author by scholar Melissa Rachleff Burtt on July 6, 2015.

36. 134 dedicated to abstraction: A Tanager show reviewed in the April 1953 issue of Art News is described as “all abstract or non-objective.”

37. 134 half a decade later: Philip Pearlstein insists on this timing in any number of interviews and texts, so the earlier dates given in many biographies are most likely wrong.


NOTES 177

Warhol’s new friend Larry Rivers had apparently urged him to ap-proach Pearlstein—see Philip Pearlstein, interview by author, August 18, 2014. Rivers was more sexually adventurous than most of his peers in fine art and so might have found Warhol’s images all the more interesting.

38. 134 strong Times review: See Dore Ashton, “Art: The Young Pissaro,” New York Times, December 2, 1959. (The title refers to the ear-lier item in a three-review column.) A December 3, 1959, receipt for $300 from the Tanager Gallery to Warhol (TC48, AWMA) is for Philip Pearl-stein’s “Positano.” Warhol later donated the piece to the Whitney Mu-seum of American Art.

39. 134 “tongues in each others mouth”: Philip Pearlstein, “My Warhol(a) Experience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

40. 134 “macho oriented”: Philip Pearlstein, “My Warhol(a) Experi-ence, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

Pearlstein remembered George Ortman as having been especially strongly opposed to Warhol’s submission, maybe because he was an-noyed at this second appearance of work he’d already rejected years ear-lier—Philip Pearlstein, interview by author, August 18, 2014.

41. 134 “more neutral”: Philip Pearlstein, quoted from an unpub-lished October 13, 1987, interview by Donna de Salvo, in Trevor Fair-brother, “Tomorrow’s Man,” in “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol, ed. Donna De Salvo (New York and Pittsburgh: Grey Art Gallery and Carnegie Museum of Art, 1989), 72.

The “neutrality” that Pearlstein mentions was less of a prerequi-site when it came to heterosexual imagery: De Kooning had already won massive attention for his raunchy Woman paintings, and within a few years Warhol was visiting the Tanager’s show of “Great American Nudes” by his Pop rival Tom Wesselmann—acceptable to the co-op, of course, because it was full of nude women. See Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 14.

42. 134 blamed his rejection: Philip Pearlstein, “My Warhol(a) Ex-perience, 1947–1950 and a Little Beyond” (typescript draft, 2014), shared with the author by Pearlstein.

43. 134 killed their friendship: Philip Pearlstein, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz,


178 NOTES

n.d.44. 134 Florence’s: Ted Carey somehow misremembered the bar as

“Shirley’s” in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 86.

45. 134 decorated with the pictures: Life (December 2, 1946).46. 134 loose women: See Lee Mortimer, “New York Confidential,”

Lakeland Ledger, January 16, 1961, 4.47. 134 “Hooker” chapter: Petronius, New York Unexpurgated: An

Amoral Guide for the Jaded, Tired, Evil, Non-Conforming, Corrupt, Condemned, and the Curious, Humans and Otherwise, to under Underground Manhattan (New York: Matrix House, 1966), 93.

A pianist who worked at the club described it as the setting for a bad B movie—see Stanley Paul and Diane Palmer, Thank My Lucky Stars: A Memoir of a Glamourous Era (Dubuque: Kendall/Hunt, 1999), 67.

48. 134 Mabel Mercer: “Goings on about Town,” The New Yorker ( July 27, 1955). Florence’s also hosted Mabel Mercer singing verses by A. E. Housman, according to James Haskins, Mabel Mercer: A Life (New York: Atheneum, 1987), 112.

49. 134 a Pepsi ad: Life (December 2, 1946): 54.50. 135 on hard times: See photographs taken in 1958 in the build-

ing’s entryway, in the Duane Michals collection.51. 135 a rent increase: The April 13, 1951, “Landlord’s Report of

Lease” (AWMA) specifies that the lease agreement had to be for a two-year term, after which the rent would increase. Warhol moved when his lease on the Seventy-Fifth Street apartment expired, according to Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 116.

52. 135 had first housed: Philip Pearlstein, interview by author, October 16, 2015. Warhol’s archives include a statement from New York Telephone Company to Leonard Kessler dated December 1, 1955, in the amount of $15.25, so it seems that Warhol’s telephone remained in Kes-sler’s name. Period address directories list a phone at 242 Lexington in Kessler’s name through December 1959, and never list one in Warhol’s, whose stationery from that era gives Kessler’s number: MU30555.

George Klauber once claimed that Warhol had got the flat through a New York friend named Fritzie Wood who also lived in the building—Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 28. But that seems unlikely given the much closer friends who had already lived


NOTES 179

there. Address directories first show Brendan Wood, Fritzie’s husband, at the Lexington address in January 1955, well after Warhol had arrived there.

53. 135 on condition that: Leonard Kessler, interview by author, May 10, 2015. An October 23, 1957, lease document (AWMA) describes a two-year lease to Kessler that began on December 1, 1953, and was then transferred to Warhol on April 17, 1954. That was also announced in the real-estate section of the New York Times, May 3, 1954. The 1957 docu-ment extends the lease to November 30, 1958.

54. 135 “verk, verk, verk”: Julia Warhola, quoted by Leonard Kes-sler, interview by author, May 10, 2015.

55. 135 enough to live: Julia Warhola to Anna [Zavacky], January 3, 1955, AWMA.

56. 135 “Murry Hell”: See the “Tattooed Lady” flyers that Warhol had printed in large numbers, for instance at Andy Warhol, “Tattooed Woman Holding Rose,” Christie’s, accessed March 5, 2019, https://onli-neonly.christies.com/s/andy-warhol-christies/tattooed-woman-holding-rose-not-in-f-s-125/221.

57. 135 apartment buildings: The New York Times reports on several large projects going up in the 1940s and ’50s—see “‘Record’ Price Is Paid for Madison Ave. Site,” New York Times, June 3, 1951. See also New York City Landmarks Preservation Committee, “Murray Hill Historic District Designation Report,” accessed October 20, 2015, http://www.nyc.gov/html/lpc/downloads/pdf/reports/MURRAY_HILL_HISTORIC_DIS-TRICT.pdf.

58. 135 One now stands: A demolition permit was filed for the building on April 3, 1968—see the block and lot folder preserved in the New York City Municipal Archives.

59. 135 under $100: An October 23, 1957, lease document (AWMA) lists the rent at $98.85.

60. 135 probably wasn’t: A modest Manhattan apartment is said to count as a bargain if it cost in the neighborhood of $80—see Faye Ham-mel, The Mademoiselle Career Girl’s Guide to New York (New York: Dial Press, 1962), 84.

61. 135 She also complained: Julia Warhola to Anna [Zavacky], January 3, 1955, AWMA.

62. 135 to her Greek Catholic church: While on Seventy-Fifth Street it looks as though Julia (or Andy) may have been attending services at Saint-Jean-Baptiste Church, at Lexington and Seventy-Sixth Street, since they kept pamphlets from there (document box 109, AWMA) dated


180 NOTES

November 1952 to February 1953.63. 135 very modern home: See “Stained Glass Sheathes Church;

Outsized Windows Used in Project at Stuyvesant Sq.,” New York Times, October 7, 1962.

64. 135 known to contribute: Gerard Malanga, interview by au-thor, December 14, 2016.

Warhol’s contribution to the Greek Catholic church is confirmed by Paul Morrissey in Nelson Lyon, “Paul Morrissey,” Interview ( July 2008).

Documents in the Warhol archives (Time Capsule 26 and elsewhere) show Julia Warhola’s continuing support of the church long after she and Andy had moved far uptown, right through to her death in the early 1970s.

Warhol’s trips there by bus are reported in Paul Warhola, interview by David Bourdon, typed notes, September 24, 1987, David Bourdon pa-pers, Archives of American Art, Smithsonian Institution.

65. 135 four-room railroad flat: Fritzie Wood, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 43.

The moldings can be seen in photographs taken by Duane Michals in around 1958, viewed in the photographer’s studio on September 14, 2014.

According to a 1937 filing with the city, and then a 1938 certificate of occupancy (both in the New York City Municipal Archives), the building was renovated to collapse multiple units on each floor into single apart-ments, with the fourth-floor apartment having four rooms.

66. 135 behind the kitchen: The kitchen is mentioned as “in the middle” by Paul Warhola, interview by David Bourdon, typed notes, September 24, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

67. 135 mattresses on the floor: Carlton Willers, interview by au-thor, June 28, 2016.

Warhol’s friend and assistant Vito Giallo said that Warhol and his mother had mattresses in the same room, and that she used to watch her son sleep—Vito Giallo, interview by author, January 1, 2015.

Although several sources also describe Warhol and his mother sleep-ing at the back, with the studio/living room at the front, Nathan Gluck said that Julia’s bedroom was at the front while Warhol’s was at the back, beside his studio—see Nathan Gluck, notes on Warhol (January 16, 1976), Luis de Jesus Los Angeles gallery. This must reflect the state of things after Warhol’s fourth-floor unit was joined by another one he rented on the second floor.


NOTES 181

One Warhol nephew remembered Julia living in the new lower apartment—George Warhola, interview by author, November 25, 2016.

68. 135 décor was sparse: Vito Giallo, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 20. The mattresses and décor can be seen in Otto Fenn’s photos (AWMA) of War-hol and Carlton Willers in bed.

69. 136 big windows: The windows are mentioned in Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA. Images on a 1956 contact sheet by Warhol’s boyfriend Ed Wallowitch (AWMA) show the windows, and Warhol’s two work desks set up beside them.

70. 136 “like a bat-cave”: Robert Galster, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 153.

71. 136 Warhol’s worktable: The room is seen in photographs taken by Duane Michals in around 1958, viewed in the photographer’s studio on September 14, 2014.

72. 136 “didn’t want to get new brushes”: Ted Carey, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 94.

73. 136 traced from magazines: Vito Giallo, interview by author, January 1, 2015. Warhol’s sources in Life are confirmed in Alexandra Bar-cal et al., eds., Andy Warhol: The LIFE Years 1949–1959 (Munich: Hirmer, 2015).

74. 136 covered in drifts: Carlton Willers, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

75. 136 discarded once they’d been traced: Vito Giallo, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 20.

76. 136 bottles knocked over: Carlton Willers, in Thom Nickels, Out in History (Sarasota, FL: STARbooks Press, 2010), loc. 466, Kindle edition.

77. 136 paw prints: See Matt Wrbican, “Meeooaaww-AW-AWW,” in Andy Warhol/Ai Weiwei (New Haven, CT: Yale University Press, 2015), 262.Wrbican’s essay informs my discussion of Warhol’s cats.

78. 136 “The cats went everywhere”: Carlton Willers, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

79. 136 “I knew things was good”: See Tommy Jackson to Andy Warhol, postcard, July 2, 1951, TC55, AWMA.


182 NOTES

80. 136 gone cross-eyed: See Ted Carey, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 86.

81. 136 “distorted-looking cat”: Carlton Willers, interview by Da-vid Bourdon, typed notes, March 21, 1968, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

82. 136 perched on his shoulder: Hester’s perch on the artist’s shoulder is mentioned in Andy Warhol to Frances Lattman, May 25, 1952, Russell Lynes papers, Archives of American Art, Smithsonian Institu-tion.

83. 137 tiny biographies: Both Interiors biographies are quoted in full in Lucy Mulroney, “One Blue Pussy,” Criticism 56, no. 3 (Summer 2014): 580. The American Girl blurb, from the June 1958 issue, is pre-served in Time Capsule -24 in the Warhol archives. Warhol’s cat count had fallen from 17 to three according to Eugenia Sheppard, “Inside Fash-ion,” New York Herald-Tribune, February 1, 1957. Seventeen cats are also mentioned in Dudley Huppler to Lee Hoiby, September 24, 1954, quoted by Mark Shulgasser in Gary Comenas, “Andy Warhol: From Nowhere to Up There 18,” Warholstars (blog), 2014, http://www.warholstars.org/nowhere/andy_warhol_q18.html.

In a letter in the Warhol archives dated January 3, 1953, when War-hol was still on Seventy-Fifth Street, Robert M. MacGregor, an executive at New Directions press, mentions “the cats” having had a “new litter,” suggesting that Hester must have arrived on the scene by then, and had started reproducing. That could have been another reason for Warhol’s move from that tiny apartment to the much bigger place on lower Lex-ington Avenue.

On March 5, 1955, Warhol paid a bill for $3 (TC -24, AWMA) to the Ellin Prince Speyer animal hospital.

84. 137 nine previous “Sams”: Ted Carey, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 86. Carey specifies that when he ar-rived on the scene Warhol already had his second-floor apartment, dating that arrival to after November 1957.

85. 137 “Sama”: “Sama” is mentioned in Rhoda Marshall, interview by author, March 5, 2016. Marshall was an agent of Warhol’s and a fellow cat lover.

An October 25, 1969, veterinarian’s bill (AWMA, TC62) is for the treatment of a 20-year-old Siamese cat named Sam.

86. 137 wrap an old sweater: Rhoda Marshall, interview by author,


NOTES 183

March 5, 2016.87. 137 Gloria Swanson: Vito Giallo, in Catherine Johnson, ed.,

Thank You Andy Warhol (New York: Glitterati, 2012), 25.88. 137 Swanson’s maid: Paul Warhola, in Rudo Prekop and Michal

Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 61.89. 137 a serious biter: Vito Giallo, in Catherine Johnson, ed., Thank

You Andy Warhol (New York: Glitterati, 2012), 25.90. 137 Holy Cats: Several collaborators seem to have tried their

hands at a text for Holy Cats, but assistant Nathan Gluck claimed that art director Joe Giordano, who was especially close to Julia, came up with the final copy. The book was published in 1960 or the first months of 1961—see Nina Schleif, “Clever Frivolity in Excelsis: Warhol’s Promo-tional Books,” in Reading Andy Warhol (Ostfildern: Hatje Cantz, 2013), 30. Schleif confirms that dating and suggests that Warhol might have been responsible for the story and the book concept.

91. 137 failed to sell: Michael Malce said that Warhol came by with a pile of his chapbooks for Malce to sell in his curio shop, but that most stayed on the shelves—Michael Malce, interview by author, November 10, 2016.

92. 137 “when I gave up caring”: September 16, 1980, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 8727, Kindle edition. Warhol cried at the news of Hester’s death according to Rhoda Marshall, interview by author, March 5, 2016.

93. 137 anti-cat: See Warhol’s 1966 film Mrs. Warhol, where Julia Warhola claims her son won’t let her kill a cat that keeps her awake. Julia was killing Hester’s kittens in the 1950s according to Gillian Jagger, interview by author, January 9, 2015.

94. 137 money in their pride: Matt Wrbican, “Meeooaaww-AW-AWW,” in Andy Warhol/Ai Weiwei (New Haven, CT: Yale University Press, 2015), 262. See also Imilda Vaughan (later Tuttle), interview by David Bourdon, typed notes from an earlier conversation, April 1, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institu-tion. Vaughan remembered Julia Warhola selling cats to fund her care packages to relatives back home in the Carpathian mountains.

95. 137 “incest within incest”: Carlton Willers, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

96. 137 $10 per kitten: See Nathan Gluck to Jess Beers, February 24, 1956, a letter sold on May 13, 2014, by Doyle’s auction house in New York: “Andy Warhol for Sale at Auction on Tue, 05/13/2014,” accessed March


184 NOTES

5, 2019, https://doyle.com/auctions/14pt02-post-war-contemporary-art/catalogue/28-andy-warhol#,.

97. 137 he did sell: W. F. Hamilton to Andy Warhol, February 7, 1955, TC28, AWMA, mentions an included payment for “the little ones,” which Hamilton has decided to name Ya Chai and Son Chai.

98. 137 outflow of kittens: Philip Pearlstein and Dorothy Cantor got a pair of cats they named Cimabue and Sassetta, after the Italian artists, while Sweetie was the name of Warhol’s gift to Ralph Ward—see Matt Wrbican, “Meeooaaww-AW-AWW,” in Andy Warhol/Ai Weiwei (New Haven, CT: Yale University Press, 2015), 263.

Nathan Gluck had three cats named after French desserts (Patachou, Brioche and Truffle) plus another three “out on consignment” whose names have, tragically, been lost to history—see Nathan Gluck to Jess Beers, February 24, 1956, a letter sold at Doyle auction house in 2014, “Andy Warhol for Sale at Auction on Tue, 05/13/2014,” accessed March 5, 2019, https://doyle.com/auctions/14pt02-post-war-contemporary-art/catalogue/28-andy-warhol#,.

Another Warhol friend and assistant said that he was given two cats, one too vicious to keep but another, “Bobby,” which lasted 22 years—Vito Giallo, interview by author, January 1, 2015. Yet another friend, who like Giallo had shown at the Loft Gallery, ended up with a kitten named Orpheus—Gillian Jagger, interview by author, January 9, 2015. Warhol’s agent Rhoda Marshall had one called Eartha Cat—Rhoda Marshall, in-terview by author, March 5, 2016.

99. 137 “that’s the bad Sam”: Leonard Kessler, interview by author, May 10, 2015.

100. 137 “feline—Siamese”: See the bill from the Animal Medical Center, October 25, 1969, TC62, AWMA.

101. 137 especially Siamese: Newspapers from the 1950s include plentiful coverage of Siamese cats, as a curiosity that needs explana-tion—e.g. “Siamese Cats Make Unusual Pets: You Can Make Money from Them, Too!,” Irish Times, February 2, 1954.

102. 137 Tony Palazzo: Records of Tony Palazzo’s appearance at Horne’s in 1949, to promote his Susie the Cat, published by Viking Press in April of that year, are preserved in the Joseph Horne Company papers, Senator John Heinz History Center, Pittsburgh, PA. One cat image in Susie could be the source for an animal in Warhol’s 25 Cats Name Sam.

At least one appearance by Palazzo at Horne’s took place in October, well after Warhol had left for New York—see “A Week with Authors and Books,” Pittsburgh Post-Gazette, September 27, 1949.


NOTES 185

103. 138 feline photo books: See Matt Wrbican, “Meeooaaww-AW-AWW,” in Andy Warhol/Ai Weiwei (New Haven, CT: Yale University Press, 2015), 265. The source books Warhol used were All Kinds of Cats (New York: Knopf, 1952) by the well-known pet photographer Walter Chandoha and Sam by Edward Quigley and John Crawford (New York: Stackpole Sons, 1937). That latter book could be the ur-source for War-hol’s choice of feline names.

104. 138 someone else’s drawings: Joseph Giordano, a client, said that Warhol once sent him “beautiful drawings of women with strawber-ries in their hair” and that the illustrator Clyde Grant recognized them as his own work—see Giordano in Patrick S. Smith, ed., Warhol: Conver-sations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 129.

105. 138 twenty-year-old: Carlton Willers, interview by author, Sep-tember 22, 2015.

106. 138 calling him “Alfred”: See Carlton Willers to Andy Warhol, April 10, 1956, AWMA, and the June 16, 2016, letter from Willers to the author.

107. 138 Cornell was a regular: Carlton Willers to the author, un-dated 2015 letter.

108. 138 screen his art films: Billy Parrott, interview by author, De-cember 16, 2015. Parrott is on staff at the New York Public Library.

109. 138 mined the collection: Warhol would already have been ex-posed to the idea of circulating images in Pittsburgh, where in 1940 alone the Children’s Department of the Carnegie Library circulated almost 15,000 images to local schools, for “visual education”—see the depart-ment’s annual report for 1940, in the William R. Oliver Special Collec-tions Room, Carnegie Library of Pittsburgh.

110. 138 “you only have to pay two cents a picture”: Bert Greene, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Re-search Press, 1986), 341. Carlton Willers said that Warhol’s thefts were meant to keep his drawings’ sources from being spotted by other bor-rowers—Carlton Willers, interview by author, September 22, 2015. Piles of the stolen pictures survive in the Warhol archives.

111. 138 assisted the head: Carlton Willers to the author, undated 2015 letter. Willers was assistant to Romana Javitz, the founder of the Picture Collection who became a friend of Warhol’s—see Carlton Will-ers to Warhol, April 10, 1956, AWMA.

112. 138 library’s special investigator: New York Public Library to Andy Warhol, September 30, 1959, TC37, AWMA. But the NYPL held no


186 NOTES

grudge. Twenty years later it included Warhol in its show of the great-est American printmakers—see the announcement of his inclusion in the show in New York Public Library to Warhol, June 19, 1976, TC182, AWMA.

113. 138 made the first move: Carlton Willers, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

114. 138 for the next few years: Carlton Willers to Andy Warhol, August 21, 1954, AWMA, is a letter that already has a tone that suggests that the two are no longer anything more than fairly casual friends. Carl-ton Willers to Andy Warhol, April 10, 1956, AWMA, suggests they had had a falling out when Willers first told Warhol about having slept with a young ballerina they both admired, who Willers later married without telling his friend. A postcard dated September 6, 1956, shows that Willers and his wife have already broken up at that point; in it he refers to the “Korean roommate” who moved in after his wife had moved out—see Carlton Willers, interview by author, June 28, 2016.

115. 138 “he might show his own art”: Carlton Willers, interview by author, June 28, 2016. A friend from about the same moment said that he and Warhol “would talk about the famous artists of the day—Rothko, Kline, de Kooning”—Vito Giallo, interview by author, January 1, 2015.

116. 138 Saint of Bleecker Street: Carlton Willers to the author, un-dated 2015 letter. Menotti’s show opened the last week of 1954 and won two strong reviews in the New York Times. Half a decade later, before he’d become a famous fine artist, Warhol did the designs for a Menotti premiere at the Spoleto festival in Italy, as discussed later in this book. The two went on to dine together at Café Nicholson, as recorded on the page for February 23 in Warhol’s 1962 datebook (AWMA).

117. 138 “had innate taste”: Carlton Willers, undated 2015 letter to the author.

118. 138 was a virgin: See Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1736, Kindle edition. In Carl-ton Willers to Warhol, August 20, 1954, AWMA, the two don’t seem very close yet—Willers misspells his friend’s last name, suggests they start doing more things together and is still vague about whether Warhol likes to see dance performances or not.

119. 139 for the beautiful people: Carlton Willers, in Thom Nickels, Out in History (Sarasota, FL: STARbooks Press, 2010), loc. 481, Kindle edi-tion.

120. 139 barely manage intimacy: Carlton Willers, in Victor Bock-


NOTES 187

ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1731, Kindle edition.

121. 139 “like Truman Capote lying down”: Vito Giallo, interview by author, January 1, 2015.

122. 139 seems to have survived: A picture that seems to match Carlton Willers’s description was auctioned, as Reclining Figures (1955), at Sotheby’s New York on October 10, 2001, as part of the substantial holdings of early paintings in the estate of Warhol’s business manager Frederick Hughes.

Vito Giallo said there were at least fifty and maybe hundreds of the Willers paintings—see Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 52.

123. 139 doesn’t really hold up: See for example Two Young Girls (Standing), accession #1998.1.1 in The Andy Warhol Museum. Ted Carey said that Warhol had stacks of such blotted canvases at one point—see Carey in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 250. Warhol seems to have mostly discarded them after his move into Pop.

124. 139 Warhol would cry: Carlton Willers, in Thom Nickels, Out in History (Sarasota, FL: STARbooks Press, 2010), loc. 487, Kindle edition. Several of Warhol’s early friends in New York also found him tearful: Joseph Giordano said “Every time I meet him, he cries. I don’t know why. He’s always crying. He’s moved to tears”—see Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 128.

125. 139 “It looked like his real hair”: Carlton Willers, in Thom Nickels, Out in History (Sarasota, FL: STARbooks Press, 2010), loc. 496, Kindle edition.

126. 139 “that got him through the night”: Carlton Willers, inter-view by author, June 28, 2016.

127. 139 weight-loss club: Carlton Willers, in Thom Nickels, Out in History (Sarasota, FL: STARbooks Press, 2010), loc. 495, Kindle edition. On the health club see the October 20, 1957, membership card to Ameri-can Health Studios, TC35, AWMA. See also the ad for the club in the Long Island Star-Journal, January 6, 1958. The club seems to have specialized in weight loss.

128. 140 “semi-tropical fruit”: June Owen, “Rich, Delicious Avoca-dos,” New York Times, August 2, 1953, 44.

129. 140 “cursing out her son in Czech”: Carlton Willers, interview


188 NOTES

by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

130. 140 she cried: See Carlton Willers to Andy Warhol, April 10, 1956, AWMA. See also Willers to the author, June 16, 2016.

131. 140 “piles of money”: Carlton Willers, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution. To speed up his process War-hol tried drawing on glass and blotting direct from there, since he could trace straight onto the glass from any photo he’d placed underneath and, on glass, his ink stayed wet for longer as he blotted—on the tracing see Bert Green in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 292. On the wet ink see Bert Green in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 634.

132. 140 “in the midst of all this”: Carlton Willers, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 146.

133. 140 public stayed away in droves: See “Musicals That You Should Have Heard Of: ‘The Golden Apple’—VC Onstage: Ventura County Theatre News,” VC on Stage, accessed March 5, 2019, http://vconstage.com/musicals-that-you-should-have-heard-of-the-golden-apple/. Period raves (and a few raspberries, including in the New York Times) are reprinted at “Jerome Moross,” Moross and Latouche’s The Golden Apple, accessed March 5, 2019, http://jeromemoross.com/GA/ga-riv.html. A decade later, the entry for November 7, 1961, in Warhol’s datebook (AWMA) shows him attending previews for a similar show called All in Love that made a musical out of Richard Brinsley Sheridan’s 1775 play The Rivals. See “Obscure Recordings: More ’60s Off-Broadway,” Broadway.com, accessed March 5, 2019, https://www.broadway.com/buzz/10742/obscure-recordings-more-60s-off-broadway/.

134. 140 assignments from the networks: See Lynn Spigel, TV by Design: Modern Art and the Rise of Network Television (Chicago: University of Chicago Press, 2008), 255.

135. 140 “boob tube”: Pittsburgh had barely even got a station when Warhol left his hometown—see the 1948 ad reprinted in the program for the September 1973 “25 Year Service Club Annual Dinner” at Horne’s department store, Joseph Horne Company Papers, Senator John Heinz History Center, Pittsburgh: “While Pittsburgh has not yet put a Televi-sion station into operation, Horne’s is ready with the receiving sets and is instructing customers in the use and selection of them.”


NOTES 189

In 1952, an ad for CBS had thought it worth crowing that “90% of all U.S. television stations are now on the air before 2 p.m.”—the ad is reproduced as item 145 in the 31st Annual of National Advertising and Edi-torial Art (New York: Pellegrine & Cudahy/Art Directors Club of New York, 1952), np.

Warhol seems to have bought his first TV in 1950—see Marjorie Frankel Nathanson, “Chronology,” in Andy Warhol: A Retrospective, ed. Kynaston McShine (New York: Museum of Modern Art, 1989), 404. At that very early date, the medium still counted as a novel technology and budding art form, like the long-playing record that shared its birth year. Ben Shahn himself wrote about the early days of TV in the brochure for MoMA’s 1963 “Television U.S.A.” exhibition, which took an art-historical look back at the new medium’s first years. Shahn remembered that, as late as 1953, when he drew his famous image of a sky full of TV anten-nas—recycled into the cover of MoMA’s TV exhibition brochure—he had meant it as a fantastical vision, since the reality was that aerials were still scarce. Warhol did a knockoff of Shahn’s image and bought an ac-tual print of it at the end of the decade—see the drawing reproduced in Tommy Hughes’s untitled memoir in The Collection of Frederick W. Hughes (New York: Sotheby’s, 2001), 170. See also the March 26, 1959, receipt for the Shahn from The Downtown Gallery, for $36.05 (AWMA).

Although we don’t imagine the effete Warhol as a guyish techno-phile, in fact he was always an early adopter of each new gadget and machine that appeared, from televisions to cassette recorders to video cameras to computers. Receipts in his archives show him always updat-ing to the very latest model. “It’s so John Modern,” he’d say in admi-ration—Brigid Berlin, in Vincent Fremont and Brigid Berlin, “Factory Workers Warholites Remember: Brigid Berlin,” Interview (November 30, 2008), https://www.interviewmagazine.com/culture/factory-workers-warholites-remember-brigid-berlin.

136. 140 “a new audio-visual art form”: Perry Davis, “Parallels,” Portfolio (March 1949): np, Records of the Associated Artists of Pittsburgh, Senator John Heinz History Center, Pittsburgh, PA.

137. 140 “Operation Frontal Lobes”: Maurice Berger, Revolution of the Eye: Modern Art and the Birth of American Television (New Haven, CT: Yale University Press, 2014), 6, 8, 38.

As late as 1963, Show magazine was trumpeting NBC’s broadcast of Johan Sebastian Bach’s Saint Matthew Passion, programing almost incon-ceivable in twenty-first-century network TV—see “Music Show of the Month,” Show (April 1963): 34. The Museum of Modern Art itself pro-


190 NOTES

duced early TV programs about art.138. 141 network was commissioning: See George Olden, “Can

Television Use Better Art?” American Artist (September 1954): 42, 72. Olden is cited in Lynn Spigel, TV by Design: Modern Art and the Rise of Net-work Television (Chicago: University of Chicago Press, 2008), 255. Olden includes an image of Warhol’s title illustration but his name wasn’t yet ready to be included in the article’s actual list of “well-known artists” used by CBS. A February 18, 1954, statement from CBS (AWMA) shows the network paying Warhol $100, a good amount then, for the “title drawing for Studio One The Expendables.”

139. 141 an MTV episode: “Andy Warhol’s Fifteen Minutes: Episode 3,” television broadcast, 1987, https://www.youtube.com/watch?v=7FqS2BkJ63c.

140. 141 around Labor Day: Bert Green, in Rainer Crone, “Das Bild-nerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 275.

141. 141 Art and Lois Elias: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1739, Kindle edition.

142. 141 to hold readings: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1739, Kindle edition. Start-ing with the Congreve that the group was reading the first night Warhol showed up, he was exposed to the Chekhov and the Brecht and a bunch of rarely-performed Shakespeare, but also to more obscure fare: The anti-bourgeois positions of Frank Wedekind, the pioneering expression-ism of Carl Sternheim and the gloomy, rat-infested naturalism of Gerhart Hauptmann—see Green in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 274.

143. 141 “interested in the outrageous”: Bert Green, in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 274.

144. 142 a flyer: The flyer for the 12th Street Players survives as item #1998.2.11a-b in Warhol’s archives.

The troupe didn’t meet in the summers, according to Dennis Vaughan in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 298. On the same page Vaughan gives the address of Green’s house as 240 West Twelfth Street.

145. 142 “beginning of off-Broadway”: Bert Green, in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 277.

146. 142 “he wasn’t abashed at all”: Bert Green, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1746,


NOTES 191

Kindle edition.147. 142 flubbing almost every line: See the uncut camera footage

for Warhol’s 1981 “Saturday Night Live” spots that survives at The Andy Warhol Museum.

Dennis Vaughan, an ad-man and aspiring dramaturge who was the main creative force behind the Players, was not impressed by Warhol: “As a director, I guess I could say this about him: He had a certain mo-notonous quality”—Vaughan in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 302.

148. 142 little presents: The watch and “two empty walnut shells” are mentioned as gifts in Dennis Vaughan to Andy Warhol, January 1, 1977, TC165, AWMA.

149. 142 “I’m happy to be here tonight”: Bert Green, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc.1751, Kindle edition.

150. 142 designing sets: Bert Green specified that only new plays were given sets, but Dennis Vaughan remembered Warhol doing them for some older scripts as well—see their interviews in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976).

151. 142 crude portraits: Four of the portraits, once the property of Dennis Vaughan, were sold at Christie’s auction house—see http://www.christies.com/lotfinder/lot/andy-warhol-divine-sarah-diva-di-seuse—4233077-details.aspx?from=salesummary&intObjectID=4233077&sid=d97ec30f-2942–4dd9-ae5c-673bdcf1deee, accessed July 6, 2016.

152. 142 “very stylized”: Bert Green, in Rainer Crone, “Das Bild-nerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 289. Cut-outs of lamps and vases were scotch-taped onto cut-out chairs and tables, themselves crudely taped onto the apartment’s real furniture. For a script that echoed German Expressionist movies—the kind that had played at Outlines and Tech in Pittsburgh—Warhol went with the simplest of so-lutions: He painted onto some folding screens, using both sides so they could be turned around to show different theatrical settings. A bathroom was conjured by a screen with a toilet on it; another screen stood for a doctor’s office, with a real medical chart as its icon, “and then he drew all over it and made funny hearts, and springs coming out of organs.” (This anticipates Warhol’s 1980s paintings based on medical diagrams.) Green compared Warhol’s sets to the playful imagery of New Yorker cover art-ists Saul Steinberg and Ludwig Bemelmans, of Madeleine fame, who had recently completed his delightful murals in the Carlyle Hotel. See Green in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei


192 NOTES

Universitat, 1976), 280, 290.153. 142 self-conscious artifice: Bert Green, in Rainer Crone, “Das

Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 283.154. 142 mechanisms of their making: See Bert Green, in Rainer

Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 309.

155. 142 a knowledge of Brecht: Warhol, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 24, https://doi.org/10.1093/oxartj/kcy001. The original transcript for Swenson’s inter-view has Warhol acknowledging having read Brecht but not concen-trating on him as in the heavily altered version published in Gene R. Swenson, “What Is Pop Art? Interviews with Eight Painters (Part I),” Art News (November 1963).

156. 142 “read and listen”: Bert Green, in Rainer Crone, “Das Bild-nerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 287.

157. 142 semiprofessional weekend: “One-Act Play Festival,” New York Times, February 18, 1954. Warhol had done sets for at least two of the plays the Times mentions as being on the program: J. M. Barrie’s Twelve Pound Look and Aaron Fine’s My Blackmailer, which was the one rooted in those German Expressionist movies—see Bert Green in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 278. See also Green in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 632.

158. 142 Off-Broadway playhouse: Theater 12 was formally launched at the Cherry Lane Theater in Greenwich Village with a production of The Flies, Jean-Paul Sartre’s Existentialist riff on ancient Greece that had first been produced during the German occupation of Paris. Vaughan’s production was called “creditable” in the New York Times, September 10, 1954.

Bert Green said that Warhol had been involved in readings of the Sar-tre but had left the troupe by the time the play moved to the stage—see Green in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 281. The Times credits the show’s minimal sets to Green himself.

CHAPTER 9

1. 145 “do you think anybody will buy that?”: Nathan Gluck, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 329.


NOTES 193

2. 145 ancient “monster”: Stephen Bruce, interview by author, May 19, 2016.

3. 145 descending its stairs: Stephen Bruce, interview by author, May 19, 2016. Bruce offered an alternative version of that first encounter, in which Warhol first comes in with an ad-agency crowd, in Christian Holzfuss and Nikolaus Sonne, eds., Andy Warhol: Play Book of You S. Bruce (Frankfurt: Edition Achenbach, 1989), 26. Bruce offered yet another ac-count of Warhol’s first visits to the café in Patrick S. Smith, “Art in Extre-mis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 455.

4. 145 an extra stop: “Top off a dinner at Pablo’s with a caffe espresso next door at Serendipity, 234 East Fifty-Eighth Street. This is a tiny, charming shop devoted to objets d’art and related items”—Jane Nickerson, “Meals Made with Care at Pablo’s—Art Shop Has Caffe Ex-presso,” New York Times, February 15, 1955.

5. 145 found the term: “Serendipity,” Serendipity 3, accessed March 6, 2019, https://serendipity3.com/history/.

6. 146 “gouty Victorian”: The phrase is used to describe Seren-dipity’s goods in Bob Gill and Kate Simon, New York Places and Pleasures (Meridian Books, 1959), 329.

7. 146 “a skirted front”: “Unusual Swimsuit for Men,” New York Times, May 23, 1956. On the feather dusters see Craig Claiborne, “Food News: Restaurants Get Smaller,” New York Times, November 14, 1958. In that article Clairborne, a legendary restaurant critic, described the food as “like the atmosphere, on the precious side.”

Serendipity 3 launched with such delights as a “chocolaccino” and the “Saint Boy’s Dish (an astral confection)”—see the Serendipity menu on the verso of a letter from Warhol’s assistant Nathan Gluck to Jess Beers, February 24, 1956: “Andy Warhol for Sale at Auction on Tue, 05/13/2014,” accessed March 5, 2019, https://doyle.com/auctions/14pt02-post-war-contemporary-art/catalogue/28-andy-warhol#,. The menu eventually expanded to include Warhol-bait such as its “world-famous” Frozen Hot Chocolate. Faced with a clientele that tended not to linger, and spend, at the restaurant’s dozen tables, Bruce said that he invented that still-famous dish as a special high-ticket, high-profit item—Stephen Bruce, interview by author, May 19, 2016.

8. 146 “of subversive sophistication”: Ronald Sukenick, Down and In: Life in the Underground (New York: Beech Tree Books, 1987), 87.

9. 146 part owner: Nathan Gluck, notes on Warhol (January 16, 1976), Luis de Jesus Los Angeles gallery.


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10. 146 stars’ underwear: Bob Colacello, Holy Terror: Andy War-hol Close Up (New York: Vintage Books, 1990), loc. 804, Kindle edition. Emile de Antonio, Warhol’s 1960s friend and agent, said that Warhol had made the same suggestion of underwear sales to him—see Fred Law-rence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 149.

11. 146 a yearly tab: Warhol spent $1,900.95 there in 1957, accord-ing to Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 26. (Scherman had access to good re-cords, and his figures are usually reliable.)

12. 146 opened in the evening: Jane Nickerson, “Meals Made with Care at Pablo’s—Art Shop Has Caffe Expresso,” New York Times, February 15, 1955.

13. 146 after the trauma: Stephen Bruce, interview by author, May 19, 2016.

14. 146 Carmel Snow: Andy Warhol, THE Philosophy of Andy War-hol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 23, Kindle edition.

15. 146 actor friends: Stephen Bruce specified that their initial suc-cess was due to the theatrical crowds they could draw—Stephen Bruce, interview by author, May 19, 2016.

16. 146 also hosting: See Stephen Bruce on Truman Capote and Tennessee Williams in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982). Nathan Gluck and Warhol ran into Truman Capote in the first, Fifty-Eighth Street location of Serendipity—Nathan Gluck to David Bourdon, n.d., David Bourdon papers, Archives of American Art, Smithsonian Institution.

17. 146 “very effete”: Stephen Bruce, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 816, Kindle edition.

18. 146 “everyone in it was gay”: William McCarthy, interview by author, January 8, 2015. McCarthy was a client who commissioned illus-trations from Warhol for Bonwit Teller department store.

19. 146 showed him at Serendipity: Philippe Jullian’s Serendipity show is mentioned by Charles Lisanby in the manuscript transcript of a November 11, 1978, interview shared with the author by the late Pat-rick Smith. The cards are mentioned in Philippe Jullian to Andy Warhol, January 28, 1957, AWMA.

20. 147 “every attractive young man”: Stephen Bruce, interview by author, May 19, 2016.


NOTES 195

21. 147 Warhol’s sketchbook: See its facsimile in Christian Hol-zfuss and Nikolaus Sonne, eds., Andy Warhol: Play Book of You S. Bruce (Frankfurt: Edition Achenbach, 1989).

22. 147 considered poses: Stephen Bruce, in Christian Holzfuss and Nikolaus Sonne, eds., Andy Warhol: Play Book of You S. Bruce (Frankfurt: Edition Achenbach, 1989), 26.

23. 147 “It was very romantic”: Stephen Bruce, interview by au-thor, May 19, 2016.

24. 147 as his boyfriend: Huppler is mentioned as Warhol’s “boy-friend” in the brief biography included in the exhibition announcement for “Dudley Huppler: The Tree Drawings of the 1950s,” at Robert Henry Adams Fine Art in Chicago, December 1 to December 22, 2006, Dudley Huppler artist file, Thomas J. Watson Library, Metropolitan Museum of Art, New York.

25. 147 “dumb and nice”: Robert Cozzolino, Dudley Huppler: Draw-ings (Madison, WI: Chazen Museum of Art, 2003), 11. Unless otherwise indicated, details on Huppler’s life and career are taken from this vol-ume.

26. 147 “really did look well hung”: Edward Field, interview by author, May 2, 2016.

27. 147 introduction from Otto Fenn: Otto Fenn had photo-graphed Dudley Huppler as early as 1951 and is mentioned as a mutual friend in a Huppler letter in the Warhol archives postmarked Septem-ber 18 (clearly of 1954), from Chicago—see Robert Cozzolino, Dudley Huppler: Drawings (Madison, WI: Chazen Museum of Art, 2003), 16n27. The letter treats Warhol as a relatively new acquaintance. The Warhol archives also include a letter from Huppler to Warhol postmarked Au-gust 18, 1954, from Maine, which mentions the address of a Greenwich Village friend Huppler has been staying with, although apparently with-out having met Warhol, since yet another Huppler letter in the archives, postmarked September 29, 1954, has Huppler back in the Midwest with-out having ever seen Warhol in person.

28. 148 “invention in personality”: The Dudley Huppler letter, to the composer Lee Hoiby, is dated September 24, 1954. It is quoted by Mark Shulgasser in Gary Comenas, “Andy Warhol: From Nowhere to Up There 18,” Warholstars (blog), 2014, http://www.warholstars.org/no-where/andy_warhol_q18.html.

29. 148 eleven years: Robert Cozzolino, Dudley Huppler: Drawings (Madison, WI: Chazen Museum of Art, 2003), 5.

30. 148 in View: Warhol’s archives include several issues of View, but


196 NOTES

not, it seems, the issue that Dudley Huppler was in.Parker Tyler had lectured at Outlines gallery in Pittsburgh and actu-

ally went on to review Warhol’s work in 1956—see Parker Tyler, “Andy Warhol,” Art News (December 1956): 59. There’s also a photo of Warhol holding the writer’s crotch, taken by Gerard Malanga and dated by him to 1969—see Gerard Malanga, “Andy Warhol and Parker Tyler 1969,” ac-cessed December 8, 2019, http://gerardmalanga.net/hires/0058.jpg.

31. 148 feature in Flair: Robert Cozzolino, Dudley Huppler: Draw-ings (Madison, WI: Chazen Museum of Art, 2003), 10. The photo of Dud-ley Huppler in the June 1950 issue of Flair was by the gay couple “Butch” Melton and Wilbur Pippin, who signed their work Melton-Pippin. War-hol was also portrayed by them around the same time—he’s still wigless and blotched—in a photo presented to his archives by his relative Manu-ela King.

The New York Times gave a rave review to Huppler’s solo show at the Edwin Hewitt Gallery—Stuart Preston, “Diverse in Appeal,” New York Times, May 7, 1950.

32. 148 selling twelve-packs of postcards: Stephen Bruce, inter-view by author, May 19, 2016. Despite only staying in New York off and on, Dudley Huppler had become deeply entrenched among its culturati. He was the full-blown protégé of the celebrated modernist poet Mari-anne Moore and was close to the eminent gay photographer George Platt Lynes: Huppler’s drawings were featured as props in a Vogue ad by Lynes, who was the brother of Russell Lynes, Warhol’s editor at Harper’s in 1949. Tellingly, when Warhol needed an image of an old woman for a project, he based his blot on a photo of Moore taken by Platt Lynes, giving a nod to high culture that would have been Andy Paperbag’s own little secret—see Alexandra Barcal et al., eds., Andy Warhol: The LIFE Years 1949–1959 (Munich: Hirmer, 2015), 106.

Huppler was also a lover of the well-known Wisconsin artist Karl Priebe, whose work Warhol knew from the 1947 Carnegie annual, and Huppler was friends with the faux-naif illustrator Carol Blanchard, whose painting in the same annual had bowled Warhol over. Katherine Anne Porter, the novelist, was another Huppler friend whose dropped name would have impressed Warhol: Some of his first success at Tech had come with illustrations he’d done of her characters. Huppler drops the names of Priebe, Porter and Moore in a single letter in the Warhol archives, undated but written to Warhol not long before Halloween 1954, which is mentioned.

33. 148 pen-and-ink pictures: The drawings, often printed by Dud-


NOTES 197

ley Huppler onto postcards, are preserved in the Warhol archives.Nathan Gluck, the friend who later became Warhol’s assistant, de-

tected Huppler’s influence in Warhol’s so-called “Boy Book,” a suite of unpublished homoerotic drawings from the later 1950s that are unusu-ally “out” for their era. One famous Warhol of a boy with a rose in his mouth is in fact based on a Huppler image Gluck knew—see Gluck in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 318. The image is in Warhol’s Gold Book, self-published in 1957 and exhibited that year at the Bodley Gallery.

34. 148 Warhol to apply: Dudley Huppler to Andy Warhol, n.d., AWMA, mentioning a Yaddo application for early spring 1955.

35. 148 Ralph Pomeroy: See letters written to Warhol by Dudley Huppler (AWMA) between May 6, 1955, and May 13, 1955, from Yaddo, Saratoga Springs, NY.

36. 148 “the idealized version”: Edward Field, The Man Who Would Marry Susan Sontag and Other Intimate Literary Portraits of the Bohemian Era (Madison, WI: University of Wisconsin Press, 2005), 31, 34, 35. Field said that Jean Cocteau had talked of casting Ralph Pomeroy in his Orphée and that Truman Capote himself took up with Pomeroy.

Pomeroy was “a dedicated hustler who didn’t mind being anybody’s sex object,” according to Edward Field, “Remembering Ralph Pomeroy (1929–99),” Gay and Lesbian Review, Summer 2000, 13. Alfred Kinsey, the sexologist, received records of Pomeroy’s exploits and witnessed some of them live—see Jerry Rosco, Glenway Wescott Personally: A Biography (Madison, WI: University of Wisconsin Press, 2002), 146.

Pomeroy went on to have a busy, if peripatetic, career as a poet, art writer and visual artist. For a moment in 1969 Pomeroy was even a cura-tor at the fabled Nova Scotia College of Art and Design, then a bastion of avant-garde Conceptual Art—see Garry Neill Kennedy, The Last Art College: Nova Scotia College of Art and Design, 1968–1978 (Cambridge, MA: MIT Press, 2012).

37. 148 high-end circle: Edward Field, The Man Who Would Marry Susan Sontag and Other Intimate Literary Portraits of the Bohemian Era (Madi-son, WI: University of Wisconsin Press, 2005), 65. Field said that Ralph Pomeroy entertained such celebrities in “a glorious floor-through apart-ment with a skylight in a Greenwich Village townhouse. . . . paid for by a lover, Monroe Wheeler, who like his name was a wheeler-dealer at the Museum of Modern Art.”

38. 148 A La Recherche du Shoe Perdu: Ralph Pomeroy said that the shoe book was produced for the I. Miller footwear company as a gift for


198 NOTES

its clients, meaning work on it has to have to have started after April 1955, when Warhol began working for the shoemaker—see Ralph Pomeroy, “The Fame Game,” New York (March 30, 1987): 8. See also Ralph Pome-roy, “The Importance of Being Andy,” Art and Artists (February 1971): 15.

39. 149 “an entourage of boys”: Stephen Bruce, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 107.

40. 149 tinting his blotted-line butterflies: Bill McCarthy, the ad-vertising manager at Bonwit Teller’s department store, and Tom Lacy, one of his young employees, are among the many people who spoke to this author of having colored for Warhol.

41. 149 “delightful pansy books”: See the March 3, 1977, entry in the journal of Emile de Antonio in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

42. 149 fixture of the décor: Stephen Bruce, in Christian Holzfuss and Nikolaus Sonne, eds., Andy Warhol: Play Book of You S. Bruce (Frank-furt: Edition Achenbach, 1989), 27.

43. 149 he’d do another: Warhol, in “We Hitch Our Wagons,” Ma-demoiselle (June 15, 1956): 258, AWMA. This was the magazine’s contribu-tors page.

44. 149 ninety-nine chapbooks: A January 10, 1959, account state-ment from Serendipity to Warhol (AWMA) shows that Warhol’s books and prints ranged from $10 to $35. It also lists ninety-nine copies of War-hol’s In the Bottom of My Garden (six in color), of which thirteen were sold, seventy-four were returned to Warhol and twelve were retained for fu-ture sale.

Earlier, in a letter from Serendipity postmarked December 19, 1957 (AWMA) “Cat” prints are selling for $50, of which Serendipity kept one third, while Serendipity remitted $11 to Warhol for each of his “Cat books.”

45. 149 sum of $10: Warhol, undated draft of a publication an-nouncement reading “In the Bottom my Garden by Andy Warhol/a new picture book/$10/at Serendipity 3 225 e 60” (box A8, AWMA).

46. 149 In the Bottom of My Garden: The Warhol archives include a Warhol-designed invitation to the Christmas launch of In the Bottom of My Garden at the Serendipity space on Sixtieth Street, which the restau-rant had only moved into in July 1958—see “General Store at New Loca-tion Displays Swimsuits, Casseroles,” New York Times, July 10, 1958. Since Warhol launched a different book in December 1959, In the Bottom of My


NOTES 199

Garden can be securely dated to late 1958, as the January 10, 1959, account statement from Serendipity (AWMA) for the sale of the “Garden” books would seem to confirm. The archives also include a June 2, 1958, invoice from the bookseller John J. Kane for Jean-Jacques Grandville’s 1847 Flow-ers Personified, a major source for Warhol’s Garden book.

47. 149 a folding screen: See http://www.christies.com//lot-finder/sculptures-statues-figures/andy-warhol-untitled-4986230-details.aspx?from=searchresults&intObjectID=4986230&sid=cc24f5ee-66a0–4486-b917-e9cdeceab8e6, accessed July 12, 2016.

The January 10, 1959, account statement from Serendipity to Warhol (AWMA) mentions this “garden screen,” which originally sold for $125.

Warhol specifically associated his paired cherubs with homosexual couples: He gave a drawing of two reclining cherubs to his friends Neil Prince and Herbert Hemphill, who were a couple, and made it clear he considered it a portrait of them—see http://www.nealprincetrust.org/id78.html, accessed July 16, 2016. The drawing was given identification number A112.066 by the Andy Warhol Art Authentication Board, Inc.

48. 150 “a source of great dismay”: Donald Webster Cory, “Can Homosexuals Be Recognized?” One (September 1953): 11. One was a pub-lication associated with the gay activists in the Mattachine Society. Its letters page makes clear that there was a live debate about the status of effeminacy among gays.

49. 150 “bewildering”: Thomas Meehan, “Not Good Taste, Not Bad Taste—It’s Camp,” New York Times Magazine (March 21, 1965).

50. 150 fin de siècle: Around Christmas 1956, when Warhol received congratulations on his latest Serendipity display from his new friend Ce-cil Beaton, the photographer sat surrounded by the crystal-bead curtains and old-time white-wicker chairs that furnished his new lodgings—see Cecil Beaton to Andy Warhol, December 26, 1956 (AWMA), a letter writ-ten on stationery from the Ambassador Hotel where Beaton occupied a set of rooms custom designed by him. He designed them at a moment when he was “bemused with 1912,” according to Eugenia Sheppard, “In-side Fashion,” New York Herald-Tribune, April 2, 1956. Beaton’s “bemuse-ment” had to do with the Edwardian costumes he was then designing for My Fair Lady on Broadway.

Beaton’s nostalgic tastes, then “confined to rare spirits,” counted as history’s “single most powerful version of camp,” as one connoisseur of the style has proclaimed—see Philip Core, Camp: The Lie That Tells the Truth (New York: Delilah Books, 1984), 22, 29.

51. 150 “Art Nouveau theme”: Stephen Bruce, interview by author,


200 NOTES

May 19, 2016.52. 150 “normal and homosexual people met”: Gore Vidal, The

City and the Pillar (New York: Dutton, 1948), 245.53. 150 “so quaint it was emetic”: Frederick Eberstadt, interview

by author, May 20, 2016.54. 151 Paul Mayen: Stephen Bruce, interview by author, May 19,

2016.55. 151 “avant-garde furor”: Stephen Bruce, in Patrick S. Smith,

“Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 455.

56. 151 “reaction against revivalism”: See the exhibition press re-lease for MoMA’s “Exhibition of Furniture And Decorative Objects of the Art Nouveau Period,” at https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/1343/releases/MOMA_1949_0057_1949-07-08_490708-52.pdf, accessed January 19, 2020.

A decade later, just when a flourishing Serendipity was moving into bigger digs, Tiffany wares got their first-ever museum show at the short-lived Gallery of Modern Art, a favorite of gay New Yorkers—see Herbert Muschamp, “The Secret History of 2 Columbus Circle,” New York Times, January 8, 2006.

On Serendipity’s move to Sixtieth Street see “General Store at New Location Displays Swimsuits, Casseroles,” New York Times, July 10, 1958.

57. 151 “fashionable decorating circles”: Cynthia Kellog, “Thonet Chairs a Feature of Exhibition at Museum,” New York Times, September 29, 1958. The great window dresser Lester Gaba once wrote that the Mu-seum of Modern Art had learned to love Art Nouveau and its “curlicue chairs” from the example set by displaymen—see “Lester Gaba Looks at Display,” Women’s Wear Daily, June 14, 1964.

The MoMA show of its design holdings also included Tiffany glass and an Art Nouveau entrance to the Paris metro, mentioned as the arche-type of camp in Susan Sontag, “Notes on Camp,” in Against Interpretation and Other Essays (New York: Delta Books, 1966), 279.

58. 151 brochure for bentwood: See Paul Maréchal, Les Imprimés éphémères de Andy Warhol (Lyon: Musée de l’imprimerie et de la commu-nication graphique, 2018), 138.

59. 151 the C word: The illustrations are called “campy” in Peter Palazzo, I. Miller art director, interview by David Bourdon, typed notes, January 11, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

60. 151 “markedly attenuated”: Susan Sontag, “Notes on Camp,”


NOTES 201

in Against Interpretation and Other Essays (New York: Delta Books, 1966), 279. The entries in one dictionary of camp read like a checklist of War-hol’s tastes and social set, with headings that include Kenneth Anger, Art Deco, Art Nouveau, Joseph Cornell, Jean Cocteau, Joan Crawford, Salva-dor Dalí, Marcel Duchamp, Ronald Firbank, Greta Garbo, Hollywood, Glossy Magazines, Philippe Jullian and Marilyn Monroe—see Philip Core, Camp: The Lie That Tells the Truth (New York: Delilah Books, 1984).

61. 151 signs of camp culture: Niles Chignon, ed., The Camp Follow-ers’ Guide (New York: Avon, 1965), 14, 44, 45, 46, 51, 53, 95, 122.

62. 151 “most prominent single figure”: Thomas Meehan, “Not Good Taste, Not Bad Taste—It’s Camp,” New York Times Magazine (March 21, 1965).

63. 151 spring of 1954: The show is announced as opening “today” in Stuart Preston, “About Art and Artists,” New York Times, April 12, 1954.

64. 152 “Pleasant paper designs”: C. B.,“New Talent Group Show,” New York Herald-Tribune, April 18, 1954.

65. 152 “strains patience”: Stuart Preston, “The New Loft Gallery Shows Abstract Work,” New York Times, April 14, 1954. Preston would later become a fan and friend of Warhol’s who wrote about him often, received many of his 1950s drawings and even had his portrait drawn by Warhol—it survives in The Andy Warhol Museum.

66. 152 “do something we didn’t expect”: Vito Giallo, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 50.

67. 152 he allowed: Vito Giallo, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 20.

68. 152 bathtub was filthy: Robert Fleischer (misspelled “Fleisher”), in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 114.

Nathan Gluck claimed to have taught Warhol the marbleizing tech-nique—see Gluck in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 31.

69. 152 Alan and Diane Arbus: The Diane Arbus image appeared in Seventeen (October 1955): 60, AWMA.

The store window was photographed on November 1, 1955, for the Retail Reporting Bureau’s Views and Reviews for that week.

70. 152 Warhol’s marbleizing: Several creased, marbleized sheets survive at The Andy Warhol Museum and must be remnants from the Loft show. Some of them also include images of boys embracing, which fits with some memories of the Loft works but not with the reviews—see


202 NOTES

Vito Giallo, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 20. See also Nina Schleif, “Pre-Pop: Warhol’s First New York Gallery Shows,” in Adman: Warhol Before Pop, ed. Nicholas Chambers (Sydney and Pittsburgh: Art Gallery of New South Wales and The Andy Warhol Museum, 2017), 56.

71. 152 “it was anti-art”: Arthur Elias, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1782, Kindle edition.

72. 152 “Andy, do you think anybody will buy that?”: Nathan Gluck, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 329.

73. 152 “nobody even looked”: Vito Giallo, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 22.

74. 153 “out of the way, and arduously reached”: C. B., “New Tal-ent Group Show,” New York Herald-Tribune, April 18, 1954.

75. 153 five-story walkup: Vito Giallo, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 19.

76. 153 “in search of a wall to hang their work on”: The an-nouncement is in the Warhol archives. Lower-case titles are identified as the marker of the classic modernist vanguard in Russell Lynes, “High-brow, Lowbrow, Middlebrow,” Harper’s Magazine (February 1949): 21.

77. 153 to Carnegie Tech: Tech alumna Gillian Jagger said that Warhol had been responsible for getting her into the show, which “he seemed to be running”—Gillian Jagger, interview by author, January 9, 2015. Warhol urged her to show “a big abstracted cat.”

Wolfgang Beck, a prominent graphic designer, was also on the Loft roster—he had to be, since he’d supplied the front of his huge design stu-dio to act as the gallery’s home—and Warhol’s friend Vito Giallo was on the roster as well, as a kind of gallery director, before he moved on to be Warhol’s first hired hand—see Giallo in Catherine Johnson, ed., Thank You Andy Warhol (New York: Glitterati, 2012), 25.

The Loft shared its floor with Louis Shima, a celebrated Japanese pic-ture framer who did a great deal of work for Warhol a few years later—see his many invoices in the Warhol archives (box B 565) and Shima’s bill for February 26, 1960, TC -26, AWMA.

78. 153 “demanding young men”: Barbara Guest, “Clarke, Roger, Warhol,” Art News (Summer 1954). If Warhol was disappointed in that review he would have been pleased that the same issue of Art News fea-tured an image (p. 51) of a cover that he’d done for Interiors, in a feature on the 33rd annual show of the Art Directors Club of New York. It’s not


NOTES 203

insignificant that Warhol’s cover fills one ninth of a black-and-white page in Art News, versus the full-color page facing it that was dedicated to an illustration by Ben Shahn from the same show.

79. 153 campy drawings: Some surviving drawings are proposed as possible examples of the show’s works in Nina Schleif, “Pre-Pop: War-hol’s First New York Gallery Shows,” in Adman: Warhol before Pop, ed. Nicholas Chambers (Sydney and Pittsburgh: Art Gallery of New South Wales and The Andy Warhol Museum, 2017), 58.

80. 153 “a coy manner”: Stuart Preston, “About Art and Artists,” New York Times, May 18, 1954. Preston himself was gay, but in the 1950s, especially, that did not preclude some homophobic attitudes.

81. 153 Interiors magazine: See “Contributors Page,” Interiors (Sep-tember 1954). Interestingly, Warhol mentions the two “picture books” he made with Ralph Ward but omits his Truman Capote show at the Hugo Gallery.

82. 153 show’s poster: The show is announced as opening Octo-ber 11, 1954, in the New York Times of the previous day.

The poster, labeled “October,” is reproduced in Sara Krajewski, Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foun-dation (New York: D.A.P., 2016), 24.

83. 153 drawings and paintings: Although a review in Art News couldn’t bear to mention the works’ subjects, it explained that Warhol “draws and paints studies from life . . . and his paintings are merely color-filled drawings”—see Gretchen T. Munson, “Other Shows Noted This Month,” Art News (November 1954): 67. The critic mentions that the drawings are done with a skittering broken line, meaning that they did not include the fluid ballpoint-pen drawings of dancers that survive in large numbers, or at least that those were in the minority.

84. 153 known for a while: The contact sheet that was the source for Warhol’s surviving blotted-line painting of John Butler (AWMA) has an annotation, in Warhol’s hand, of the 242 Lexington Avenue address of Leonard Kessler—the very apartment he would go on to take over in the spring of 1953. It seems unlikely that Warhol would have owned the contact sheet if he hadn’t also had a personal connection to Butler, possibly through Otto Fenn or some other photographer friend of his, and Warhol would hardly have jotted down the Lexington address of Leonard Kessler if the apartment had already passed to him.

The Butler painting itself was dated 1952 when it was sold at Chris-tie’s auction house, but without any source for that date being given—see “Andy Warhol (1928–1987) , Untitled (Portrait of John Butler),” ac-


204 NOTES

cessed March 7, 2019, https://www.christies.com/lotfinder/lot_details.aspx?intObjectID=5050649.

Other Warhol drawings from the Butler collection, later purchased by Warhol’s 1970s friend R. Couri Hay, show moments from Butler’s ballets; those are rendered in a shockingly crude, outsiderish style that recalls some of Warhol’s most aggressive drawings from his last year in college.

85. 153 Edison’s light bulb: “Selznick to Plan 2-Hour TV Show: Spectacle Oct. 24 Will Mark the 75th Anniversary of Electric Bulb Inven-tion,” New York Times, March 17, 1954. On September 7, 1952, the Times had granted op-ed space to John Butler, as a “prominent television cho-reographer,” to vent about the challenges of dance on TV.

Almost a decade later, Warhol and Butler worked together on a Broad-way show, a musical adaptation of James Thurber’s short stories with cos-tumes by Warhol and choreography by Butler—see the discussion of that show later in this biography, and “The Beast in Me Broadway Plymouth Theatre,” Playbill, accessed March 7, 2019, http://www.playbill.com/pro-duction/the-beast-in-me-plymouth-theatre-vault-0000009604.

86. 154 “Oh, my God, John Butler!”: Vito Giallo, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 22.

87. 154 in action: Even drawings titled for Three Promenades with the Lord, a Butler ballet that had premiered that very July 1954, don’t ac-tually show any moves from it—on the date of the premiere see “Ja-cobs Pillow Archive: Work: Three Promenades with the Lord,” accessed March 7, 2019, https://archives.jacobspillow.org/index.php/Detail/oc-currences/28267.

CHAPTER 10

1. 155 “his art was just totally trivial”: David Bourdon, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 153.

2. 155 “I’ve given up commercial art”: Warhol said this in the “early 50s,” according to Arthur Elias in Patrick S. Smith, “Art in Extre-mis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 537.

3. 155 Loft shut down: The Loft Gallery seems to have closed not long after May 13, 1955, when it got its last review in the Times, of a show of collages by Nathan Gluck’s boyfriend Clint Hamilton that were said to have powerful echoes of Dada.


NOTES 205

4. 155 “free of economic care”: “All of us were commercial art-ists to make a living, but we all wanted to be fine artists”—Vito Giallo, interview by author, January 1, 2015.

5. 155 discovered by Graphis: See Walter Herdeg to Andy War-hol, February 10, 1954, TC28, AWMA. Herdeg, the renowned editor of Graphis, offers to publish various illustrations by Warhol and promises him future invitations to appear in the magazine, as in fact Warhol did.

6. 155 “a traffic accident”: See http://www.radiogoldindex.com, accessed March 7, 2019.

7. 155 placemats: On the placemats see Marjorie Freund, Lord and Taylor art director, typescript memoir (n.d.), David Bourdon papers, Archives of American Art, Smithsonian Institution. Various textiles by Warhol survive in his archives and are recorded in several invoices.

8. 155 boxing gloves: Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 92.

9. 155 weather reports: Warhol mentions having done the weather drawings during the Will Rogers, Jr., morning show “for about a week once”—see the March 13, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11408, Kindle edition. The Will Rogers show ran on CBS from February 1956 to March 1957—see Billboard, January 21, 1956. See also Billboard, January 21, 1956, and March 16, 1957. A February 23, 1956, contract (TC28, AWMA) sur-vives for the work, specifying that Warhol had to be at the studio by 7 a.m.

On the craze for live drawing to go with weather reports see “Tele-viewer Is Wilted by Wave of Weather Men, Pointing, Doodling and Spouting Temperatures”, the New York Times, August 18, 1952. See also Roger Turner, “Comics and the TV Weather Report: Tracing the Vi-sual Style of Contemporary Science’s Most Popular Genre,” accessed December 9, 2019, https://www.academia.edu/7582701/Comics_and_the_TV_Weather_Report_Tracing_the_Visual_Style_of_Contempo-rary_Science_s_Most_Popular_Genre.

10. 155 “He had to get up at 5 A.M”: Calvin Tomkins, “Raggedy Andy,” in The Scene: Reports on Post-Modern Art (New York: Viking Press, 1976), 9. Despite all his mad success with clients, Warhol wasn’t above seeking affirmation in even the most obscure competition, such as one sponsored by the Radio Advertising Bureau “to develop for radio an ‘art’ that would portray the medium and its effect on the people”—see “Radio, as Artists See It,” Broadcasting Telecasting: The Business Weekly of


206 NOTES

Radio and Television, October 29, 1956, 34. The competition was clearly a desperate move from an industry threatened by TV. It was organized by Loft member Jack Beck and then judged by the MoMA curator and proto-Pop poet Frank O’Hara, with whom Warhol would have a long and vexed history. Both Warhol and fellow Loft-er Vito Giallo submitted entries; both remained also-rans in a field of utter unknowns.

11. 156 “equal skill and imagination”: Gene Byrnes, Number 2-Drawing and Sketching (Artists Institute of America, 1959), 53.

12. 156 “Display—the new medium”: Lester Gaba, The Art of Win-dow Display (New York: Studio Productions, 1952), 14.

13. 156 “fruitful source of art in America”: See A. Joan Saab, For the Millions: American Art and Culture Between the Wars (Philadelphia: Uni-versity of Pennsylvania Press, 2009), 119.

14. 156 inspired by Cézanne: That boss was the great displayman Gene Moore. See “Bonwit Teller Promotes New ‘Cezanne’ Colorings,” Women’s Wear Daily, July 8, 1952.

15. 156 “The less deliberate advertising”: Hans Erhardt, “An Inter-national Survey of the Art of Window Display,” Graphis, March 1961, 122.

16. 156 “poised between business and art”: Walter H. Herdeg, In-ternational Window Display (New York: Pellegrini & Cudahy/Art Direc-tors Club of New York, 1951), 3.

17. 156 once a week: Lester Gaba, The Art of Window Display (New York: Studio Productions, 1952), 61.

18. 156 crowds of gawkers: William McCarthy, interview by au-thor, January 8, 2015.

“All the people in your city . . . turn out every Tuesday night to see the new window display, just the way you tune into Walter Winchell”—Lester Gaba, The Art of Window Display (New York: Studio Productions, 1952), 26.

19. 156 from bentwood chairs: Tom Lee, “Gene Moore,” Graphis (November–December 1960): 532.

20. 156 “it is always decorative”: “Archipenko Steps out: He Helps a Big Department Store Express the Age,” New York Times, September 22, 1929.

21. 156 Surrealism: Special attention was paid to Surrealism’s echoes in window displays in Robert Goldwater, Modern Art in Your Life (New York: Museum of Modern Art, 1949), 36, 39, 40.

The Salvador Dalí window had got into the papers when the store’s regular window dresser (Larry Volmer, the man who went on to be War-hol’s boss at Horne’s) had been told to tone down Dalí’s creation, and Dalí


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had rebelled and smashed through the plate glass—see “Art Changed, Dali Goes on Rampage in Store,” New York Times, March 17, 1939.

22. 157 window displays: Robert Goldwater, Modern Art in Your Life (New York: Museum of Modern Art, 1949), 24, 31, 36, 39, 40. Several of the window displays in the book are by Gene Moore, the famous display director for Bonwit Teller who would soon hire Warhol to do windows.

“Every displayman ought to take a flyer, now and then,” wrote Les-ter Gaba. “If he wants to ask the city’s maddest artists to design windows for him—he should do it!”—Lester Gaba, The Art of Window Display (New York: Studio Productions, 1952), 33. And they did. Gaba talks (p. 138) about the moment in 1929 when the great Russian sculptor Alexander Archipenko—the very man who judged the Pittsburgh show with War-hol’s Nosepicker—had “just landed at Ellis Island with a piece of hard-ware under his arm called Bird in Space.” That sculptor (so what if Gaba has him confused with Constantin Brancusi) was immediately asked to do a window for Saks Fifth Avenue, the store Gaba credits as having led the way in artist-designed displays: “I’ll never forget those famous contoured windows made of sheets of subtly curved and carved wood. They were so sensational, and so artistically sound.” Upstairs from his windows, Archipenko was granted an exhibition of 22 of his “serious” sculptures: “Power manifests itself in all of the work, and a very definite purpose, even though the result at times may baffle” said a review in the Times that did not hesitate to also discuss the vitrines downstairs—see “Archipenko Steps Out: He Helps a Big Department Store Express The Age,” New York Times, September 22, 1929.

23. 157 “department stores were the new museums”: Warhol, in Lana Jokel, Andy Warhol, documentary, 1972. The Jokel footage shows Warhol sitting with the art critic Barbara Rose and Philip Johnson, archi-tect and sometimes curator at the Museum of Modern Art.

24. 157 for gay men: According to Gene Moore, New York law pre-vented women from working as window dressers since windows were changed at night, when women were forbidden from working—see Gene Moore and Jay Hyams, My Time at Tiffany’s (New York: St Martin’s Press, 1990), 50.

25. 157 included Warhol: Warhol’s 1960s boyfriend John Giorno claimed that Warhol himself had told him a story about his use of a photo of a figure in drag for Bonwit’s, and that it was laughed at by Jasper Johns and Robert Rauschenberg, also involved in window display in the 1950s—see John Giorno, “Andy Warhol’s Retinue as a Young Artist,” in Andy Warhol: Private Drawings from the 1950s (Köln: Walter König, 2003),


208 NOTES

np.26. 157 a man in drag: See Gene Moore and Jay Hyams, My Time at

Tiffany’s (New York: St Martin’s Press, 1990), 40, 48. Images of the “drag” windows are preserved in the Dan Arje papers in the Anna-Maria and Stephen Kellen Design Archives, Parsons The New School for Design, New York.

27. 157 newspaper shoe ads: Warhol scholar Thomas Kiedrowski has found several of these ads in 1954 issues of the New York Herald-Tribune; he sent images to the author in a November 20, 2014, e-mail. Bill McCarthy, who was the advertising manager for Bonwit Teller at the time, said that it was his ad department that first introduced Warhol to the store’s window dressers—see William McCarthy, interview by au-thor, January 8, 2015.

Bonwit’s was an elite institution recently purchased by Walter Hov-ing, whose son Thomas went on to be a famous director of the Metro-politan Museum of Art.

28. 157 a mutual friend: Jac Venza spoke of having introduced War-hol and Gene Moore—Jac Venza, interview by author, August 1, 2018. Venza and Warhol moved in the same highly cultured gay circles and Venza had done acclaimed Christmas windows for Moore in the late 1940s.

29. 157 main street-side vitrines: Gene Moore and Jay Hyams, My Time at Tiffany’s (New York: St Martin’s Press, 1990), 70.

30. 157 bottles of perfume: Gene Moore mentions the once-a year perfume windows—the same Independence Day windows where he and his team had installed the photos of his boyfriend in drag in 1950—in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 111. For another example of Moore working on July perfume windows see Earl A. Dash, “Views and News of Display,” Women’s Wear Daily, July 15, 1952. For an image see “Morris Huberland, Bonwit Teller, Fifth Avenue, New York City,” accessed December 9, 2019, https://www.sfmoma.org/artwork/ST1998.0247.

Details on the vitrines’ renovations come from William McCarthy, interview by author, January 8, 2015. The renovations were also men-tioned in Nathan Gluck to David Bourdon, n.d., David Bourdon papers, Archives of American Art, Smithsonian Institution.

31. 157 “advertised” the perfumes: Photos of the windows are in the Warhol archives, and also in the Dan Arje papers, Anna-Maria and Stephen Kellen Design Archives, Parsons The New School for Design,


NOTES 209

New York. Others survive in the weekly portfolios of window designs circulated in the Retail Reporting Bureau’s Views and Reviews series.

32. 157 “enfant terrible”: Frank O’Hara, “Bob Rauschenberg,” Art News ( January 1955): 47. The review was of Robert Rauschenberg’s land-mark show of his Red Paintings at the Charles Egan Gallery.

33. 158 Imilda Vaughan: Imilda Vaughan (later Tuttle), from the Pittsburgh suburb of McKeesport, had been close to Warhol in their freshman year at Tech but had to leave because her scholarship was not renewed—the college thought it could be more “usefully” given to a male student. She moved to New York to study art at Hunter College and the two became good friends again after Warhol’s arrival in town—Cathy Tuttle, daughter of Imilda Vaughan, interview by author, August 2, 2016.

34. 158 liked to play with: As confirmed by Warhol’s friend Henry Geldzahler in Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal papers. Warhol’s 1952 postcards to Otto Fenn (AWMA) also play word games in French.

35. 158 a neighboring window: Another window from the series, known from an undated photograph preserved in the Nathan Gluck es-tate at Luis De Jesus Los Angeles gallery, is for the perfume Pot Pourri, and of course is built around flower imagery.

36. 158 Andy Morningstar: October 3, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15727, Kindle edition.

Warhol denied a more probable connection to the bestselling Marjo-rie Morningstar, a novel about an aspiring actress which launched the fall of his Bonwit windows but had already been in the news. Nathan Gluck, however, insisted on the connection to the novel—see Mark Allen, “A Conversation with Nathan Gluck,” accessed December 4, 2019, http://www.markallencam.com/nathangluck.html.

A March 29, 1956, letter signed “Donna and B.J.” (TC28, AWMA) ad-dresses Warhol as Andy Morningstar.

The name is also used as the signature on a very few works from the 1950s—see for example Robert Cozzolino, Dudley Huppler: Drawings (Madison, WI: Chazen Museum of Art, 2003), 11, fig. 4. See also “ANDY WARHOL , Ralph Thomas Ward, A Is an Alphabet,” Christie’s, accessed December 9, 2019, https://www.christies.com/lotfinder/lot_details.aspx?intObjectID=4809421.

37. 158 “very campy”: Nathan Gluck to David Bourdon, n.d., David Bourdon papers, Archives of American Art, Smithsonian Institution.


210 NOTES

38. 158 “A STOPPER”: The phrase headlines a photo (AWMA) of one of the perfume windows circulated by the Retail Reporting Bureau’s Views and Reviews for the week the windows were on view.

39. 158 sign his name: A photo of the window, from the collection of the Andy Warhol Foundation, is reproduced in Margery King and Mark Francis, eds., The Warhol Look (Pittsburgh: The Andy Warhol Mu-seum, 1997), 109.

40. 158 more of the same assignments: For Independence Day two years later, Warhol was allowed to use exactly the same concept again, this time covering his “fence” with the stick-figure musicians he’d drawn almost a decade earlier for Cano—see the July 2, 1957, photograph in the Dan Arje papers, Anna-Maria and Stephen Kellen Design Archives, Par-sons The New School for Design, New York.

41. 158 “They were great fun”: Gene Moore, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 111. See also Tom Lee, “Gene Moore,” Graphis (November–December 1960): 532. Figure 12 in Lee shows such a Warhol, without giving him credit, and mentions that it was part of “a series.” One of the Bonwit window with dressmakers’ tools, dated to October 1958, is reproduced in Patrick S. Smith, Andy War-hol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 30. A color photo of the “fireplace” window at Bonwit’s ran in Retail Reporting Bu-reau, Views and Reviews, November 2, 1955.

Thomas Kiedrowski first identified an August 18, 1955, photo of an-other Bonwit’s window whose set was hand-painted by Warhol—for an image see Dan Arje, “The New School Archives: Digital Collections: Pho-tographic Material: Bonwit Teller Window Display Featuring Bonwit’s Back to School Children’s Collection in Classroom Setting,” accessed March 7, 2019, http://digitalarchives.library.newschool.edu/index.php/Detail/objects/KA0001_000110.

42. 158 as artists did: Using fine-art paintings as props and back-drops was almost a cliché of window dressing at the time: They appear frequently in the images published weekly in the Retail Reporting Bu-reau’s Views and Reviews. A signed painting by Lester Gaba himself, the celebrated window dresser who wrote a regular column and an early book on window display, appears in a May 3, 1955, photo circulated by the RRB, and the retail efficacy of abstractions by one Harry Mortin are discussed in the caption for a window from March 3, 1955, at Saks Fifth Avenue. Photographs survive in the Ray Johnson Archive that show windows at the Andrew Geller shoe store decorated with abstrac-


NOTES 211

tions by Johnson; the same collection has photos of sculptures by John-son being used in Bonwit’s windows in April 1957—probably thanks to an introduction by Warhol. For an image of the window see “The New School Archives: Digital Collections: Photographic Material: Bon-wit Teller Window Display Featuring Women’s Spring Ensemble by B. H. Wragge and Wooden Geometric Figure,” accessed March 7, 2019, http://digitalarchives.library.newschool.edu/index.php/Detail/objects/KA0001_000096.

43. 158 unsigned displays: An unattributed Warhol window can be seen in a photo in Retail Reporting Bureau, Views and Reviews, February 4, 1956. The window, with a background done in the lighthearted illus-trator’s style that Warhol usually used for Bonwit’s displays, is described as one in a series using the same backgrounds.

44. 158 pen sketches: One of the drawings in Warhol’s window is based on an August 24, 1953, cover of Life magazine, reproduced in Alex-andra Barcal et al., eds., Andy Warhol: The LIFE Years 1949–1959 (Munich: Hirmer, 2015), 172. That same drawing was also featured in Warhol’s Gold Book from December 1957, showing a considerable lag between the drawing and the book.

45. 158 “for having truly modern taste”: Gene Moore and Jay Hy-ams, My Time at Tiffany’s (New York: St Martin’s Press, 1990), 67.

46. 158 “their serious work”: Gene Moore, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 111.

Warhol’s friend Dudley Huppler had had a drawing of his, promi-nently (and unusually) signed, in a Bonwit’s window in 1953—a photo-graph of the Huppler window, dated September 15, 1953, survives among the Dan Arje papers in the Anna-Maria and Stephen Kellen Design Ar-chives, Parsons The New School for Design, New York. Some of the art works Moore included in the Bonwit windows were, however, conserva-tive junk—see the corporate-style portrait of Fred Rathe by Jeanne Ow-ens reproduced in Retail Reporting Bureau, Views and Reviews, February 4, 1958.

47. 158 winter of 1956: An undated photograph of Warhol’s win-dow (AWMA) is from the same series of windows as ones containing art by Jasper Johns and Robert Rauschenberg, seen in photographs re-produced and dated to January 31, 1956, in Kirk Varnedoe, Jasper Johns: A Retrospective (New York: Abrams, 1996), 126. All three windows share an identical floor treatment and all display dresses by Lanz, and all three bear almost-consecutive negative numbers, proving that they were on


212 NOTES

view at the same time. The informational scrolls below the dresses also vary only in the names of the artists credited for each display.

48. 158 there again: Photographs of the Johns and Rauschenberg windows, dated January 29, 1957, survive among the Dan Arje papers in the Anna-Maria and Stephen Kellen Design Archives, Parsons The New School for Design, New York—for an image see “The New School Archives: Digital Collections: Photographic Material: Bonwit Teller Window Display Featuring Women’s Ensemble by Lanz and Artwork by Jasper Johns [KA0001_000337],” accessed December 9, 2019, https://digitalarchives.library.newschool.edu/index.php/Detail/objects/KA0001_000337. Other artists documented as showing in that week’s windows went on to less illustrious careers: Judith Brown, Carmen D’Avino, Bruno Roneda, William Harris, Jonah Kinigston and Geanne Owens.

49. 159 The store paid: The standard “rental” fee for art was “$600 to $800,” according to William McCarthy, interview by author, Janu-ary 8, 2015. But Warhol’s invoice for his April 1961 work on a Bonwit’s window (AWMA) was only for $400. (Although corrections on the sheet make it look as though Warhol may have originally expected to earn $500.)

50. 159 all of $75: Purchase orders for the Bazaar and CBS contracts survive in the Warhol archives. On the placemats, see Marjorie Freund, Lord and Taylor art director, typescript memoir (n.d.), David Bourdon papers, Archives of American Art, Smithsonian Institution.

51. 159 complaining about his fee: Robert Fleischer (misspelled “Fleisher”) in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 116. Extensive documentation of Warhol’s haggling with clients survives in his archives.

52. 159 kept his mother up: Julia Warhol to Anna [Zavacky], Janu-ary 3, 1955, AWMA. See also Andy Warhol to Nora Zavacky, September 26, 1954, enclosing a check in repayment of a loan Zavacky had made to him.

53. 159 new batch of executives: On Marvin Davis as the new head of I. Miller advertising see “Advertising and Marketing News,” New York Times, March 18, 1955. See also “I. Miller and Sons Names Retail Vice President: Miss Jerry Stutz,” New York Times, April 15, 1955. The executives would have already known Warhol from the illustrations of I. Miller shoes he had done for the Times’s own fashion coverage. See for instance “Hi-Low Heals Step Out,” New York Times, February 20, 1955.


NOTES 213

54. 159 would guarantee: The initial verbal agreement, from April 1955, is recalled in a letter to Warhol (AWMA) from I. Miller art director Peter Palazzo dated April 9, 1957. That letter and some Warhol invoices in his archives show that I. Miller didn’t manage to come up with enough work to add up to the full yearly amount, and were thus obliged to make up the difference to Warhol. The 1957 letter asks to renegotiate the deal with Warhol, but the final agreement they came to is not known.

55. 159 shook hands on the deal: As usual with Warhol, there was a backstory to the I. Miller deal, and as usual it was all about his connec-tions. Days after he had settled in New York in 1949, when he’d landed his first page of footwear for Glamour, a newcomer to the business named Geraldine Stutz was the “shoe editor” who handed over the items for him to draw—Kett Zegart, interview by author, July 18, 2015. By the middle of the following decade Stutz had become “one of the most respected authorities on shoe fashions in this country and abroad,” as the Times described her, and was the obvious candidate to oversee the reboot of I. Miller, recently bought up by the expanding General Shoe Company of Nashville, TN—see “General Shoe Buys I. Miller and Sons,” New York Times, December 15, 1953.

There was another connection that linked Warhol and I. Miller: Gene Moore, Warhol’s boss in display at Bonwit’s, had started his win-dow-dressing career at the shoe company—see Gene Moore and Jay Hy-ams, My Time at Tiffany’s (New York: St Martin’s Press, 1990), 15.

Halfway through Warhol’s contract with General Shoe the company expanded into all kinds of women’s retail—including with the purchase of Tiffany’s and Bonwit Teller’s, where Warhol had already done a bunch of shoe ads and was about to do windows. Later the company bought Bendel’s, the deluxe women’s emporium that Stutz went on to run. See “General Shoe Acquires Control of Hoving Chain of Retail Stores,” New York Times, July 19, 1956.

56. 159 ask for changes: See the undated shoe drawing reproduced in Margery King and Mark Francis, eds., The Warhol Look (Pittsburgh: The Andy Warhol Museum, 1997), 84.

57. 159 “Just exaggerate it!”: Elaine Finsilver, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 552. Finsilver says that Warhol came up with his signature shoe shape while living with her on 103rd Street, and that it was born when he made a shoe in a realistic drawing longer than it should have been.

58. 159 “high-style”: The shoe drawings are called “high-style” in


214 NOTES

Marilyn Hoffner, “Idea Art Does Sales Job for I. Miller,” Printer’s Ink: The Magazine of Advertising, Selling, Marketing, November 18, 1955, 30.

59. 160 high-concept: Both ads exist as undated newspaper clip-pings in the Warhol archives.

60. 160 winning kudos: In its 1954 annual, the 34th, the Art Direc-tors Club of New York had honored the disparate I. Miller campaigns by including three of their ads by three different artists: A photographer, a standard fashion illustrator and a cartoonist who aped a New Yorker look.

61. 160 “We needed a new concept”: Marilyn Hoffner, “Idea Art Does Sales Job for I. Miller,” Printer’s Ink: The Magazine of Advertising, Sell-ing, Marketing, November 18, 1955, 31.

62. 160 New York Times real estate: A very restrained I. Miller ad in the March 20, 1955, New York Times seems to be Warhol’s first such con-tract; he didn’t go for something more fanciful until a week later. Stutz was only officially promoted to vice president a few weeks after that—”I. Miller and Sons Names Retail Vice President: Miss Jerry Stutz,” New York Times, April 15, 1955. A new I. Miller advertising director, Marvin Davis, had been announced in the Times two days before the appearance of the first of the revamped, Warholian I. Miller ads—see “Advertising and Marketing News,” New York Times, March 18, 1955.

63. 160 “stylish emporium for debutantes”: Geraldine Stutz, audio guide track for “The Warhol Look” (Antenna Audio for the Art Gallery of Ontario and The Andy Warhol Museum, 1998), provided to the author by producer David Tarnow.

64. 160 “distinctive and effective”: Robert L. Leslie, “I. Miller & Sons, Inc., USA,” Gebrauchsgraphik (April 1956): 42.

65. 160 “good taste and to her emotions”: Marilyn Hoffner, “Idea Art Does Sales Job for I. Miller,” Printer’s Ink: The Magazine of Advertising, Selling, Marketing, November 18, 1955, 31.

66. 160 venerable cliché: On steak and sizzle see John McNulty, “The Sizzle,” The New Yorker (April 16, 1938): 21.

67. 160 “most contemporary way”: Peter Palazzo, I. Miller art di-rector, interview by David Bourdon, typed notes, January 11, 1988, Da-vid Bourdon papers, Archives of American Art, Smithsonian Institution. Palazzo admitted that the company’s salespeople—in fact the entire shoe industry—hated not having the product clearly on view in the campaign, but they had no choice but to go along with headquarters and eventually witnessed the ads’ effect on sales and on the company’s profile.

“Soaring sales” are also mentioned in Robert L. Leslie. “I. Miller & Sons, Inc., USA,” Gebrauchsgraphik (April 1956): 42.


NOTES 215

68. 161 State Department publication: Peter Palazzo, I. Miller art director, interview by David Bourdon, typed notes, January 11, 1988, Da-vid Bourdon papers, Archives of American Art, Smithsonian Institution. A thorough search of the publication, called Amerika, failed to turn up illustrations that were clearly by Warhol.

69. 161 “The more realistic the picture”: Darrell Blaine Lucas and Steuart Henderson Britt, Advertising Psychology and Research: An Introduc-tory Book (New York: McGraw-Hill, 1950), 276, cited in John J. Curley, A Conspiracy of Images: Andy Warhol, Gerhard Richter, and the Art of the Cold War (New Haven, CT: Yale University Press, 2013), 59.

70. 161 didn’t even bother: The Award for Distinctive Merit (AWMA) was given to Warhol in May 1957 by the Art Director’s Club of New York. It is for an I. Miller “shoe” ad that actually shows a sea of women’s heads in stylish hats.

71. 161 “two or three dozen”: Peter Palazzo, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCol-lins, 2009), 23.

72. 161 also won praise: One critic praised the magazine cam-paign’s “atmosphere of ethereal delicacy” before moving on to discuss Warhol’s newspaper ads—see Robert L. Leslie, “I. Miller & Sons, Inc., USA,” Gebrauchsgraphik (April 1956): 40.

73. 161 started its newspaper campaign: Bob Gill, interview by author, September 27, 2016. See also Peter Palazzo in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 108. For Gill’s “Warholian” style at that moment see the 32nd Annual of Advertising and Editorial Art of the Art Directors Club of New York (New York: Farrar, Straus & Young, 1953), 235. See also Bob Gill, Bob Gill, So Far (London: Laurence King Publish-ing, 2011), 4.

74. 161 “freelance illustrator”: Peter Palazzo, in Tony Sutton, “Pe-ter Palazzo: The Ragged Right Interview,” The Ragged Right ( July 1995), cited in Gary Comenas, “Andy Warhol From Nowhere to Up There 21,” Warholstars (blog), 2014, http://www.warholstars.org/nowhere/andy_warhol_r21.html.

Palazzo told Sutton that even when I. Miller finally decided to per-mit Warhol’s signature to appear on his images, it wasn’t in celebration of his talent but because I. Miller thought it “looked chic” to have ads that were signed—with the implication that any name might have done the job just as well.

Even once the I. Miller contract had brought Warhol a measure of


216 NOTES

fame, plenty of other companies saw no advantage in featuring his name in their ads—see for example the full-page ad (AWMA) for Mission Val-ley Mills, one of Warhol’s best clients, that ran in Women’s Wear Daily on June 7, 1960.

75. 161 hand-tinted Shoe Perdu: See Ralph Pomeroy, “The Fame Game,” New York (March 30, 1987): 8.

76. 161 aura of camp: The ads are refered to as “campy” even in Peter Palazzo, I. Miller art director, interview by David Bourdon, typed notes, January 11, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

77. 161 “to hawk the new and the now”: Richard Meyer, “Most Wanted Men: Homoeroticism and the Secret of Censorship in Early War-hol,” in Outlaw Representation: Censorship & Homosexuality in Twentieth-Century American Art (Boston: Beacon Press, 2004), 101.

78. 161 Edwardian styles: See the mention of the shoe designer David Evins in Peter Palazzo, I. Miller art director, interview by David Bourdon, typed notes, January 11, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

79. 161 “very much in step”: New York Times, November 25, 1956, advertisement.

80. 162 stylized merchandise: Real shoes seen in Polaroids pre-served in the Warhol archives look surprisingly close to the shoes in Warhol’s illustration.

81. 162 “so almost-sneering”: Edward Field, interview by author, May 2, 2016.

82. 162 knew Warhol from the Loft Gallery: Vito Giallo, inter-view by author, January 1, 2015.

83. 162 only one blot: Vito Giallo, interview by author, January 1, 2015. While five or ten blots could in theory be done from a single draw-ing, in practice Warhol only did “one or two,” according to Nathan Gluck in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 56.

84. 162 trick of the pen: One art critic had also read his blots as hand-drawn: “He outlines with dry, black ink, producing a dotted-line effect”—Gretchen T. Munson, “Other Shows Noted This Month,” Art News (November 1954): 67.

85. 162 Christmas cards: The Nathan Gluck estate at the Luis De Jesus Los Angeles gallery includes MoMA brochures for 1954 and prob-ably for 1955 that feature cards by both Gluck and Warhol; a 1952 card, with an inscription that mentions its sale by MoMA, is also in the Gluck


NOTES 217

estate, and that’s the same year MoMA copyrighted a card by Warhol that is now in his archives.

The card commissions became especially prestigious in 1954, when MoMA instituted a submission process—see “MoMA | From the Ar-chives: Holiday Cards from MoMA,” accessed March 10, 2019, https://www.moma.org/explore/inside_out/2015/12/17/carte-moderne-holi-day-cards-from-moma/. Monroe Wheeler, a supporter and lover of War-hol’s friend Ralph Pomeroy, was in charge of the cards at MoMA—see Joseph Scott IV and Allen Ellenzweig, Season’s Greetings: Holiday Cards by Celebrated Artists from the Monroe Wheeler Archive, ed. Vincent Cianni (Hillsborough, NC: Daylight Books, 2016), 8. Wheeler was also major player in gay cultural circles in New York—Edward Field, interview by author, May 2, 2016.

86. 163 cultural pedigree: Nathan Gluck’s longtime friend Luis De Jesus, interview by author, December 28, 2016.

87. 163 Paul Rand: The dinner with Paul Rand is recorded in an October 13, 1952, note in the Nathan Gluck estate, Luis De Jesus Los Angeles gallery.

88. 163 Marcel Duchamp: See Nathan Gluck’s memoir of his con-tacts with book and print dealer George Wittenborn, Nathan Gluck es-tate, Luis De Jesus Los Angeles gallery.

89. 163 known among the city’s dealers: See Nathan Gluck’s mem-oir of his contacts with book and print dealer George Wittenborn, Na-than Gluck estate, Luis De Jesus Los Angeles gallery.

90. 163 poster selected: See Nathan Gluck’s undated biographical summary in the Gluck estate, Luis De Jesus Los Angeles gallery.

91. 163 Gluck took care: See Nathan Gluck’s August 10, 1992, notes on Warhol’s techniques, Gluck estate, Luis De Jesus Los Angeles gallery. See also Nathan Gluck, interview by David Bourdon, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution; Nathan Gluck, oral history, audiocassette, December 7, 1992, AWMA.

92. 163 “try to do things à la Andy”: Nathan Gluck, oral history, audiocassette, December 7, 1992, AWMA.

93. 163 too weak to do the writing herself: Nathan Gluck, note dated January 16, 1976, Gluck estate, Luis De Jesus Los Angeles gallery. See also Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 133.

94. 163 birthday party: The party was for the daughter of Warhol’s friend Suzie Frankfurt—see Nathan Gluck in Mark Allen, “A Conver-


218 NOTES

sation with Nathan Gluck,” accessed December 4, 2019, http://www.markallencam.com/nathangluck.html. The screen is now in the collec-tion of the Brant Foundation in Connecticut.

95. 163 professional recognition: After his 1952 Art Directors Club award, Warhol’s next prize only came in 1954, with a certificate of ex-cellence from the less prestigious American Institute of Graphic Arts, awarded for a pharmaceutical ad.

96. 163 gave awards: The certificates for the awards are in the War-hol archives. Strangely, the Art Directors Club Annual, which published award-winning images and all runners-up, didn’t mention the award next to its image of Warhol’s book cover, although the Club did issue a certificate for it to Warhol.

97. 163 Noonday Press: Warhol’s connection to Noonday probably came via the designer Alvin Lustig, who did important work for them as he had for New Directions press, where he had brought Warhol on board. See the discussion of New Directions earlier in this book and also http://adcglobal.org/hall-of-fame/alvin-lustig/, accessed August 9, 2016. In the fall of 1955, Lustig was in a two-person show at the Museum of Modern Art with the great book designer Bruno Munari, and his work for Noonday was highlighted: See https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/1988/releases/MOMA_1955_0103_86.pdf, accessed August 9, 2016. On Noonday’s intellectual founder and author-list see David Stern, “The Natural and Supernatural: Arthur A. Cohen—an Introduction,” in An Arthur A. Cohen Reader: Selected Fiction and Writings on Judaism, Theology, Literature, and Culture (Detroit: Wayne State Unviersity Press, 1998), 14.

98. 163 “currently creating a stir”: See “We Hitch Our Wagons,” Mademoiselle ( June 15, 1956): 258, AWMA. This was the magazine’s con-tributors page.

99. 163 “I. Miller’s da Vinci of shoes”: Eugenia Sheppard, “Inside Fashion,” New York Herald-Tribune, December 4, 1957. At the 1957 Art Di-rectors Club awards, Warhol’s work for I. Miller won him both an “Art Directors Club Medal” and another “Award for Distinctive Merit,” as listed in the ADC annual.

100. 164 taken to meet Warhol: Claes Oldenburg, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCol-lins, 2009), 23.

101. 164 “Recent Drawings U.S.A.”: See MoMA’s detailed press release on the “Recent Drawings U.S.A.” project: https://moma.org/momaorg/shared/pdfs/docs/press_archives/2069/releases/


NOTES 219

MOMA_1956_0050_40A.pdf, accessed August 11, 2016. The checklist for the show includes an entry for Warhol’s Shoe.

102. 164 new talents: Stuart Preston, “About Art and Artists,” New York Times, April 25, 1956.

103. 164 Junior Council: On the MoMA junior council see https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/3342/re-leases/MOMA_1964_0129_1964-11-23_84.pdf, accessed January 19, 2016. See also Elizabeth Strauss, Recent Drawings USA (New York: Museum of Modern Art, 1956). The Junior Council coordinated such things as the annual Christmas cards (Warhol drew several) and the art-lending ser-vice where Warhol hung out—see Ted Carey in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 253.

104. 164 three works: A November 18, 1955, letter to Warhol from the Junior Council of the Museum of Modern Art (TC28, AWMA) men-tions submitted drawings titled “Shoe,” “Boys at Camp” and “Things.”

105. 164 “a jury thing”: See William S. Lieberman, oral history, Museum of Modern Art Archives, New York, accessed August 10, 2016, https://moma.org/momaorg/shared/pdfs/docs/learn/archives/tran-script_lieberman.pdf. The artist who pulled out was the figurative painter Edwin Dickinson.

Of the 150 works that were chosen for display on MoMA’s walls, hardly any were by people who went on to be talents of note. (Larry Rivers and Ellsworth Kelly were two exceptions; Warhol’s Tech friend Dorothy Cantor was also included.)

Lieberman points out that MoMA never did juried shows beyond the ones organized by its Junior Council, about which he provides more background. He also discusses the Junior Council’s art-lending service and its early interest in getting art featured on television.

106. 164 serious consideration: On MoMA’s annotated checklist for the show, the letters “m.c. pending” (for “MoMA collection pending,” ap-parently) appear next to Warhol’s entry. Works by other artists with that annotation did make it into the collection, but not Warhol’s Shoe. Works with a plain “m.c.” next to them are also all at MoMA to this day. See https://www.moma.org/documents/moma_master-checklist_326042.pdf, accessed May 26, 2018—thanks to former Warhol archivist Erin By-rne for pointing me to this document.

107. 164 “shown only infrequently”: Alfred H. Barr, Jr., to Andy Warhol, October 15, 1956, TC -12, AWMA.

108. 164 “one for himself”: Warhol, in “We Hitch Our Wagons,” Mademoiselle ( June 15, 1956): 258, AWMA. This was the magazine’s con-


220 NOTES

tributors page.109. 165 evidently “serious”: For images of works in the show see

Elizabeth Strauss, Recent Drawings USA (New York: Museum of Modern Art, 1956). Six of the works illustrated are listed in MoMA’s collection as having been acquired in 1956, including four that were purchased and two accepted as gifts from the Junior Council.

110. 165 “constant rejections”: A notable dealer named Edwin Hewitt, who might have seemed sympathetic because he already showed the magic realism of Warhol’s new friends Dudley Huppler and Wynn Chamberlain and of several other queer artists, had spurned Warhol when he brought in some cat drawings and laughed at him once he had left—see the unpublished memoirs of Wynn Chamberlain, quoted in a July 11, 2016, e-mail to the author from Wynn’s widow Sally Chamber-lain. Wynn Chamberlain first had a solo with Hewitt in 1954 and that was also the occasion of his introduction to Warhol, with whom he was close in the 1960s. The Hewitt gallery’s magic realism was particularly favored by a circle of gay artists that included Jared French and George Tooker—see Donald Albrecht, Gay Gotham: Art and Underground Culture in New York (New York: Skira Rizzoli, 2016), 135.

See also Wynn Chamberlain in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 30.

111. 165 new Bodley Gallery: The Bodley’s first incarnation had been as a bookstore associated with the Hugo Gallery, where Warhol showed in 1952, but it is described as “new” in Stuart Preston, “About Art and Artists,” New York Times, February 18, 1955. The gallery’s full title and address, “Bodley Gallery and Bookshop—223 East 60,” is included on Warhol’s drawing (AWMA) for the announcement of his first show there. Serendipity 3 is described as having recently moved to 225 East 60th Street, directly next door to the Bodley, in “General Store at New Location Displays Swimsuits, Casseroles,” New York Times, July 10, 1958.

112. 165 a “decorators’” space: Mentions in the New York Times also point to very occasional shows of minor works by modern masters such as René Magritte, Max Ernst and Matta, some of whom also showed at the Hugo Gallery and most of whom Warhol bought.

113. 165 totally unaware: Ted Carey, in Patrick S. Smith, Andy War-hol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 255. Carey met Warhol at the moment of his “Gold Book” show at the Bodley, and was in fact one of the book’s dedicatees—and yet still said he knew nothing of that Bodley show.

In a juried show of drawings that the gallery hosted in 1957, there’s


NOTES 221

not a name to be recognized among its 50 artists, its three judges or its eight prizewinners. Warhol, the lone exception, only rated one of five honorable mentions, but no place among the eight talents noted in a one-paragraph review in the Times—see Howard Devree, “Gallery Activity,” New York Times, June 23, 1957.

114. 165 gallery roundups: In the dozens of event listings that the Bodley Gallery got in the New York Times, the only younger artist of note that gets mentioned was the sculptor Louise Nevelson—see Stuart Pres-ton, “About Art and Artists,” New York Times, January 12, 1956.

115. 165 “devious and personal”: Stuart Preston, “Among the New Shows,” New York Times, April 1, 1951. The show was of the artist Edward Rager.

116. 165 “adolescent body-builders”: “Around the Galleries,” New York Times, April 3, 1960. The paintings were by Robert Bliss, well-known for his homoerotic art.

117. 165 “banished pleasures”: Stuart Preston, “From Rare Manu-scripts to Art Today,” New York Times, December 22, 1957.

118. 165 Valentine’s Day: Warhol’s announcements for the show (AWMA) say February 14, but it is given as opening February 15 in “Art Week Lists Newcomers’ Work,” New York Times, February 12, 1956.

119. 165 maybe just one of them: Charles Lisanby said the images were all of him—Television Academy, Charles Lisanby: Production De-signer, Web video, accessed March 10, 2019, https://interviews.televisio-nacademy.com/interviews/charles-lisanby. Other sources suggest he was one of several subjects.

120. 165 “private meaning”: “Art Exhibition Notes,” New York Her-ald-Tribune, February 25, 1956. See also Stuart Preston, “About Art and Artists,” New York Times, May 18, 1954.

Typically for that era, a brief review in Art News (March 1956, p. 55) actually reads the homoerotic content in the drawings as “cruelly” at-tacking their sitters, because it revealed the young men’s deviance.

121. 166 a friend had shown: Charles Lisanby, cited in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 67n182.

A quarter-century later, Warhol himself did a poster for Rainer Wer-ner Fassbinder’s 1982 movie adaptation of Querelle.

122. 166 “made you bubble”: Fritzie Wood, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 44.

123. 166 knowledge of only one of the drawings: The drawing, of


222 NOTES

a gay actor named Tom Royal, became the property of Craig Gardner, who e-mailed an image of the drawing, and details of its provenance, to The Andy Warhol Museum in 2017.

124. 166 “They’d drop their pants”: Nathan Gluck, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 63.

125. 166 “it never seemed demeaning”: Carlton Willers, interview by author, June 28, 2016.

126. 166 “daffodil wound around my dick”: John Mann, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 30.

127. 166 “just totally trivial”: David Bourdon, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 153.

128. 166 “second or third rate”: Fritzie Wood, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 44.

129. 166 “committed to the marginal”: Mark W. Booth, Camp (New York: Quartet, 1983), 17.

130. 167 empty surface style: Susan Sontag, “Notes on Camp,” in Against Interpretation and Other Essays (New York: Delta Books, 1966), 277, 281.

131. 167 to bat for content: The great art historian Leo Steinberg argued that “these Pop artists want the awareness of form to recede be-hind the pretense of subject matter alone”—see “A Symposium on Pop Art December 13, 1962,” January 31, 2013, http://archive.is/7QN29.

132. 167 holiday slot: Warhol’s art seems to have got regular Christ-mas play at Serendipity and at the nearby Bodley Gallery: For example, in a December 2, 1958, telegram (AWMA) Diana Vreeland tells Warhol that she plans to stop by Serendipity “to see your things.”

133. 167 didn’t buy her shoe: Charles Lisanby, in Television Acad-emy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby. Lisanby said that Warhol presented the Andrews shoe to him instead, and that it remained in his collection for decades.

134. 167 childhood neighbor: Jeremiah Newton, “Introduction,” in Candy Darling: Memoirs of an Andy Warhol Superstar, by Candy Darling, ed. James Rasin (Open Road Media, 2015), loc. 14, Kindle edition.

135. 167 Geoffrey Holder: See Warhol and Dance: New York in the 50’s (Paris: Galerie Thaddeus Ropac, 2010), 9.


NOTES 223

136. 167 “window-decorator type”: Truman Capote, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1981, Kindle edition.

137. 167 “dandified pictures of shoes”: Stuart Preston, “Of Old and New,” New York Times, December 16, 1956.

One flip little review talked about the show’s “odd elegance of pure craziness”—Parker Tyler, “Andy Warhol,” Art News (December 1956). If that wasn’t quite fulsome praise, Warhol must have been delighted to note its author: Parker Tyler was the pioneering film theorist whose work Warhol knew from college days and who was a lynchpin of high-end gay culture in New York.

138. 168 wildly impressive coverage: Life magazine: “Speaking of Pictures: Crazy Golden Slippers,” Life ( January 21, 1957): 12.

139. 168 a big space: See the advertisement in the New York Times, January 20, 1957, AWMA. The I. Miller store put still more of the pictures up that spring: See the April 25, 1957, bill (AWMA) that shows Warhol paying for hand-lettered placards for display on easels at I. Miller; they read, “The work of Andy Warhol is available at Bodley Gallery.”

140. 168 some kind of show: Patricia Moore to Andy Warhol, April 10, 1957, AWMA.

141. 168 Container Corporation of America: On the Container Cor-poration of America commission, discussed later in this book, see http://americanart.si.edu/collections/search/artwork/?id=26705, accessed Au-gust 13, 2016, and Alexander J. Taylor, “Forms of Persuasion: Art and Business in the 1960s” (Ph.D., University of Oxford, 2014), 68.

142. 168 begged into buying: David Evins, interview by David Bourdon, typed notes, March 5, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

143. 168 “attract the shopper.”: “Holiday Displays Make Week in Art,” New York Times, December 1, 1957.

144. 168 five hundred copies: The Warhol archives (box B565) in-clude a November 25, 1957, receipt from the Record Printing and Offset company for $560 for printing the Gold Book, while an undated receipt from the same source, and the same era, is for the printing of five hun-dred copies of an unnamed “art book” for $485—indicating that the books seem to have cost about one dollar each to get printed.

145. 168 gilded paper: The Gold Book has echoes of a golden bro-chure sent out a decade earlier by Outlines gallery in Pittsburgh, for a June 1947 exhibition of photos by Eugene Atget. Warhol’s golden pages might also have been inspired by critics’ praise for the gilded abstrac-


224 NOTES

tions of Warhol’s friend and client Robert Cato, an art director and il-lustrator who nevertheless managed to show in the prestigious Martha Jackson Gallery, where Warhol only gained a toehold once he’d moved on to Pop—see Stuart Preston, “About Art and Artists,” New York Times, May 18, 1954; “Vitality Markes Art of Mathieu: French Painter’s Works Are at Kootz Gallery—Toney, Kasper, Cato in Shows,” New York Times, March 16, 1954. See also the reference to Cato in Carlyle Burrows, “Art in Review: Belgian Group, Youthful Artists,” New York Herald-Tribune, May 23, 1954.

In Warhol’s show—but not its book—some images were also pre-sented on campy mauve or pink paper—J. S., “Andy Warhol,” Art News (December 1957): 14.

146. 168 begging child: The begging child is based on an image from Life magazine reproduced in Alexandra Barcal et al., eds., Andy Warhol: The LIFE Years 1949–1959 (Munich: Hirmer, 2015). It is the same image that Warhol had shown as his fine art in the window at Bonwit Teller in January 1957.

147. 168 some kind of balance: A mention in the fashion press does tell us that the show itself included cute cats as well as a golden coke bottle that foreshadows Warhol’s Pop subjects, while the dedication in the book is to “Boys, filles, fruits and flowers, shoes”—see Eugenia Shep-pard, “Inside Fashion,” New York Herald-Tribune, December 4, 1957.

The Coke bottle, which was drawn with a flower sticking out of it, is euphemistically described as “a bit of attractively sinister Southern Gothic” that results from Warhol’s “subjective fantasy”—i.e., as having queer connotations—in J. S., “Andy Warhol,” Art News (December 1957): 14.

The Gold Book is also dedicated to “T.C. and E.W.”—i.e. Ted Carey and Ed Wallowitch, two male friends (or boyfriends) of Warhol’s whose gender is tastefully elided by reducing them to their initials.

148. 169 “frankly artificial”: Stuart Preston, “Emily Lowe Competi-tion at Eggleston,” New York Times, December 7, 1957.

149. 169 praise so faint: Could Warhol himself have been less than convinced by his show and book? That same Christmas he had received a promotional chapbook (AWMA) sent out by a friend of his named Remy Charlip, an avant-garde dancer turned illustrator whose holiday offering would have come across as obviously more daring and with-it than War-hol’s. Titled It Looks Like Snow and dedicated to John Cage, it was an ag-gressively modern picture book consisting of nothing more than a series of all-white pages with single lines of type. It could only have appealed


NOTES 225

to the very most advanced of kids, or of adults. Charlip had spent time at Black Mountain College, where he would

have overlapped with Warhol’s friend Tommy Jackson—see Allan Ul-rich, “Dancer, Author Remy Charlip Dies,” SFGate, August 18, 2012, https://www.sfgate.com/performance/article/Dancer-author-Remy-Charlip-dies-3797310.php. See also David Silver, “Remy Charlip, Hooray for You!,” Silver in Sf (blog), September 10, 2012, http://silverinsf.blogspot.com/2012/09/remy-charlip-hooray-for-you.html. In 1954 Charlip had also designed the costumes for the great Merce Cunninghan dance called Minutiae, with sets by Robert Rauschenberg.

150. 169 “funny cookbook for people who don’t cook”: Suzie Frankfurt tells the story of her encounter and collaboration with Warhol in Suzie Frankfurt and William Norwich, “Style Diary,” The New York Observer, December 1, 1997.

151. 169 “served with no-cal ginger ale”: The Wild Raspberries cookbook had at least a hint of Pop Art-ish social satire and it also came with some high-culture credibility: Elite readers might have recognized that Warhol was proudly using classic tomes on La Grande Cuisine as his inspiration—see Nathan Gluck, in Patrick S. Smith, ed., Warhol: Conver-sations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 78.

152. 169 “delightfully graphic horseplay”: Sidney Tillim, “Andy Warhol,” Arts Magazine ( January 1960): 63.

153. 169 “Fruitcake Kept Fresh in Foil”: “Witty Art Gives Food for Thought,” New York Times, December 19, 1959.

154. 169 “frivolity in excelsis”: Stuart Preston, “Art,” New York Times, December 5, 1959. The other artist was a certain A. G. Radloff, showing figure drawings “for which the word etiolated seems to have been invented,” according to Preston. Wild Raspberries did win inclusion in the 1960 Art Directors Club exhibition and book—but no award.

155. 169 glancing attention: Overall, Warhol can’t have thought much of his Bodley affairs. At the same moment that he was display-ing his “clever frivolity” at the Bodley, he saw that his old friend Philip Pearlstein was getting a solo show of serious work at the serious Tanager gallery and earning a serious review in the Times, with a big reproduction of one work. (Warhol bought a similar piece by Pearlstein the next day.) See Dore Ashton, “Art: The Young Pissaro,” New York Times, December 2, 1959. (The title refers to the earlier item in a three-review column.) The Warhol and Pearlstein shows are both in the same Times listings column: “Art World Joins Pre-Yule Drive,” New York Times, November 29, 1959.


226 NOTES

A December 3, 1959, receipt for $300 from the Tanager Gallery (TC48, AWMA) is for Pearlstein’s Positano.

156. 169 “tried to sell them”: Suzie Frankfurt, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 569.

157. 169 only $300: See the Bodley Gallery payment advice, Febru-ary 15, 1960, AWMA. The statement lists eighteen books at $15 and six at $30, differentiating between black-and-white and hand-tinted versions of Wild Raspberries. See also Suzie Frankfurt and William Norwich, “Style Diary,” The New York Observer, December 1, 1997.

158. 169 almost $100: See the Bodley Gallery bill, February 15, 1960, AWMA.

159. 169 champagne costs: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2019, Kindle edition.

160. 169 bills for the bubbly: See the Bodley Gallery bill, December 31, 1957, AWMA, requesting $110.47 from Warhol for champagne.

161. 170 several commissions: David Mann, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 95.

CHAPTER 11

1. 171 “a feather floating through”: Art Kane, from an unpub-lished July 6, 1988, interview quoted in Donna De Salvo, “The Gene-sis of Andy Warhol’s Printmaking,” in Andy Warhol Prints: A Catalogue Raisonné, 1962–1987, by Jorg Schellman and Frayda Feldman (New York: D.A.P., 2003), 316.

2. 171 “nice and uncomplicated”: Gene Moore, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 151.

3. 171 “sweeter than sweet”: Stanley Amos, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 168.

4. 171 “generous and loyal”: Gillian Jagger, interview by author, January 9, 2015. Jagger also said Warhol was “not the least bit narcis-tic. . . . He really was a nice guy.”

5. 171 “the most charming”: Philippe Jullian to Andy Warhol, January 28, 1957, AWMA.

6. 171 “computer brain”: Richard Banks, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 111.

7. 171 “feather that really weighed 5,000 tons”: Art Kane, from


NOTES 227

an unpublished July 6, 1988, interview quoted in Donna De Salvo, “The Genesis of Andy Warhol’s Printmaking,” in Andy Warhol Prints: A Cata-logue Raisonné, 1962–1987, by Jorg Schellman and Frayda Feldman (New York: D.A.P., 2003), 316.

8. 171 flowers or a butterfly print: A December 8, 1954, receipt for the offset printing of “butterfly sheets” (TC28, AWMA) indicates the likelihood of their having been intended as Christmas favors, as were many or even most of Warhol’s chapbooks.

9. 172 champagne or maybe liqueur: Gifts of champagne are rec-ognized in December 29, 1959, and December 30, 1959, letters to War-hol (AWMA) from Elizabeth Howkins of the New York Times and Diana Vreeland of Harper’s Bazaar. Warhol was still sending gifts to Vreeland as late as 1973, when she was working with the Costume Institute at the Metropolitan Museum of Art and Warhol sent her a dictating machine—see Vreeland to Warhol, August 8, 1973, AWMA. A quarter centry later, when Warhol hardly needed to drum up new business, a young artist who earned cash delivering flowers remembers whole days spent driving Warhol’s Christmas orders—Ricky Clifton, interview by author, May 21, 2016. In a letter from December 14, 1984 (TC420, AWMA) the film critic Rex Reed thanks Warhol for the gift of a liqueur “not only unusual in its body and flavor, but quite festive as well.”

10. 172 Stuart Preston: The Warhol archives include a letter from Stuart Preston dated December 24, 1956—just after he’d written a posi-tive review of Warhol’s Bodley shoe show—thanking Warhol for some cat-themed art.

“When [Richard] Banks introduced him to Stuart Preston, art critic of the New York Times, Andy began giving Preston drawings, and soon the man’s kitchen and bathroom walls were covered with them”—Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 132.

11. 172 being gay: Imilda Vaughan mentions her homosexuality in a letter to Warhol, August 3, 1975, TC105, AWMA.

12. 172 “out of wedlock”: Cathy Tuttle, Vaughan’s daughter, in an August 2, 2015, interview with the author, said she was born on Decem-ber 22, 1956.

13. 172 the baby’s father: Gillian Jagger said she was present when Warhol made the suggestion—Gillian Jagger, interview by author, Janu-ary 9, 2015.

14. 172 she refused: Vaughan married her baby’s father, a Ph.D. stu-dent in history, but never lived with him. She soon returned to her native


228 NOTES

Pittsburgh, where she raised her daughter alone—Cathy Tuttle, daughter of Imilda Vaughan, interview by author, August 2, 2016.

15. 172 “Have a baby”: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 36.

Toward the end of his life Warhol suggested to his friend Paige Pow-ell that the two adopt a baby together—see the discussion later in this biography and also Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 10613, Kindle edition.

16. 172 CBS set designer: The designer who gave the party was Bill Cecil. John Krug, life partner to Warhol’s friend Otto Fenn, remembered the salons, and being drawn by Warhol at Cecil’s place—John Krug, in-terview by author, May 10, 2016. A drawing of Cecil survives at The Andy Warhol Museum.

17. 172 “He had no social graces”: Charles Lisanby, in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 28.

18. 172 horsy Southern family: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 28.

19. 172 “slaves and peacocks”: Philippe Jullian to Andy Warhol, January 28, 1957, AWMA.

20. 172 “strange little guy who sat in the corner”: Charles Lisanby, in Television Academy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/in-terviews/charles-lisanby.

21. 173 “how we got to know each other”: Charles Lisanby, in an April 2006 interview with Matthias Kunz, quoted in Andy Warhol, a Trip around the World: 1956 Asia Drawings (Munich: Sabine Knust, 2006), np. The two men’s histories had striking parallels: Both had been childhood aesthetes who came to New York straight out of art school, in flight from the provinces and from families that never accepted their homosexuality. Both settled into the city with help from a network of art-school class-mates and got contracts in illustration within weeks of arriving—see Television Academy, Charles Lisanby: Production Designer, Web video, ac-cessed March 10, 2019, https://interviews.televisionacademy.com/inter-views/charles-lisanby.

22. 173 production designer: Charles Lisanby’s first big break came when Bill Paley, head of CBS, got him to do the sets for a test production of a ballet, in order for the network to check how dance might look on TV. The dance was Aaron Copland’s modernist classic Billy the Kid, origi-nally produced by a team from the cutting edge of New York’s gay cul-


NOTES 229

ture: Lincoln Kirstein, Jared French and George Platt Lynes had all been involved in the 1938 premiere—see Donald Albrecht, Gay Gotham: Art and Underground Culture in New York (New York: Skira Rizzoli, 2016), 124. For TV, however, the ballet was being choreographed by the same John Butler who was Warhol’s subject at the Loft gallery in the fall of 1954, either just before or soon after Warhol met Lisanby—Charles Lisanby, interview by James Madison University, video recording, March 2011.

23. 173 “best friends for many, many years”: Television Academy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby.

24. 173 “he thought sex was ‘messy’”: Charles Lisanby, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 28.

25. 173 “normal in all respects”: Charles Lisanby, in the manu-script transcript of a November 11, 1978, interview shared with the au-thor by the late Patrick Smith.

26. 173 “bum is so sore”: Warhol, quoted by Robert Fleischer, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 115.

27. 173 anal warts and a tear: In the Warhol archives, a Decem-ber 7, 1960, letter from Denton Cox, Warhol’s new doctor at the time, summarizes the artist’s rectal difficulties, which began in April 1960. Other documents in the archives show the condition continuing at least through February 1961.

28. 173 penicillin: Vincent Fremont, director of Pie in the Sky, in-cludes a conversation with Brigid Berlin in which Warhol mentions taking penicillin for “sore balls,” almost certainly a case of acute epididy-mitis caused by one of a number of sexually transmitted bacteria—Vin-cent Fremont and Shelly Dunn Fremont, Pie in the Sky: The Brigid Berlin Story, documentary (Vincent Fremont Enterprises, 2000).

29. 173 “wherever he can get it”: Taylor Mead, in Winston Ley-land, “Taylor Mead: An Interview,” Gay Sunshine (Summer 1975): 14.

30. 173 Warhol having sex: Stephen Shore said he saw Warhol hav-ing sex in the bedroom when Shore held a party at his parents’ house—Stephen Shore, interview by author, October 11, 2016.

Nat Finkelstein said that Warhol had boasted about the “gang-bang” that he’d enjoyed at a party that Finkelstein had not made it to—Nat Finkelstein, Andy Warhol: The Factory Years, 1964–1967 (New York: St. Mar-tin’s Press, 1989), np.

31. 173 sex with women: Undated notes from a conversation be-


230 NOTES

tween Warhol, Victor Bockris and William Burroughs, TC290, AWMA.32. 173 “too strange for me”: Vito Giallo, interview by author, Jan-

uary 1, 2015.33. 174 Serendipity and Café Nicholson: Charles Lisanby mentions

Serendipity in Television Academy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacad-emy.com/interviews/charles-lisanby. He discusses frequenting Café Nicholson, owned by “friends” of his and Warhol’s, in Charles Lisanby, interview by James Madison University, video recording, March 2011.

See also the bill to Warhol from Café Nicholson, October 29, 1957, AWMA.

34. 174 “sketch class”: Charles Lisanby, in Television Academy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby.

35. 174 Norman Rockwell: On Charles Lisanby’s admiration for Norman Rockwell see Charles Lisanby, interview by James Madison Uni-versity, video recording, March 2011. Lisanby’s very conservative draw-ings are preserved in the James and Gladys Kemp Lisanby Museum at James Madison University.

Lisanby dwelt on his superior skills as a realist, compared to War-hol’s, in the manuscript transcript of a November 11, 1978, interview conducted by the late Patrick Smith and shared with the author by Smith.

36. 174 they drew: Charles Lisanby, in Television Academy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby.

37. 174 statuette of a rooster: Charles Lisanby, interview by James Madison University, video recording, March 2011. Lisanby’s rooster drawing survives in the James and Gladys Kemp Lisanby Museum at James Madison University. Warhol’s is in the collection of the National Galleries of Scotland.

Lisanby’s bauble-stuffed décor makes clear that, like Warhol, he had bought into the nascent culture of camp. Even in his 80s, Lisanby was still giving interviews against walls covered in ancien régime pink wa-tered silks—see Television Academy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacad-emy.com/interviews/charles-lisanby. Warhol once told Lisanby that he, Warhol, was from another planet and wasn’t sure how he’d come to earth—Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 29.

38. 174 unsuccessful steps: Charles Lisanby, in Patrick S. Smith,


NOTES 231

Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 369. There seems to be no surviving record of any of those initialed commer-cial projects, however.

39. 174 fifty-two hearts: The sheet of hearts is in the collection of The Andy Warhol Museum.

40. 174 starring role: Charles Lisanby is mentioned as a subject of the show in a letter from Warhol’s assistant Nathan Gluck to Jess Beers, postmarked February 24, 1956—see “Andy Warhol for Sale at Auc-tion on Tue, 05/13/2014,” accessed March 5, 2019, https://doyle.com/auctions/14pt02-post-war-contemporary-art/catalogue/28-andy-war-hol#,. See also Neil Printz, “Other Voices, Other Rooms: Between Andy Warhol and Truman Capote, 1948–1961” (Ph.D., New York University, 2000), 304.

Some sources imply that Lisanby was the show’s sole subject, but other sources suggest he was one of several—see for example Robert Galster in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 304.

41. 174 world tour: Charles Lisanby’s account of the origin of the trip seems at odds with the story mentioned above about Imilda Vaughan’s pregnancy: “Every summer since 1951 [I travelled] all over Europe, Egypt, Lebanon, Turkey . . . [Warhol and I] were the closest friends and whenever I went away for two months he was really un-happy. So this particular year, 1956, he said, ‘Why don’t I go too,’ and I said ‘Okay’”—quoted in Matthias Kunz, “An Interview with Charles Lisanby,” in Andy Warhol, a Trip around the World: 1956 Asia Drawings (Mu-nich: Sabine Knust, 2006), np. Note that the friends met in the fall of 1954, so the only Lisanby holiday which could have made Warhol “really unhappy” would have been in 1955.

Lisanby was an old hand at travel while Warhol had never been fur-ther than Pennsylvania. Lisanby said that he had already been planning a trip to Japan, source of so much modern style, when he and Warhol de-cided to go round the world as a duo. Lisanby’s love of Japanese prints had apparently fueled his desire to see the country—see Television Academy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby.

42. 174 driving lessons: Charles Lisanby, in the manuscript tran-script of a November 11, 1978, interview conducted by the late Patrick Smith and shared with the author by Smith.

Warhol reports the location of his accident in Glenn O’Brien, “Inter-view: Andy Warhol,” High Times (August 1977): 40. His learner’s permit,


232 NOTES

dated May 1956, survives in his archives.43. 174 “wondered how people could drive cars”: Warhol, in

Andy Warhol, interview by Old Owl [Robert Reilly], typescript of an unpublished interview intended for the Yale Record (Spring 1966), TC14, AWMA.

44. 174 first passport: A fragment of the passport survives in the Warhol archives. Photos from the trip that have since disappeared show Warhol with dark hair—they are shown in Charles Lisanby, interview by James Madison University, video recording, March 2011.

45. 174 safely stashed away: The Warhol archives include a June 24, 1956, postcard that Warhol sent to his mother from Higashiyama, Japan, addressed to her at the family’s old Dawson Street home in Pitts-burgh. Nathan Gluck remembered forwarding mail to her there from New York—see Nathan Gluck, interview by David Bourdon, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

A nephew of Warhol’s remembered Julia arriving at his parent’s house in the country near Pittsburgh with her “three or four cats,” and how those pets clawed his father Paul—George Warhola, interview by author, November 25, 2016.

46. 174 tourist class: The tourist-class plane tickets survive in the Warhol archives, contradicting the claim that they flew first class given in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 181, Kindle edition.

47. 174 midtrip destinations: The documents for all these trips sur-vive in the Warhol archives.

48. 175 longest flights: Paul J. C. Friedlander, “By Air to Tokyo,” New York Times, January 31, 1954.

49. 175 a rocky start: The account that follows is Charles Lisan-by’s, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 182, Kindle edition.

50. 175 a heartfelt romantic: Fernanda Eberstadt felt that even in the 1970s and ’80s her friend Warhol was still looking for romantic love—Fernanda Eberstadt, interview by author, September 24, 2016.

51. 175 “My heart’s been broken several times”: Warhol, in Fiona Russell Powell, “The Face Interview Interview,” The Face (March 1985): 51.

52. 175 “So what”: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 112, Kin-dle edition. As with all quotes from this text, these could have been the


NOTES 233

words of a ghostwriter rather than Warhol.53. 175 long sleeves: See Television Academy, Charles Lisanby: Pro-

duction Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby. See also the travel photos and films by Lisanby preserved in the James and Gladys Kemp Lisanby Museum at James Madison University.

54. 175 They encountered: Charles Lisanby, in Television Academy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby.

55. 175 Warhol kept cool: Charles Lisanby, in Victor Bockris, War-hol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 209, Kin-dle edition. On the other hand, Charles Lisanby also spoke of Warhol being frightened by some of their more extreme outings—see Charles Lisanby, interview by James Madison University, video recording, March 2011.

56. 176 “didn’t know quite where he was”: Charles Lisanby, inter-view by James Madison University, video recording, March 2011.

57. 176 Warhol sketched: Several Asian sketchbooks and loose sheets from the trip survive in the collection of The Andy Warhol Mu-seum collection, and include images with a distinctly photographic cast.

58. 176 Surviving shots: Several photos of the trip attributed to Warhol survive in the Warhol archives, although it is not impossible that they were taken by Charles Lisanby.

59. 176 last two weeks: Warhol and Charles Lisanby left Calcutta for Rome on July 27, instead of arriving in Italy from Asia on August 11, as their original itinerary suggested they should; they then spent more time than originally planned in Italy and the Netherlands, leaving again for New York on August 11. The travel documents survive in the Warhol archives.

60. 176 “friend the contessa”: Charles Lisanby, in Television Acad-emy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby. See also Charles Lisanby, interview by James Madison Univer-sity, video recording, March 2011.

A July 28, 1956, foglio sanitario (AWMA), stamped by the airport doc-tor, has the sick man and his friend staying at the Hotel Flora, which seems to have been different from the famous establishment by that name on the Via Veneto.

61. 176 monuments and museums: Receipts for admission to these sites survive in the Warhol archives.


234 NOTES

62. 176 glinting backgrounds: According to Charles Lisanby, the gold-and-black antiques they’d seen in Asia were another influence on his friend’s new obsession with gilding, which Lisanby taught Warhol to do when they got home—see Television Academy, Charles Lisanby: Pro-duction Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby. Not much later, a published blurb on Warhol said that “his work suggests somewhat the art of the Japanese”—see Gene Byrnes, Number 2-Drawing and Sketching (Artists Institute of America, 1959), 53.

Warhol was also becoming a regular at one of New York’s few Japa-nese restaurants and continued to eat Japanese for decades—the Warhol archives (box B565) include a September 2, 1958, invoice for Warhol’s six meals, in one month, at Saito Restaurant, near the Museum of Modern Art. There are similar invoices for most months of 1958 and 1959, and also piles of bills for the less authentic Asian pleasures of Trader Vic’s in the Savoy Hilton hotel. Warhol, in his later Diaries, often mentions eating at the Japanese restaurant called Nippon.

63. 176 “new art ideas”: Warhol, in “We Hitch Our Wagons,” Ma-demoiselle (June 15, 1956): 258, AWMA. This was the magazine’s contribu-tors page.

64. 176 “beautiful pictures”: Warhol, in American Girl, June 6, 1958, contributors page.

65. 176 depressed and anxious: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 29.

66. 176 affection left: Charles Lisanby and Warhol were still close enough at Christmas in 1957 for Nathan Gluck to send Warhol a party invitation meant to include both of them—see Nathan Gluck to Warhol, December 21, 1957, AWMA. In January 1970, Lisanby continued to feel friendly enough toward Warhol to send him an invitation to his birthday party (TC62, AWMA).

67. 176 Lisanby wrote: For this account of the cat book’s original form see Charles Lisanby in Television Academy, Charles Lisanby: Produc-tion Designer, Web video, accessed March 10, 2019, https://interviews.tele-visionacademy.com/interviews/charles-lisanby. “Whatever happened to my story, I don’t know,” Lisanby said. He recalled that the images were already underway when he came up with the text and/or title.

68. 176 the book actually came out: 25 Cats Name Sam, as the book’s title page calls it, is often dated to before Warhol’s world tour, even as early as 1954. But all references to it in Warhol’s papers, including several in financial documents and in correspondence with Diana Vreeland and


NOTES 235

Stuart Preston, seem to come in late 1956 or early 1957, and one pub-lished mention has the book as “new” in February 1957—see Eugenia Sheppard, “Inside Fashion,” New York Herald-Tribune, February 1, 1957. Seymour Berlin, the book’s printer, said he met Warhol in the “middle to late fifties,” and definitely after the I. Miller contract had come through in the spring of 1955—see his interview in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 156. One of the cats from the book also ap-pears in a Warhol illustration published in 1957 in Sports Illustrated, fur-ther supporting a later dating—see Sports Illustrated ( January 28, 1957).

69. 177 “different dimensions”: Seymour Berlin, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 38. Berlin’s print shop, directly across from the front door of the Museum of Modern Art, made it a particular favorite with artists—see Bob Gill, interview by author, September 27, 2016.

For the exact address, at 66 West Fifty-Third Street, see the invoice from Record Printing & Offset Co. to Warhol for his mother’s Holy Cats book, December 30, 1960, AWMA. Gill said that he and Warhol worked with Berlin because he was young and understood their creative needs, but the shop, Gill said, actually belonged to Berlin’s very old-fashioned father.

70. 177 spend the money: Charles Lisanby, in Television Academy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby. The finished book contains 18 pages, suggesting that Warhol’s cats might have been printed six to a sheet before being cut for binding.

71. 177 list of billings: The list survives in the Warhol archives.72. 177 A number of agents: Rhoda Marshall, interview by author,

March 5, 2016. Marshall was one of Warhol’s 1950s agents and got him assignments for Macy’s and Abraham and Strauss department stores.

73. 177 Ben Shahn and Saul Steinberg were making: In 1953, an affidavit from Saul Steinberg gave his average gross income for the pre-vious five years as $25,000—see Deirdre Bair, Saul Steinberg: A Biography (New York: Nan A. Talese, 2012), loc. 4376, Kindle edition.

When Harvard University asked Shahn to be the Charles Eliot Norton Professor of Poetry for the academic year 1956–57, he was paid $18,000, matching the highest paid professor at Harvard, as fixed by the terms of the position. See Howard Greenfield, Ben Shahn: An Artist’s Life (New York: Random House, 1998), 284.

74. 177 salary of a department store president: When $36,000 was


236 NOTES

rumored to be the salary of Warhol’s old pal Geraldine Stutz, once she’d been named head of Henry Bendel’s, her employer—which also owned I. Miller shoes—was quick to deny such an extravagant figure. See Eliz-abeth Penrose Howkins, “Youthful Store President Embarks on Third Year,” New York Times, November 14, 1959.

75. 177 Andy Warhol Enterprises: The Warhol archives include the minutes of the first meeting Andy Warhol Enterprises on July 2, 1957. Strangely, Warhol’s mother signs the minutes “Julia Warhol” in a script that is nothing like her usual one and suspiciously close to Andy’s. Warhol’s new accountant, Stanley Shippenberg, was the company’s third director and worked for Warhol for years to come.

It’s worth noting that not long before the creation of the company, I. Miller had rather grudgingly suggested extending its working relation-ship with Warhol, which had already run for two years—see Peter Pala-zzo, of I. Miller, to Warhol, April 9, 1957, AWMA.

76. 177 almost $1,700: The final BOAC plane ticket (AWMA), al-tered for the final itinerary, was priced at $1660.75, as was the original KLM ticket.

77. 178 flood of purchases: Receipts for all of these world tour pur-chases survive in the Warhol archives.

78. 178 bespoke clothing: Receipts and correspondence from Long Kee Tailor survive in the Warhol archives.

79. 178 Edwardian styles: A cashmere suit from Hong Kong sur-vives in the collection of John Warhola’s descendents. On the new, trim-mer suit styles in London and New York see Clifton Daniel, “Report from London,” New York Times, March 30, 1952. See also “Suits: Dressy,” New York Times, September 23, 1956.

Back in 1950, when photographs show Warhol wearing broad lapels on baggy jackets, he was up-to-date with the men’s fashion shown in the “All Male” and “College Review” issues of Flair for July and August of that year.

80. 178 in Esquire: “Measuring Up,” Esquire (October 1, 1954).81. 178 “No linings, no darts”: Andy Warhol, THE Philosophy of

Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 52, Kindle edition.

82. 178 white shirts: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 781, Kindle edition. Stephen Bruce confirms Warhol’s bulk purchase of white shirts in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1884, Kindle edition. (Colacello’s account may depend on Bockris.)


NOTES 237

83. 178 a $300 suit: The suit is mentioned, as is the claim that War-hol never actually wore it, in Nathan Gluck, interview by David Bour-don, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

The checked coat survives in the collection of Warhol’s nephew Donald Warhola. The Warhol archives include receipts for both coats, which were ordered from A. Rojak Tailor in 1958 (the fuschia-lined one) and 1959.

84. 178 Jean Cocteau: Philip Core, Camp: The Lie That Tells the Truth (New York: Delilah Books, 1984), 52. Warhol’s archives include an invita-tion to the launch of Core’s book, a dictionary of camp.

85. 178 dropping his pants: David Bourdon describes Warhol drop-ping his pants at their first meeting, in the home of Nathan Gluck and his partner Clint Hamilton—see David Bourdon, typed notes (March 2, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

Bourdon had been introduced to Warhol by Carlton Willers, War-hol’s early-1950s boyfriend—Carlton Willers, interview by author, Sep-tember 22, 2015.

86. 178 “revealing, tight”: Vito Giallo, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1873, Kindle edition.

87. 178 $500 invoice: Dr. Richard Boies Stark, invoice for a June 13, 1957, operation, June 30, 1957, TC -24, AWMA.

88. 178 black tie: Nathan Gluck to David Bourdon, n.d., David Bourdon papers, Archives of American Art, Smithsonian Institution. Around this same time, when Warhol had gone to the opera with Tru-man Capote the writer had shown up in jeans and was refused even a standing-room ticket—see Carlton Willers, interview by author, Septem-ber 22, 2015.

89. 178 Met subscription: Metropolitan Opera Association, Inc., invoice to Warhol included among unpublished diary entries for early spring, 1972 (AWMA).

90. 178 On Broadway: The Warhol archives include a large number of dated ticket stubs from 1957. I’m grateful to Lucy Hogg for researching the plays and operas they were from.

91. 178 champagne: See Imilda Vaughan (later Tuttle), interview by David Bourdon, typed notes from an earlier conversation, April 1, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institu-tion.


238 NOTES

The Warhol archives include an undated $88.10 receipt from the 1950s for the 1952 vintage of Piper-Heidsieck (box B565) and a June 4, 1959, receipt for a case of half-bottles of champagne costing $21.50.

“Once we all went up to his apartment to see Mrs Warhol and he showed us two refrigerators. He kept one filled with champagne, which he said was for her,” said John Wallowitch in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1999, Kindle edition.

92. 178 his liver: See Dr. Denton Cox, “Historical and Diagnostic Summary,” December 7, 1960, AWMA.

93. 178 “high on whiskey”: Charles Henri Ford, in John Wilcock, ed., The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 52.

94. 178 by the case: In the first five months of one unspecified year in the late 1950s, receipts (AWMA, box B565) from Henry Bishop liquors, down the street from Warhol’s place at 242 Lexington Ave., show him buying two cases of Chivas Regal scotch (which seems to have been a favorite of his) one case of cheaper scotch, a case of Remy Martin cognac and innumerable single bottles of sweet liqueur and champagne, vintage and not. When it came to still wine, however, Warhol rarely spent more than two dollars a bottle and often bought American plonk.

95. 178 cocktail recipes: Suzie Frankfurt in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 569.

96. 179 “his party ate hot dogs”: David Bourdon, “Warhol Starting Out,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np. The Warhol archives (box B565) include a December 1958 invoice from the Plaza Hotel for Warhol’s four visits to the Palm Court and Oak Room over the course of two weeks, as well as a large pile of Plaza bills from 1960.

Warhol’s fondness for breakfast at the Plaza is mentioned by his friend and printer Seymour Berlin, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 414.

97. 179 “Tiffany fixtures everywhere”: David Mann, in Paul Car-roll, “What’s a Warhol,” Playboy (September 1969): 282.

98. 179 out with the trash: Vito Giallo, interview by author, Janu-ary 1, 2015.

99. 179 to Lisanby’s address: The Warhol archives include receipts for merchandise bought on the trip that bear Warhol’s name but Lisan-by’s address.


NOTES 239

100. 179 “This top floor was a mess”: Ted Carey, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 86.

101. 179 “huge apartment”: Stephen Bruce, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Univer-sity, 1982), 459.

102. 179 cost almost twice: On October 23, 1957, Warhol signed a twenty-five month lease on the second floor, at $175 a month. That lease as well as correspondence about the property survives in the Warhol ar-chives. Rent receipts from 1959 (box B565, AWMA) show the upper unit having increased by then to $98.95, while by December 1959 the down-stairs unit had increased to $200. Surprisingly, Warhol was still renting that lower unit in November 1960, several months after moving to a new townhouse uptown.

103. 179 sequestered there: Ted Carey, in Patrick S. Smith, ed., War-hol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 86.

104. 179 a comfortable home: One Warhol nephew remembered Ju-lia living in the lower apartment—George Warhola, interview by author, November 25, 2016.

105. 179 a space for “show”: Nathan Gluck to David Bourdon, n.d., David Bourdon papers, Archives of American Art, Smithsonian Institu-tion.

106. 179 “gobs of pretties”: Nathan Gluck, interview by David Bour-don, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

107. 179 “60s travesties”: David Bourdon, “Andy Warhol 1928–87,” Art in America (May 1987): 139.

108. 180 the café’s team: Stephen Bruce, interview by author, May 19, 2016. Calvin Holt was the Serendipity partner who moved into 242 Lexington Ave., as witnessed by period telephone directories.

109. 180 “his work space, which was cluttered”: Stephen Bruce, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 459.

110. 180 “café” curtains: Stephen Bruce, interview by author, May 19, 2016.

111. 180 potted palms: Carlton Willers, interview by author, June 28, 2016. The palms, and the light, are also visible in a number of pho-tographs of Warhol and his friend Ted Carey preserved in the Warhol archives.


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112. 180 “starting from scratch”: Stephen Bruce, interview by au-thor, May 19, 2016.

113. 180 white porcelain dishes: Carlton Willers, in an undated 2015 letter to the author.

114. 180 bentwood furniture: Stephen Bruce, interview by author, May 19, 2016. See the February 1, 1958, invoice from Serendipity (box B565, AWMA) for $321.36 for six chairs.

115. 180 Tiffany lamp: Ted Carey, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 87.

116. 180 Lisanby helped: Vito Giallo, interview by author, January 1, 2015.

117. 180 buying such things: Charles Lisanby, interview by James Madison University, video recording, March 2011.

118. 180 cast-iron machines: They are listed in Consolidated Ap-praisal Company, appraisal, November 14, 1962, AWMA.

119. 180 cigar-store sculpture: James Warhola, interview by author, May 17, 2017.

120. 180 animal horns and twigs: See Nathan Gluck’s note dated January 16, 1976, Gluck estate, Luis De Jesus Los Angeles gallery.

121. 180 stuffed peacock: Carlton Willers, interview by David Bour-don, typed notes, March 21, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution. The peacock is also mentioned by Ted Carey in Margaret M. Jensen, ed., The Andy Warhol Collection, April 23–May 3, 1988, vol. 1–6 (New York: Sotheby’s, 1988), item #3167. It is vis-ible in photos of Warhol and Carey in the Warhol archives.

122. 180 mirror ball: The mirror ball is visible in photographs taken circa 1958 in the apartment by Duane Michals, viewed in the Michals studio on September 14, 2014; it is listed in Consolidated Appraisal Com-pany, appraisal, November 14, 1962, AWMA.

123. 180 “susceptible to nostalgia”: Philippe Jullian, La Brocante (Paris: Julliard, 1975), 113. Jullian is quoting his own 1966 book titled Les Collectioneurs.

124. 180 antiques store: Duane Michals, interview by author, Sep-tember 9, 2014.

125. 180 “for resale”: See for example the bill from Gerald Kornblau, May 17, 1960, TC21, AWMA.

126. 180 appraised at: The evaluations are given in Consolidated Ap-praisal Company, appraisal, November 14, 1962, AWMA.

127. 181 faux-naïf edge: See this author’s “Andy Warhol Outside-In,”


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in Andy Warhol: Ad Man, ed. Nicholas Chambers (Sydney and Pittsburgh: Art Gallery of New South Wales and The Andy Warhol Museum, 2017), 23. See also Thomas E. Crow, The Long March of Pop: Art, Music, and De-sign, 1930–1995 (New Haven and London: Yale University Press, 2014). Also Jamie Franklin, “Moses, MoMA, and the Modernist Narrative,” in Grandma Moses: American Modern (New York: Sakira Rizzoli, 2016).

128. 181 lie that he was self-taught: “New Talent USA: Prints and Drawings,” Art in America (Spring 1962): 42.

129. 181 “modernist and modish”: Mark W. Booth, Camp (New York: Quartet, 1983), 17.

130. 181 Danish Modern: On the table, see the December 16, 1955, invoice (box B565) for a $181 round table from Bruno Mathsson Furni-ture. From that same week, see the December 19, 1955, receipt (AWMA) from Nils Danish Silver, Copenhagen, for service for four in Nils’s mis-named “Classic” pattern, by A. Michelsen. That flatware had been fea-tured in the May 1951 issue of Harper’s Bazaar, photographed by the great Hans Namuth himself—see “Harper’s Bazaar May 1951 Page 76/77,” The Magazine Stand (blog), July 15, 2013, http://theprintedpast.blogspot.com/2013/07/harpers-bazaar-may-1951-page-7677.html.

131. 181 “office supplies”: Time Capsule 422 in the Warhol archives includes an undated summary of expenses for “office supplies” that lists pieces by Charles Eames, Florence Knoll and Eero Saarinen , purchased between 1955 and 1958 for a total of $460 dollars.

The lease for Warhol’s second-floor apartment (AWMA) specified that it was for “business purposes for a commercial artist’s studio and of-fice.” In August 1957, Warhol had tried to pay for the rent on his upstairs apartment with a check from his new corporation, but his landlord, in a letter dated August 9, 1957 (AWMA) insisted on a personal check instead because the rent was a “personal obligation.”

132. 181 “expensive furniture?”: Jack Lenor Larsen, interview by author, July 20, 2016. Two decades later, Warhol is once again buying postwar classics, but this time as a pioneer collector of (now vintage) Mid-Century Modern objects—see the letter to him from antiques dealer Gene Canton, postmarked July 7, 1982 (AWMA) about buying Eames chairs.

133. 181 certified modern artists: The Warhol archives include doc-umentation of four Matisse prints, listed in a December 31, 1957, receipt from the Bodley Gallery; of an original poster by Lautrec and a drawing by Steinberg, in a November 3, 1958, Bodley Gallery receipt; and of works by Magritte, Fini, Tchelitchew and others in Consolidated Appraisal


242 NOTES

Company, appraisal, November 14, 1962, AWMA. Nathan Gluck’s note dated January 16, 1976, in his estate at Luis De Jesus Los Angeles gallery, gives further details of Warhol’s art collecting, mentioning Picasso and Miro lithographs that Gluck ordered for Warhol from the great Galerie Maeght as well as a cement-and-sand sculpture by the then-famous sculp-tor Costantino Nivola, which the cats clawed to shreds.

134. 181 Charles Henri Ford: Warhol and Charles Henri Ford first met in 1962—see Ford in John Wilcock, ed., The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 52.

135. 182 several Tchelitchews: The Pavel Tchelitchew painting, from 1927, is now known as Seated Multiple Figure but it has the more apt title Split Personality in Consolidated Appraisal Company, appraisal, November 14, 1962, AWMA. Tchelitchew was collected in depth by Warhol’s well-heeled gay friend Henry McIlhenny, a major Philadelphia aesthete, who may very well have influenced Warhol’s interest in the artist—see Fine French and English Furniture, Paintings, Porcelain, Decora-tions, Oriental Works of Art and Silver: From the Collection of the Late Henry P. McIlhenny (New York: Christie, Manson & Woods, 1987).

136. 182 European modernists: In May 1957, Warhol did arrange to view the holdings of Richard Brown Baker, a notable collector of New York abstraction who, as it happened, later became a major patron of Pop (although not of Warhol)—see Jennifer Farrell et al., eds., Get There First, Decide Promptly: The Richard Brown Baker Collection of Postwar Art (New Haven, CT: Yale University Press, 2011), 288, 350.

137. 182 “the window-dresser and hair-dresser crowd”: Duane Mi-chals, interview by author, September 9, 2014.

138. 182 Jean-Claude van Itallie: Jean-Claude van Itallie, interview by author, November 2, 2016.

139. 182 “busy bars for deviates”: Emory Lewis, Cue’s New York (New York: Duell, Sloan and Pearce, 1963), 225.

140. 182 “it was, well, yes, awkward”: Jean-Claude van Itallie, inter-view by author, November 2, 2016.

141. 182 Warhol’s bad hygiene: On a visit to Philadelphia in March 1959, van Itallie and Warhol shared a room (chastely) and van Itallie re-members opening the window in the morning to chase out a smell that was like “rotting flesh”—Jean-Claude van Itallie, interview by author, November 2, 2016.

A film publicist who had a one-night stand with Warhol in the spring of 1965 said that Warhol could have used a shower then, too, but that he was too much in awe of the famous artist to ask him to take one before


NOTES 243

they had sex—Rudy Franchi, interview by author, November 7, 2018.142. 182 “change sexes as they change their clothes”: Maxwell

Bodenheim, My Life and Loves in Greenwich Village (New York: Bridgehead Press, 1954), 108.

143. 183 “transformed lifestyles”: Jonas Mekas, in Peter Rosen, Who Gets To Call It Art?, documentary, 2006.

144. 183 a full-page portrait: Nina Schleif, “Clever Frivolity in Ex-celsis: Warhol’s Promotional Books,” in Reading Andy Warhol (Ostfildern: Hatje Cantz, 2013), 119n63.

For the identification of that portrait as Edward Wallowitch see “Un-titled (Man) [Ed Wallowitch] from Gold Book by Andy Warhol,” accessed March 11, 2019, https://www.artnet.com/auctions/artists/andy-warhol/untitled-man-ed-wallowitch-from-gold-book.

145. 183 tail end of 1955: See John Wallowitch, interview by David Bourdon, typed notes, September 21, 1988, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

146. 183 “traditional piano man”: Stephen Holden, “John Wallow-itch, Singer and Songwriter, Dies at 81,” New York Times, August 16, 2007.

147. 183 Nathan Gluck met Edward: Nathan Gluck, oral history, audiocassette, December 7, 1992, AWMA.

148. 183 “skyrocketed to fame”: Jacob Deschin, “Focusing on Peo-ple,” New York Times, January 8, 1956. See also Jacob Deschin, “Amateur Honored,” New York Times, July 23, 1950. As early as 1950, while still in high school, Edward Wallowitch’s photos had earned him a Scholastic Magazine prize (the same one Philip Pearlstein had won and Warhol claimed), as well as a purchase and group show at MoMA and a U.S. Cam-era Achievement Award (“America’s highest photographic honor”)—see Jacob Deschin, “Debut for Newcomers,” New York Times, August 6, 1950. See also Jacob Deschin, “U.S. Camera Winners,” New York Times, Novem-ber 12, 1950.

Deschin marveled at how the sheer strength of Wallowitch’s vision (its “warmth, affection, mood and atmosphere”) could overcome the technical faults of his Kodak Brownie shots—see Jacob Deschin, “Teach-er’s Role,” New York Times, April 15, 1951.

149. 183 “Family of Man”: See the exhibition checklist at http://www.moma.org/momaorg/shared/pdfs/docs/archives/ExhMaster-Checklists/MoMAExh_0569_MasterChecklist.pdf, accessed Septem-ber 2, 2016. (The name is misspelled “Wallewitch.”) For the early date of the Wallowitch image in the show see http://lens.blogs.nytimes.com/2015/10/29/a-family-of-man-reunion/?_r=0, accessed September 3,


244 NOTES

2016.Nathan Gluck said that he had been the one who first got Ed Wallow-

itch to present his images to Steichen, who bought and exhibited them—Nathan Gluck, oral history, audiocassette, December 7, 1992, AWMA. Gluck had been shown the images by his friend John Wallowitch—John Wallowitch, interview by David Bourdon, typed notes, September 21, 1988, David Bourdon papers, Archives of American Art, Smithsonian In-stitution. Edward Wallowitch’s inclusion in the “Family of Man” show must have been what finally triggered his move to New York.

150. 183 celebrities at parties: Notes by Nathan Gluck, Gluck estate, Luis De Jesus Los Angeles gallery.

151. 183 became lovers: See John Wallowitch, interview by David Bourdon, typed notes, September 21, 1988, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution. Several drawings of Ed-ward Wallowitch by Warhol survive—see for example Jesse Kornbluth, Pre-Pop Warhol (New York: Random House, 1988), 57.

152. 183 “My brother was very witty and Andy was very sweet”: John Wallowitch, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 1999, Kindle edition.

153. 183 “going at it like crazy”: John Wallowitch, in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 26. Less discreetly, John Wallowitch also insisted that “Andy took it up the ass a lot. And my brother was well equipped from what I hear”—Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2069, Kindle edition.

154. 183 flagrante delicto: Robert Heide, interview by author, May 26, 2016. Heide said that he and Wallowitch had known each other in the early 1950s when both were studying in Chicago. (Wallowitch’s U.S. Camera Achievement Award had come with a scholarship to the Bauhau-sian Institute of Design there—see Jacob Deschin, “U.S. Camera Win-ners,” New York Times, November 12, 1950.) The two had reconnected in New York at the latest by the fall of 1956, when according to Heide he was present at a seaside photoshoot that Wallowitch did for the cover of the novel A Summer Place, which hit bookstores the following March—see William Du Bois, “In and Out of Books,” New York Times, September 22, 1957.

155. 183 “sweet and gentle”: The quote is from Charles Lisanby, in the manuscript transcript of a November 11, 1978, interview shared with the author by the late Patrick Smith.

156. 183 contact sheet: These and other photos are in the Warhol


NOTES 245

archives.157. 183 “do something really great together”: John Wallowitch, in


158. 184 a book cover: Anna Mae Wallowitch, interview by author, July 12, 2016. She had already been representing her brother Edward, so added Warhol to her roster.

A $655 project for a booklet on Plymouth cars, for Philadelphia’s N. W. Ayer agency, is recorded in Anna Mae Wallowitch to Andy Warhol, December 11, 1957, AWMA. In 2016 she voiced doubts about whether the Plymouth booklet ever actually got printed.

The book cover and billboard, for a crime novel called Madhouse in Washington Square that was published in 1958 for the Philadelphia firm of J. B. Lippincott, is mentioned in Marjorie Frankel Nathanson, “Chronol-ogy,” in Andy Warhol: A Retrospective, ed. Kynaston McShine (New York: Museum of Modern Art, 1989), 406. The novel was nominated for an Edgar Award for best mystery novel in 1959.

The photo of Anna Mae in Seventeen was chosen for the 1958 Art Di-rectors Club show, where Ed Wallowitch and Warhol got joint credit—see 37th Annual of Advertising and Editorial Art and Design of the New York Art Directors Club (Farrar, Straus & Cudahy, 1958), item #335.

159. 184 projected his own slum shots: The photographs of Warhol with Edward Wallowitch’s projections are in the Warhol archives.

160. 184 refuse assignments: See John Wallowitch, interview by Da-vid Bourdon, typed notes, September 21, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution. The graffiti images survive on contact sheets in the Warhol archives.

161. 184 queer-friendly hangouts: Robert Heide, interview by au-thor, May 26, 2016. On Aldo’s as catering to gays see Marijane Meaker, Highsmith: A Romance of the 1950’s, a Memoir (San Francisco: Cleis Press, 2003), 12. On Caffe Cino’s homosexual focus see Wendell C. Stone, Caffe Cino: The Birthplace of Off-Off-Broadway (Carbondale IL: Southern Illinois University Press, 2005), 92.

162. 184 “kind of salon for artists”: Robert Heide, “Andy War-hol in Greenwich Village,” Westview News, September 2012, http://westviewnews.org/2012/09/andy-warhol-in-greenwich-village/. The apartment was on Barrow Street, according to Anna Mae Wallowitch, interview by author, July 12, 2016.

163. 184 “more at home in Bohemia”: Stanley Amos, in Fred Law-rence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam,


246 NOTES

1989), 167.164. 184 a commercial career: On Ray Johnson’s commercial career

see “Ray Johnson Designs,” at David Senior, “Articles—Ray Johnson Estate,” accessed March 12, 2019, http://www.rayjohnsonestate.com/research/articles/1952. On Johnson’s dependence on Warhol for his com-mercial contacts, see Elizabeth Zuba and William S. Wilson, Ray John-son’s Art World, ed. Frances F. L. Beatty and Diana Bowers (New York: Richard L. Feigen & Co, 2014), 23. There is also some evidence that War-hol pointed Johnson to his printer: In an undated e-mail to Matt Wrbican, the late chief archivist of The Andy Warhol Museum, Johnson’s friend William S. Wilson wrote that “Ray told Clive Phillpot, July 13, 1991, that Andy Warhol had . . . sent him to his printer (Perret).”

165. 184 paeans to shoes: One shoe piece, in the Ray Johnson Ar-chives, illustrates a little-known “shoe” poem by Gertrude Stein titled “Amaryllis or the Prettiest of Legs.” Another two, both postmarked in May 1956 (AWMA) provide the earliest firm evidence of contact between the two men.

166. 184 Bonwit Teller’s: A note from Ray Johnson to Warhol (AWMA), postmarked in 1957, reads “I hope you see my designs in Bon-wit Tellers windows.”

167. 184 world of the avant-garde: Cutting-edge figures like Merce Cunningham and Cy Twombly got Ray Johnson to design flyers for them, while he was also closely connected to the radical experimentation going on at the Living Theatre, which made Warhol’s Twelfth Street drama group look like amateur hour—which it was. Warhol later became an enthusiastic supporter of the Living Theatre—see director Julian Beck to Warhol, November 29, 1974, TC95, AWMA.

168. 185 feature in Harper’s Bazaar: See David Senior, “Articles—Ray Johnson Estate,” accessed March 12, 2019, http://www.rayjohnsonestate.com/research/articles/1952.

169. 185 a feature on Johnson: “The Village Square,” Village Voice, October 26, 1955. On Ray Johnson and MoMA curator Dorothy Miller see David Senior, “Articles—Ray Johnson Estate,” accessed March 12, 2019, http://www.rayjohnsonestate.com/research/articles/1952.

170. 185 “such better-known colleagues”: Art News ( January 1958): 5.

171. 185 “greatest living artists”: Warhol, in Glenn O’Brien, “Inter-view: Andy Warhol,” High Times (August 1977): 22.

172. 185 signature collages: For individual works by Ray Johnson see “Collages—Art—Ray Johnson Estate,” accessed March 12, 2019,


NOTES 247

http://www.rayjohnsonestate.com/art/collages/#location-museum-and-private-collections.

173. 185 “the Plymouth Rock”: Henry Geldzahler, Pop Art: 1955–1970 (Sydney: Art Gallery of New South Wales, 1985), cited in Elizabeth Zuba and William S. Wilson, Ray Johnson’s Art World, ed. Frances F. L. Beatty and Diana Bowers (New York: Richard L. Feigen & Co, 2014), 23.

174. 185 whose factory he visited: On the visit see Warhol in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 34.

175. 185 helped him get: See Elizabeth Zuba and William S. Wilson, Ray Johnson’s Art World, ed. Frances F. L. Beatty and Diana Bowers (New York: Richard L. Feigen & Co, 2014), 23.

176. 185 charming Polaroids: The Polaroids survive in the Warhol archives. The Ray Johnson Estate includes a tender, late-1950s photo that Warhol gave Johnson of Warhol with his friend Ted Carey.

177. 185 Jack Kennedy was killed: Ivan Karp, notes from an inter-view, October 21, 1975, box M88, AWMA.

178. 185 admired each other’s art: The Warhol archives are full of Ray Johnson’s correspondence and art (which are often one and the same thing). Johnson also made several portraits of Warhol over the decades, while also riffing on Warhol’s most iconic pieces—Elizabeth Zuba and William S. Wilson, Ray Johnson’s Art World, ed. Frances F. L. Beatty and Diana Bowers (New York: Richard L. Feigen & Co, 2014), 23.

179. 185 “he was a collage”: Billy Name, in John W. Walter, How to Draw a Bunny, documentary, 2004.

180. 186 Princeton Leader: Warhol’s surrogate Princeton Leader in-cludes Julia-worthy misspellings and even makes the comic substitution of Charles Lisanby’s name for the name of the “local man” in a story headlined “Local Man Completes Apprenticeship as a Plumber, Steam Fitter.” That personal note, and the fact that the front page itself must have come from Lisanby, might make you think that, rather than work-ing toward fine art, Warhol had done his copying for purely private and romantic reasons, with almost voodoo intentions. However, at around the same moment, using exactly the same style, Warhol made an utterly impersonal and unpersonalized copy of a page of ads from the National Enquirer. It must almost certainly have been meant as art, rivaling and even surpassing the budding appropriations of Ray Johnson.

181. 186 copies from the dailies: On the early newspaper works see Molly Donovan, “Where’s Warhol,” in Warhol: Headlines (Washington, D.C.: National Gallery of Art, 2011), 3, 15.

182. 186 “refreshingly different” window: A photo of the shoe win-


248 NOTES

dow, dated August 4, 1955, appeared in the Retail Reporting Bureau’s Views and Reviews with the headline “Refreshingly Different Window (tied in with a similar ad).” A Warhol ad with precisely the same shoe image was published three days later in the New York Times.

Another I. Miller window featured Warhol’s signature pear imagery, which he also used in shoe ads—see Retail Reporting Bureau, Retail Re-porting Bureau, Views and Reviews, January 4, 1956.

183. 186 the latest of their fine art: Warhol had already been ex-posed to Robert Rauschenberg’s earlier, even more radical work at the Betty Parsons, Stable and Egan galleries and also at the Tanager co-op, where Warhol himself had tried and failed to show his homoerotica. See “Exhibition History,” Robert Rauschenberg Foundation, August 29, 2014, https://www.rauschenbergfoundation.org/artist/exhibition-history.

184. 186 a few windows over: Photographs of the works by Rob-ert Rauschenberg and Jasper Johns, in situ at Bonwit’s in January 1956, are reproduced in Kirk Varnedoe, Jasper Johns: A Retrospective (New York: Abrams, 1996), 126.

Other works by both artists—but not apparently by Warhol—also appeared a year later, the week of January 29, 1957, in Bonwit’s “An-nual Young American Artists Window Exhibit.” Rauschenberg showed Victoria, now at the San Francisco Museum of Modern Art, reworked under the new title Collection—see “Robert Rauschenberg, Collection, 1954/1955 SFMOMA,” accessed March 12, 2019, https://www.sfmoma.org/artwork/72.26. The Johns was called Flag on Orange. For both see “The New School Archives: Digital Collections: Corporate Body: Bon-wit Teller & Co,” accessed March 12, 2019, http://digitalarchives.library.newschool.edu/index.php/Detail/org/330001.

Interestingly, the windows once again display dresses by the de-signer Lanz, as they had the year before.

185. 187 “Queen of England”: Frederick Eberstadt, interview by au-thor, May 20, 2016. The kitchen belonged to the fashion designer Tiger Morse.

186. 187 all sorts of notables: Ted Carey, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 95. See also the reference to Warhol’s foot book in Joho Heil to Andy Warhol, April 12, 1961, AWMA.

187. 187 posh gay collector: The collector was Henry McIlhenny. Warhol and a number of friends drove to Philadelphia one Friday in March 1959 for a party at the collector’s house on Rittenhouse Square, and to see previews of the musical Destry Rides Again—Jean-Claude van


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Itallie, interview by author, November 2, 2016. Another visit, under the heading “Cecil Beaton,” is recorded on the July 21 page in Warhol’s 1961 datebook (AWMA).

“Andy wanted to meet Cecil Beaton, who was sleeping here so we went up and Cecil Beaton’s feet were sticking out of the covers. As soon as Andy saw Cecil’s feet he said he simply had to draw them. I said fine, and afterwards, he did my feet”—McIlhenny in Jack Smith, “Oh Henry!,” Philadelphia (March 1987): 100. The Beaton drawing, which includes a rose between the Englishman’s toes, survives in the collection of the Philadelphia Museum of Art.

188. 187 “adorable little Andy”: Cecil Beaton’s greeting, dated Sep-tember 27, 1961, is inscribed in a volume of Beaton’s memoirs (AWMA) newly published at that time.

189. 187 “Andy didn’t know a soul”: Marguerite Lamkin, in Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eber-stadt personal papers.

190. 187 “Southern girl-around-town”: Andy Warhol and Pat Hack-ett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 109.

191. 187 model for Holly Golightly: Cathy Horyn, “If Holly Go-lightly Had Grown Up,” New York Times, April 4, 1999.

192. 187 lover of Greta Garbo: Stephen Holden, “She Wanted to Be Alone, but Not Always,” New York Times, August 21, 1994.

193. 187 Alice B. Toklas: Robert A. Schanke, “Say What You Will about Mercedes de Acosta,” in Staging Desire: Queer Readings of American Theater History, ed. Kim Marra and Robert A. Schanke (Ann Arbor: Uni-versity of Michigan Press, 2002), 81.

194. 187 shortly after they met: The earliest record of Warhol’s con-tact with Mercedes de Acosta seems to be a February 22, 1959, letter from de Acosta conveying her thanks for a copy of Warhol’s 25 Cats Name Sam. Several test covers by Warhol for de Acrosta’s memoir survive in his ar-chives, as well as invitations he designed for a book party that Serendip-ity held for her in the spring of 1960.

195. 187 “Crumpled butterfly by Greta Garbo”: Buddy Radisch, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc.793, Kindle edition. See also a slightly different version of the story given in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 92. The primary source for the story is unknown—it might be Warhol himself, and he could easily have made it up. No such drawing has turned up in this author’s research and


250 NOTES

it’s hard to imagine Warhol discarding it or it going unnoticed to date by Warhol scholars.

196. 188 “to know the right people?”: Gerard Malanga and Andy Warhol, “Andy Warhol Interviewed,” Kulchur 16 (Winter 1964–1965), reprinted in Gerard Malanga, “Andy Warhol Interviewed,” in Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 15.

197. 188 first met at Serendipity: Ted Carey, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 83. Warhol and Carey were introduced by Ted Banks, a lover of Carey’s who knew Warhol from working in window display at I. Miller—see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 130. See also Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 31.

Carey said that he met Warhol in 1957, but it had to have been at the very end of the year, since he mentions that the Serendipity crew had already done work on Warhol’s new second-floor décor—see Carey in Margaret M. Jensen, ed., The Andy Warhol Collection, April 23–May 3, 1988, vol. 1–6 (New York: Sotheby’s, 1988), item #3167. See also Carey in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 86.

198. 188 a photo of Brando: Daniel Arje, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 396. On January 21, 1957, someone signing themselves “Flamingo Flossy” sent Warhol a photo of a blond Brando (TC -24, AWMA).

199. 188 partying with the actor: Dick McFadden to Warhol, De-cember 29, 1955, TC28, AWMA: “Your party with Marlon Brando sounds exciting.” (From the diction, it is impossible to tell if the partying had already happened or was anticipated.)

200. 188 came from money: Ted Carey was the “scion of a limou-sine-for-hire empire”—see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 130.

201. 188 one of Warhol’s tutors: Ted Carey, in Margaret M. Jensen, ed., The Andy Warhol Collection, April 23–May 3, 1988, vol. 1–6 (New York: Sotheby’s, 1988), item #3167.

202. 188 the pair posing: Photos of Warhol and Ted Carey survive in the Warhol archives.

203. 188 cheapskate offer of $150: Alex Katz, interview by author, June 21, 2017.

204. 188 who had reviewed: Fairfield Porter, “New Painters,” Art


NOTES 251

News (May 1954): 64. 205. 188 two portraits: Andy Warhol and Pat Hackett, POPism: The

Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 7.206. 188 appraised at $1,500: See Consolidated Appraisal Company,

appraisal, November 14, 1962, AWMA.207. 188 hadn’t totally bought into the cutting edge: Around the

same time as commissioning his Fairfield Porter portrait, Warhol also had himself portrayed even more conservatively, with a campy vase of lilacs, by the artist Jane Wilson. The painting is now at the Whitney Mu-seum of American Art, and a document confirming its purchase in 1960 survives (AWMA).

208. 188 “You can’t sell your own portrait”: Warhol, in Andy War-hol and David Bourdon, typed notes from a telephone call (October 2, 1971), David Bourdon Papers, II.2, Museum of Modern Art Archives, New York.

209. 189 all sorts of antics: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 136. Guiles says that Carey eventually died from AIDS. See also Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 30.

210. 189 drawing the two men: There’s a story about Cecil Beaton also being a sketch-artist at one of these sessions, with Warhol eagerly looking over his shoulder as he drew the louche action—see Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 31.

211. 189 “he got so hot”: Robert Fleischer (misspelled “Fleisher”), interviewed in Patrick S. Smith, ed., Warhol: Conversations About the Art-ist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 115. Warhol’s bad personal hygiene was confirmed by a friend who shared a room with Warhol in March 1959 and rushed to let in air in the morning because Warhol was giving off a smell “as if his body were decaying”—Jean-Claude van Itallie, interview by author, November 2, 2016.

212. 189 penis propped up on a plate: “Andy Warhol Dessin Éro-tique,” LOT-ART, accessed March 12, 2019, https://www.lot-art.com/auction-lots/Andy-WARHOL-Dessin-erotique-circa-195080/226-andy-warhol_dessin-30.12-tradart.

213. 189 “fascination with Cocteau”: Michael Kahn, interview by author, August 20, 2015.

214. 189 pornographic illustrations: Charles Lisanby, in Patrick


252 NOTES

S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 67n182.

Warhol may even have taken pictures of the pages from the Jean Genet volume, since he gave a friend photos of “pornography which he said was done by Cocteau”—see Bert Green in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 343.

Cocteau had also been given huge play in the first issue of the famous new magazine Flair ( June 1950).

215. 189 the backdrops: Photos of the production survive in the col-lection of Michael Kahn.

216. 190 “superior to those of most campus productions”: Columbia Daily Spectator, May 4, 1959. Another version of the story has the back-drop revealed for the first time at the premiere itself, to the disgust of the assembled academics, and the penises being replaced by roses that very night—Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 32. Press coverage of the play gives no hint of that juicy scandal, however, and the production photos argue against it as well.

217. 190 1,000 Names and Where to Drop Them: The 1,000 Names vol-ume was found in Time Capsule 71 in the Warhol archives.

218. 190 “pleased with himself”: David Bourdon, typed notes (March 2, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution. Bourdon remembered the party as probably happening in 1959, at Nathan Gluck’s place, but in fact it must have hap-pened in December 1958, since the book is already discussed in press from that year and it is unlikely that Warhol would have waited more than 12 months to parade with his new mark of success. Anyway, by June 1959, Esquire magazine had declared 1000 Names to be the most out-of-fashion book of the year.

An even more public sign of Warhol’s rise may have come when his name appeared in the papers in an ad published by Tiffany’s, boasting of him as one of the 14 “famous New York Decorators and Designers” it had corralled for its exhibit of Unusual Table Arrangements—see New York Herald-Tribune, March 8, 1959. Warhol was in the company of Raymond Loewy, pioneer of streamlining, and Gene Moore, celebrity window dresser and once Warhol’s top boss at Bonwit’s.

Another elite store, Bergdorf Goodman, published Warhol’s name as a selling point in an ad it ran in 1960 for stationary decorated with his butterflies. The clipping, securely datable but from an unknown source, was provided to the author by Jay Reeg.


NOTES 253

Warhol’s name is entirely absent, however, from a compendium of successful alumni included in a report on something called the Mellon Fine Arts Project at Carnegie Tech’s College of Fine Arts, Carnegie Mel-lon University Archives. (Contextual evidence dates it to circa 1958.) The report does however mention the success achieved by Warhol’s friends Philip Pearlstein and Leonard Kessler.

219. 190 income of $53,000: That income is listed in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCol-lins, 2009), 48.

220. 190 “How Much Money Do You Want?”: Jonathan Clark, “How Much Money Do You Want,” New York Herald-Tribune, February 15, 1959.

221. 191 “Andy very much liked money”: Ted Carey, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 264.

222. 191 $68,000: Gillian Jagger, interview by author, January 9, 2015. Warhol’s 1960 income is given as $71,000 in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 25. It was $70,000 according to Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 48.

223. 191 “He did not want to be known”: Gillian Jagger, interview by author, January 9, 2015.

CHAPTER 12

1. 193 “photography had really taken over”: Warhol in Benja-min Buchloh, “An Interview with Andy Warhol,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 122.

2. 193 baby blue: Nathan Gluck remembered the house as blue and said it had been blue when purchased in 1960—see Nathan Gluck to Andreas Brown, May 16, 1971, AWMA. That color is confirmed by oth-ers, including Warhol’s nephew James Warhola and Warhol’s dealer Ivan Karp, and by an early 1960s photo in the collection of Donald Warhola.

On the other hand Gerard Malanga remembered the facade as “fla-mingo pink”—see Gerard Malanga, “The Warhol/Yale Lecture,” in Ar-chiving Warhol: Writings & Photographs (Creation Books, 2002), 105. (The lecture was delivered at Yale University on November 10, 1976.) It is just possible that the house was repainted at various times, or that it had been newly stripped to the pink of its stone on some more recent occasion that Malanga saw it before writing his book.

3. 193 $60,000: Closing documents on the property are in the


254 NOTES

Warhol archives, as are bankbooks for a savings account jointly held by Warhol and his mother at Greenwich Savings Bank, which show him withdrawing exactly $18,000 on August 18, 1960, the day he closed on his house, which almost emptied the account.

A series of documents from the fall of 1958 (box B565, AWMA) show Warhol seriously considering the purchase of a vintage rowhouse at 143 Lexington Avenue, not far south of his first Lexington apartment build-ing, and enquiring about another one in Greenwich Village.

For many details on the house he did buy, its neighborhood and its ownership history, see the “The Hardenbergh/ Rhinelander Historic District Designation Report,” 1998, http://s-media.nyc.gov/agencies/lpc/lp/1985.pdf.

4. 193 four stories tall: “Sale on Lexington Avenue,” New York Times, October 8, 1959.

5. 193 made their home: Jed Johnson, interview by David Bour-don, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution. The myna bird is indicated on a floor plan of the house prepared for the author by James Warhola, Warhol’s nephew.

Nathan Gluck and Gerard Malanga also mention the cats at 1342 Lexington.

On the altar see Paul Warhola in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 64.

6. 193 the linens: Nathan Gluck to Andreas Brown, May 16, 1971, AWMA. My descriptions of the interior of 1342 Lexington Avenue are largely based on Gluck’s letter. Gluck and others sources said that the wood paneling had been installed fairly recently, by the psychiatrist who had occupied the house in the 1950s.

Julia’s washing is recalled in Henry Geldzahler, interview by Billy Name, typescript, January 21, 1993, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

7. 193 loading their truck: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), ix.

8. 194 “delightfully cheap” housing: Faye Hammel, The Made-moiselle Career Girl’s Guide to New York (New York: Dial Press, 1962), 84.

9. 194 Mark Rothko: New York City Landmarks Preservation Commission, Expanded Carnegie Hill Historic District Designation Report, December 21, 1993, http://www.nyc.gov/html/lpc/downloads/pdf/reports/CarnegieHill_Expanded_HD.pdf. Rothko also bought a Victo-rian townhouse in Carnegie Hill, also in 1960—see Dore Ashton, About


NOTES 255

Rothko (Da Capo Press, 1996), 187.10. 194 Jim Dine: Jim Dine, interview by author, March 20, 2013.11. 194 John Chamberlain: John Chamberlain, in Peter Rosen, Who

Gets To Call It Art?, documentary, 2006. 12. 194 Al Hirschfeld: Josh Barbanel, “Hirschfeld Home Where

Nina Played Is for Sale,” February 3, 2011, http://www.corcoran.com/nyc/PressMention/Display/11928.

Warhol’s friend the jewelry designer Kenneth Jay Lane said he also lived in the neighborhood and described its modesty at the time—Ken-neth Jay Lane, interview by author, August 13, 2015.

This was also the neighborhood where Truman Capote had sat for the louche author’s photo on his Other Voices, posing just up the street from Warhol’s home in the Victorian parlor of Capote’s gay writer-friend Leo Lerman, a Condé Nast staffer who was known for his cultured soi-rées—see Neil Printz, “Other Voices, Other Rooms: Between Andy War-hol and Truman Capote, 1948–1961” (Ph.D., New York University, 2000), 182.

13. 194 recently been saved: “Realty Associates Sell Two Houses: Drop Plan for Apartments at Lexinton Ave. and 89th St.,” New York Times, February 3, 1949.

14. 194 pay him rent: Keith Haring and Philip Johnson, notes from an interview, n.d., TC509, AWMA.

15. 194 a rooming house: A room at number 1346 is advertised for rent, for men only, in the classified ads of the New York Times, Novem-ber 7, 1961. See also the “The Hardenbergh/ Rhinelander Historic Dis-trict Designation Report,” 1998, http://s-media.nyc.gov/agencies/lpc/lp/1985.pdf.

16. 194 Finast supermarket: A First National Stores supermarket—a.k.a. Finast—is listed at 1343 Lexington Avenue in the January 1962 Man-hattan address directory, and this store is mentioned in Nathan Gluck to Andreas Brown, May 16, 1971, AWMA. The Gristedes supermarket that is often mentioned in connection to Warhol was a few doors north of him, at 1352 Lexington Ave., as listed in the 1961 and 1962 Manhattan telephone directories.

17. 194 the move: Warhol had in fact moved out of his flat on lower Lexington under a cloud. He had refused to let his landlords show his place to new renters, or to replace the toilet tank that he’d broken or the ceiling fixture that must have got lost when he put up the Tiffany one. Throughout his life, Warhol seems to have been allergic to dealing fairly with landlords or many suppliers. Their letters range in tone from exas-


256 NOTES

peration to fury—see the letter from Cumulative Holding Corporation, Warhol’s landlord on lower Lexington, November 16, 1960, AWMA.

18. 194 top editor: “Francis Schroeder, Magazine Editor, 51,” New York Times, December 12, 1952.

19. 194 prominent arts philanthropist: Marshall Carlbom is listed as the buyer in “Manhattan Transfers,” New York Times, April 1, 1954. On Carlbom’s parties in Greenwich Village see Dylan Foley, “An Interview with Photographer Paula Horn Kotis,” The Last Bohemians (blog), Febru-ary 19, 2015, http://lastbohemians.blogspot.com/2015/02/an-interview-with-photographer-paula.html. Carlbom remains in the phonebook at that address through much of the 1960s.

On Carlbom’s backing of a “self-supporting center for the creative and performing arts” see Joseph Morgenstern, “Village Hotel Is Facing Uplift for Art’s Sake,” New York Herald-Tribune, October 21, 1960. See also “Renaissance House,” New York Herald-Tribune, March 9, 1962.

20. 194 Deep Throat: Paul L. Montgomery, “Behaviour in ‘Throat’ Termed Normal,” New York Times, December 30, 1972. See also Sidney E. Zion, “Psychiatrists Get Views of Hippies: Doctors at Forum Appeared Charmed by Panelists,” New York Times, October 20, 1967.

On the psychiatrist, Dr. Edward Hornick, see C. Christian Beels, A Different Story: The Rise of Narrative in Psychotherapy (Phoenix: Zeig, Tucker & Theisen, 2001), 41.

21. 194 doubling his money: “Sale on Lexington Avenue,” New York Times, October 8, 1959. The man who flipped the house is named as John H. Powers in the Times article and then in Warhol’s purchase documents. He bears no relation to Warhol’s later patron and friend John Powers.

22. 195 a feeble attempt to hide: See Nathan Gluck to Andreas Brown, May 16, 1971, AWMA.

23. 195 renting a sander: See receipts from Manhattan Floor Sup-plies, August, 1960, document box 189, AWMA.

24. 195 four-poster bed: On the bed see Edward Bejan and Co. to Andy Warhol, August 29, 1960, TC55, AWMA, where the bed’s price is given as $175. The bed—much cleaned up and restored—was sold in the 1988 Sotheby’s auction of Warhol’s effects, and can be seen in photos of his home at the time.

25. 195 tiger-skin rug: James Warhola, interview by author, May 17, 2017. Such a rug survives in the Warhol archives. Another Warhol nephew was vehement that the rug was made of zebra skin—George Warhola, interview provided to the author by Jesse Best, digital audio, n.d.


NOTES 257

26. 195 glass-walled shower: James Warhola, interview by author, May 17, 2017. Warhola supplied the author with detailed floorplans rep-resenting his memories of the house. The glass shower stall is also visible in photographs taken in April 1964 by Ken Heyman.

27. 195 staged with drawings: See Nathan Gluck to Andreas Brown, May 16, 1971, AWMA.

28. 195 a “Lucy”: Ruth Ansel, interview by author, August 12, 2015.29. 195 “everywhere drawings pads”: See Nathan Gluck to An-

dreas Brown, May 16, 1971, AWMA.30. 195 pair of poodles: James Warhola, interview by author, May

17, 2017.31. 195 most profitable year: Warhol’s 1960 income is given as

$71,000 in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 25. It was $70,000 according to Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 48.

32. 195 continuing hangouts: As late as November 11, 1961, War-hol’s datebook (AWMA) still shows him at Serendipity with Charles Lisanby and Ted Carey.

33. 195 mental breakdown: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2066, Kindle edition.

34. 195 skilled product shots: Both Polaroids and product shots survive in large numbers in the Warhol archives. According to his 1961 datebook (AWMA), Warhol goes to several photography classes at Ed-ward Wallowitch’s in the fall of 1961.

35. 196 out of circulation: An insurance statement dated December 7, 1960 (AWMA) lists Warhol’s reimbursable treatment, including a hos-pitalization, as lasting from July 25 to September 5, 1960. Another set of insurance documents, dated December 6, 1960 (AWMA) show Warhol making a claim for four weeks of lost income because of a “confining illness” that lasted for that same period.

See also Dr. Denton Cox, “Historical and Diagnostic Summary,” December 7, 1960, AWMA. Cox specifies that the warts had appeared in April and that the operation had not cured the problem and had in fact caused more pain than the actual condition had, leaving Warhol reluc-tant to follow Cox’s advice to have further surgery.

Over the years Cox sent Warhol very detailed medical reports, de-scribing all kinds of minor and intimate details of Warhol’s health, but none of them mention the badly disfigured scrotum that Cox told one biographer was a source of great anxiety for Warhol—see Tony Scher-


258 NOTES

man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 200. Two lovers of Warhol’s both denied that Warhol had the problem—see Carlton Willers, interview by author, September 22, 2015; Robert Pincus-Witten, interview by author, June 8, 2017. Other lovers have not reported the condition either, even when giving detailed descriptions of Warhol’s genitalia.

36. 196 reservations about sex: Rudy Franchi said that when he and Warhol slept together in the summer of 1965, attempts to begin anal sex were so awkward and hesitant, on Warhol’s part, that Franchi suggested they simply move on to other sexual techniques—Rudy Franchi, inter-view by author, November 7, 2018.

37. 196 rectal problems: Anusol prescription dated October 18, 1981, TC493, AWMA. See also the large number of non-prescription hemorrhoid remedies in Warhol archives.

38. 196 “coalesced all of the sudden”: Claes Oldenburg, interview by author, March 16, 2013.

39. 196 “new kind of iconograph”: MoMA press release, dated Feb-ruary 17, 1960, for the “New Images of Man” exhibition catalog: https://www.moma.org/momaorg/shared//pdfs/docs/press_archives/2616/re-leases/MOMA_1960_0015_11.pdf, accessed March 8, 2017.

40. 196 a little space: Leo Castelli interviewed by Emile de Anto-nio, in the transcript included with Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

41. 197 sold-out Johns show: Calvin Tomkins, Off the Wall: A Por-trait of Robert Rauschenberg, revised ed. (New York: Picador, 2005), 132.

42. 197 into the MoMA collection: Malcolm Goldstein, Landscape with Figures: A History of Art Dealing in the United States (Oxford and New York: Oxford University Press, 2000), 283.

43. 197 was also hosting: On Castelli’s early shows see David Whit-ney, ed., Leo Castelli: Ten Years (New York: Leo Castelli, 1967).

44. 197 “making it new”: Stuart Preston, “Art: Sixteen Americans,” New York Times, December 16, 1959.

45. 197 “the demon of novelty”: Stuart Preston, “Divisions of To-day: Novelty to New Realism in Current Shows,” New York Times, De-cember 19, 1954.

46. 197 referred to Rauschenberg: Donald Key, “Leader of the ‘Pop Bottle’ School,” Milwaukee Journal, May 29, 1960.

47. 197 savaged by John Canaday: John Canaday, “It Talks Good: Story-Telling Is Taboo, but Painting Today Is an Adjunct to Words,” New


NOTES 259

York Times, March 6, 1960.48. 197 “bothered to involve themselves”: Andy Warhol and Pat

Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 13.

49. 197 “New things are always much better”: Glenn O’Brien, “In-terview: Andy Warhol,” High Times (August 1977): 36.

50. 197 bought Mead’s books: Taylor Mead, in Catherine Johnson, ed., Thank You Andy Warhol (New York: Glitterati, 2012), 63. Warhol asked Mead to autograph his books of poetry the first time they were intro-duced—see Taylor Mead in David Bourdon, “The Factory Decades: An Interview,” Boss (1979): 35.

51. 197 Off-Broadway venues: Warhol had known the Off Broad-way scene from as early as 1954, when his theatrical friends from the 12th Street Players had mounted Jean-Paul Sartre’s The Flies at the Cherry Lane Theater. The show was reviewed in the New York Times, September 10, 1954.

52. 198 “Andy liked anything edgy”: Sylvia Miles, interviewed in Catherine Johnson, ed., Thank You Andy Warhol (New York: Glitterati, 2012), 109.

53. 198 “contemporary art”: Melissa Rachleff, Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 (New York: DelMonico Books, 2017), 126.

54. 198 Warhol collected: See David Bourdon, notes on a studio visit with Warhol (March 7, 1962), David Bourdon papers, Archives of American Art, Smithsonian Institution. Bourdon mentions a pastel by Samaras that Warhol owned; it became lot #1023 in the 1988 Sotheby’s auction of Warhol’s estate—see Margaret M. Jensen, ed., The Andy Warhol Collection, April 23–May 3, 1988, vol. 1–6 (New York: Sotheby’s, 1988).

55. 198 “people think we are kidding”: Panel on “The Human Image in Art,” held December 2, 1959, http://dlib.nyu.edu/findingaids/html/fales/judson/judson.html, accessed April 8, 2017.

56. 198 a Warhol fan: Alan R. Solomon, “Is There a New Theater?” New York Times, June 27, 1965.

57. 198 “He knew it was hot”: Michael Malce, interview by author, November 10, 2016. Warhol’s presence at the Judson and at similarly avant-garde performances organized by the artists Al Hansen and Ste-ven Balkin was confirmed by Steven Balkin, interview by author, June 12, 2018.

58. 198 Warhol witnessed: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 13.


260 NOTES

59. 199 “When he came downtown”: Billy Name, interview by au-thor, July 24, 2014.

60. 199 Oldenburg introduced Warhol: Tony Berlant, in Debo-rah Vankin, “Tony Berlant’s Latest Exhibition Is an Explosion of Color and Texture,” latimes.com, accessed March 12, 2019, https://www.latimes.com/entertainment/arts/la-et-cm-tony-berlant-fast-forward-20181005-story.html.

61. 199 known for a while: Warhol and Carlton Willers had seen Gian Carlo Menotti’s Saint of Bleecker Street in 1954—see the undated 2015 letter from Willers to the author.

62. 199 Warhol was solicited: See the May 12, 1959, payment noti-fication (AWMA) to Warhol from Barbara Horgan of Menotti’s Festival Foundation. The “designs”—described simply as that, and yielding War-hol $100—were for an avant-garde revue called Album Leaves. A June 29, 1959, check stub (AWMA) from the Festival Foundation is marked as a payment for “Sets for opening and closing of Album Leaves” (with no amount indicated) and might refer to an opening and closing curtain or backdrop, since two potential studies for such things seem to survive: See https://artdone.wordpress.com/2013/07/06/warholss/andy-warhol-album-leaves-usa-ca-1959/ and http://www.danielblau.com/fairs/2014/tefaf-2014/attachment/4562-alle-reduziert/, both accessed August 21, 2017.

For details of the many talents enlisted for Album Leaves see the ad in the New York Times, May 10, 1959 (page 4X) which gives the opening night of the festival as June 11. An almost identical ad in the Times, from April 12, 1959, omits Warhol’s name, apparently showing that he was brought on board in the intervening weeks.

Gian Carlo Menotti once told an interviewer that Warhol was one of many talents who were “discovered” in Spoleto when he ran the fes-tival—see Menotti in Daniel B. Wood, “Composer Gian Carlo Menotti: Taking Opera to People,” Christian Science Monitor August 27, 1984. The roster of artists that Menotti attracted to Spoleto is especially impres-sive given that his festival was in bad odor with New York’s avant-garde, having refused to hang Robert Rauschenberg’s epochal Bed when it was shipped in for the festival’s launch—see Emily Genauer, “Wrong U.S. Art Has Spoleto in a Dither,” New York Herald-Tribune, June 15, 1958.

The story of Ben Shahn’s disdain for Warhol is told by Ted Carey in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 84.

63. 199 Introductions and Goodbyes: Elizabeth Lena Smith, “Musi-


NOTES 261

cal Narrative in Three American One-Act Operas with Libretti by Gian Carlo Menotti” (Ph.D., Florida State University, 2005), 90.

The sly text of the opera’s first half consisted of nothing more than the host of a cocktail party welcoming his guests (“Miss Addington-Stitch,” “Dr. Lavender-Gas,” “General Ortega y Guadalupe” and others) and then introducing them around. The second half was just that same host bidding them adieu.

64. 199 laughing too loudly: Gian Carlo Menotti tells the story in Peter Dickinson, ed., Samuel Barber Remembered: A Centenary Tribute, Eastman Studies in Music (Rochester, NY: University of Rochester Press, 2010), 71. Warhol did the cover for the sheet music of a Barber-Menotti collaboration, A Hand of Bridge, when it was published by Schirmer in New York in 1960. Like the Lukas Foss composition, the piece had been commissioned for the Spoleto festival of 1959 and was in fact premiered there—see Barbara B. Heyman, Samuel Barber: A Thematic Catalogue of the Complete Works (Oxford and New York: Oxford University Press, 2012), 372. Note that the Barber-Menotti production was designed by Jac Venza, who was a colleague of Warhol’s in commercial art in New York—see http://www.amadeusonline.net/almanacco?r=&alm_sett=&alm_giorno=&alm_mese=&alm_anno=1959&alm_testo=venza and http://www.litchfieldhistoricalsociety.org/archon/?p=collections/controlcard&id=1064, both accessed February 3, 2017. A petty-cash voucher dated May 13, in a 1959 envelope (TC48, AWMA) is marked “Jac Venza Menotti,” and almost certainly refers to a taxi fare.

65. 199 witty and charming: Two of Warhol’s costume sketches, from Menotti’s own collection and including fabric swatches, were for sale at Sotheby’s auction house in New York on March 9, 2011—see “War-hol, Andy Sketch for Introduction and Goodbyes, the 1960 Opera by Gian Carlo Menotti,” Sotheby’s, accessed March 5, 2019, http://www.sothebys.com/en/auctions/ecatalogue/2011/contemporary-art-n08720/lot.193.html.

When the operetta finally reached New York, in May 1960, it was in a Leonard Bernstein concert without sets or costumes. Jac Venza, who supervised some of the design work for the 1959 festival, explained that the Foss-Menotti operetta had in fact been performed at that earlier festi-val, and he provided substantial details on how he realized Warhol’s de-signs for it—Jac Venza, interview by author, October 17, 2017; Jac Venza, interview by author, August 1, 2018. This corrects several sources and scholars, even some period documents, that have suggested that the Bernstein concert was the operetta’s world premiere—see for instance


262 NOTES

Lukas Foss, Introductions and Good-Byes, a Nine Minute Opera (New York: Fischer, 1961), 3. Foss implies that the production was not mounted in Spoleto, contradicting Nicholas Ivor Martin, The Opera Manual (Lanham, MD: Scarecrow Press, 2014), 9. Martin incorrectly says, however, that Introductions was mounted at the Spoleto Festival in June 1960, while an Italian source claims that the piece had been planned for the 1959 festival but was never actually presented—see www.notitiae.info/2011/06/24/scenografia-spoletina/, accessed February 3, 2017. Other Italian records of the festival lack any reference to the production—see http://opac.sbn.it/opacsbn/opac/iccu/scheda.jsp?bid=IT\ICCU\AQ1\0058696 and http://www.notitiae.info/programmi-spoleto-festival-1958–1967/, both accessed February 3, 2017.

Venza’s testimony would suggest that Festival records held at the College of Charleston also wrongly imply that Introductions had been planned for the 1959 event but had not been presented there or at any point thereafter: The piece is not mentioned in surviving lists of per-formances for 1959 or 1960, or in a commemorative book listing all the programs for the years 1958 to 1982, although Warhol is credited in that book with the design of a piece called Le amiche (“The Girlfriends”), writ-ten by Menotti under a pseudonym, in the Fogli d’album performance for 1961. Those same Festival records do, however, mention Warhol in a March 31, 1960, list of payees and he is then listed as a designer in the annual report for the 1961 Festival. Thanks to Charleston archivist Sam Stewart for his help with those records.

66. 199 to mural size: The lost canvas, which hung in the CBS of-fices in Milwaukee, is reproduced as a Warhol in Lois Wagner Green, Interiors Book of Offices (New York: Whitney Library of Design, 1959), 85. The book was produced by the publishers of Warhol’s long-time client, Interiors magazine. For more details see this author’s “A Newly Discov-ered Warhol Reveals His Modern Roots,” June 15, 2017, https://blakeg-opnik.com/post/161862837923.

Art historian Alex Taylor first discovered the image, in unpublished research for his Ph.D. which he shared with this author. Warhol’s paint-ing is an obvious riff on a famous Ben Shahn that he owned—see the March 26, 1959, receipt from the Downtown Gallery (AWMA) for War-hol’s purchase of Shahn’s Calabanes silkscreen.

67. 199 bookplate for Audrey Hepburn: See “The Editor’s Guest Book,” Harper’s Bazaar (December 1960): 79. The bookplate had not in fact been commissioned by Hepburn herself, but by a friend of hers named Pauline Nesbitt who wanted to give it as a baby gift. Nesbitt


NOTES 263

wrote an October 1, 1960, letter to Warhol (AWMA) saying he’d been recommended to her by Cecil Beaton, and asking for a price that was within her modest budget. If they did reach a deal, the project could barely have been started by the time the December issue of Bazaar was being written, given magazine lead times.

68. 199 eager to make contact: Already in 1955, when Warhol had taken in a Stable Gallery show by his friend Joseph Cornell, one of the art world’s stranger creatures, he had made a point of seeking out Eleanor Ward, the gallery’s famous founder and later Warhol’s own dealer, once he’d moved into Pop Art—see Carlton Willers, undated 2015 letter to the author. The show happened in December 1955 according to “Diversity of Art Listed for Week,” New York Times, December 11, 1955.

69. 199 “flaming queen”: Alfred Leslie, a de Nagy regular, in Mar-tina Kudlacek, Notes on Marie Menken, documentary (Sixpack Film, 2006). The poet Edward Field also discussed Myers as flamboyantly and openly gay—Edward Field, interview by author, May 2, 2016.

70. 199 Frank O’Hara: On Frank O’Hara and homosexual art and artists see Kenneth E. Silver, “Modes of Disclosure: The Construction of Gay Identity and the Rise of Pop Art,” in Hand-Painted Pop: American Art in Transition, 1955–62, ed. Paul Schimmel et al. (Los Angeles: Museum of Contemporary Art/Rizzoli, 1992), 184.

71. 200 never quite returned the admiration: John Giorno, in “Hans Ulrich Obrist Interviews John Giorno,” accessed January 9, 2020, https://www.alminerech.com/file/220/download. On Warhol’s interest in Frank O’Hara see Reva Wolf, Andy Warhol, Poetry, and Gossip in the 1960s (Chicago: University of Chicago Press, 1997).

72. 200 from $75 to $25: John Bernard Myers, Tracking the Marvel-ous: A Life in the New York Art World (New York: Random House, 1983), 123. Larry Rivers mentions Warhol’s “late 50s” purchase of a “Queen of Clubs” in Larry Rivers and Andy Warhol, notes from an interview, Feb-ruary 20, 1975, box M88, AWMA.

73. 200 Jane Wilson: A letter dated April 10, 1979, from the Tibor de Nagy Gallery (misc. box 103, AWMA) confirms the subjects and dates of purchase of a Robert Goodnough nude (bought in 1959) and the Fairfield Porter and Jane Wilson portraits (1960). An entry in Warhol’s 1961 date-book (AWMA) also shows him doing a studio visit with de Nagy artist Irene Rice Pereira, an important abstractionist at the time who moved in the Brooklyn circles of George Klauber’s friends Willard Maas and Marie Menken—see Gerard Malanga and Gunnar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Gerard Malanga (Milan: Skira/


264 NOTES

Astrup Fearnley Museum, 2008), 20.Tibor de Nagy himself remembered Warhol’s purchase of the Por-

ter—see Reva Wolf, Andy Warhol, Poetry, and Gossip in the 1960s (Chicago: University of Chicago Press, 1997), 25n49.

The Wilson portrait was given by Warhol to the Whitney Museum of American Art, and Wilson then contributed her drawings for the painting. Wilson is known to have visited Warhol at his place on lower Lexington—see Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 209. (The claim in Angell seems to be based on a Wilson interview.) The palm fronds in the portrait would also seem to place it in that lower Lexington setting.

74. 200 Hansa Gallery: On the Hansa Gallery and its radicalism see Melissa Rachleff, Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 (New York: DelMonico Books, 2017), 53. Warhol later included Jane Wilson in a collection of his filmed Screen Tests that he called 13 Most Beautiful Women.

75. 200 “a terrible little man”: Timothy Hennessy, in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 58.

76. 200 a daring first move: Transcript of Emile de Antonio inter-viewing Leo Castelli, included with Emile De Antonio, Emile De Anto-nio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

The same year Warhol paid for portraits by them, Jane Wilson and Fairfield Porter both entered the MoMA collection as part of its new move back toward the figure—see Alfred H. Barr, Jr., “Painting and Sculpture Acquisitions,” The Museum of Modern Art Bulletin 28, no. 2/4 (1961): 4.

77. 200 his art collection stank: David Bourdon, typed notes (March 2, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

78. 200 “window trimmer”: David Bourdon, “The Factory De-cades: An Interview,” Boss, 1979, 34.

79. 200 didn’t know him: Ivan Karp, oral history, March 12, 1969, Archives of American Art, Smithsonian Institution.

80. 201 more detailed version: Ted Carey, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 95.

81. 201 $200 down: The Lightbulb purchase is recorded in a Febru-ary 24, 1961, statement from Leo Castelli to Warhol (AWMA) marked “paid 3/10/61.” Strangely, another statement (AWMA) records it as still


NOTES 265

unpaid on May 8, 1961.At Castelli, Warhol also bought a couple of excellent (but cheap) lith-

ographs of the iconic Johns Flag and Target, bravely choosing Johns at his most daring and conceptual.

82. 201 Roberto Matta: A receipt from the Bodley Gallery (AWMA) records the December 12, 1960, purchase of the Matta, titled Demonstra-tion, and also the 14 months Warhol took to pay for it. Interestingly, that Matta is not included in Consolidated Appraisal Company, appraisal, No-vember 14, 1962, AWMA. (Although it could be the Matta listed there as Futura and as worth $1,500.)

83. 201 Emile de Antonio: By the fall of 1961, Warhol’s datebook (AWMA) shows him dining with Emile de Antonio several times a week.

84. 201 through Tina Fredericks: Emile De Antonio, “My Brush with Painting,” in Emile de Antonio: A Reader, ed. Douglas Kellner and Dan Streible, Visible Evidence, v. 8 (Minneapolis: University of Minne-sota Press, 2000), 272. See also De Antonio’s account of his relationship with Tina Fredericks in Bruce Jackson, Emile de Antonio in Buffalo (Buf-falo: Center for Studies in American Culture, 2003), 20.

85. 201 “superintelligent white rabbit”: Emile De Antonio, “Marx and Warhol” (typescript, November 20, 1976), TC136, AWMA.

86. 201 wealthy Italian physician: Bruce Jackson, Emile de Antonio in Buffalo (Buffalo: Center for Studies in American Culture, 2003), 29, 97.

87. 201 immigrant roots: Randolph Lewis, Emile de Antonio: Radical Filmmaker in Cold War America (Madison: University of Wisconsin Press, 2000), 11.

88. 201 atheist: On his atheism and monocle see Emile De Antonio, Mr. Hoover and I, documentary, 1989.

89. 201 army-surplus dealer: Emile De Antonio, in Bruce Jackson, Emile de Antonio in Buffalo (Buffalo: Center for Studies in American Cul-ture, 2003), 21.

90. 201 college professor and opera translator: Hendrik Hertz-berg, “Silhouette: Emile de Antonio,” The Harvard Crimson, February 25, 1964.

On de Antonio as a translator see Bruce A. Folkart, “E. de Antonio, Documentary Film Maker,” Los Angeles Times, December 22, 1989, http://articles.latimes.com/1989-12-22/news/mn-541_1_film-documentaries. See also Douglas Kellner, Dan Streible, and Dan Streible, eds., Emile de Antonio: A Reader, Visible Evidence, v. 8 (Minneapolis: University of Min-nesota Press, 2000), 7.

Despite being mentioned in several sources, De Antonio’s Air Force


266 NOTES

missions may be apocryphal: He failed to graduate from Air Force of-ficer training according to Randolph Lewis, Emile de Antonio: Radical Filmmaker in Cold War America (Madison: University of Wisconsin Press, 2000), 15. De Antonio’s eagerness to spread tall tales about himself may have been an influence on Warhol’s desire to do the same.

91. 201 “Rabelaisian taste”: Hendrik Hertzberg, “Silhouette: Emile de Antonio,” The Harvard Crimson, February 25, 1964.

92. 202 “I never drink water”: Emile De Antonio, in Bruce Jackson, Emile de Antonio in Buffalo (Buffalo: Center for Studies in American Cul-ture, 2003), 30.

93. 202 dinner parties: See the February 25, 1977, entry in the jour-nals of Emile de Antonio, Tina Fredericks’s sometimes partner, in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Doug-las Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

94. 202 around the corner: Emile De Antonio, “Marx and Warhol” (typescript, November 20, 1976), TC136, AWMA. De Antonio’s address was 64 East Eighty-Sixth Street, as per his November 8, 1962, note to Warhol, inserted into Warhol’s 1962 datebook (AWMA).

95. 202 “Andy did a beautiful menu”: Emile De Antonio, notes from an interview, September 13, 1976, box M88, AWMA.

96. 202 self-described hustler: Emile De Antonio, Mr. Hoover and I, documentary, 1989. On his shady business deals see Bruce Jackson, Emile de Antonio in Buffalo (Buffalo: Center for Studies in American Culture, 2003), 21.

97. 202 not for the profit: Emile De Antonio, notes from an inter-view, September 13, 1976, box M88, AWMA. De Antonio also represented the leading photographer Richard Rutledge—Ruth Ansel, interview by author, August 12, 2015. Rutledge had been a friend of Warhol’s at least since the mid-1950s, when Warhol included his name in one of the faux fences that he did for Bonwit Teller’s perfume windows. Documents in the Warhol archives also attest to the friendship.

98. 202 to keep his favorite avant-gardists from starving: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 145.

99. 202 for showers: Emile De Antonio, notes from an interview, September 13, 1976, box M88, AWMA.

100. 202 “before they ever sold a painting”: Emile de Antonio, in Frank Morrow, Alternative Views: The de Antonio Legacy, documentary (Alternative Information Network, 1993), http://archive.org/details/AV_492_493_494_495-THE_de_ANTONIO_LEGACY.


NOTES 267

101. 202 “color consulting”: Emile de Antonio to Mitch Tuchman, January 22, 1981, Mitch Tuchman papers related to the book Painters Painting, Archives of American Art, Smithsonian Institution. The cin-ema was called the Azteca and was at 1492 Madison Avenue, at 102nd Street. See Emile de Antonio to Henry Rosenberg, August 21, 1961, AWMA, where Rosenberg is billed for $450 on Warhol’s behalf.

102. 202 friend of de Antonio: See the July 12, 1977, entry in the journals of Emile de Antonio, included with Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM. On Rosenberg’s initial ownership of the lease on the New Yorker theater see Tony Talbot, The New Yorker Theater and Other Scenes from a Life at the Movies (New York: Columbia University Press, 2009), 144.

103. 202 ideas on how to fix it: Emile De Antonio, notes from an interview, September 13, 1976, box M88, AWMA.

104. 202 “paint it Puerto Rican”: Emile de Antonio to Mitch Tuch-man, January 22, 1981, Mitch Tuchman papers related to the book Paint-ers Painting, Archives of American Art, Smithsonian Institution. De Antonio, wanting to minimize his business as an artist’s agent, specifies that the Azteca consulting was his “only transaction” with Warhol, then immediately mentions getting him the Brasserie work. Furthermore, in de Antonio’s August 21, 1961, letter to Henry Rosenberg (AWMA) he mentions Rosenberg having charged sales tax “last time,” and an April 26, 1961, invoice from de Antonio to Rosenberg (document box 192, AWMA) bills $350 for Warhol’s decorative work on the Tivoli theater, of which de Antonio claims 25% as his commission. The Tivoli became infamous in December 1963 for succumbing to pressure from the civic authorities and refusing to screen Jack Smith’s Flaming Creatures—see Gary Comenas, “Jack Smith,” Warholstars (blog), 2015, http://www.war-holstars.org/jack_smith.html.

105. 202 friendly with the Abstract Expressionists: Emile de Anto-nio, in Frank Morrow, Alternative Views: The de Antonio Legacy, documen-tary (Alternative Information Network, 1993), http://archive.org/details/AV_492_493_494_495-THE_de_ANTONIO_LEGACY.

106. 202 Pull My Daisy: Emile De Antonio, notes from an interview, September 13, 1976, box M88, AWMA. See also Randolph Lewis, Emile de Antonio: Radical Filmmaker in Cold War America (Madison: University of Wisconsin Press, 2000), 26.

107. 202 designing a set of titles: The art director Ruth Ansel collab-orated with Warhol on the failed “anti-design” titles for Pull My Daisy—


268 NOTES

see Ansel’s August 12, 2015, e-mail to the author.108. 202 close to John Cage: Emile De Antonio, notes from an in-

terview, September 13, 1976, box M88, AWMA. See also de Antonio in Frank Morrow, Alternative Views: The de Antonio Legacy, documentary (Alternative Information Network, 1993), http://archive.org/details/AV_492_493_494_495-THE_de_ANTONIO_LEGACY. De Antonio’s first, 1955 encounter with Jasper Johns and Robert Rauschenberg is nar-rated in Emile De Antonio, Painters Painting: A Candid History of the Mod-ern Art Scene, 1940–1970, ed. Mitch Tuchman (New York: Abbeville Press, 1984), 18.

The three went so far as to start a company that promoted John Cage’s famous Town Hall “retrospective” in New York in April 1958.

109. 202 “My first big break”: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 34.

110. 203 with Frank Stella: Emile De Antonio, notes from an inter-view, September 13, 1976, box M88, AWMA.

111. 203 Benjamin Moore canvases: William Rubin, Frank Stella (New York: Museum of Modern Art, 1970), 157.

112. 203 “to keep the paint as good”: Frank Stella, in Gregory Battcock, ed., Minimal Art: A Critical Anthology (Berkeley: University of California Press, 1995), 157.

113. 203 “Sherman Williams”: See William Kronick, A Bowl of Cher-ries, short film, 1960.

114. 203 in Jasper Johns’s flags: Leo Castelli, in Annie Cohen-Solal, Leo and His Circle: The Life of Leo Castelli (New York: Knopf, 2010), 261.

115. 203 he paid Stella: A decade later, Warhol gifted his Frank Stella paintings to the Brooklyn Museum, where they now live. One of the paintings is inscribed “May ’61”—see the image of its back held in the Warhol archives and Lawrence Rubin, Frank Stella: Paintings 1958 to 1965, a Catalogue Raisonné (New York: Stewart, Tabori and Chang, 1986), 140. Warhol’s datebook page for May 9, 1961 (AWMA) records a visit to Stella, while the Warhol catalogue raisonné (vol. 1, p. 50) says that cancelled checks date the acquisition to that same month. Brooklyn museum re-cords of a 1973 query to Stella indicate, however, that the painter believed that Warhol had actually commissioned his miniature Stellas in the sum-mer of 1962, after the original, full-size series was shown in November 1961 at Galerie Lawrence in Paris. (Susan Fischer, Director of Collec-tions at the Brooklyn Museum, April 21, 2017, e-mail to the author.) Sid-ney Guberman implies a similar date, soon after Stella’s show of copper paintings at Castelli in May 1962—Sidney Guberman, Frank Stella: An


NOTES 269

Illustrated Biography (New York: Rizzoli, 1995), 73.A single miniature from the same series as Warhol’s was already

inscribed by Stella to Tina Fredericks, de Antonio’s girlfriend at the time, on March 18, 1961. (It was sold at Sotheby’s auction house in New York on November 11, 2015.) Other miniatures of the Benjamin Moores have also been sold, including a full series much like Warhol’s, and all are dated 1961, most right on the pictures themselves. De Antonio remembered the Stella purchase as dating to “maybe” 1960, and to a time before War-hol himself had started to paint seriously, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 188.

116. 203 “what the game is about”: Emile de Antonio, in Frank Morrow, Alternative Views: The de Antonio Legacy, documentary (Al-ternative Information Network, 1993), http://archive.org/details/AV_492_493_494_495-THE_de_ANTONIO_LEGACY.

117. 203 gave de Antonio credit: Unpublished transcript of Emile de Antonio’s 1969 interview with Warhol for his documentary Painters Painting, Emile de Antonio Papers, Wisconsin Center for Film and The-ater Research.

118. 203 first underground screening: Andy Warhol, notes from an interview, August 23, 1976, box M88, AWMA. Warhol, speaking from Union Square, said the screening he went to took place “right up the street from here”—almost certainly a reference to Mekas’s loft at 414 Park Ave. South.

119. 203 “art training from”: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 148.

120. 203 one of his friend’s typical rewritings: Unpublished tran-script of Emile de Antonio’s 1969 interview with Warhol for his docu-mentary Painters Painting, Emile de Antonio Papers, Wisconsin Center for Film and Theater Research.

121. 203 “going out of business”: Warhol, in Benjamin Buchloh, “An Interview with Andy Warhol,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 122.

122. 203 witnessed the rise: See Warhol in Donna De Salvo, “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol (New York and Pittsburgh: Grey Art Gallery and Carnegie Museum of Art, 1989), 17. He mentions the photography of Cecil Beaton and Horst P. Horst. Rutledge crops up as a friend in many documents in the Warhol archives.


270 NOTES

123. 204 Illustrations had outnumbered photographs: 208 illustra-tions and 125 photographs are included in the 31st Annual of National Ad-vertising and Editorial Art (New York: Pellegrine & Cudahy/Art Directors Club of New York, 1952).

A similar if less drastic shift toward photography can be seen in the reviews of the Art Directors Club show published in Graphis magazine, which was founded to stimulate the graphic arts: In issue 64, in March 1956, Graphis reproduces 29 illustrations and only eight photographs, but by issue 93, in January 1961, 31 illustrations are paired with 19 photos.

124. 204 faster and cheaper to get: Ruth Ansel, interview by author, August 12, 2015. Ansel came on board at Harper’s Bazaar in 1961 under Marvin Israel, famous for his use of the most daring photos.

125. 204 Paul Rand: Steven Heller, Paul Rand (London: Phaidon, 1999), 70. Rand’s partner was named Bill Bernbach and often gets de-scribed as the founder of the “creative revolution” in 1960s advertising.

126. 204 “just did not have the impact”: Frank Zachary, in Steven Heller, Paul Rand (London: Phaidon, 1999), 75.

127. 204 “fairy style”: Warhol, in Andy Warhol and Samuel Adams Green, recorded telephone conversation, n.d., Samuel Adams Green pa-pers, Beinecke Rare Book and Manuscript Library, Yale University.

128. 204 “too fey”: See Paul Maréchal, Les Imprimés éphémères de Andy Warhol (Lyon: Musée de l’imprimerie et de la communication graphique, 2018), 38. Warhol himself was enlisted in digging drawing’s grave. In the summer of 1959, the booming McCall’s magazine was in the midst of a giant advertising campaign touting its new photographic look to readers of the New York Times. That redesign had ended Warhol’s once-frequent presence in the magazine’s own pages, but an agency nevertheless com-missioned him to work on one of the Times ads. The brief Warhol was given was meager, almost humiliating: To help promote an issue with a cover photo by his long-time rival Dick Avedon by collaging that cover into a Warhol drawing. Hard to think of anything more galling to the thin-skinned Warhol than once again playing second-fiddle to Avedon—unless it were the fact that in the end his sketches for the project got dumped in favor of a purely photographic treatment. Slides of Warhol’s sketches, and details on the commission, survive in the estate of adver-tising executive Nat Danar—David Danar, his son, in a March 30, 2016, e-mail to The Andy Warhol Museum. An ad featuring the same Avedon cover, with no contribution from Warhol, ran in the New York Times on June 25, 1959. The Danar slide mounts are stamped November 1959, how-ever, so it is possible that Warhol was using the July cover by Avedon as


NOTES 271

a generic example of an issue of McCall’s—or that the slides were shot some months after the original commission. A thorough search of Mc-Call’s ads in the Times did not turn up any by Warhol.

129. 204 one thousand flyers: See the January 17, 1959, invoice (AWMA) from Record Printing and Offset, Warhol’s usual printer. It specifies that the one thousand items were printed in orange on 11" by 29" tissue paper, which perfectly matches Warhol’s well-known tattooed woman print.

Note that a tattooed lady figured prominently in an absurdist play called The Ticklish Acrobat which had made a bit of a splash when it ran Off Broadway earlier in the 1950s.

130. 205 signed a new agreement: Fritzie Miller to Warhol, July 1, 1959, TC55, AWMA.

131. 205 “built himself a darkroom”: Michelle Bogre, “Q & A: Andy Warhol,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 316–17, Kindle edition. The date of Warhol’s darkroom is unclear in Bogre, but Warhol situates it at the moment when photography was taking over from illustration.

132. 205 “The New Beauty”: The Dow Chemicals project gets a list-ing in the 1961 Art Directors Club annual, which would have been look-ing back at the previous year.

Clippings and other records survive of Warhol’s illustrations for the Dobeckmun Company, which merged with Dow Chemicals in 1957—see “Dobeckmun Merger Backed,” New York Times, August 31, 1958.

133. 205 $71,000: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 25.

134. 205 under $60,000: His bank deposits for that year come to $59,745.69, an income confirmed by totaling his invoices for that year (AWMA) which seem to survive almost complete.

135. 205 “Andy was not turning down”: Nathan Gluck, oral his-tory, audiocassette, December 7, 1992, AWMA. Gluck is referring espe-cially to the fussy, technical illustrations Warhol was paid—too little—to do for Amy Vanderbilt, Amy Vanderbilt’s Complete Cookbook (New York: Doubleday, 1961). In desperation, Warhol handed the assignment over to his friend Ted Carey—see Gluck in Mark Allen, “A Conversation with Nathan Gluck,” accessed December 4, 2019, http://www.markallencam.com/nathangluck.html.

136. 205 “pay for art we have not used”: Peter Palazzo to Andy War-hol, April 9, 1957, AWMA. Palazzo is referring to a new arrangement that would take force in November of that year.


272 NOTES

137. 205 a rival illustrator: The great illustrator and graphic de-signer Bob Gill said that for a little while he and Warhol did I. Miller ads in alternate weeks—Bob Gill, interview by author, September 27, 2016. One of the Gill illustrations for I. Miller was included as item number 353 in the 1959 Art Directors Club annual. I. Miller entries in the 1961 Art Director’s Club annual include a photograph by “Horn/Griner”; the previous year’s A.D.C. annual had an I. Miller photo by Bert Stern.

138. 205 a flagship store: “New Shoe Store Has Striking Decor,” New York Times, March 18, 1962. The décor was pointed out to me by the late Warhol archivist Matt Wrbican, from a photo in Annie Cohen-Solal, ed., New York Mid-Century 1945–1965: Art, Architecture, Design, Dance, Theater, Nightlife (New York: Vendome Press, 2014), 198. The architect of the inte-rior was Victor Lundy.

139. 205 called into the office and sacked: Robert Fabian, interview by David Bourdon, typed notes, October 29, 1987, David Bourdon pa-pers, Archives of American Art, Smithsonian Institution. Fabian, Peter Palazzo’s successor, was a fan of illustration and said he was made to fire Warhol against his will, and then soon left the company himself.

Warhol’s supporters at I. Miller, Geraldine Stutz and Palazzo, had al-ready left the company in 1957 and 1958, respectively, around the time the fixed contract with Warhol ended—see Cynthia Kellog, “Young Woman Store President Picks Shades of Beige for Home,” New York Times, No-vember 15, 1957. See also Peter Palazzo, I. Miller art director, interview by David Bourdon, typed notes, January 11, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

140. 205 “upset when they let him go”: Nathan Gluck to David Bourdon, n.d., David Bourdon papers, Archives of American Art, Smith-sonian Institution.

141. 205 “show my work with galleries”: Warhol, in Paul Taylor, “Andy Warhol’s Final Interview,” accessed December 12, 2019, https://warholstars.org/andy-warhol-last-interview-2.html.

142. 205 Pollock’s best sale: Calvin Tomkins, Off the Wall: A Portrait of Robert Rauschenberg, revised ed. (New York: Picador, 2005), 55.

143. 205 “grabbing for air”: James Rosenquist and David Dalton, Painting Below Zero: Notes on a Life in Art (New York: Knopf, 2009), 84.

144. 205 “go into art as a career”: Larry Rivers, in Calvin Tomkins, “The Art World,” The New Yorker (May 5, 1980): 114.

145. 206 “it’s a good living!”: Willem de Kooning quoted in Larry Rivers, “A Place to Go Friday Nights, to See and Be Seen,” New York Times, October 25, 1992.


NOTES 273

146. 206 netted $150,000: Calvin Tomkins, Off the Wall: A Portrait of Robert Rauschenberg, revised ed. (New York: Picador, 2005), 151.

147. 206 “shoved in front of everybody”: Anonymous contributor to the December 2, 1959, Judson Church panel on “The Human Image in Art,” http://dlib.nyu.edu/findingaids/html/fales/judson/judson.html, accessed April 8, 2017.

148. 206 American art “boom”: At the very moment when Warhol was paying off his Jasper Johns Lightbulb—and losing his I. Miller work—the art critic of the New York Times wrote a satirical piece claiming that, because the world of contemporary art had reached such a frenzied pitch of making and selling, a total moratorium on both was the only thing that could save it. “Penalties would have to be heavy, so heavy that only artists with a true calling, willing to return to the grand old romantic tradition of the artist as rebel against society, would dare risk them by working in secret”—see John Canaday, “Perhaps Drastic: A Moratorium on Art Might Be Nice for a While, but Could Be Dangerous,” New York Times, September 4, 1960.

149. 206 “when suddenly it begins”: John Bernard Myers, in Les Levine, “Suffer, Suffer, Suffer: A Portrait of John Bernard Myers,” Arts Magazine (April 1974): 39.

150. 206 “artist finally make a buck”: James Rosenquist, in James Rosenquist and David Dalton, Painting Below Zero: Notes on a Life in Art (New York: Knopf, 2009), 75. The car was bought jointly by Jasper Johns and Robert Rauschenberg—see Calvin Tomkins, Off the Wall: A Portrait of Robert Rauschenberg, revised ed. (New York: Picador, 2005), 170. It is mentioned as having been recently acquired by the pair in Donald Key, “Leader of the ‘Pop Bottle’ School,” Milwaukee Journal, May 29, 1960.

Another memory of Johns and Rauschenberg: “As we peeled into the sixties they had huge reputations. I heard they had been very poor, and now they had Jags and maids and white suits and they owned big build-ings”—Jill Johnston, Mother Bound (New York: Knopf, 1983), 144.

151. 206 “very good, nice, new teeth”: Eleanor Ward, in Les Levine, “The Golden Years: A Portrait of Eleanor Ward,” Arts Magazine (April 1974): 42.

152. 206 “acquisitive society”: Dorothy Gees Seckler, “The Artist in America: In the Movies,” Art in America (Spring 1962): 59.

153. 206 One of the films: William Kronick, A Bowl of Cherries, short film, 1960.

154. 206 Both were being collected: See David Bourdon, notes on a studio visit with Warhol (March 7, 1962), David Bourdon papers, Ar-


274 NOTES

chives of American Art, Smithsonian Institution.155. 207 Johns’s most important and ambitious canvases: Leo Cas-

telli interviewed by Emile de Antonio, in the transcript with Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Doug-las Kellner (Irvington, NY: Voyager, 1996), CD-ROM. Castelli says that Johns’s great Flag was originally priced at $2,000.

156. 207 “It’s happening here”: Warhol, quoted in Robert Fabian, interview by David Bourdon, typed notes, October 29, 1987, David Bour-don papers, Archives of American Art, Smithsonian Institution. Or as Warhol remembered much later: “Galleries from the ’40s were getting bigger in the ’50s and by the ’60s they became a business. They needed people to fill up space”—“JM Interviews Andy Warhol,” Jordan Marsh Magazine (1983): 64. Warhol may have understood this already back when he decided to help with the filling.

157. 207 transition from lowly shoe illustrator: Even the critic and editor John Coplans, a major supporter of Warhol’s, imagined that he started out as a Pop artist without background in art or previous exhibi-tions—see John Coplans, “The Early Work of Andy Warhol,” Artforum (March 1970).

158. 207 giving up illustration: Warhol, quoted by Art Elias in Pat-rick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., North-western University, 1982), 537.

159. 207 “ego is on the line”: Emile De Antonio, notes from an inter-view, September 13, 1976, box M88, AWMA.

CHAPTER 13

1. 209 “it’s soup”: Bennett Cerf, “Bennett Cerf ’s Cerfboard: We’re in the Soup,” Syracuse Post Standard, April 3, 1960.

2. 209 recently bought out: “Gunther Jaeckel A Store of the Past,” New York Times, April 16, 1959. See also “Hoving Acquires Gunther Jaeckel: 57th St. Fur Store Joins Group Including Tiffany and Bonwit Teller,” New York Times, March 18, 1959.

The photo of Warhol’s window in the Retail Reporting Bureau’s Views and Reviews for May 2, 1961, specifies that it is at Gunther Jaeckel. That Warhol’s display was in the Gunther Jaeckel window, not next door at Bonwit Teller’s as is usually said, is further confirmed by a photo in Lester Gaba, The Art of Window Display (1952), np, that shows a window identified as belonging to Gunther Jaeckel and that has the same pecu-liar vertical beams seen in photos of Warhol’s display. Gaba was still dis-tinguishing between the two stores’ windows a very few weeks after


NOTES 275

Warhol had done his comic-book display—see “Lester Gaba Looks at Display,” Women’s Wear Daily, June 20, 1961.

Warhol’s friend Ted Carey also mentioned the paintings having been in the Gunther Jaeckel window, and saw that as a less prestigious venue than those at Bonwit Teller—see Carey in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Ar-bor: UMI Research Press, 1988), 89. According to one Bonwit’s window dresser, its Fifth Avenue windows, around the corner from the old Gun-ther Jaeckel ones on Fifty-Seventh Street, were widely considered the best in the city—Andrew Sherwood, interviews by author, April 17 and November 5, 2018.

3. 209 a Lois Lane comic: The comic book—clearly chosen to speak to a female audience—was Superman’s Girl Friend Lois Lane (April 1961), cited in Anthony E. Grudin, Warhol’s Working Class: Pop Art and Egalitarianism (Chicago: University of Chicago Press, 2017), 56. It was the third best-selling comic book in the U.S.—see http://www.comichron.com/yearlycomicssales/1960s/1961.html, accessed April 29, 2018.

4. 209 behind the multicolored florals: The exact arrangement of the display can be made out in Nathan Gluck’s frontal photograph, the Nathan Gluck estate, Luis De Jesus Los Angeles gallery.

The store’s normal procedure for its most ambitious windows in-volved commissioning their props from outside talent six months to a year before the window was needed. Given that the choice of merchan-dise for display in the windows was only made by the store’s buyers a week or so before the display was unveiled, there was often a notice-able mismatch between goods and props. Since the comics copied by Warhol were published shortly before his window was dressed, some other procedure must have been followed on that occasion—a fact also supported by the very close match between Warhol’s paintings and the goods displayed with them, as was the case also with a slightly later War-hol window which paired a Warhol painting of flowers with a closely matched floral dress, seen in Retail Reporting Bureau, Views and Reviews, November 4, 1961.

Although Gene Moore was in charge of the entire Bonwit Teller dis-play program, Warhol’s Gunther Jaeckel window was under the direct supervision of Clint Hamilton, the partner of Warhol’s assistant Nathan Gluck—see Gluck in Mark Allen, “A Conversation with Nathan Gluck,” accessed December 4, 2019, http://www.markallencam.com/nathan-gluck.html. Since those side windows were almost never given the bud-get to hire outside talent, Warhol’s commission seems to have been the


276 NOTES

product of special circumstances and procedures—Andrew Sherwood, interviewed April 17 and November 5, 2018. Sherwood was a window dresser at Bonwit’s from September 1961 to November 1964: He supplied details on the store’s normal procedures but had not quite begun work yet when Warhol’s Pop window was dressed.

5. 209 “CARTOONS GALORE”: Retail Reporting Bureau, Views and Reviews, May 2, 1961.

6. 210 “advertising paintings”: Warhol, in an unsourced quote in Andy Warhol, Andy Warhol in His Own Words, ed. Mike Wrenn (London: Omnibus Press, 1993), 8.

A very similar quote of Warhol’s appeared in “Andy Warhol,” Lip-stick, 1979, 21.

It’s no wonder Warhol would have remembered the window as at Bonwit’s rather than the neighboring one at the Bonwit-owned Gunther Jaeckel: After I. Miller had dropped him, Bonwit Teller became one of Warhol’s very biggest clients, hiring him to do vast numbers of its shoe ads in any number of publications. An entire box in the Warhol archives is filled with financial records of those ads from the years 1961 and 1962.

7. 210 “pictures for the window”: Warhol, in transcripts included with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

8. 210 “were just window art”: Warhol, in Leon Rosenblatt, “What Makes Andy Warhol so Great,” Miami Herald, September 7, 1980.

9. 210 advertising before they were elevated: Also on the transi-tion from window display to Pop Art see “JM Interviews Andy Warhol,” Jordan Marsh Magazine (1983): 64. “We were taking work out of the win-dows and putting it in the galleries,” Warhol said. “That’s how it hap-pened. I mean, the windows were the best thing.”

“I was so involved with commercial art work,” Warhol said on an-other occasion, “I thought I would take some of the commercial things that I was doing and just putting it on canvas”—Andy Warhol, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Ar-chives of American Art, Smithsonian Institution.

Although the April 1961 windows were not at all a move away from the commercial, aesthetically they were undoubtedly a move on and up from Warhol’s earlier, more cutesy window work: Just the previous summer he’d done eight now-lost Bonwit windows “on sheep”—see the September 28, 1960, invoice (document box 182, AWMA) from Warhol to Gene Moore.

10. 210 “Bonwiteen” shop: “Shop Talk: Things Are Looking up for Teen Set,” New York Times, May 12, 1959. See also “Gunther Jaeckel A Store


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of the Past,” New York Times, April 16, 1959. The article mentions how the ground floor of Bonwit’s newly-acquired neighbor had been repurposed for teen fashions, a fact repeated in an article by Warhol’s friend Eugenia Sheppard, “Walter Hoving Plans,” New York Herald-Tribune, April 16, 1959.

The teen fashions were eventually moved up to the ninth floor, a “concentration and expansion” meant to establish a dedicated “young people’s floor”—see “Bonwit’s Slates Relocation of Many Sections,” Wom-en’s Wear Daily, May 24, 1960, 12. The commissioning of Warhol’s props, not a normal expense for a window on Fifty-Seventh Street, may have been intended to remind passing youngsters of the continued presence of this merchandize on that new teen floor higher up in the store.

11. 210 “dramatic new bag”: “Bonwit-Teller Opens ‘Dramatic’ Ex-panded Department Monday,” Women’s Wear Daily, October 7, 1960.

12. 210 “stockmen eye cattle”: Joan Cook, “Teen-Age Fashions Represent a Major Business Today,” New York Times, July 6, 1959.

13. 210 “their mothers”: “Shop Talk: Things Are Looking up for Teen Set,” New York Times, May 12, 1959.

14. 210 appeal to such an adolescent crowd: Another display in the same set of windows, which must have come just before or possibly just after Warhol’s, was even more youthful and garish, with a swimsuit scene done up entirely in shades of orange and pink—see Retail Report-ing Bureau, Views and Reviews, May 1, 1961.

15. 210 rarely notice: But see Kelly M. Cresap, Pop Trickster Fool: Warhol Performs Naivete (Urbana: University of Illinois Press, 2004). Cre-sap touches on Warhol and faux-childishness.

16. 210 “young American clothes”: See the credit scroll in the fore-ground of the one extant photo of the window, in the Warhol archives.

17. 210 “for those who think young”: See Arthur Danto, “Andy Warhol’s Before and After,” in Andy Warhol: The Early Sixties, ed. Bern-hard Mendes Burgi (Ostfildern: Hatje Cantz, 2010), 24.

18. 210 read by 90 percent: Anthony E. Grudin, Warhol’s Working Class: Pop Art and Egalitarianism (Chicago: University of Chicago Press, 2017), 50.

19. 210 after-school TV: Anthony E. Grudin, Warhol’s Working Class: Pop Art and Egalitarianism (Chicago: University of Chicago Press, 2017), 51.

20. 210 “bobby soxers”: Max Kozloff, writing in Art International in 1962, quoted in Calvin Tomkins, Off the Wall: A Portrait of Robert Rauschen-berg, revised ed. (New York: Picador, 2005), 153.

21. 210 teenage culture of Pop Art: Lucy R. Lippard, “New York


278 NOTES

Pop,” in Pop Art, ed. Lucy R. Lippard (New York: Praeger, 1966), 10.22. 211 “changing my image”: Warhol, in Dick Schaap, “Index to

the World of Andy Warhol,” a December 10, 1967, clipping from an un-identified newspaper, Grove Press Records, Syracuse University Librar-ies.

23. 211 “gay, window dresser”: Arthur Danto, “Andy Warhol’s Be-fore and After,” in Andy Warhol: The Early Sixties, ed. Bernhard Mendes Burgi (Ostfildern: Hatje Cantz, 2010), 28.

24. 211 lots of framed pictures: See Chapter 10 of this book, and its notes, for a discussion of art used in store windows.

25. 211 just how crudely: See Nathan Gluck’s frontal photograph of the 1961 Gunther Jaeckel window, Nathan Gluck estate, Luis De Jesus Los Angeles gallery.

26. 211 “Contemporary props”: Retail Reporting Bureau, Views and Reviews, April 1, 1961.

27. 211 eye close-up: Warhol’s four-minute film is now known as John Cale (Eye)—see Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 49.

28. 211 dressed windows: See http://lichtensteinfoundation.org/chronology-2/, accessed April 11, 2017. An August 1, 2017, e-mail to the author from Justin Brancato, of the Roy Lichtenstein Foundation, gave further sources on Lichtenstein’s work for the Halle Brothers department store in Cleveland.

James Rosenquist said he too had dressed windows in the late 1950s for Bonwit Teller, Tiffany and Bloomingdales—James Rosenquist and David Dalton, Painting Below Zero: Notes on a Life in Art (New York: Knopf, 2009), 68.

half-tone dots: On Warhol’s use of half-tone dots see this author’s blog post “What the Dots Mean in Andy Warhol’s Pop Art,” Warholi-ana (blog), March 17, 2017, https://warholiana.com/post/158525581311/reposted-from-my-daily-pic-of-march-17-2017-at.

29. 211 “checkerboard half-tone”: The 1926 text, on “Practical Half-Tone Stencils,” is reproduced in Guido Lengwiler, A History of Screen Printing (Fairfax, VA: Specialty Graphic Imaging Association, 2013), 273.

30. 211 The American Look: Lester Gaba, The Art of Window Display (New York: Studio Productions, 1952), np.

Gene Moore, Warhol’s boss in the Bonwit Teller display department, had also done windows built around giant Pop eyes. In July 1952, when as usual the Independence Day vitrines were hidden behind hoardings to allow renovations to go on behind, Moore had covered the hoardings


NOTES 279

with huge photos of eyeballs, their irises cut-out to reveal a perfume image in a little space beyond each eye—see Earl A. Dash, “Views and News of Display,” Women’s Wear Daily, July 15, 1952. In structure, Gene Moore’s windows with eyes were much like Warhol’s perfume windows at Bonwit’s in the summers of 1955 and 1957.

The photojournalist Morris Huberland took pictures of the Moore windows, and prints exist in several museum collections including at the San Francisco Museum of Modern Art: https://www.sfmoma.org/artwork/ST1998.0247, accessed April 12, 2017.

In fact a review of the very first Pop Art show, in 1962, described its painting of a vast eye as recalling “billboard hoardings”—see Brian O’Doherty, “Art: Avant-Garde Revolt: ‘New Realists’ Mock U.S. Mass Culture in Exhibition at Sidney Janis Gallery,” New York Times, October 31, 1962.

31. 211 big red hearts: Retail Reporting Bureau, Views and Reviews, February 4, 1958.

32. 212 window at Tiffany’s: See Gene Moore Tiffany and Com-pany Photographs, Archives Center, National Museum of American His-tory, Smithsonian Institution, Washington, D.C.

33. 212 “emotional intensity”: George McNeil, “Abstract Expres-sionism and Communication Design”, Art Direction, January 1958, 71, as quoted in Ellen Lupton and J. Abbott Miller, “Line Art: Andy Warhol and the Commercial Art World of the 1950s,” in “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol, ed. Donna De Salvo (New York and Pittsburgh: Grey Art Gallery and Carnegie Museum of Art, 1989), 35.

34. 212 “best window dressing”: Gene Moore, in Walter H. Her-deg, Window Display: An International Survey of the Art of Window Display Vol. 2 (Zurich: Amstutz & Herdeg, 1961), 120.

35. 212 Rosenquist had filled: The Rosenquist windows are repro-duced in James Rosenquist and David Dalton, Painting below Zero: Notes on a Life in Art (New York: Knopf, 2009), 92. They can also be seen in Marcia Tucker, James Rosenquist (New York: Whitney Museum of American Art, 1972), 32. It looks as though Rosenquist got the Bonwit’s gig through Warhol’s old window-dressing colleague Robert Rauschenberg—see Tucker, p. 12.

36. 212 “window dresser approach”: Edgar J. Driscoll, “The Art World: So What’s New?” Boston Globe, October 9, 1966.

37. 212 “here today, gone tomorrow”: Daniel Arje, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press,


280 NOTES

1986), 31. 38. 212 “window of the A&P”: Budd Hopkins, in Provincetown

Art Association, “Pop Art Symposium” (transcript, August 28, 1963), Ar-chives of American Art, Smithsonian Institution.

39. 212 décors selling liquor: Lester Gaba, “Lester Gaba Looks at Display,” Women’s Wear Daily, January 15, 1963.

40. 212 seeing Pop everywhere: Lester Gaba, “Lester Gaba Looks at Display,” Women’s Wear Daily, June 2, 1964.

41. 212 “material used by the Pop artists”: Ivan Karp, in an un-published transcript from an April 13, 2004, interview for Peter Rosen, Who Gets To Call It Art?, documentary, 2006. My thanks to Peter Rosen for providing this material.

42. 213 comic-inspired page: The page from Mad (October/No-vember 1952), conceived by Harvey Kurtzman (writing/concept), John Severin (final art) and Ben Oda (letterer), was pointed out to me by re-searcher Andrei Molotiu.

43. 213 grid of dollar signs: The 1953 fashion shot by Genevieve Naylor, from an unknown source, has been reprinted as a postcard by Fotofolio in New York. It was pointed out to me by Jay Reeg.

44. 213 Hunts Catsup bottles: Harper’s Bazaar (August 1956): 12–13, TC18, AWMA.

45. 213 a Coke and an elegant shoe: The drawing of the shoe with Coke bottle (in The Andy Warhol Museum, accession #1998.1.1279) in-cludes an art director’s annotations, making clear that it was meant for commercial use.

For the foot drawing see Mark Francis and Deiter Koepplin, Andy Warhol, Drawings 1942–1987 (Boston and New York: Little, Brown, 1998), pl. 155.

46. 213 “disrespectful”: See Charles Lisanby, interview by James Madison University, video recording, March 2011. When Warhol moved up to his house in Carnegie Hill he didn’t leave behind his campy arcade games and store fixtures; he added to his collection and updated it. Pho-tos taken of the décor in his new home (circa 1962, AWMA) show a vastly oversized light bulb and a giant pair of glasses, both clearly sourced from old retail displays but worthy of later Pop Art by Claes Oldenburg. (The optometrist’s sign is also documented there in Consolidated Appraisal Company, appraisal, November 14, 1962, AWMA.) These objects were soon joined by a plate-size Pepsi bottle-cap and two-foot-high fake Coke bottle—see Ken Heyman’s images in John Rublowsky, Pop Art (New York: Basic Books, 1965). The two colas had been the subject of fine art by


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Warhol right after they’d launched a high-profile ad war in New York—see Robert Alden, “Advertising: Pepsi and Coke Cross Bottles,” New York Times, June 16, 1960. The rival campaigns centered on the size of their new extra-large bottles.

Warhol had a displayman’s taste for the gargantuan that dated back to college days, when he and the flamboyant window dressers at Horne’s were photographed (AWMA) with huge prop spectacles.

47. 213 “coarsest, commonest pleasures”: Susan Sontag, “Notes on Camp,” Partisan Review 31, no. 4 (Fall 1964): 528.

48. 213 QUERY: Endnote was empty but reference still in text. Pls confirm deletion is intentional.

49. 213 “I did some windows”: Warhol, in Frederick Schruers, “Andy Warhol: Why Not?” Globe and Mail, November 8, 1978, cited in Anthony E. Grudin, Warhol’s Working Class: Pop Art and Egalitarianism (Chicago: University of Chicago Press, 2017), 50.

50. 214 his artist’s studio: The late Arden Reed first pointed out that the window display could be read as representing Warhol’s studio. Such insights from Reed will be sorely missed by this author.

51. 214 “I got my art training”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 148.

Almost a decade later, when de Antonio and Warhol were discussing that moment, de Antonio insisted that Warhol’s tale about “commercial art as real art” was bunkum. “We just talked about painting,” was de An-tonio’s recollection—unpublished transcript of Emile de Antonio’s 1969 interview with Warhol for his documentary Painters Painting, Emile de Antonio Papers, Wisconsin Center for Film and Theater Research.

De Antonio remembered himself as a prod rather than an inspira-tion: “‘Andy,’ I said, ‘Why the hell don’t you become a painter? You’re gifted enough, you’ve got more ideas than anybody around’”—Emile De Antonio, notes from an interview, September 13, 1976, box M88, AWMA.

52. 214 a piece of piping: The piece, known as God, was made by the Greenwich Village Dadaist Elsa von Freytag-Loringhoven, probably with help from the painter Morton Livingston Schamberg. It was ac-quired as a Schamberg by the Philadelphia Museum of Art in 1950 and could have been seen by Warhol when it was featured with Duchamp’s works in the museum’s 1954 show of the Arensberg Collection, or pos-sibly thereafter in the museum’s collection galleries—Matthew Affron, curator at the Philadelphia Museum of Art, in a May 16, e-mail to the author. God was given its own article in the Philadelphia Inquirer for Au-


282 NOTES

gust 21, 1960, where it is mentioned as being on view in the museum; it is known that Warhol was in the city the previous year—Jean-Claude van Itallie, interview by author, November 2, 2016.

53. 214 “I have to pee”: Warhol’s urinal quip was narrated by Tech professor Roger Anliker, according to Dale Roberts, interview by author, April 6, 2015. (Roberts was a student of Anliker’s.) Duchamp’s Fountain is known to have been shown in Sidney Janis’s famous Dada show in 1953—Warhol would hardly have missed that—and then the next year at the Philadelphia Museum of Art, in its celebrated Arensberg Collection acquisition and exhibition.

54. 214 Boîte-en-valise: The Outlines copy of the Boîte was sold at Christies on May 15, 2015—see “Marcel Duchamp (1887–1968), de Ou Par Marcel Duchamp Ou Rrose Sélavy (La Boîte-En-Valise) [Series A] Unti-tled,” accessed February 28, 2019, https://www.christies.com/lotfinder/lot_details.aspx?intObjectID=5893256. Pittsburgh exhibitions of works by Duchamp that almost certainly would have included the Boîte are mentioned in Outlines Gallery, scrapbook (n.d.), Rockwell family collec-tion. The exact date of Warhol’s purchase of his own Boîte-en-valise is un-known, but it is thought to have happened around 1962. Gerard Malanga implied that Warhol already owned one of the Boîtes when they met Du-champ in the fall of 1963 in Los Angeles—Gerard Malanga and Gunnar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Gerard Malanga (Milan: Skira/Astrup Fearnley Museum, 2008), 24.

Warhol acolyte Ondine remembered Warhol buying Duchamp ma-terial from Rose Fried, a prominent dealer who happened to be the aunt of Ondine’s boyfriend—see Ondine in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 454. Fried’s gallery re-cords show her buying and selling copies of Duchamp’s Boîte in late 1960 and 1961—Rose Fried Papers, Archives of American Art, Smithsonian Institution. That was about when Warhol was supposed to have bought his—see Marjorie Frankel Nathanson, “Chronology,” in Andy Warhol: A Retrospective, ed. Kynaston McShine (New York: Museum of Modern Art, 1989), 407.

55. 214 out on the pavement: “Andy Warhol’s Interview,” Unmuz-zled Ox 4, no. 2 (1976): 469.

56. 215 Yoko Ono: On Yoko Ono’s Painting to Be Stepped On, and its appearance in her loft and then at the AG Gallery (in July 1961), see Klaus Biesenbach and Christophe Cherix, eds., Yoko Ono: One Woman Show, 1960–1971 (New York: Museum of Modern Art, 2015), 48, 58. See also Gerard J. Forde, “Plus or Minus 1961—A Chronology 1959–1963,”


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accessed June 19, 2019, https://www.academia.edu/4061715/_Plus_or_Minus_1961_A_Chronology_1959-1963_.

Five years later, Warhol told a high school student to repeat the ex-periment—see Joseph Freeman, “Andy Warhol Interviews Bay Times Reporter,” Bay Times, April 1, 1966.

Ono’s loft on Chambers Street—with events sometimes adjourning to Judson Church—was the setting for a series of experimental perfor-mances curated by the sound artist La Monte Young, whose October 12, 1962, performance at the Judson Church is known to have been at-tended by Warhol; the two were later in a short-lived band. It is hard to imagine Warhol not having been attracted to events there and at George Maciunas’s AG Gallery, both well known enough to have attracted such heroes of Warhol’s as John Cage and Marcel Duchamp, plus a variety of younger art-world figures such as Larry Poons and Robert Morris who Warhol would soon get to know. His friend Ray Johnson staged one of the first of the performances that he dubbed “Nothings” at the AG in July 1961, the same month that Ono showed there—see http://www.rayjohnsonestate.com/biography/, accessed January 8. 2017. An April 26, 1961, receipt (document box 189, AWMA) shows that Warhol had bought a Johnson collage from the David Herbert Gallery just a few months earlier.

57. 215 by urinating: See “Andy Warhol’s Interview,” Unmuzzled Ox 4, no. 2 (1976): 44. A scholarly discussion of the early Piss Paintings casts some doubt on Warhol’s story about them in the Unmuzsled Ox—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonne (New York: Phaidon, 2002), 469.

Helen Frankenthaler and Morris Louis are two of the more famous stain painters, who in the early 1960s were being given huge support by the powerful critic—and denigrator of Pop Art—Clement Greenberg.

58. 215 “he and Yves exchanged greetings”: Rotraut Klein-Mo-quay, in the French edition of Rotraut Klein-Moquay, Yves Klein USA, trans. Robert Pincus-Witten (Paris: Dilecta, 2009), 6. (Translation by this author.) The translation provided in the English edition refers to the art-ists having known “of each other’s work,” which does not match the French text. The Yves Klein Archives in Paris, contacted by e-mail and telephone in June, 2017, had no record of the exact nature of the contact between the two artists, or when or how it might have occurred, beyond the single recorded meeting in front of the Chelsea Hotel mentioned by Klein’s widow in her book.

It is hard to see how Klein could have known “of” Warhol’s Pop


284 NOTES

work except via a studio visit, since its only public showing was in that Gunther Jaeckel window.

59. 215 monochrome canvases: John Bernard Myers describes an even earlier show of monochromes by the New York artist Ralph Hum-phrey which he hosted in 1959 in his gallery, where Warhol was a regular visitor—John Bernard Myers, Tracking the Marvelous: A Life in the New York Art World (New York: Random House, 1983), 216. Warhol’s later collector Robert Scull almost bought one of Humphrey’s monochromes.

60. 215 different price tags: Emily Genauer, “Art and Artists: Have You Ever Been All Blue,” New York Herald-Tribune, April 16, 1961.

61. 215 Time magazine: “Voyage through the Void,” Time ( January 27, 1961): 60.

62. 215 readers’ letters: A small sampling of the letters attacking Yves Klein appeared in the February 17, 1961, issue of Time.

63. 215 told a New York reporter: Emily Genauer, “Art and Artists: Have You Ever Been All Blue,” New York Herald-Tribune, April 16, 1961.

64. 215 Larry Rivers: Larry Rivers was especially hot at that mo-ment, after the appearance of a feature story about him, by him, in the March issue of Art News magazine.

65. 215 studio visits: Rotraut Klein-Moquay mentions “studio par-ties, almost every night,” and that she and Yves Klein met with Marcel Duchamp, Franz Kline, Barnett Newman, Ellsworth Kelly, Saul Stein-berg, Lee Bontecou, William Copley, Richard Stankiewicz and Willem de Kooning—Rotraut Klein-Moquay and Pepe Karmel, “Yves Klein in America,” in Yves Klein: A Career Survey (New York: L & M Arts, 2005), 86. Of particular note is a visit with Robert Indiana, a nascent Pop artist who would have been as little-known as Warhol at the time. Klein-Moquay also mentions encounters with Marisol (another proto-Pop artist, soon to be a friend of Warhol’s) as well as with near-unknowns such as Yayoi Kusama and Donald Judd—Rotraut Klein-Moquay, Yves Klein USA, trans. Robert Pincus-Witten (Paris: Dilecta, 2009), 6.

66. 215 invitation to his wedding: The invitation survives in the Warhol archives.

67. 215 opening of another Klein solo: Warhol writes “Yeve Klein” on the page in his 1962 datebook (AWMA) for November 5, which was the date of Klein’s opening at the Alexander Iolas gallery.

No provenance was given when Warhol’s two Klein monochromes, one red and one green and both from the 1950s, appeared in the 1988 Sotheby’s auction of his estate, but the Iolas show seems a likely source.

68. 215 big blank fields: See for example the 1961 canvas now


NOTES 285

known as Telephone (2), in the Daros Collection in Switzerland, Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), #036.

69. 216 first Pop portrait: On the Rauschenberg portrait see this au-thor’s discussion at warholiana.com/post/120447483281/reposted-from-my-daily-pic-of-july-18–2014-at, accessed June 4, 2017

70. 216 notable scholar: Benjamin Buchloh, “Andy Warhol’s One Dimensional Art: 1956–1966,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 32. In his May 28, 1985, interview with Buchloh in the same vol-ume, Warhol (p. 21) says that he didn’t know about Klein’s 1957 show of identical blue paintings in Milan, but the way he phrases it implies that he might have known about those paintings when they were shown in New York “much later”—i.e., in the 1961 Castelli show?

71. 216 “become a kind of nuclear reactor”: Yves Klein, quoted in Stéphane Aquin, “Andy Warhol, Musician,” in Warhol Live: Music and Dance in Andy Warhol’s Work, ed. Emma Lavigne and Matt Wrbican (Mu-nich: Prestel, 2008), 29.

72. 216 “latest Sugar-Dada”: Jack Kroll in Art News (May 1961): 14, quoted in Nuit Banai, Yves Klein (London: Reaktion, 2014), 149.

73. 216 “congratulate the hoaxer”: British art critic Alan Bowness in The Observer, reviewing Klein’s 1957 London show of monochromes, quoted in Richard Calvocoressi, “Yves Klein and the Birth of the Blue,” The Guardian, May 13, 2016, https://www.theguardian.com/artand-design/2016/may/13/yves-klein-london-birth-blue.

74. 216 “impossibly ambitious phony”: Larry Rivers, “Blues for Klein,” Artnews (February 1967): 76. Barbara Rose also remembered how she and her circle judged Klein a “fraud” and a “phony”—see Rose in Nuit Banai, Yves Klein (London: Reaktion, 2014), 149.

75. 216 billed as an avatar: John Perreault, typescript introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.

76. 216 “let’s forget ART altogether”: Yves Klein, “Truth Becomes Reality,” Zero, July 1961, reprinted in facsimile in Yves Klein, Truth Be-comes Reality (Cambridge, MA: MIT Press, 1973).

Klein himself mentions the corny as a new discovery in a text he actually composed in New York: “At present, I am particularly excited by ‘bad taste.’ I have the deep feeling that there exists in the very es-sence of bad taste a power capable of creating those things situated far beyond what is traditionally termed ‘The Work of Art’”—see Yves Klein, “The Chelsea Manifesto,” in Yves Klein USA, trans. Robert Pincus-Witten


286 NOTES

(Paris: Dilecta, 2009), 188.Klein’s widow Rotraut Klein-Moquay said (Yves Klein USA, p. 7) that it

was while visiting Marcel Duchamp’s New York home that Klein started to talk about his work as kitsch and corny.

77. 216 Klein was included: The show was called “The New Re-alists,” and ran October 31 to December 1, 1962, at Sidney Janis gal-lery in New York—see the discussion later in this biography. As late as 1966, a documentary on American Pop Art was showing Klein’s body prints alongside works by New York’s Popsters—see Wolfgang von Chmielewski and Willoughby Sharp, Pop Art USA, documentary (West-deutscher Rundfunk, 1966).

78. 217 for almost every single workday: See Warhol’s binder of 1961 invoices, box B254, AWMA.

79. 217 $1,000: See Warhol’s August 29, 1960, invoice (document box 190, AWMA) for a “general foods kitchens film.”

80. 217 his main client: See Warhol’s binder of 1961 invoices, box B254, AWMA.

81. 217 in his more typical 1950s style: See the photos reproduced in Retail Reporting Bureau, Views and Reviews, July 2, 1961; Retail Re-porting Bureau, Views and Reviews, November 4, 1961 (implying that Warhol did a whole suite of windows beyond what the photo shows); and Retail Reporting Bureau, Views and Reviews, December 2, 1961.

82. 217 never actually got to see: Nathan Gluck, interview by Da-vid Bourdon, typed notes, January 11, 1988, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

83. 217 reviews piling up: Philip Pearlstein, Larry Rivers, Gillian Jagger, Balcomb Greene, Yves Klein and Alex Katz all got substantial coverage in the first few issues of Art News in 1961.

84. 217 scrap-metal sculpture: The art critic David Bourdon said that Warhol had acquired his big John Chamberlain by trading it for his own painting of one hundred cans of Campbell Soup—see a draft of Bourdon’s 1989 biography of Warhol in the Gerard Malanga Papers, Bei-necke Rare Book and Manuscript Library, Yale University. The Warhol catalogue raisonné claims that this trade, probably made in early 1962, was actually for a much smaller, wall-mounted Chamberlain assemblage that Warhol is known to have owned, but the catalogue does not pro-vide evidence for its claim—Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 94.

The sculpture mentioned by Bourdon seems to be Jackpot, a five-


NOTES 287

foot-tall piece that Warhol donated to the Whitney Museum of American Art in 1975. The sculpture is recorded in Warhol’s collection as early as 1965—see Katharine Kuh, Break-up: The Core of Modern Art (Greenwich, CT: New York Graphic Society, 1965), 136.

A 35” Chamberlain under the title Juke Box is listed in Consolidated Appraisal Company, appraisal, November 14, 1962, AWMA. Either this is in fact a record of Jackpot, with both name and dimensions given incor-rectly, or this early piece has gone missing—and may, at some point, have lived on Warhol’s stairs.

85. 217 lived out on the landing: Nathan Gluck to Andreas Brown, May 16, 1971, AWMA.

86. 217 as a shelf: Nathan Gluck, in a recording (AWMA) of an April 27, 2001, talk at The Andy Warhol Museum in Pittsburgh.

87. 217 beg her grandsons: George Warhola, interview by author, November 25, 2016.

88. 217 “I have things in my studio”: Warhol, quoted by Ivan Karp in an unpublished transcript from an April 13, 2004, interview for Peter Rosen, Who Gets To Call It Art?, documentary, 2006. My thanks to Peter Rosen for providing this material.

The timing of this visit is very much up in the air. Karp said on several occasions that it occurred shortly after Warhol’s purchase of the Johns Lightbulb, the first bill for which (AWMA) is dated February 24, 1961. (In some tellings, however, the visit is said to have happened on the same day as the Johns purchase—see Ivan Karp, notes from an in-terview, October 21, 1975, box M88, AWMA.) But the visit can’t have happened then since it seems that the Roy Lichtenstein paintings that Warhol is supposed to have seen only arrived at Castelli in the late sum-mer of 1961—by September 22, one was already to be seen in a group show at the gallery. Also, in his oral history at the Archives of American Art, Karp said that his Warhol Nancy painting (which seems to relate to the Gunther Jaeckel canvases) had been sent him as a thank you gift the very day of that first visit with Warhol—yet it is inscribed “Oct. 61.” To confuse things still further, Karp often insisted that the song “I Saw Linda Yesterday” was playing on that first visit, but it wasn’t released until late in 1962. He also claimed to have seen Warhol’s Dance Diagram painting on that visit, but that series doesn’t seem to have been worked on until early 1962, although it might conceivably have been done a few months earlier.

In a very early interview with Karp, from late November 1962, he claimed to have heard of Warhol through other artists in the gallery, and


288 NOTES

that that sparked his studio visit, within a few weeks of Lichtenstein’s first visit to Castelli’s—Ivan Karp, interview by Bici Hendricks (later Nye Ffarrabas), typed notes, November 30, 1962, courtesy The Roy Lichten-stein Foundation Archives.

Warhol’s friend Ted Carey for his part claimed that it was he who had been shown the Lichtensteins by Karp, and that he had then been the one to tell Warhol about them—see Carey in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 89.

89. 217 to comic books first: Ivan Karp, oral history, March 12, 1969, Archives of American Art, Smithsonian Institution.

90. 218 “generally surrealistic character”: Ivan Karp, oral history, March 12, 1969, Archives of American Art, Smithsonian Institution.

91. 218 a touch chubby: See Ivan Karp in Tony Scherman and Da-vid Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 72.

Warhol’s weight is given as just over 150 lbs—probably the heaviest he ever was—in Dr. Denton Cox, “Historical and Diagnostic Summary,” December 7, 1960, AWMA.

92. 218 “a sitting-up-in-bed kind of thing”: Ivan Karp, interview by David Bourdon, typed notes, April 22, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

93. 218 “blank, blunt, bleak stark images”: Ivan Karp, in an audio track included in Fifteen Minutes: Homage to Andy Warhol, CD (Wu-Shan Inc./Sony Music Entertainment, 2011).

94. 218 Flatbush Jews: Ilana Abramovitch, “From Flatbush to Soho: An Interview with Ivan Karp,” in Jews of Brooklyn, ed. Ilana Abramovitch and Seán Galvin, Brandeis Series in American Jewish History, Culture, and Life (Hanover, NH: University Press of New England, 2002), 173.

95. 218 “Pop bandwagon rolling”: Jane Margold, “The Promoter: From Pop to Mini,” Newsday, October 15, 1966.

96. 218 “he always talked about it”: Ivan Karp, oral history, March 12, 1969, Archives of American Art, Smithsonian Institution.

97. 218 was a connoisseur: Al Hansen, “What’s Happening,” in The New Inside Guide to Greenwhich Village by Beth Bryant (New York: Oak Publications, 1965), 63.

98. 218 “Pop style”: Samuel Adams Green, notes from an inter-view, March 21, 1975, box M88, AWMA.

99. 218 seeding Warhol’s pictures: “I took . . . a number of the few (five or six, really) Avant Garde collectors—I took Henry [Geldzahler],


NOTES 289

Richard Brownbaker, and Emily Tremaine, Hal Ordover, and a few other collectors to Andy’s studio. They all bought something. The price of the paintings were four to five, six hundred dollars at that point. You could get a five-foot or six-foot painting for $750”—Ivan Karp, in an unpub-lished transcript from an April 13, 2004, interview for Peter Rosen, Who Gets To Call It Art?, documentary, 2006. My thanks to Peter Rosen for providing this material.

See also Ivan Karp, oral history, March 12, 1969, Archives of Ameri-can Art, Smithsonian Institution. Note that none of these collectors’ purchases were of the surviving very early paintings that relate to the Gunther Jaeckel window: The Warhol catalogue raisonné lists only one of those, the Nancy bearing a dedication to Karp himself, that has a prov-enance from the early 1960s.

100. 218 “crass and outrageous”: Ivan Karp, notes from an inter-view, October 21, 1975, box M88, AWMA.

101. 218 “curatorial assistant”: Henry Geldzahler, oral history, Jan-uary 27, 1970, Archives of American Art, Smithsonian Institution.

102. 219 “dinosaur”: Henry Geldzahler, in Peter Rosen, Who Gets To Call It Art?, documentary, 2006.

103. 219 diamond merchants: Henry Geldzahler, oral history, Janu-ary 27, 1970, Archives of American Art, Smithsonian Institution.

104. 219 “unhealthy” love of museums: Henry Geldzahler, oral his-tory, January 27, 1970, Archives of American Art, Smithsonian Institu-tion.

105. 219 “very cool bunch”: Calvin Tomkins, in Peter Rosen, Who Gets To Call It Art?, documentary, 2006.

106. 219 Ben Shahn: Henry Geldzahler, oral history, January 27, 1970, Archives of American Art, Smithsonian Institution. See also Henry Geldzahler, interview by Ingrid Sischy, typescript, July 6, 1993, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

107. 219 Ph.D. on Matisse: Henry Geldzahler, oral history, January 27, 1970, Archives of American Art, Smithsonian Institution.

108. 219 his bar mitzvah money: Henry Geldzahler, in Peter Rosen, Who Gets To Call It Art?, documentary, 2006.

109. 219 “full of high spirits and energy”: Ivan Karp, in the unpub-lished transcript from an interview for Peter Rosen, Who Gets To Call It Art?, documentary, 2006. My thanks to Peter Rosen for providing this material.

110. 219 “tell me everyone I should meet”: Ivan Karp, notes from


290 NOTES

an interview, October 21, 1975, box M88, AWMA. 111. 219 July 15, 1960: Henry Geldzahler, oral history, January 27,

1970, Archives of American Art, Smithsonian Institution.Geldzahler was not promoted to Assistant Curator of Painting and

Sculpture until July 1, 1962—see Patricia Pellegrini to Mitch Tuchman, January 4, 1983, Mitch Tuchman papers related to the book Painters Painting, Archives of American Art, Smithsonian Institution.

112. 219 “curatorial ladder”: Henry Geldzahler, “Andy Warhol: A Memoir” (typescript, n.d.), TC130, AWMA.

113. 219 Met’s eyes and ears: Henry Geldzahler, in Peter Rosen, Who Gets To Call It Art? documentary, 2006.

114. 219 “on-the-job training”: Henry Geldzahler, oral history, Jan-uary 27, 1970, Archives of American Art, Smithsonian Institution.

115. 219 “man in the art world”: “Henry Here, Henry There . . . Who Is Henry?” Life (February 18, 1966): 42.

116. 219 almost gave him the boot: Peter Rosen, Who Gets To Call It Art? documentary, 2006.

117. 219 shows mounted: Henry Geldzahler’s first contribution to a Met exhibition didn’t come until 1965, when he curated the modern section of a survey of American art from the museum’s collection—see Henry Geldzahler, oral history, January 27, 1970, Archives of American Art, Smithsonian Institution.

118. 219 utterly cocky: David Hockney, in Peter Rosen, Who Gets To Call It Art?, documentary, 2006.

119. 220 “Henry loved the physical world”: Ivan Karp, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 83.

120. 220 “He was the safe witty fag”: Emile De Antonio, journal entry for February 30, 1979, included with Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

121. 220 “Carmen Miranda’s shoes”: Henry Geldzahler, interview by Billy Name, typescript, January 21, 1993, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

122. 220 “someone who epitomizes the age”: Henry Geldzahler in-terviewed by Emile de Antonio, in the transcript included with Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

123. 220 Florine Stettheimer: Henry Geldzahler said on several oc-casions that Warhol had already known Floreine Stettheimer’s work be-


NOTES 291

fore their meeting—perhaps from a February 1951 show at Durlacher Gallery in New York, where her portraits had been paired with watercol-ors by the gay artist Charles Demuth.

124. 220 “certain aspects of naïf painting”: Henry Geldzahler, “Andy Warhol: A Memoir” (typescript, n.d.), TC130, AWMA.

125. 220 “we saw each other every day”: Henry Geldzahler, inter-view by Billy Name, typescript, January 21, 1993, Henry Geldzahler pa-pers, Beinecke Rare Book and Manuscript Library, Yale University.

126. 220 “We’ve got to talk . . . say something”: Henry Geldzahler, “Andy Warhol: A Memoir” (typescript, n.d.), TC130, AWMA.

127. 221 “brutish imagery”: Ivan Karp, in an audio track included in Fifteen Minutes: Homage to Andy Warhol, CD (Wu-Shan Inc./Sony Music Entertainment, 2011).

128. 221 had the same encounter: Gene Swenson is another early Warholian who narrates the to-drip-or-not-to-drip story—see Gene R. Swenson, “The Darker Ariel: Random Notes on Andy Warhol,” Collage (December 1964): 105.

129. 221 “whiskey and gossip”: Emile de Antonio, journal entry from March 5, 1977, included in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

130. 222 “expressionism has moved to the suburbs”: Frank O’Hara and Larry Rivers, “How to Proceed in the Arts,” Evergreen Review (Au-gust 1961): 97.

131. 222 “fashion of the moment”: Emory Lewis, Cue’s New York (New York: Duell, Sloan and Pearce, 1963), 205.

132. 222 “I hate Abstract Expressionism”: Warhol, quoted by Leon-ard Kessler in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2147, Kindle edition.

133. 222 wished he was an AbEx-er: Andy Warhol and David Bour-don, typed notes from a telephone call (April 27, 1972), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

134. 222 to pick up a young man: Steven Balkin, interview by au-thor, June 12, 2018.

135. 222 “Picasso’s women”: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (October 25, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

136. 222 passionate “event”: Harold Rosenberg, “The American Ac-tion Painters (1952),” in The Tradition of the New (Da Capo Press, 1994), 25.

137. 222 “artful” splashes of color: The paper scraps that Warhol


292 NOTES

copied in his peach-tin painting were mistaken for Abstract Expression-ist markmaking in John Coplans, “The Early Work of Andy Warhol,” Artforum (March 1970): 52.

138. 222 “random elements of chance”: Samuel Adams Green, Andy Warhol (Philadelphia: Institute of Contemporary Art, 1965), np.

139. 223 spotted Rauschenberg: Gene Swenson, “The Personality of the Artist,” undated typescript for a lecture delivered in October 1965 at the Institute of Contemporary Art in Philadelphia, Gene Swenson pa-pers, Archives of American Art, Smithsonian Institution.

140. 223 “meta-brushstrokes”: Kenneth E. Silver, “Modes of Disclo-sure: The Construction of Gay Identity and the Rise of Pop Art,” in Hand-Painted Pop: American Art in Transition, 1955–62, ed. Paul Schimmel et al. (Los Angeles: Museum of Contemporary Art/Rizzoli, 1992), 180.

141. 223 “That’s a piece of shit!”: Warhol, quoted by Ted Carey in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 88. Carey is quoted to similar effect in Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 2148, Kindle edition.

Warhol’s sense of rivalry with Robert Rauschenberg might date to as early as December 1954, when Rauschenberg showed at the Tanager Gallery after Warhol had been rejected there.

142. 223 a Johns wannabe: Gregory Mcdonald, “Built-in Obsoles-cence: Art by Andy Warhol,” Boston Sunday Globe, October 23, 1966.

143. 223 Tiffany lampshades are “Out”: Robert Benton and Harvey Schmidt, “Map of New York: An Outlandish Guide for Intourists,” Esquire ( July 1960): 63.

144. 223 a matching apotheosis: Art in America (Spring 1962). Al-though the issue was marked as “No. 1” for the year, library records across the country show it arriving in March. Thanks to Thomas Kied-rowski and Jay Reeg for their help in tracking down this detail.

145. 223 commissioned from Rauschenberg: Art in America (Spring 1962): covers. The image is described as “Painted for Art in America’s ninth New Talent issue by Robert Rauschenberg” on the issue’s table of contents. The image fills both front and back covers of the issue.

146. 223 a nice big reproduction: “New Talent USA: Prints and Drawings,” Art in America (Spring 1962): 62.

147. 224 taste for the “common”: See Henry Geldzahler, in Colin Clark, “Oh Dada, Poor Dada,” television broadcast (WNDT Channel 13, March 3, 1964).

148. 224 comics connoisseurs: Russell Lynes, “Highbrow, Lowbrow,


NOTES 293

Middlebrow,” Harper’s Magazine (February 1949): 25. Lynes also mentions a highbrow taste for comics in the version of his piece that appeared in Life that April.

149. 224 host of 1950s fine artists: See Gary Comenas, “Andy War-hol From Nowhere to Up There 25,” Warholstars (blog), 2014, http://www.warholstars.org/nowhere/andy_warhol_r25.html.

150. 224 “colored comic strips”: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 73.

151. 224 “He humanizes banality”: Fairfield Porter, “Recent Paint-ing USA: The Figure,” Art in America (Spring 1962): 81. The article is a preview of an upcoming MoMA show, and also discusses the proto-Pop artist Richard Lindner.

152. 224 Jane Freilicher: Joe LeSueur remembers seeing those paint-ings of Jane Freilicher’s “around 1960”—Joe LeSueur, Digressions on Some Poems by Frank O’Hara (New York: Farrar, Straus & Giroux, 2003), 128.

153. 224 “in its vulgar vitality”: Hugh Casson, “Critique of Our Ex-panding Subtopia,” New York Times, October 27, 1957. The term “pop art” had first been used in print the previous November by the architects Alison and Peter Smithson—see http://warholstars.org/10_indepen-dent_group.html, accessed June 13, 2017.

154. 224 from a magazine: Ted Carey, in Patrick S. Smith, ed., War-hol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 89.

155. 225 “a ruthless love for what is”: Seymour Krim, Views of a Nearsighted Cannoneer (1961) (New York: Dutton, 1968), 35, 37. The italics are Krim’s.

Alan Kaprow, the pioneer of Happenings, had recently proclaimed “chairs, food, electric and neon lights, smoke, water, old socks, a dog, movies, a thousand other things” as likely subjects, or even materials, for a new post-abstract art—Alan Kaprow, “The Legacy of Jackson Pollock,” Art News (October 1958): 56. (The artist Roy Lichtenstein cited his friend Kaprow as one of the most important influences on his Pop career.) War-hol’s rivals in Pop deployed almost all of these “ junk pile” items, as Life magazine described them to its shocked readers—see Gary Comenas, “The Origin of Andy Warhol’s Soup Cans or The Synthesis of Nothing-ness,” 2003, revised 2010, www.warholstars.org/andy_warhol_soup_can.html. Comenas cites “Art Crashes Through The Junk Pile,” Life (Novem-ber 24, 1961): 60–69. Two issues later, Life featured readers’ objections to the art discussed.

156. 225 “The one thing everyone hated was commercial art”: Roy


294 NOTES

Lichtenstein, in Gene R. Swenson, “What Is Pop Art? Interviews with Eight Painters (Part I),” Art News (November 1963): 25.

157. 225 audacious innovation: The sheer novelty of Warhol’s storm window may have been flagged by where it ended up in that issue of Art in America. It wasn’t in the section reserved for new talents in painting; those had been chosen by an art historian, Dorothy Gees Seckler, who was still resisting Pop well into the 1960s—see her objections to Pop Art in an audio recording she made in August 1963, Dorothy Gees Seckler Collection Of Sound Recordings Relating to Art and Artists, Archives of American Art, Smithsonian Institution.

Given Seckler’s resistance, Warhol’s contribution to that New Tal-ent issue had needed to be slipped in, almost surreptitiously, within its coverage of the latest in prints and drawings, with a caption that conve-niently left out the fact that Storm Window was on canvas and that also lied about its dimensions, shrinking them to a size more likely for a work on paper—see Benjamin Buchloh, “Andy Warhol’s One Dimensional Art: 1956–1966,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 38.

158. 225 a collector: The collector was Zachary Scott, and he is listed as the juror for the prints and drawings section in the introduction to the New Talents issue.

Patty Mucha, once married to the Pop sculptor Claes Oldenburg, said that Warhol, Scott and Charles Henri and Ruth Ford all visited with her and Oldenburg in the summer of 1963—Patty Mucha (formerly Old-enburg), unpublished memoir (n.d.). Thanks to Patty Mucha for sharing her memoir.

159. 225 sister of the writer: Both the Ford siblings lived and held court in the famous Dakota apartments off Central Park, which is where Ruth introduced her brother to Warhol somewhere around the time of the Art in America issue—see Charles Henri Ford in John Wilcock, ed., The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 52. Although published in 1971, an extract from the book was published in the March 1, 1970, issue of Wilcock’s weekly called Other Scenes, indicat-ing that the interviews for it would probably have been done in late 1969.

On another occasion, Charles Henri Ford said that his sister and her husband declined to buy a Warhol Marilyn because, as he quoted Ruth Ford, “I don’t want Marilyn Monroe on my wall,” which does not neces-sarily reflect a larger contempt for Warhol—see Ford in Asako Kitaori, “Charles Henri Ford: Catalyst Among Poets,” Rain Taxi (Spring 2000), https://www.raintaxi.com/charles-henri-ford/.


NOTES 295

160. 226 skipped a friend’s dinner party: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2266, Kindle edition.

161. 226 clipping from a Campbell’s Soup ad: James Rosenquist and David Dalton, Painting below Zero: Notes on a Life in Art (New York: Knopf, 2009), 83.

162. 226 “he was not getting any recognition”: Ted Carey, in Pat-rick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 90.

163. 226 sockless drawing sessions: See the reference to Warhol’s foot book in Joho Heil to Andy Warhol, April 12, 1961, AWMA.

164. 226 a gallery that never took off: Ted Carey, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 252.

165. 226 a canny show: The show got a line in “People Are Talking About,” Vogue (December 1, 1960): 125.

166. 226 feet Warhol went on to draw: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 58.

167. 226 “his face was flushed”: Muriel Latow in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCol-lins, 2009), 58.

168. 226 She pops up: “MoMa with Mrs. Latow and Mr. Lane” is the entry in Warhol 1961 datebook (AWMA) for May 9. The Museum of Mod-ern Art had on display one part of its recent Max Ernst retrospective and also 40 paintings from the 1920s and 1930s by such Warhol idols as Stuart Davis and Ben Shahn.

169. 226 incompatible versions: For a detailed analysis of the various accounts, and their incompatibilities, see Gary Comenas, “The Origin of Andy Warhol’s Soup Cans,” Warholstars (blog), accessed March 16, 2019, http://www.warholstars.org/andy_warhol_soup_can.html.

170. 226 to console him: Ted Carey, in Patrick S. Smith, Andy War-hol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 256.

171. 227 “The cartoon paintings . . . it’s too late”: Warhol, as quoted by Ted Carey in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 256.

172. 227 his mother: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 2285, Kindle edition.

173. 227 a list he got: The original list of Campbell soup flavors is provided in facsimile in Geralyn Huxley and Matt Wrbican, Andy Warhol Treasures (London: Goodman Books, 2009).


296 NOTES

174. 227 the actual check: Tony Scherman says that in his research for Pop: The Genius of Andy Warhol (New York: Harper Collins, 2009) he saw a $50 check to Latow, dated November 23, 1961, in the Warhol Ar-chives, but the only one uncovered there by this author and the archivists is dated May 15, 1962—too late to relate to Warhol’s first soup paintings.

On the other hand, a college classmate back-dates the source of the iconic soup paintings by another 15 years, claiming that the Campbell’s label had been held up by a teacher at Tech to demonstrate how the same visual principles that govern a Rembrandt portrait operate in successful product design—see Bennard B. Perlman, “Is Warhol’s Art Art Yet?” bal-timoresun.com, March 26, 1997, https://www.baltimoresun.com/news/bs-xpm-1997-03-26-1997085148-story.html.

175. 227 “the Nude Descending a Staircase”: Henry Geldzahler in-terviewed by Emile de Antonio, in the transcript included with Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

176. 227 targeted at the elites: Anthony E. Grudin, Warhol’s Working Class: Pop Art and Egalitarianism (Chicago: University of Chicago Press, 2017), 75.

Warhol’s nephew Jeffrey Warhola remembered Julia making soup, even in New York—Jeffrey Warhola, interview by author, March 31, 2015.

177. 227 love of the Campbell’s product: Glenn O’Brien, “Inter-view: Andy Warhol,” High Times (August 1977): 34. Henry Geldzahler reports that Warhol had said the same thing to him at the time the soup cans were painted—see the transcript of the interview with Geldzahler, Mitch Tuchman papers related to the book Painters Painting, Archives of American Art, Smithsonian Institution.

As late as July 8, 1986, in a television interview in England, Warhol said that he was still eating canned soup every day, which was a definite lie, given surviving receipts for his daily meals and witnesses’ accounts of his diet—see www.itnsource.com/en/compilation/S25011201/#43, ac-cessed May 15, 2017.

178. 227 hatred of it: Ted Carey’s boyfriend John Mann claimed to have been at Warhol’s place that same evening as Muriel Latow, and that canned soup had come up when Warhol was listing things he hated—see Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 75.

179. 227 “ridiculous”: Nathan Gluck, in a recording (AWMA) of an April 27, 2001, talk at The Andy Warhol Museum in Pittsburgh.

180. 227 a fresh-tomato version: Beverly Russell, “Andy Warhol on


NOTES 297

Food, from Ketchup to Caviar,” House & Garden ( July 1974): 70.181. 227 “because they discontinued it”: Andy Warhol, interview

by David Bourdon, typed notes, June 27, 1963, David Bourdon papers, Archives of American Art, Smithsonian Institution.

182. 227 credited his mother: Warhol, in Fiona Russell Powell, “The Face Interview Interview,” The Face (March 1985): 50.

183. 227 a painting of a can: Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 61.

184. 228 “Soup cans or sunsets?”: This is the line of a character in Jacques Tourneur, Nightfall, feature film, 1957. Thanks to Arturo Silva for drawing my attention to this passage.

185. 228 “nation’s favorite beverage?”: Bennett Cerf, “Bennett Cerf ’s Cerfboard: We’re in the Soup,” Syracuse Post Standard, April 3, 1960. Thomas Kiedrowski first brought this article to my attention.

186. 228 “reaching out for the American Dream”: Anthony Grudin cites a 1962 text by the McFadden publishing group that was aggressively targeting the working class at the time—see his Warhol’s Working Class: Pop Art and Egalitarianism (Chicago: University of Chicago Press, 2017), 91.

187. 228 label and price: Kirk Varnedoe, “Campbell’s Soup Cans, 1962,” in Andy Warhol: Retrospective, ed. Heiner Bastian (London: Tate Publishing, 2002), 42.

188. 228 “East Side faggots”: Mario Amaya, in John Wilcock, ed., The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 21.

189. 228 the letters C-A-M-P: The drawing, in the collection of Paul Kasmin, was on view in “Andy Warhol: By Hand” at the New York Acad-emy of Art, January 22 to March 10, 2019.

Even toward the end of the decade, the gay connotations of War-hol’s cans could be taken for granted in a speech that the avant-garde playwright LeRoi Jones gave at a Black Panther rally, proclaiming that black children should not be allowed to grow up “to paint Campbell’s Soup cans . . . .to think that somehow the celebration of homosexual-ity is aesthetic and profound”—see Neil Printz, “Other Voices, Other Rooms: Between Andy Warhol and Truman Capote, 1948–1961” (Ph.D., New York University, 2000), 12.

190. 228 “the synthesis of nothingness”: Bert Greene, reporting a conversation between Warhol and Aaron Fine, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 40.


298 NOTES

Ronald Tavel reports the same converstation between Warhol and Fine, but it’s most likely that he’s simply recalling what he’d read in Smith—http://www.ronaldtavel.com/documents/shower_screen.pdf, accessed May 17, 2017.

191. 229 AbEx “hullaballoo”: Frank Stella, in William Rubin, Frank Stella (New York: Museum of Modern Art, 1970), 13.

192. 229 “the Dada reply”: Bert Green, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 339.

193. 229 “formal arrangements”: Gene R. Swenson, “The Darker Ariel: Random Notes on Andy Warhol,” Collage (December 1964): 105.

194. 229 “enthusiasm for subject matter”: Larry Rivers, “A Discus-sion of the Work of Larry Rivers,” Art News (March 1961): 45.

195. 229 “recognizable subject matter”: Henry Geldzahler inter-viewed by Emile de Antonio, in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

196. 229 “It is in bad Pop art”: Dorothy Gees Seckler, in audio notes for an August 28, 1963, Pop Art symposium, in the Dorothy Gees Seckler Collection Of Sound Recordings Relating to Art and Artists, Archives of American Art, Smithsonian Institution. Seckler calls herself a “reluctant witness for Pop art” and sees its main value as residing in its formal in-novations.

197. 229 “whatever painterly qualities”: Leo Steinberg, in “A Sym-posium on Pop Art,” Arts Magazine (April 1963): 40.

198. 229 “reproductions of things done by other people”: Neal Weaver, “The Warhol Phenomenon: Trying to Understand It,” After Dark ( January 1969): 23.

199. 230 photography’s directness: Note that photography, when it aspired to be fine art, was still wedded to formal experimentation. That same New Talent issue of Art in America (Spring 1962) where Warhol had first appeared had a photo section that only included arty, mostly double-exposed and distinctly undocumentary photos.

200. 230 mixing oil- and water-based paints: Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 102.

201. 230 “vacuous a statement”: Leila Davies Singelis, oral history, audiocassette, December 12, 1995, AWMA. Davies specifies that the con-versation happened, over the phone, during a trip she made to New York in 1961.

Charles Lisanby, Nathan Gluck and Tom Lacy have all made fre-


NOTES 299

quent mention of their original disdain for Warhol’s experiments in Pop.202. 230 “take off like a rocket”: Leila Davies Singelis, oral history,

audiocassette, December 12, 1995, AWMA. Davies specifies that the con-versation happened, over the phone, during a trip she made to New York in 1961.

CHAPTER 14

1. 233 “lowest forms of popular culture”: David Bourdon, Warhol (New York: Abrams, 1989), 6.

2. 233 custom stereo: See the October 31, 1958, invoice (box B565, AWMA) from the audio engineer Holly Neill, billing $185.40 for the in-stallation of “high-fidelity” speakers from the famous British firm Tan-noy at Warhol’s lower-Lexington flat. On February 2, 1961, a letter taped into Warhol’s datebook (AWMA) shows him getting quotes from Neill for the system’s installation in the townhouse.

The system is listed as including one of the new Harman-Kardon “Award Series” amplifiers” in Consolidated Appraisal Company, ap-praisal, November 14, 1962, AWMA. This is confirmed in the December 16, 1961, invoice (doc box 189, AWMA) from Holly Neill for $345 for the equipment, including the A500 50-watt amplifier from Harman-Kardon and a Svenska “free-float speaker system.”

3. 233 “I asked him to turn it off “: Gene R. Swenson, “The Darker Ariel: Random Notes on Andy Warhol,” Collage (December 1964): 105. Swenson is recollecting his first encounter with Warhol’s studio, in early 1962.

4. 233 “incredible volume”: Ivan Karp, interview by David Bour-don, typed notes, April 22, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

5. 233 near darkness: See Nathan Gluck to Andreas Brown, May 16, 1971, AWMA.

6. 233 carnival masks: Ivan Karp, interview by David Bourdon, typed notes, April 22, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

Warhol archivist Matt Wrbican, in a July 18, 2018, text message to the author, said that he once spotted such masks among the objects in offsite storage at The Andy Warhol Museum.

7. 233 without a mask: Ivan Karp, interview by David Bourdon, typed notes, April 22, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

8. 233 a Polaroid: The polaroid is in the Warhol archives.


300 NOTES

9. 234 “it was so bizarre”: Ivan Karp, interview by David Bour-don, typed notes, April 22, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

10. 234 “message to sell.”: John Coplans, “The Early Work of Andy Warhol,” Artforum (March 1970): 53.

Coplans is summarizing the standard opposition to Warhol when he first came on the scene.

11. 234 count as art: Henry Geldzahler, draft of comments for the Symposium on Pop Art held at the Museum of Modern Art on December 13, 1962 (n.d.), Henry Geldzahler papers, Beinecke Rare Book and Manu-script Library, Yale University.

See also Henry Geldzahler, “Recent Developments” (typescript for a talk at the Metropolitan Museum of Art, January 1963), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

12. 234 “subtle publicity of the myth”: Dorothy Gees Seckler, “Clues to the Future,” Art in America (Summer 1962): 122.

13. 234 “calculated and deliberate”: David Bourdon, Warhol (New York: Abrams, 1989), 6.

14. 234 “impudent face”: Aline B. Saarinen, “Explosion of Pop Art,” Vogue (April 15, 1963): 87.

15. 235 the obvious artist: Bernhard M. Auer, “A Letter from the Publisher,” Time ( January 29, 1965): 7.

16. 235 “good straightforward stuff”: Ivan Karp, notes from an in-terview, October 21, 1975, box M88, AWMA.

17. 235 “know-nothing school”: Ben Shahn, The Artist and the Pub-lic, recorded lecture (Maryland Institute College of Art, Baltimore, MD, 1963), https://archive.org/details/mma016–01.

18. 235 “brash materialist objects”: Warhol, in”New Talent USA: Prints and Drawings,” Art in America (Spring 1962): 62.

19. 235 twenty-five-year-old: David Bourdon, notes on a studio visit with Warhol (March 7, 1962), David Bourdon papers, Archives of American Art, Smithsonian Institution. When Bourdon refused to be-lieve that story Warhol said he was 30, still three years short of the truth.

20. 235 “autistic frenzy”: Wynn Chamberlain, as reported by Sally Chamberlain in a July 11, 2016, e-mail to the author.

21. 235 David and Sarah Dalton: Sarah Dalton, interview by au-thor, September 26, 2017.

Karp introduced the Daltons to Warhol at a 1961 Christmas party, in the studio of Warhol’s commercial-art colleague Art Kane above Carn-egie Hall. In their Britishness, the Daltons were the only other guests


NOTES 301

as lonely and shy as Warhol. He discovered that the siblings were his neighbors on the Upper East Side and invited them by for a look at his art. Over the months that followed, Sarah and David witnessed the comic-strip paintings and Nose Jobs give way to the Campbell’s Soup series (“we were absolutely amazed—it was very surprising, and seemed very different”) only to be superseded, somewhat later, by the new Death and Disaster paintings.

22. 235 Sarah in a bikini: The Polaroids are in the Warhol archives.23. 236 “they were a source of irritation”: John Cage, in a May 22,

1956, letter to musicologist Paul Henry Lang, in John Cage, The Selected Letters of John Cage, ed. Laura Kuhn (Middletown, CT: Wesleyan Univer-sity Press, 2016), 189.

24. 236 “everybody was out there”: Ivan Karp, notes from an inter-view, October 21, 1975, box M88, AWMA.

The Fox (a.k.a., “The Fabian Fox”), a grand old picture palace in downtown Brooklyn, is best remembered as the home of rock concerts organized beginning in September 1962 by the disc jockey Murray the K., who Karp mentions. (See http://www.murraythek.com/show-line-ups.html). But in late 1961 it was already hosting rock shows by the likes of Chuck Berry. (See “Twist around the Clock,” New York Amsterdam News, December 23, 1961.) Warhol had already developed an interest in rock by the end of 1960, through 45 rpm singles that he was given by a music-industry worker named Jarry Lang, “famous in the subculture for the sequined costumes he donned at drag balls and musicales,” accord-ing to Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 68.

See also Lang in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 708.

25. 236 “tremendous force and conviction”: Ivan Karp, notes from an interview, October 21, 1975, box M88, AWMA.

26. 236 “I don’t like to listen to music”: Warhol, in “JM Interviews Andy Warhol,” Jordan Marsh Magazine (1983): 65. The comment is espe-cially surprising because Warhol makes it with reference to the ultra-hip art band Talking Heads.

27. 236 he posed himself: The photo (AWMA) was taken by Ed-ward Wallowitch in the early summer of 1963 with Warhol posed beside his new assistant Gerard Malanga, who sported a rocker’s pompadour.

28. 236 “That Little Town Flirt”: An image of the letter, which be-gins with a greeting to Warhol acolyte Billy Name, was sent to the author by researcher Ellen Levy in a January 28, 2017, e-mail. Given the subject


302 NOTES

and recipient, it almost certainly dates to the second half of 1963.29. 237 “suffer along with him”: Ivan Karp, oral history, March 12,

1969, Archives of American Art, Smithsonian Institution. If Karp’s mem-ory is right that the song in question was “I Saw Linda Yesterday,” by Dicky Lee, the episode would have to date to after the fall of 1962 when the song hit the airwaves. But Karp always dated his narrative to one of his visits to the townhouse in early 1962 or even late ’61, so he may have misremembered the song he first heard there.

30. 237 rock and Bach: Emily Tremaine, “Emily Tremaine: Her Own Thoughts,” in The Tremaine Collection: 20th Century Masters, the Spirit of Modernism (Hartford, CT: Wadsworth Atheneum, 1984), 29.

31. 237 “it would have been too fake”: William S. Wilson, in the transcription of an earlier conversation about Johnson included in a June 15, 2013, e-mail to Gary Comenas, who provided a copy to this author. For remarks on Warhol’s continuing normalcy in private settings see Ivan Karp, notes from an interview, October 21, 1975, box M88, AWMA.

A photographer who met Warhol just before he embarked on Pop described him as an oddball who loved to talk, and how his showy mut-ism only came later—see Ken Heyman, interview by author, February 24, 2018. See also Ken Heyman, “Behind the Lens” (typescript memoir provided by Heyman to the author, n.d.). The memoir includes a descrip-tion of a dinner Heyman had with Warhol in November 1958.

32. 237 “who the players were”: Irving Blum, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCol-lins, 2009), 62.

Walter Hopps remembered similar conversations about the art world—see Walter Hopps, “When Walter Hopps Met Andy Warhol and Frank Stella,” The New Yorker ( June 5, 2017), http://www.newyorker.com/culture/culture-desk/when-walter-hopps-met-andy-warhol-and-frank-stella.

33. 237 “punched you in the stomach”: Jean-Claude van Itallie, in-terview by author, November 2, 2016.

34. 238 “I’d like to be a machine”: “Pop Art: Cult of the Common-place,” Time (May 3, 1963): 74.

35. 238 “He plays dumb”: Henry Geldzahler, “Andy Warhol” (typescript of an essay marked as being for the catalog of “Amerikansk pop-konst,” a Pop Art exhibition that opened February 29, 1964, at the Moderna Museet in Stockholm, n.d.), Henry Geldzahler papers, Bei-necke Rare Book and Manuscript Library, Yale University. Another type-script copy is in the Warhol archives (TC14). The Swedish translation of


NOTES 303

Geldzahler’s text is indeed in the exhibition catalog. For a final version of the essay see Henry Geldzahler, “Andy Warhol,” Art International (April 1964).

36. 238 no background in fine art: John Coplans, “The Early Work of Andy Warhol,” Artforum (March 1970): 52.

37. 238 “less like a machine”: Claes Oldenburg, in “Pop Art: Roy Lichtenstein, Claes Oldenburg and Andy Warhol in Conversation with Bruce Glaser,” WBAI Folio, June 7, 1964.

38. 238 playing the fool: On Warhol’s faux-fool persona see Kelly M. Cresap, Pop Trickster Fool: Warhol Performs Naivete (Urbana, IL: Univer-sity of Illinois Press, 2004).

39. 238 “read as excesses”: Henry Geldzahler, “Recent Develop-ments” (typescript for a talk at the Metropolitan Museum of Art, Janu-ary 1963), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

40. 238 “stopped being so intellectual”: Emily Hall Tremaine, in Kathleen L. Housley, Emily Hall Tremaine: Collector on the Cusp (Meriden, CT: Emily Hall Tremaine Foundation, 2001), 167.

41. 238 “anti-experimental”: Roy Lichtenstein, in Kathleen L. Housley, Emily Hall Tremaine: Collector on the Cusp (Meriden, CT: Emily Hall Tremaine Foundation, 2001), 161.

42. 238 “disarming pretense”: Richard Kostelanetz, “Inferential Art,” Columbia Forum (Summer 1969): 19.

43. 239 “the most complex”: Emily Hall Tremaine, in Kathleen L. Housley, Emily Hall Tremaine: Collector on the Cusp (Meriden, CT: Emily Hall Tremaine Foundation, 2001), 159.

44. 239 “Meaning belongs to the people”: Robert Rauschenberg, unpublished 1961 transcript of the Symposium on Assemblage organized by William Seitz, in Jonathan Katz, “Passive Resistance: On the Success of Queer Artists in Cold War American Art,” accessed February 20, 2019, http://www.queerculturalcenter.org/Pages/KatzPages/KatzLimage.html.

45. 239 “Today is their creator”: Robert Rauschenberg, quoted in Sebastian Egenhoger, “Subjectivity and the Production of Meaning in Warhol’s Early Work,” in Andy Warhol: The Early Sixties, ed. Bernhard Mendes Burgi (Ostfildern: Hatje Cantz, 2010), 42. Egenhofer writes at length on the new rejection of authorship in the era.

46. 239 “He doesn’t sign his work”: Harry Malcolmson, Toronto Telegram, March 27, 1965.

47. 239 “excess activity”: Geldzahler, typescript for a lecture deliv-


304 NOTES

ered for the United States Information Agency (1965), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

48. 239 “results”: Henry Geldzahler, in Cal Green, “Andy Warhol: A Hemi-Semi-Happening,” radio broadcast (WBAI, November 13, 1967), https://archive.org/details/pra-BB3271.

49. 239 feel authorless: See Sebastian Egenhoger, “Subjectivity and the Production of Meaning in Warhol’s Early Work,” in Andy Warhol: The Early Sixties, ed. Bernhard Mendes Burgi (Ostfildern: Hatje Cantz, 2010), 38.

50. 240 “not to explain”: Mel Juffe, editor of Eye, in Joseph Mancini, “Warhol Fighting for Life,” New York Post, June 4, 1968.

51. 240 “develop the atmosphere”: Nathan Gluck, interview by David Bourdon, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

52. 240 “commercial artist is good”: Homer Saint-Gaudens, in “American Weekly’s Art Exhibit Praised at Preview Here,” Pittsburgh Sun-Telegraph, October 9, 1947.

53. 241 “Modern Painters and Sculptors as Illustrators”: On the 1936 show see https://www.moma.org/calendar/exhibitions/2939. The MoMA cu-rator was Monroe Wheeler, the lover of Warhol’s friend Ralph Pomeroy; he had also been involved with the MoMA drawings show that had in-cluded Warhol’s shoe in 1956.

54. 241 “a shoe ad”: George McNeill, “Abstract Expressionism and Communication Design,” Art Direction, January 1958, 71, quoted in El-len Lupton and J. Abbott Miller, “Line Art: Andy Warhol and the Com-mercial Art World of the 1950s,” in “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol, ed. Donna De Salvo (New York and Pittsburgh: Grey Art Gallery and Carnegie Museum of Art, c.1989), 35.

55. 241 Bauhaus had tragically blurred: See Hans Hofmann in Da-vid Deitcher, “The Unsentimental Education: The Professionalization of the American Artist,” in Hand-Painted Pop: American Art in Transition, 1955–62, ed. Paul Schimmel et al. (Los Angeles: Museum of Contempo-rary Art/Rizzoli, 1992), 96.

56. 241 “Mere wallpaper”: “A Life Roundtable on Modern Art,” Life (October 1948): 62.

57. 241 decoration in department store windows: A huge Abstract Expressionist painting, unstretched and uncredited, forms the backdrop for dresses in a window display at Russeks department store illustrated in Retail Reporting Bureau, Views and Reviews, January 3, 1957.

The magazine’s favorite windows for July 3,1960, included framed


NOTES 305

AbEx paintings at Stern’s (uncredited, but described in the caption as “a one-man showing of abstract impressionist paintings”) and a single framed abstraction at Bloomingdales.

58. 241 Mark Rothko: See Jonathan Jones, “Feeding Fury: How Rothko’s Seagram Murals Found Their Way to London,” The Guardian, December 7, 2002, https://www.theguardian.com/culture/2002/dec/07/artsfeatures.

59. 241 “Jasper Johns too is a designer”: Hilton Kramer, “Month in Review,” Arts Magazine (February 1959): 54. The article was reprinted in Catherine Craft, Jasper Johns (New York: Parkstone, 2012).

60. 242 “it’s my other life”: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 91.

61. 242 opposed several attempts: Thomas Sokolowski, “Warhol Redux,” in Adman: Warhol before Pop, ed. Nicholas Chambers (Sydney and Pittsburgh: Art Gallery of New South Wales and The Andy Warhol Mu-seum, 2017), 78. Sokolowski discusses Warhol’s opposition, in its plan-ning stages, to his 1989 exhibition “Success Is a Job in New York.”

See also Andreas Brown to Andy Warhol, December 6, 1971, AWMA. The bookseller, who had organized a show of early work at his Gotham Book Mart, refers to the artist’s “embarrassment” at his 1950s illustra-tions.

62. 242 destroy a pile: Henry Geldzahler, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 184.

63. 242 “He said, ‘Hide that!’”: Warhol, quoted in Gerard Malanga, interview by Christoph Heinrich, typescript, 1999, Gerard Malanga Pa-pers, Beinecke Rare Book and Manuscript Library, Yale University.

64. 242 “I’m a commercial artist”: April 25, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16742, Kindle edition.

65. 242 “for a living”: The mention survives in Gene R. Swenson, “New American ‘Sign Painters’” (typescript draft, c. 1962), Gene Swen-son Papers, Archives of American Art, Smithsonian Institution.

66. 242 “point would be lost”: David Bourdon, notes on a studio visit with Warhol (March 7, 1962), David Bourdon papers, Archives of American Art, Smithsonian Institution.

67. 242 “disassociate themselves”: Emile De Antonio, notes from an interview, September 13, 1976, box M88, AWMA.

Dan Arje, who worked in windows at Bonwit Teller, also cited the at-tempts Johns and Rauschenberg made to distance themselves from their


306 NOTES

commercial work—see Arje, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 395.

68. 242 “window display”: Walter H. Herdeg, Window Display: An International Survey of the Art of Window Display Vol. 2 (Zurich: Amstutz & Herdeg, 1961), 126.

69. 243 “anti-intellectual”: Henry Geldzahler, interview by David Bourdon, typed notes, October 4, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution. Geldzahler also claimed that Johns, despite his supposed disdain for Warhol’s mind, was fascinated by some of his antics, such as when Warhol took Polaroids of a man’s naked rear that Johns “could not take his eyes off.”

70. 243 “you’re so swish”: Emile De Antonio, notes from an inter-view, September 13, 1976, box M88, AWMA.

71. 243 “masked who they were”: Emile de Antonio, in Fred Law-rence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 146.

72. 243 “much more swish”: Emile De Antonio, notes from an in-terview, September 13, 1976, box M88, AWMA.

73. 243 “Greek homosexuality”: Art Kane, in Donna De Salvo, “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol (New York and Pittsburgh: Grey Art Gallery and Carnegie Museum of Art, 1989), 50. The photograph appeared in an ad for a fine printing paper that was inserted into various magazines.

74. 243 “acts as a label”: Donald Webster Cory, “Can Homosexuals Be Recognized?” One (September 1953): 11.

75. 243 “affectionately involved”: Robert Rauschenberg, in Paul Taylor, “Robert Rauschenberg,” Interview (December 1990): 147.

76. 243 the art world’s obsession: See Robert Rauschenberg in Paul Taylor, “Robert Rauschenberg,” Interview (December 1990): 147. The article is reprinted at http://www.interviewmagazine.com/art/robert-rauschenberg-/print/, accessed May 29, 2017.

77. 243 “suffered as they had”: Journal entry from July 12, in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Doug-las Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

78. 244 Johns sending cheery greetings: Jasper Johns to Henry Geldzahler, Tokyo c.1964, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

79. 244 adjoining plots of land: John Powers to Andy Warhol, May 5, 1978, TC205, AWMA.

80. 244 as aloof: Emile De Antonio, notes from an interview, Sep-


NOTES 307

tember 13, 1976, box M88, AWMA. 81. 244 lifelong insecurity: Although the story gets told in the first

person in Popism, it seems to have been based on memories elicited from de Antonio.

82. 244 “playing with myself”: Warhol, quoted in Ultra Violet, Fa-mous for 15 Minutes: My Years with Andy Warhol (Open Road Media, 2015), loc. 2493, Kindle edition.

83. 244 shorten the brand name to “Coc”: In 1962, when Warhol decided to do a series of paintings based on diagrams used to teach ball-room dancing, he couldn’t resist homing-in on the diagram that came with a fey-sounding caption: “The Double Twinkle – Man.” The “Man” in the title simply refers to the fact that the diagram is for the male steps in the dance, but Warhol must have noticed that the diagram’s caption makes “double twinkle” sound like a description of the man involved. The painting and its source image are both in The Andy Warhol Mu-seum.

84. 244 “trash aesthetic”: Mark W. Booth, Camp (New York: Quar-tet, 1983), 19.

85. 245 tongue-in-cheek: Stephen Bruce, interview by author, May 19, 2016.

CHAPTER 15

1. 247 “hard-headed charlatan”: Henry J. Seldis, “Canadian Im-presssive in Debut [. . .] Commonist Trend Misses the Mark,” Los Angeles Times, July 13, 1962.

2. 247 “trying to get Andy a show”: Henry Geldzahler, interview by David Bourdon, typed notes, October 4, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

3. 247 “thought they were terrible”: David Mann, interview by David Bourdon, typed notes, March 21, 1968, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

4. 247 “I’ll take them elsewhere”: Warhol, quoted by David Mann, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vin-tage Books, 2003), loc. 2221, Kindle edition.

5. 248 David Herbert: On David Herbert’s connection to Warhol see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 177.

See also the April 26, 1961, receipt for a Ray Johnson collage that Warhol bought from Herbert and Warhol’s copy of the brochures for a Louise Nevelson show put on by Herbert in 1960, for his Pamela Bianco


308 NOTES

show from April 1961 and for a Purism show that Herbert put on just before Warhol showed with him (all AWMA).

6. 248 “breaking the way for Andy”: David Herbert to Josie, May 1989, David Herbert papers, Archives of American Art, Smithsonian In-stitution.

7. 248 a mention of Warhol: We know of Warhol’s presence in the Herbert back room from V. V. Rankine, who had the front-room show—see V. V. Rankine, oral history, March 2, 1990, Archives of American Art, Smithsonian Institution.

Rankine’s show with Herbert ran May 7 to May 31, 1962—see “Gal-lery Openings, Museum Exhibitions,” New York Times, May 6, 1962. See also Brian O’Doherty “Art: Modern Materials Yield Ideas,” New York Times, May 12, 1962.

8. 248 toward a Pop aesthetic: The prevalence of “Neo-Dada” ap-proaches among young Los Angeles artists is mentioned already in Jules Langsner, “Art News from Los Angeles,” Art News (September 1961): 20.

9. 248 Blum traveled to New York: The narrative that follows is based on Irving Blum, interview by author, November 5, 2014. It also relies on Walter Hopps in “When Walter Hopps Met Andy Warhol and Frank Stella,” The New Yorker ( June 5, 2017), http://www.newyorker.com/culture/culture-desk/when-walter-hopps-met-andy-warhol-and-frank-stella. Blum and Hopps have told various, sometimes incompat-ible versions of their early encounters with Warhol; this author’s account seems a likely triangulation between them.

10. 248 their friend David Herbert: On David Herbert’s earlier role in introducing Blum to new art see Blum in Roberta Bernstein, “An In-terview with Irving Blum,” in Ferus (New York: Gagosian and Rizzoli, 2009), 22. See also Peter Brant, “Irving Blum,” Interview (March 30, 2012), http://www.interviewmagazine.com/culture/irving-blum-1.brant.

Several letters between Herbert and the Ferus owners confirm the close connection—see the David Herbert Papers, Archives of American Art, Smithsonian Institution.

11. 248 knew Warhol’s reputation: Walter Hopps has claimed that he and Blum both knew of Warhol’s commercial art—see Walter Hopps, “When Walter Hopps Met Andy Warhol and Frank Stella,” The New Yorker (June 5, 2017), http://www.newyorker.com/culture/culture-desk/when-walter-hopps-met-andy-warhol-and-frank-stella. Blum has denied that on several occasions, including in his November 5, 2014, interview with this author.

12. 248 two other advisers: Irving Blum mentioned Henry


NOTES 309

Geldzahler and the gallery owner Richard Bellamy, a Pop supporter who had recently opened the Green Gallery—see Irving Blum, interview by author, November 5, 2014. Warhol seems to have been notably absent from the radar of Blum’s third advisor, MoMA curator William Sietz.

13. 248 at Serendipity: Walter Hopps, in Jim Edwards, “New Paint-ing of Common Objects: An Interview with Walter Hopps,” in Pop Art: U.S./U.K. Connections, 1956–1966, ed. David E. Brauer (Ostfildern: Hatje Cantz, 2001), 43. Hopps dates the encounter to the fall, but an earlier date is indicated by the closing words “Have a big bowl of Campbell’s Beef Barley” in Irving Blum to David Herbert, May 11, 1962, David Herbert papers, Archives of American Art, Smithsonian Institution.

14. 248 “Warhol wallowed in it”: Irving Blum, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 192, Kindle edition.

15. 248 had just returned from its windows: Blum elaborates on that timing in Irving Blum, oral history, October 26, 2011, Museum of Modern Art Archives, New York, https://www.moma.org/momaorg/shared/pdfs/docs/learn/archives/transcript_blum.pdf.

Warhol is supposed to have mentioned the paintings having just then returned from “a department store”—see Irving Blum, oral history, in-terview by Avis Berman, January 17, 2017, courtesy The Roy Lichtenstein Foundation Archives.

16. 249 “They were radical”: Irving Blum, interview by author, November 5, 2014.

17. 249 In New York again: Irving Blum’s trip to New York was paid for by the West Coast collector Edwin Janss, who wanted the dealer’s ad-vice on a Giacometti painting he was planning to acquire from the dealer Klaus Perls—see Irving Blum, oral history, October 26, 2011, Museum of Modern Art Archives, New York, https://www.moma.org/momaorg/shared/pdfs/docs/learn/archives/transcript_blum.pdf. Within a couple of years, Janss was buying a Warhol Marilyn—see Titia Hulst, “The Right Man at the Right Time: Leo Castelli and the American Market for Avant-Garde Art” (Ph.D., New York University, 2014), 132.

18. 249 three of the latest Campbell’s Soups: In some of his ac-counts Irving Blum has said there were as many as six Soups already painted. See Kirk Varnedoe, “Campbell’s Soup Cans,” in Ferus, 2nd ed. (New York: Gagosian and Rizzoli, 2009), 45.

19. 249 “ambiguous answer”: Walter Hopps, “When Walter Hopps Met Andy Warhol and Frank Stella,” The New Yorker (June 5, 2017), http://www.newyorker.com/culture/culture-desk/when-walter-hopps-met-


310 NOTES

andy-warhol-and-frank-stella.Warhol fed the same line to a reporter when Time profiled him a few

months later—see “The Slice of Cake School,” Time (May 11, 1962).20. 249 “thirty-two flavors”: A printed “Product Parade” of Camp-

bell products (AWMA) which Warhol seems to have consulted for his project, lists thirty-one flavors, with a thirty-second—”Turkey Vegeta-ble”—added by hand by someone other than Warhol. All the flavors on that list are in his series for Blum.

A 1962 Campbell’s annual report (box B566, AWMA) mentions there having been 33 flavors and the same number is given in Andy Warhol, interview by David Bourdon, typed notes, June 27, 1963, David Bourdon papers, Archives of American Art, Smithsonian Institution.

Warhol mentions 34 flavors in “Commonism,” a circa February 1962 document from an unknown source posted at David Platzker, “Com-monism,” Specific Object (blog), accessed November 20, 2019, https://specificobject.com/objects/info.cfm?object_id=20037#.XdVwOFB7neR.

21. 249 “something happening”: Irving Blum, interview by author, November 5, 2014.

22. 249 sculptures of Jasper Johns: Peter Brant, “Irving Blum,” In-terview (March 30, 2012), http://www.interviewmagazine.com/culture/irving-blum-1.

Blum mentioned having retained the Light Bulb for himself when it failed to sell in the Ferus show—Irving Blum, interview by author, November 5, 2014.

23. 249 “sealed the deal”: In telling and retelling his story, Irving Blum has referred to his promise of movie stars as a lie. But the March 23, 1959, opening for Robert Irwin at Ferus is mentioned as having attracted just such a Hollywood crowd in Irving Blum to David Herbert, March 23, 1959, David Herbert papers, Archives of American Art, Smithsonian Institution.

Blum mentioned Tony Curtis as a client of his in late 1962, when the gallery showed Joseph Cornell—see Roberta Bernstein, “An Interview with Irving Blum,” in Ferus (New York: Gagosian and Rizzoli, 2009), 37. Blum also mentioned Vincent Price as an early patron—see Irving Blum, oral history, October 26, 2011, Museum of Modern Art Archives, New York, https://www.moma.org/momaorg/shared/pdfs/docs/learn/archives/transcript_blum.pdf.

24. 249 earlier, bigger Campbell’s paintings: Irving Blum, inter-view by author, November 5, 2014.

25. 250 “his first dealer”: John Weber, oral history, March 21, 2006,


NOTES 311

Archives of American Art, Smithsonian Institution. Weber’s name shows up several times in Warhol’s datebook for 1962 (AWMA).

A June 12, 1962, document from the Martha Jackson Gallery (AWMA) shows four tiny Pop canvases in its inventory.

26. 250 “be bought out”: John Weber, “Confidential Report on Andy Warhol” (May 18, 1962), Martha Jackson Gallery Archives, Ander-son Gallery, State University of New York at Buffalo.

27. 250 a three-man show: Allan Stone, interview by David Bour-don, typed notes, February 26, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

28. 250 Wayne Thiebaud: Steven C Munson, “Fun with Paint,” Commentary, May 2001, 52. See also Brian O’Doherty, “America Seen through Stomach: Catalogue of Food by Wayne Thiebaud,” New York Times, April 28, 1962.

29. 250 Warhol was a fan: Nathan Gluck, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Univer-sity, 1982), 605.

30. 250 “soup-to-cake concession”: Dorothy Gees Seckler, “Folk-lore of the Banal,” Art in America (Winter 1962): 57. Seckler’s wording doesn’t make clear whether Warhol was on view at Stone’s gallery at the same time as Thiebaud’s April solo or on some other occasion.

Henry Geldzahler said that he also saw Warhol works at the Stone gallery—see Henry Geldzahler, interview by David Bourdon, typed notes, October 4, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution. Warhol himself mentioned an upcoming engagement there in Andy Warhol, interview by David Bourdon, typed notes, March 12, 1962, David Bourdon papers, Archives of American Art, Smithsonian Institution.

The St. Louis Post-Dispatch, of all publications, seems to have got to Pop Art before anyone else, maybe because it got early news of the work of hometown boy James Rosenquist. For the paper’s New Year’s Day magazine, a reporter in its New York bureau had written a cover-story about an unnamed new trend, still barely emerged from the studios, of paintings that favored the “stark, blatant, literal representation of every-day objects.” Rosenquist and Lichtenstein were given major play, because they both had first shows on the way, while Warhol’s paintings, as stark, blatant and literal as any, don’t yet seem to have been on the writer’s radar. See Paul Berg, “About-Face from the Abstract,” St. Louis-Dispatch, December 31, 1961.

31. 250 “Slice of Cake School”: “The Slice of Cake School,” Time


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(May 11, 1962).Mademoiselle profiled almost the same list of artists, minus Thiebaud

but adding Claes Oldenburg, Tom Wesselmann and the Pop-inflected abstractions of Sven Lukin—see Leo Lerman, “The Village Idea,” Made-moiselle ( June 1962): 70.

Given the deadlines for weekly versus monthly magazines, the Mademoiselle feature would actually have been written first—probably sometime in March or early April.

Life magazine was last to run a feature on Pop, in its June 15, 1962, issue, and it left out Warhol altogether.

32. 251 “the top avant-garde gallery”: Yayoi Kusama, in Judith E. Stein, Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art (New York: Farrar, Straus & Giroux, 2016), 170.

33. 251 “Dick Bellamy helped launch”: Henry Geldzahler, “The New York Art Galleries” (typescript marked as being for publication in the New York Spy, June 1967), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

34. 251 studios of up-and-comers: Henry Geldzahler, oral history, January 27, 1970, Archives of American Art, Smithsonian Institution.

35. 251 based on drawings: See Riva Castleman, “Floriano Vecchi and the Tiber Press,” Print Quarterly 21, no. 2 (June 2004): 164.

Lichtenstein had done a hand drawn dollar-bill print a full half-decade earlier, and various West Coast artists had been exploring the subject—see Walter Hopps in Jim Edwards, “New Painting of Common Objects: An Interview with Walter Hopps,” in Pop Art: U.S./U.K. Connec-tions, 1956–1966, ed. David E. Brauer (Ostfildern: Hatje Cantz, 2001), 47.

36. 251 steer clear of counterfeiting: Warhol once said that the worries about counterfeiting had already begun when he had tried to have a rubber stamp made for his dollar-bill painting, before he’d decided to try silkscreening—see Andy Warhol, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

Nathan Gluck implies that when Warhol went to his printmaker friend Floriano Vecchi for a silkscreen, Vecchi had similar reservations about working direct from a photo of a dollar bill and thus insisted on Warhol making a drawing—see Gluck in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 60.

37. 251 . image of a stamp: Robert Alden, “Advertising: Secret Ser-vice,” New York Times, June 16, 1960.


NOTES 313

38. 251 the artisanal setting: Edward Landon, “Serigraphy,” Art Education 17, no. 4 (April 1964): 18.

39. 251 “the statement is not true”: Gene R. Swenson, “The Per-sonality of the Artist” (typescript draft of a lecture given October 21, 1965, at the Institute of Contemporary Art in Philadelphia, n.d.), Sean Carrillo collection, Hudson, NY.

40. 252 “choices that Warhol made”: Henry Geldzahler, in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 313.

41. 252 masking techniques: Neil Printz, “Making Money/Print-ing Painting: Warhol’s Dollar Bill Paintings,” Criticism 56, no. 12 (Sum-mer 2014): 542.

42. 252 Gilbert Stuart portrait: Bennard B. Perlman, “Andy War-hol: The Pittsburgh Years, 1928–1949” (typescript, 2007), Bennard B. Perl-man Papers, AWMA.

43. 252 “art has some use”: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 3.

44. 252 pricing the piece at $200: “Art You Can Bank On,” Life (Sep-tember 19, 1969): 52. The article claims that this was the amount actu-ally paid for the piece, but early sources contradict this—see Marguerite Lamkin, “The Man Who Paints Money for Money,” London Standard, September 12, 1962.

45. 253 “Active Money”: The list, in the Warhol archives, is cited in Sarah Urist Green, “Andy Warhol: Master of Exchange,” in Andy Warhol Enterprises, ed. Allison Unruh (Ostfildern: Hatje Cantz, 2010), 129.

46. 253 “Man Who Paints Money”: Marguerite Lamkin, “The Man Who Paints Money for Money,” London Standard, September 12, 1962.

47. 253 “money on the wall”: “Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 133, Kindle edition.

48. 253 pride of place: See the photograph in Judith E. Stein, Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art (New York: Farrar, Straus & Giroux, 2016), 167.

Richard Bellamy himself hadn’t actually been a big Warhol fan be-fore the show. He’d been pushed to include him by a silent partner who had already bought Warhol’s work and by Claes Oldenburg’s surprising enthusiasm for it—see Stein, Eye of the Sixties, 166. The partner was Rob-ert Scull, who claimed to have already bought Warhol’s works in early 1961. On the other hand, a calendar notation by Scull dated January 16, 1962, reads “Warhall(Painter),” and so clearly indicates that Warhol is


314 NOTES

new to him then—see Robert Scull, appointment book (1962), Robert Scull papers, Archives of American Art, Smithsonian Institution.

Note that Irving Blum contradicts Bellamy’s account of his doubts about Warhol: He mentions Bellamy as one of the dealers who had first pointed him to Warhol as an emerging talent in mid-1961—see Blum in Hunter Drohojowska-Philp, “Art Dealer Irving Blum on Andy Warhol and the 1960s L.A. Art Scene,” Hollywood Reporter, November 4, 2013, https://www.hollywoodreporter.com/news/art-dealer-irving-blum-andy-653195.

Scull himself denied ever exerting an influence on Green’s curato-rial decisions—see Robert Scull, oral history, June 15, 1972, Archives of American Art, Smithsonian Institution.

49. 253 radical Slab: One review of the “absurd” Green show cited Slab, and slighted it, as a sculpture “that resembles (or is?) a model stand”—see “The Galleries—a Critical Guide,” New York Herald-Tribune, June 9, 1962.

50. 253 “non-art”: Brian O’Doherty, “Season’s End: Abstractions and Distractions,” New York Times, June 17, 1962. O’Doherty went on to be a major fan of Warhol and of Pop Art in general.

51. 254 Chryssa had mechanically transferred: See Douglas G. Schultz, Chryssa: Urban Icons (Buffalo: Albright-Knox Art Gallery, 1983), 5.

The exact transfer process Chryssa used is not clear: Close study (on October 3, 2017) of two of her early newspaper works, in storage at the Guggenheim Museum, hint at an extremely complex process that seems to have involved some kind of rubber stamp not unlike what Warhol was using at that moment, and/or salvaged newspaper printing matrices, such as are mentioned in some period sources on Chryssa. Chryssa used one “stamp” for each block of type or ad, but might also have deployed some other mechanical process that allowed for her sources to be scaled up or down at will, as Warhol’s sometimes were. There are also some mentions of her producing several silkscreened works—on paper—at around this time, but they aren’t necessarily reliable.

52. 254 “people to watch”: Emily Genauer, “Art: Whitney Annual of Sculpture, Drawing,” New York Herald-Tribune, December 11, 1960. See also Emily Genauer, “A Do-It Yourself Editorial on Art,” New York Herald-Tribune, November 26, 1961.

53. 254 “a newspaper”: Ann Geracimos, “Greek Artist Finds Times Square Poetic,” New York Herald-Tribune, January 29, 1962.

A print titled Newspaper Page, Sock Advertisement, in the collection of the Whitney Museum of American Art, is inscribed with a date of 1962.


NOTES 315

On being re-catalogued in 2010 its medium was described as “two-color screenprint, oil and graphite on paper,” but on closer study in October of 2018 the Whitney conservator Clara Rojas-Sebesta decided the sheet had been made through some kind of two-color stamping process.

54. 254 an early collector of his: The collector was Hanford Yang, who believes he might have told Warhol about Chryssa—Hanford Yang, interview by author, September 22, 2017. On Chryssa’s show with David Herbert see Carlyle Burrows, “Kemeny Sculpture Higlights Shows,” New York Herald-Tribune, May 29, 1960.

David Bourdon records Warhol mentioning Chryssa, in passing, in Andy Warhol, interview by David Bourdon, typed notes, April 1968, Da-vid Bourdon papers, Archives of American Art, Smithsonian Institution.

55. 254 “ceded control of their work to chance”: Samuel Adams Green, Andy Warhol (Philadelphia: Institute of Contemporary Art, 1965).

56. 255 $1,200: The price is mentioned in Marguerite Lamkin, “The Man Who Paints Money for Money,” London Standard, September 12, 1962. The piece sold to Robert Scull, the Green Gallery backer who had bought from Warhol before and thus had a stake in upping his prices.

57. 255 twice that price: See Guggenheim Museum, loan docu-ment (November 3, 1961), Betty Parsons Gallery records and personal papers, Archives of American Art, Smithsonian Institution. The entry for Chryssa’s Newspaper No. 3 is annotated “sold” and “$2,300,” although a later statement from the gallery to Chryssa herself, dated January 31, 1962, gives the painting’s sale price as $1,500.

58. 255 twenty thousand times more: Judith E. Stein, Eye of the Six-ties: Richard Bellamy and the Transformation of Modern Art (New York: Far-rar, Straus & Giroux, 2016), 273.

59. 255 paintings sold for: See the February 1, 1966, summary of 1965 sales at Castelli Gallery (box B17, AWMA). Of course Warhol would only have received seventy percent of the sale price on the Green paint-ing, or as little as half if the gallery had already started charging the higher commission New York dealers were moving toward.

60. 255 a fifth or less: Johns’s works are noted at $5,000 and $12,000 in Martha Jackson Gallery, invoice to Emily Hall Tremaine (August 28, 1962), Emily Hall Tremaine papers, Archives of American Art, Smithson-ian Institution.

61. 255 “looking for distinctions”: Fairfield Porter, recorded lec-ture (Maryland Institute College of Art, Baltimore, MD, 1963), http://archive.org/details/mma009-01.

62. 255 “self-conscious stylist”: Jill Johnston, Mother Bound (New


316 NOTES

York: Knopf, 1983), 121.63. 255 endless contracts: Between January and June 1962, Warhol

made out 13 invoices (doc box 189, AWMA) to his agent Fritzie Miller, who was just one source for the commercial contracts he was getting at the time.

64. 256 “intentionally brutal”: Ruth Ansel, interview by author, August 12, 2015. Ansel shared her duties at Bazaar with another young designer named Bea Feitler, who must have been involved in the work with Warhol that Ansel described.

65. 256 random hatchings and washes of color: Warhol had tested a similar style in an image of beauty products for the July issue of Ba-zaar—see the entry on it in Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 287. Warhol tried it also in a portrait of art director Art Kane, a client of his, that was used in a tear-out ad for Champion fine printing paper that was inserted into various prestige publications, in-cluding Print: America’s Graphic Design Magazine (March 1962): 30. It was also inserted in Harper’s Magazine for April 1962.

On Warhol’s collaboration with Art Kane for Champion Papers see Thomas E. Crow, “Warhol among the Art Directors,” in Andy Warhol Enterprises, ed. Allison Unruh and Sarah Urist Green (Ostfildern: Hatje Cantz, 2010), 99.

66. 256 “assisting the other arts”: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 8.

67. 256 cute faces on real light bulbs: See the entry on the October 1961 issue of Mademoiselle in Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 276.

68. 256 Fleming-Joffe: So far, the earliest recorded illustration by Warhol for a Fleming-Joffe product is an ad in Vogue (February 1958): 27, although the Edelman company now claims that the relationship didn’t begin until 1959—see “Warhol | Edelman Leather,” accessed February 22, 2019, https://www.edelmanleather.com/universe/edelman/warhol. Arthur Edelman has said they met in 1957—see Arthur Edelman, “The Day I Offered Andy Warhol a Job,” The Guardian, September 4, 2016, https://www.theguardian.com/lifeandstyle/2016/sep/04/the-day-i-of-fered-andy-warhol-a-job-arthur-edelman.

69. 257 business in hides: The following discussion is based on Ar-thur Edelman and Theodora Edelman, interview by author, April 16, 2015.


NOTES 317

70. 257 sell as supplies: Slender 1950s pumps could use up small hides that didn’t work for the purses Fleming-Joffe had previously been known for—on the purses see “String Beige Wool, Tweeded Silk,” Harp-er’s Bazaar (March 1956): 158. See also “Leathers Unlimited,” Harper’s Ba-zaar (March 1956): 166; John Stuart, “More Reptiles Due to Lose Skins as Big Dealer Starts Expansion,” New York Times, March 1, 1953.

71. 257 Warhol was enlisted: Warhol was already established as the nation’s shoe-guy—Arthur Edelman had first encountered him in the hallway outside the I. Miller offices—see Arthur Edelman in Kim-berly Phillips, “Happy Birthday Andy!,” August 6, 2012, http://blog.dwr.com/2012/08/06/happy-birthday-andy/.

72. 257 “leather industry”: They’d already deployed poems com-missioned from Ogden Nash to similar effect, the Edelmans explained, even using them to leverage coverage for the firm in the New York Times—see John Stuart, “More Reptiles Due to Lose Skins as Big Dealer Starts Expansion,” New York Times, March 1, 1953. Arthur Edelman said that the Nash poems had been given pride of place in the press release that led to the Times story.

If in the art world Warhol was cultivating his new aloof persona, in the commercial world he remained “a joy to work with,” the Edelmans remembered. “If we didn’t like something, he would change it; he had no ego at all…. Andy was very, very smart—you didn’t have to explain anything to him”—Arthur Edelman and Theodora Edelman, interview by author, April 16, 2015.

73. 257 competing with photographers: A photographic Fleming-Joffe ad, for leather used in shoes by I. Miller, appears in the April 1958 issue of Vogue, one month after Warhol’s work for the Edelmans seems to have begun. The couple continues to use photography in their ads right through the 1960s. It is hard to know, however, when the art decisions were being made by the Edelmans and when they were being made by the shoe companies featured in the same ads—see for example Vogue (December 1, 1963): 29.

74. 257 from Warhol’s very first years: Nina Schleif, Drag & Draw: Andy Warhol, the Unknown Fifties (Munich: Hirmer, 2018), 47.

75. 257 steady income: Warhol’s 1960 income statement from the Times (IRS form 1099, AWMA) was for $3465; the 1962 statement came to $2335.

76. 257 head of advertising: William McCarthy, interview by au-thor, January 8, 2015.

77. 257 a monthly salary: 1962 accounts ledger, AWMA.


318 NOTES

Warhol’s agent was now selling more of his illustrations than in pre-vious years—fully $9,000 worth—but that now accounted for a quarter of what was left of his commercial income, maybe because Warhol was too busy hustling art to also hustle his illustrations.

78. 257 expenses for the year: 1962 accounts ledger, AWMA. 79. 257 begging one client: See the October 5, 1962, request for

payment (AWMA) that Warhol sent to the greeting-card maker Lilac Hedges—which yielded a grand total of $25.00.

80. 258 “show is glorious”: Irving Blum to Andy Warhol, July 23, 1962, AWMA.

81. 258 took care to advertise: “This Week’s Calendar,” Los Angeles Times, July 8, 1962.

82. 258 a poster: The poster was designed to ape new ones from Castelli—see Walter Hopps, “When Walter Hopps Met Andy Warhol and Frank Stella,” The New Yorker ( June 5, 2017), http://www.newyorker.com/culture/culture-desk/when-walter-hopps-met-andy-warhol-and-frank-stella.

83. 258 getting them all level: Irving Blum, oral history, October 26, 2011, Museum of Modern Art Archives, New York, https://www.moma.org/momaorg/shared/pdfs/docs/learn/archives/transcript_blum.pdf.

84. 258 displayed their canned goods: See the 1950s photo of a supermarket aisle held at the Akron Art Museum—Phillipe Halsman, “Campbell Soup Display before Warhol,” accessed February 22, 2019, https://akronartmuseum.org/collection/Obj3522?sid=1&x=3735260.

85. 258 nicely typed label: For an image of the installation see Ga-gosian Gallery, Ferus (New York: Rizzoli, 2009), 50.

Blum mentions building a shelf, but not with any intention of parrot-ing a supermarket display, in Irving Blum, oral history, October 26, 2011, Museum of Modern Art Archives, New York, https://www.moma.org/momaorg/shared/pdfs/docs/learn/archives/transcript_blum.pdf.

86. 258 “elevating them”: Mario Amaya, Pop Art . . . and After (New York: Viking Press, 1966), 11, 73.

87. 258 “very high idea of art”: Claes Oldenburg, in Carol Anne Mahsun, ed., “Roy Lichtenstein, Claes Oldenburg and Andy Warhol in Conversation with Bruce Glaser,” in Pop Art: The Critical Dialogue (Ann Arbor: UMI Research Press, 1989), 14. Mahsun reprints this transcript from “Roy Lichtenstein, Claes Oldenburg and Andy Warhol in Conversa-tion with Bruce Glaser,” Artforum (February 1966).

88. 259 “the wrong people”: Warhol, in Carol Anne Mahsun, ed.,


NOTES 319

“Roy Lichtenstein, Claes Oldenburg and Andy Warhol in Conversation with Bruce Glaser,” in Pop Art: The Critical Dialogue (Ann Arbor: UMI Research Press, 1989), 152. Mahsun reprints this transcript from “Roy Lichtenstein, Claes Oldenburg and Andy Warhol in Conversation with Bruce Glaser,” Artforum (February 1966).

89. 259 “Andy Warhole”: Henry J. Seldis, “Canadian Impresssive in Debut [. . .] Commonist Trend Misses the Mark,” Los Angeles Times, July 13, 1962.

90. 259 “Monday Art Walk”: Carolyn Strickler, “La Cienega, Seen,” Los Angeles Times, March 5, 2006.

91. 259 “Do Not Be Misled”: Matt Weinstock, “Insects Bug You? Here’s the Reason,” Los Angeles Times, July 19, 1962. The cans were shown at the Stuart-Primus gallery, a serious venue that showed both non-West-ern and American contemporary art—see Gagosian Gallery, Ferus (New York: Rizzoli, 2009), 37.

92. 259 “Kafkaesque intensity”: Jack Smith, “Soup Can Painter Uses His Noodle,” Los Angeles Times, July 23, 1962.

93. 259 “a real Zen feeling”: Interlandi, “Below Olympus,” Los An-geles Times, August 1, 1962.

Two full years before the Ferus show, a prominent New York dealer had played Nostradamus, predicting that “advanced artists may again become interested in figurative painting, but if so, it will be in a way even less acceptable to conventional taste than the abstract painting the lay public now rejects”—see André Emmerich in Dorothy Gees Seckler, “Clues to the Future,” Art in America (Summer 1962): 124. A rival dealer, more committed to abstraction, countered that “to expect a return to realism is as false as to expect a return to the barter system”—Sylvan Simone, in Helen Wurdemann, “Variety in Los Angeles,” Art in America (Summer 1962): 136.

94. 259 “mask of impersonality”: Lawrence Alloway, in “Pop Art: An Historical Approach” (lecture transcript from a symposium orga-nized by Willoughby Sharp for the Columbia University Graduate Art History Association, April 25, 1964), courtesy The Roy Lichtenstein Foundation Archives.

On the symposium see”Schapiro Will Moderate Art History Sympo-sium,” Columbia Daily Spectator, April 24, 1964.

95. 260 “a nostalgic call”: Henry T. Hopkins, “Andy Warhol: Ferus Gallery,” Artforum (September 1962).

96. 260 “So it kind of marks a time”: Warhol, quoted by Irving Blum, full unpublished transcript for the video documentary “Andy War-


320 NOTES

hol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertain-ment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

97. 260 “a bottle so pretty”: Robert Alden, “Advertising: Pepsi and Coke Cross Bottles,” New York Times, June 16, 1960.

98. 260 “highest-paying art competition”: Russell Lynes, “High-brow, Lowbrow, Middlebrow,” Harper’s Magazine (February 1949): 28.

For the attack on Pepsi see Balcomb Greene, manuscript submitted to The Nation (March 2, 1945), Balcomb and Gertrude Greene papers, Archives of American Art, Smithsonian Institution. See also the accom-panying rejection letter from Margaret Marshall, the magazine’s editor.

99. 260 “against the use of art techniques”: Joseph Kaselow, “Coke Battle of the Sexes Vaccuumed Up,” New York Herald-Tribune, October 1960. See also Hugh Munro, “The Advertising World: Battle of Pop Bot-tles to Cost $60,000,000,” Globe and Mail, December 28, 1962.

100. 260 “return to reality”: Dennis Hopper, in “Seeing Warhol: 14 Friends Remember Andy Warhol,” Interview (November 2008), https://www.interviewmagazine.com/art/seeing-warhol.

101. 260 “important painting”: Brooke Hayward, interview by au-thor, February 23, 2017.

Hayward’s story can’t be quite accurate, because her daughter was born on June 26, 1962, when the 32 Soups had not yet arrived at the Ferus. Hopper would have to have bought one of the Soups that Blum had brought back with him from New York in the spring—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 70. One collector and dealer remembered Blum buying two Soups on a visit they made together to Warhol’s studio in May 1962—see Betty Asher, interview by David Bourdon, typed notes, April 20, 1988, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution. Blum confirmed her story in a March 24, 2018, e-mail to the author.

See also Dennis Hopper, 1712 North Crescent Heights: Dennis Hopper Photographs 1962–1968 (Los Angeles: Greybull Press, 2001). Hayward tells the story of the hospital visit and Hopper denies it—although Hayward does concede that Hopper might have bought the Soup painting, taken it to the hospital, and then been made to return it to Ferus. Hopper claims he first saw the Soup Can he and Hayward owned, and later sold, at the Dwan Gallery, and Hayward, in the 2017 interview, also said it came from there. Hopper also insists on having bought his Soup Can from Dwan in Dennis Hopper, Dennis Hopper: Interviews, ed. Nick Dawson


NOTES 321

(Jackson, MS: University Press of Mississippi, 2012), 174. Number 53 in the Warhol catalogue raisonné is supposed to be that

Hopper-Hayward piece, yet its provenance summary claims that it ended up at the Dwan gallery after it was owned by the Hoppers—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002).

Since the picture wasn’t one of the 32 in the Ferus show, there may always have been some confusion about just which work the couple owned, where it came from and when it was purchased.

102. 260 aligning himself with Yves Klein: Benjamin Buchloh, “Andy Warhol’s One Dimensional Art: 1956–1966,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 32.

103. 261 Factum paintings: See Carolyn Lanchner, Robert Rauschen-berg (New York: D.A.P., 2009), 30.

104. 261 “ soup cans on a canvas”: Marcel Duchamp, in Rosalind Constable, “New York’s Avant-Garde and How It Got There,” New York Herald-Tribune Sunday Magazine (May 17, 1964): 10.

105. 261 de rigueur listening: Edward Downes, “Do Best-Seller Lists Accurately Mirror Our Tastes?” New York Times, March 16, 1958.

Warhol’s collector Emily Tremaine remembered hearing Bach and rock blaring out simultaneously on her visits to Warhol’s studio in 1962—see Emily Tremaine, “Emily Tremaine: Her Own Thoughts,” in The Tremaine Collection: 20th Century Masters, the Spirit of Modernism (Hart-ford, CT: Wadsworth Atheneum, 1984), 29. At least one of Warhol’s Bach albums, of the “Peasant Cantata,” has survived in his archive.

106. 261 another four clients: The purchasers are given as Ed Janss, Robert Rowan, Monte Factor, Dennis Hopper and Betty Asher in Irving Blum, oral history, October 26, 2011, Museum of Modern Art Archives, New York, https://www.moma.org/momaorg/shared/pdfs/docs/learn/archives/transcript_blum.pdf.

On the other collector who took possession of one of the Ferus Soups see Jeffrey Hayden, “Soupy Sale,” Los Angeles Times, March 14, 1987. Blum leaves out Hayden as a buyer in his MoMA oral history.

A Los Angeles artist named Walt Esslinger also claimed to have bought and then returned one of the Soups—see Larry Hill, “The Hun-dred Dollar Warhol,” accessed November 20, 2019, https://www.face-book.com/larryhillart/posts/1722963691309363:0. Esslinger’s story, as told to the younger artist Larry Hill, is so full of impossibilities and errors that it may need to be entirely ignored.


322 NOTES

107. 261 keep all thirty-two paintings: Irving Blum, in an October 11, 2017, e-mail to the author, said that he’d decided to keep the paintings together after a discussion with the art critic John Coplans.

108. 261 “conceived as a series”: Irving Blum, in Hunter Drohoj-owska-Philp, “Art Dealer Irving Blum on Andy Warhol and the 1960s L.A. Art Scene,” Hollywood Reporter, November 4, 2013, https://www.hollywoodreporter.com/news/art-dealer-irving-blum-andy-653195.

Don Factor, one of the clients who had placed a Soup on reserve, said that Blum had asked him to give up his claim because Warhol himself preferred that the paintings stay together—see Morgan Neville, The Cool School, documentary, 2008.

109. 261 one giant painting: Hanford Yang, interview by author, September 22, 2017.

110. 261 accepting $1,000: Irving Blum, in Gagosian Gallery, Ferus (New York: Rizzoli, 2009), 27.

111. 261 a different version of the story: Joe Helman, interview by author, December 9, 2014.

112. 262 price of $200: The price is given in Matt Weinstock, “Insects Bug You? Here’s the Reason,” Los Angeles Times, July 19, 1962. It is con-firmed in Jeffrey Hayden, “Soupy Sale,” Los Angeles Times, March 14, 1987.

113. 262 “That’s too bad”: Warhol, quoted by Joseph Helman in Richard Polsky, “The Ferus Years,” Western Art and Architecture ( July 2013), https://westernartandarchitecture.com/Features/Story/the-ferus-years. Joseph Helman remembered the conversation as having taken place in the 1970s or ’80s; the most likely occasion for it would have been the exhibition of Warhol’s early paintings at Blum Helman Gallery in New York in 1978—see Vivien Raynor, “Art: Warhol’s Gang Pops Back Again,” New York Times, December 22, 1978.

Helman remembered the paintings as selling for $100 and the total owed Warhol as $1,600, but the surviving documents don’t support that. His memory is probably conditioned by Blum, who has frequently men-tioned the lower price—probably confusing the amount he would have owed Warhol with what the paintings sold for.

114. 262 an invoice: See the December 2, 1962, invoice from Warhol to Ferus, AWMA.

115. 262 monthly rent: Kirk Varnedoe, “Campbell’s Soup Cans,” in Ferus, 2nd ed. (New York: Gagosian and Rizzoli, 2009), 46.

116. 262 for one single soup: Irving Blum said that within months of the first Ferus show, he had bought a large 1961 Campbell’s Soup for $1,200 from the designer George Nelson—see Irving Blum, interview by


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author, November 5, 2014. Nelson had himself bought it from Eleanor Ward on the advice of Emile de Antonio—see Emile De Antonio, notes from an interview, September 13, 1976, box M88, AWMA.

117. 262 “greatest image in art”: Sam Wagstaff, in Philip Gefter, Wagstaff, Before and After Mapplethorpe: A Biography (New York: Liveright Publishing, 2015), loc. 173, Kindle edition.

118. 262 just those first Ferus paintings: See British curator Mario Amaya cited in Benjamin Buchloh, “Andy Warhol’s One Dimensional Art: 1956–1966,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 32.

119. 262 “Martha Jackson’s”: Henry J. Seldis, “Canadian Impresssive in Debut [. . .] Commonist Trend Misses the Mark,” Los Angeles Times, July 13, 1962.

120. 262 such postwar giants: To less fanfare, Martha Jackson had also shown a client and illustrator friend of Warhol’s named Robert Cato, proving the feasibility of Warhol’s move from commercial art to the heights of the fine—see “Goings on about Town,” The New Yorker (March 12, 1955): 2. See also the many reviews of that and other Cato shows in New York newspapers.

An invitation to Cato’s March 1955 show with Jackson is preserved in Warhol’s archives. Warhol’s 1961 datebook (AWMA) shows him lunch-ing with Cato on March 2. Cato was an art director at Columbia Records and had commissioned several covers from Warhol in the 1950s.

121. 262 “bad repercussions”: Martha Jackson to Andy Warhol, July 20, 1962, AWMA.

122. 262 bowed to the tastes: See John Weber, oral history, March 21, 2006, Archives of American Art, Smithsonian Institution. On Martha Jackson’s own dislike of Warhol see David Anderson, son of Martha Jack-son, interview, c. 1973, Exhibition records of the Contemporary Wing of the Finch College Museum of Art, Archives of American Art, Smith-sonian Institution. Note that Ivan Karp, a former assistant of Jackson’s, might also have had an influence on her (rescinded) decision to give War-hol a show.

123. 263 handling Warhol’s work: See Martha Jackson Gallery, in-voice to Emily Hall Tremaine (August 28, 1962), Emily Hall Tremaine papers, Archives of American Art, Smithsonian Institution. The invoice bills $150 for three tiny Warhols—including a mini version of his Min-estrone Soup.

See also Warhol’s two invoices to the Jackson gallery dated Septem-ber 2 and 4, 1962, AWMA.


324 NOTES

124. 263 negotiations with Castelli: Irving Blum commiserates with Warhol over the failure of the “thing with Leo” while congratulat-ing him on arrangements he was making with Eleanor Ward—see Irving Blum to Andy Warhol, September 18, 1962, AWMA. This is confirmed in Irving Blum, oral history, October 26, 2011, Museum of Modern Art Archives, New York, https://www.moma.org/momaorg/shared/pdfs/docs/learn/archives/transcript_blum.pdf.

125. 263 to pair Warhol with Eleanor Ward: Emile De Antonio, Journals, vol. 7, p. 152, cited in Randolph Lewis, Emile de Antonio: Radical Filmmaker in Cold War America (Madison, WI: University of Wisconsin Press, 2000).

Eleanor Ward, in an April 4, 1970, deposition in a lawsuit Warhol brought against her (AWMA) said that de Antonio had first introduced her and Warhol as much as a year before she made her first visit to the artist’s studio.

126. 263 wined and dined her: An entry for January 15 in Warhol’s 1962 datebook (AWMA) records a visit to the Stable gallery and then a Hungarian meal with Eleanor Ward, Ivan Karp and Leo Castelli.

127. 263 “give Andy a show”: Emile De Antonio, notes from an in-terview, September 13, 1976, box M88, AWMA.

This story is often taken to describe the genesis of Warhol’s first two-dollar bill painting, and to be in conflict with Muriel Latow’s account of the same. But it’s perfectly possible that Ward’s request triggered just one of the many two dollars that Warhol painted in the summer of ’62.

128. 263 “prime month”: Eleanor Ward, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 200.

129. 263 Voice from Above: Eleanor Ward, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 504.

130. 263 whose work Warhol knew: Warhol was so impressed by Alex Katz, his rival, that he’d tried to commission him to paint his double portrait with Ted Carey. Katz refused to work for the lousy $150 that Warhol offered, which is why Warhol went for his second choice, the older and more conservative Fairfield Porter. See Alex Katz, interview by author, June 21, 2017.

131. 263 earned him a headline: Dore Ashton, “Alex Katz Paintings Stress the Sun,” New York Times, March 18, 1960.

132. 264 Katz showed some works: Alex Katz’s Jackson show was of props used in an avant-garde play by Kenneth Koch, later a huge Warhol


NOTES 325

fan—and Warhol might very well have seen them on stage. See Howard Taubman, “The Theatre: ‘3x3’=?: Three Short Plays at Maidman Play-house,” New York Times, March 2, 1962.

The Jackson show earned Katz a pan on the same Times page where Warhol’s Green Gallery exhibition got shellacked—see Brian O’Doherty, “Season’s End: Abstractions and Distractions,” New York Times, June 17, 1962. The show was also panned in an anonymous review in the always-conservative New York Herald-Tribune: “The Galleries—a Critical Guide,” New York Herald-Tribune, June 9, 1962. The review aligned Katz’s works with “the stuffed goats, molded fruits, painted signs and ties being shown by way-out artists”—terms that would have made clear to Warhol that Katz was out on the cutting-edge.

133. 264 “five menopausal maidens”: Ivan Karp, in unedited, un-published interviews for Peter Rosen, Who Gets To Call It Art?, documen-tary, 2006, provided to the author by Rosen.

134. 264 being her janitor: Eleanor Ward, interview, c. 1970, Stable Gallery records, Archives of American Art, Smithsonian Institution.

135. 264 “up and coming artists’: Stuart Preston, “From Abstraction to Mannerist Master,” New York Times, May 1, 1955.

136. 264 keeping up with the Stable: Warhol and Ward’s lieutenant, Alan Groh, had struck up a friendship on the gay party scene, where Warhol had become a prized guest—see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 183. Some sources say that Ward had resisted Warhol’s work until Groh just about forced it on her, with help from gallery client Ted Carey—see Ivan Karp, interview by David Bourdon, typed notes, April 22, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

Groh’s boyfriend Buzz Miller noted that “Eleanor was a hard sell on Pop Art,” and that Groh and he had made several studio visits to Warhol. He also denied that Emile de Antonio had played a role in getting Warhol his Stable show—see Buzz Miller, autograph note, July 17, 1997, Stable Gallery records, Archives of American Art, Smithsonian Institution.

137. 264 secret from his friends: Hanford Yang to Andy Warhol, September 1, 1962, AWMA. Yang, a friend and collector of Warhol’s, says that he is still waiting for the details of a new “gallery deal” that Warhol had hinted was coming.

138. 264 “Look what the cat dragged in”: Warhol, quoted by Elea-nor Ward, in Calvin Tomkins, “Raggedy Andy,” in The Scene: Reports on Post-Modern Art (New York: Viking Press, 1976), 47.


326 NOTES

CHAPTER 16

1. 267 “Mechanical means”: Warhol, in Douglas Arango, “Under-ground Films: Art or Naughty Movies,” Movie TV Secrets ( June 1966). The quote from Arango is cited in Benjamin Buchloh, “Andy Warhol’s One Dimensional Art: 1956–1966,” in Andy Warhol, ed. Annette Michel-son and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 5.

2. 267 “nasty silkscreen ink”: Gerard Malanga, in Martina Kud-lacek, Notes on Marie Menken, documentary (Sixpack Film, 2006).

The silkscreen layer on an early Marilyn painting was found to be an oil-based alkyd, apparently produced by the Naz-Dar company—see Jo Crook and Tom Learner, The Impact of Modern Paints (New York: Watson-Guptill, 2000), 172.

3. 267 “red blotches”: On Warhol’s techniques and materials, in-cluding his oil-based inks and Varnolene solvent, see Gerard Malanga and Gunnar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Gerard Malanga (Milan: Skira/Astrup Fearnley Museum, 2008), 13 and passim.

On the solvents’ effects on Warhol’s skin see John Giorno, “Andy Warhol Interviewed by a Poet” (typescript, 1963), TC27 and TC32, AWMA.

4. 267 “No Smoking” signs: Warhol, interview transcript in-cluded in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

5. 267 living room took over that job: David Dalton remembered Warhol silkscreening in the front room—see David Dalton, interview by author, October 4, 2017. Warhol’s nephew James Warhola, in an October 12, 2017, e-mail to the author, confirmed that the living-room was also used for silkscreening, as well as for stretching canvases.

6. 267 “not easy work”: Gerard Malanga, in Martina Kudlacek, Notes on Marie Menken, documentary (Sixpack Film, 2006).

7. 267 got displaced: Collector Hanford Yang, interview by au-thor, September 22, 2017.

8. 268 an artist’s new props: The soup and juice are specifically mentioned as “pop-art props” in Aline B. Saarinen, “Explosion of Pop Art,” Vogue (April 15, 1963): 87. The Ballantine Ale cans are visible in Po-laroid photos of the space (AWMA).

9. 268 “inky silk-screen images”: Aline B. Saarinen, “Explosion of Pop Art,” Vogue (April 15, 1963). By her visit, at the end of 1962, the art supplies seem to have proliferated beyond where they were on the first


NOTES 327

visits of Hanford Yang, from maybe nine months earlier—see Hanford Yang, interview by author, September 22, 2017.

10. 268 record cover for RCA: See Guy Minnebach, “The Bossa Nova Cover No One Knew Was a Warhol: Paul Desmond’s Take Ten,” Andy Earhole (blog), October 13, 2019, https://warholcoverart.com/2019/10/13/the-bossa-nova-cover-no-one-knew-was-a-warhol-paul-desmonds-take-ten/. See also this author’s blog post “New Discovery—Andy Warhol’s First Silkscreened Face,” Warholiana (blog), October 14, 2019, https://warholiana.com/post/188349505836/new-discovery-andy-warhols-first-silkscreened.

Warhol’s invoice to RCA (AWMA) is dated May 1, 1962, meaning the work on the record cover must have been done rather before that—possi-bly even before the Dollar Paintings silkscreened from drawings and first recorded in photographs by Alfred Statler dated April 28, 1962 (AWMA).

11. 268 postmark on a letter: See Irving Blum to Warhol, in an en-velope postmarked June 8, 1962. The note reads: “Enclosed your check on the Liz Taylor for sale to Bob Rowan. Many thanks for sending so promptly.” See also the May 24, 1962, invoice (AWMA) from Active Pro-cess Supply, Warhol’s usual photo-silkscreen supplier, for a “screen.”

It is generally claimed that Warhol’s first Liz Taylor paintings date to the fall of 1962, but in mid-1963 he said that he began the series “a long time ago” when she was mortally ill—see Warhol’s interview with Gene Swenson, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Jour-nal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001. Warhol was referring to Taylor’s almost-fatal pneumonia in London, in early 1961, and then hospitalization a year later in Rome, both described in the April 13, 1962, issue of Life which Warhol used as the source for some of his Taylor pictures. A date in the spring of 1962 (“a long time ago”) would thus indeed make sense for the start of the series, when the actress’s earlier near-death in London was again in the news because of the blanket coverage of her second hospitalization. Eleanor Ward herself remembered seeing “the Liz Taylor” on her first visit to Warhol’s studio, which she dates to June 1962—see Ward in Patrick S. Smith, Andy War-hol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 505.

Irving Blum, in an August 30, 2017, e-mail to the author, said that his June letter to Warhol referred to a sort of test-painting of Taylor that War-hol had sent him before the Ferus Campbell’s Soup show had opened, and after they’d discussed the paintings of Taylor and Elvis Presley that Warhol was already planning for his second Ferus exhibition, at least a


328 NOTES

year away at the time. Blum identified a photo of the well-known Liz painting from the Rowan collection as the one Warhol sent him in the early summer of 1962.

Rowan’s then-wife Carolyn Farris, interviewed by this author Sep-tember 1, 2017, remembered seeing the painting on the wall at the Ferus Gallery, and then finding, on its delivery to their house, that Warhol had decided to turn it into a diptych through the addition of a plain silver canvas. She said that it would have been typical of Rowan, who always bought more art than he could hang, to have purchased the painting at the gallery in mid-1962 and then to have only accepted delivery a year or more later; if Blum knew that the “test” Liz might eventually join others in a second Warhol show, he might have made a special plea to Rowan to leave it with him. Note that the wording of Blum’s 1962 note implies that the painting was specially shipped to him by Warhol, rather than hav-ing been consigned with the rest of the Liz paintings sent for the second Ferus show in the fall of 1963, which makes an error in the postmarked date a less likely explanation.

12. 268 in black on top of these colors: Jo Crook and Tom Learner, The Impact of Modern Paints (New York: Watson-Guptill, 2000), 172.

13. 268 Warhol claimed: On several occasions, Warhol said that the Baseball painting was his first photosilkscreened work of art, after the silkscreens of his hand drawn dollar bills—see for example Warhol in Barry Blinderman, “Modern ‘Myths’: An Interview with Andy War-hol,” Arts Magazine (October 1981): 145. If that’s true, it would have to be redated from the late summer, where it is often placed, to May or early June 1962, before the Liz Taylor mentioned in the Ferus correspondence of June 8.

14. 268 an action shot of Roger Maris: Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 231.

15. 268 collaged a baseball shot: See Robert Rauschenberg, “Talis-man,” Robert Rauschenberg Foundation, June 25, 2013, https://www.rauschenbergfoundation.org/art/artwork/talisman.

16. 269 “Andy Warhol doesn’t play second base”: Ad for Pioneer electronics clipped from Esquire (October 1973), Gift of Donna McClure, AWMA.

17. 269 used lighter fluid: See Roni Feinstein, Robert Rauschenberg: The Silkscreen Paintings, 1962–64 (New York: Bulfinch Press, 1991), 44.

18. 269 technique that Warhol had tried: See Warhol’s Figures with Newspaper Transfers, The Andy Warhol Museum, Pittsburgh, reproduced


NOTES 329

in Douglas Fogle, ed., Andy Warhol: Dark Star (Mexico City: Prestel, 2017), 88. The headline visible in the piece, “Lumumba Escapes,” dates to Feb-ruary 1961.

19. 269 “Andy likes clean, plastic images”: Gerard Malanga, in Paul Carroll, “What’s a Warhol,” Playboy (September 1969): 140.

20. 269 produce many of his textiles: Leon Hecht, interview by author, June 8, 2018.

When shown photographs of several of Warhol’s 1950s fabrics, Hecht, a textile designer who had known Warhol, confirmed that they had been silkscreened, as was common for fabrics from small production runs.

21. 269 card stock: On Warhol’s friend Vecchi using photosilk-screening for greeting cards as well as for his prestigious editions of fine prints by artists see Riva Castleman, “Floriano Vecchi and the Tiber Press,” Print Quarterly 21, no. 2 (June 2004): 137. Vecchi confirms that Warhol was one of the designers of his cards in Tony Scherman and Da-vid Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 105.

On Warhol’s knowledge of photographic enlargement see Tina Fred-ericks: “. . . at Condé Nast, we had a photostat room where you could order these images in any size you wanted; if you wanted to crop it this way or that way, you got a photostat blow-up”—Fredericks, in Donna De Salvo, “Success Is a Job in New York . . .”: The Early Art and Business of Andy Warhol (New York and Pittsburgh: Grey Art Gallery and Carnegie Museum of Art, 1989), 17. Warhol’s commercial “mechanicals” often in-clude annotations, in his hand, that state the percentage enlargement or reduction that a drawing required.

22. 269 Warhol liked to pretend: See for instance the account War-hol gives in Glenn O’Brien, “Interview: Andy Warhol,” High Times (Au-gust 1977): 34.

23. 270 little felt pennants: Harry Leroy Hiett, Silk-Screen Process Production, third ed. (Blandford Press, 1947), 13.

24. 270 adopted by purveyors: Bert Zahn, Screen Process Methods of Reproduction (Wilmette, IL: Drake, 1950), np.

25. 270 screening such materiel: See Philip Pearlstein in “Philip Pearlstein, A Story of an Artist,” Scholastic Art & Writing Awards (blog), May 27, 2016, http://blog.artandwriting.org/2016/05/27/philip-pearl-stein-a-story-of-an-artist/.

26. 270 advent of the American supermarket: Mathilda V. Schwal-bach and James Alfred Schwalbach, Screen-Process Printing for the Serigra-


330 NOTES

pher & Textile Designer (Van Nostrand Reinhold Company, 1970), 12.27. 270 “effective closer of sales”: Harry Leroy Hiett, Silk-Screen

Process Production, third ed. (Blandford Press, 1947), 13.28. 270 “considered a work of art”: Mario Amaya, Pop Art . . . and

After (New York: Viking Press, 1966), 21.29. 270 “purely mechanical process”: Barbara Rose, “Pop Art at

the Guggenheim,” Art International (May 25, 1963): 22. 30. 270 “purist tendencies”: Anthony Velonis, Technique of the Silk

Screen Process (New York: New York City WPA Art Project, 1940), np.31. 270 Ben Shahn: Screen Prints by Contemporary Painters (East

Hampton, NY: Guildhall Museum, 1985), np. 32. 270 bought a Shahn: See the Downtown Gallery’s March 26,

1959, receipt (AWMA) for Warhol’s purchase of Shahn’s Calabanes silk-screen. For Warhol’s drawn copy of his Shahn see its reproduction in The Collection of Frederick W. Hughes (New York: Sotheby’s, 2001), 170.

33. 271 early show of screen prints: See the announcement for the American Silkscreen Society exhibition held at Outlines April 17 to May 15, 1942, Outlines Gallery, scrapbook (n.d.), Rockwell family collection.

34. 271 W.P.A. screenprinting show: “An Exhibition Of Prints By The Silk Screen Group (Formed In 1940 In New York, 64 Works By As Many Artists)” ran April 6 to May 16, 1943, at the Carnegie Institute’s art museum. Warhol could hardly have missed it, given that his Saturday drawing classes also toured the museum’s exhibitions.

35. 271 “more art to more people”: Warhol, in Douglas Arango, “Underground Films: Art or Naughty Movies,” Movie TV Secrets ( June 1966). The quote from Arango is cited in Benjamin Buchloh, “Andy War-hol’s One Dimensional Art: 1956–1966,” in Andy Warhol, ed. Annette Mi-chelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 5.

36. 271 “unique distinction”: Edward Landon, “Serigraphy,” Art Education 17, no. 4 (April 1964): 18.

37. 271 “serigraphs”: Mathilda V. Schwalbach and James Alfred Schwalbach, Screen-Process Printing for the Serigrapher & Textile Designer (Van Nostrand Reinhold Company, 1970), 14.

38. 271 achieve the complexity: Russell Twiggs, the Tech art de-partment’s beloved technician, took up the new technique and went on to become Pittsburgh’s Serigrapher in Chief, showing Warhol and his peers just how much craft (and, maybe, how little meaning) could be crammed into the screening of a single print. By 1951, Twiggs had won first prize in the National Serigraph Society exhibition in New York—see


NOTES 331

Charles F. Danver, “Pittsburghesque,” Pittsburgh Post-Gazette, March 23, 1951. Twiggs was already known for silkscreening at Tech and his many surviving screenprints show an extreme attention to complex technique.

39. 271 “hardly desirable aesthetically”: “Editorial,” Serigraph Quarterly (August 1947): 2.

One of the original WPA silkscreeners had earlier declared that “the mechanical effect of photographic screen processes does not harmonize artistically with the craft or ‘hand-worked’ quality of silk screen process proper”—Anthony Velonis, Technique of the Silk Screen Process (New York: New York City WPA Art Project, 1940), 34.

40. 271 “original print”: Cynthia Burlingham, “A Very Democratic Form: Corita Kent as a Printmaker,” in Someday Is Now: The Art of Corita Kent, ed. Ian Berry and Michael Duncan (Saratoga Springs, NY: DelMo-nico/Prestel, 2013), 27n13.

As late as 1965 a book on artistic silkscreening could still be resound-ingly silent on the existence, even, of photo-based screens—see Kenneth W. Auvil, Serigraphy: Silkscreen Techniques for the Artist (Englewood Cliffs, NJ: Prentice Hall, 1965).

41. 271 “descend to the quality of mimeography”: “Editorial,” Serigraph Quarterly (August 1947): 2.

42. 271 actual mimeo stencils: See “Andy Warhol: Saving Maytag (1962),” The Museum of Modern Art, accessed April 25, 2019, https://www.moma.org/collection/works/87904.

43. 272 “his own design”: Carl Zigrosser, of the Philadelphia Mu-seum of Art, in Harry Shokler, Artists Manual for Silk Screen Print Making (New York: American Artists Group, 1946), 142.

44. 272 “technical laziness”: Gérald Gassiot-Talabot, “Lettre de Paris,” Art International (March 20, 1964): 78. Talabot is quoted in Fran-cesco Bonami, “How Warhol Did Not Murder Painting but Master-minded the Killing of Content,” in Andy Warhol/Supernova: Stars, Deaths, and Disasters, 1962–1964 (Walker Art Center, 2005), 25.

45. 272 “easier to use a screen”: Warhol, in Kasper Konig, Pontus Hulten, and Olle Granath, eds., Andy Warhol (Stockholm: Worldwide Books, 1969), np. The Warhol quotes in that catalog are not all of docu-mented authenticity.

46. 272 “I didn’t know how to really screen”: Andy Warhol, inter-view by Emile De Antonio, transcript for “Painters Painting,” n.d., Emile de Antonio Papers, Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research.

47. 272 “I kinda like it”: Warhol, quoted by Nathan Gluck in Mark


332 NOTES

Allen, “My Conversation with Nathan Gluck,” accessed March 4, 2019, http://www.markallencam.com/nathangluck.html.

The accidental messes of Warhol’s sloppy screening parodied the precisely willed disorder of the Abstract Expressionists. The fact that Warhol worked on his canvas on the floor, as Jackson Pollock was famous for doing, only made the parody more complete. In Warhol’s carefully careless hands, the craft of silkscreening let him recover the expressive surfaces—the forbidden “drips”—that he’d briefly abandoned, by sug-gesting that they were beyond his control.

48. 272 “A great work of art”: John Giorno, in Winston Leyland, “John Giorno: The Poet in New York,” Gay Sunshine (Spring 1975): 5.

49. 273 “Nun’s Art”: Carl Spielvogel, “Advertising: Nun’s Art Is Doubly Practical,” New York Times, December 12, 1959.

50. 273 barely showed their work: See James Watrous, American Printmaking: A Century of American Printmaking, 1880–1980 (Madison, WI: University of Wisconsin Press, 1984), 223. Watrous cites Lee Chesney’s gloomy survey of printmaking’s prospects at the 1959 annual meeting of the College Art Association.

51. 273 “It’s a painting”: Warhol, quoted by Irving Blum in Roberta Bernstein, “An Interview with Irving Blum,” in Ferus (New York: Gago-sian and Rizzoli, 2009), 28.

52. 273 “absolutely new”: David Bourdon, “Art: Andy Warhol,” Vil-lage Voice, December 3, 1964.

53. 273 superseded by the silkscreens: Warhol, in John Perreault, “Andy Warhola, This Is Your Life,” Artnews (May 1969): 53.

54. 273 special dispensation: Rainer Crone, “What Andy Warhol Really Did,” New York Review of Books, February 25, 2010. Crone slightly overstates Warhol’s repudiation of the early Pop works: In 1963 and ’64, the Guggenheim Museum mounted an exhibition called “Six Painters and the Object” that included an early Comic-Strip painting and an early Nose Job; the exhibition toured widely, with a stop at Pittsburgh’s Carn-egie art museum—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 472. An early, hand-painted Dick Tracy also toured to a Pop Art survey at the Moderna Museet in Stockholm—see Amerikansk Pop-Konst (Moderna Museet Stockholm, 1964), 86.

Writing in the early 1970s, the critic John Perreault said that War-hol did eventually make strenuous objections to seeing any of his early, hand-painted Pop Art included in the retrospective that had just made the rounds of the world’s museums, including the Whitney in New York


NOTES 333

and the Tate in London—see John Perreault, typescript introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA. On the near completion of Perreault’s monograph, which was lacking only its illustrations, see Harry N. Abrams to Andy Warhol, September 8, 1971, AWMA.

55. 273 “commonism”: “Deus Ex Machina,” Harper’s Bazaar (No-vember 1962): 157.

Warhol’s invoice for the project (AWMA) is dated October 5, 1962, just weeks, if not days, before an issue marked “November” would have hit the newsstands. A feature like his, with no “news peg,” would have had a deadline of several months before that, so it took Warhol some time to do his billings.

56. 273 automotive advertisers: Ruth Ansel, in Gail Stavitsky, War-hol and Cars: American Icons (Montclair, NJ: BookMobile, 2011), 18.

57. 273 sent a photographer: These photos were followed in the magazine, within a few pages, by a series showing Willem de Kooning also at work at home. Warhol must have revelled in the pairing.

58. 274 “thoroughbred, unequivocal shapes”: The writer was Em-manuel Mounier, a French theologian who had been dead for more than a decade at the time. He got second billing to “Andrew Warhol” on the Bazaar table of contents.

59. 274 “I am not convinced this is painting”: Sam Wagstaff quoted in “Abstract Art Being given Its Chance at Atheneum,” Hartford Courant, August 7, 1962.

60. 275 the ideal conduit: John Ashbery to Andy Warhol, Septem-ber 3, 1963, AWMA.

61. 275 “different breed of personality”: Ivan Karp, interview by Bici Hendricks (later Nye Ffarrabas), typed notes, November 30, 1962, courtesy The Roy Lichtenstein Foundation Archives.

The gay curator Sam Green did notice how “Andy just knew to stay away from the tough guys in the group,” registering a split between Pop Art’s studly and even homophobic artists, on the one hand, and the more open-minded heterosexuals like Lichtenstein who Warhol felt close to—see Samuel Adams Green, interview by Avis Berman, June 6, 2006, cour-tesy The Roy Lichtenstein Foundation Archives. One of the notable facts about the big-name Pop artists is that all of them were straight except for Robert Indiana and Warhol, making this new social context very differ-ent from the one Warhol was in as an illustrator in the 1950s.

62. 275 “appalling debris of tin cans”: Stuart Preston, “Hartford Galaxy,” New York Times, August 19, 1962.


334 NOTES

63. 275 “Sidney Janis”: Emory Lewis, Cue’s New York (New York: Duell, Sloan and Pearce, 1963), 204.

Warhol would have looked up to Sidney Janis in part for the solo he’d given Saul Steinberg, Warhol’s colleague and rival in illustration who was also, thanks to Janis, proof that an illustrator could move into fine art—see Aline B. Loucheim, “Steinberg: Artist and Humorist,” New York Times, February 3, 1952.

64. 275 “Spelling of your name: Andy?”: Sidney Janis to Andy War-hol, August 28, 1962, AWMA.

65. 275 “leading emporium”: Harold Rosenberg, “The Art Galler-ies: The Game of Illusion,” The New Yorker (November 24, 1962): 162.

66. 275 “Factual Paintings”: The New Realists (New York: Sidney Janis Gallery, 1962).

67. 275 “hit the New York art world”: Harold Rosenberg, “The Art Galleries: The Game of Illusion,” The New Yorker (November 24, 1962): 161.

68. 276 “Watch the Soup Cans”: Robert K. Sanford, “Which Way Is Modern Art Going? Hold Your Breath and Watch the Soup Cans,” Kansas City Star, October 21, 1962.

69. 276 “the look of things”: “The Look of Things: 1913–1963,” Show (December 1963): 74.

70. 276 the solid walls of soups: See Phillipe Halsman, “Campbell Soup Display before Warhol,” accessed February 22, 2019, https://akron-artmuseum.org/collection/Obj3522?sid=1&x=3735260.

The 200 cans are already mentioned in Andy Warhol, interview by David Bourdon, typed notes, March 12, 1962, David Bourdon papers, Archives of American Art, Smithsonian Institution.

Once on public display, the painting of 200 cans also acted as a new avatar of the 200 dollar bills Warhol had shown at Green a few months earlier, again equating products—including his art?—with money. In fact, however, the 200 soups had actually been made before the bills, using spray paint and a flood of tiny stencils, with separate ones cut out for each flavor and each zone on each label. That must have made the painting a painful labor and a sure source of stink in Warhol’s house, with the silkscreens of the Dollar paintings then arriving as a (relatively) tidy and easy alternative.

71. 276 “a gaudy symbol”: Sidney Margolius, “Super Business Of Supermarkets: Gleaming Symbols of the American Way of Life, They Are Invading Many Fields Besides,” New York Times Magazine (March 29, 1959).


NOTES 335

72. 276 “it may be a fad”: Brian O’Doherty, “Art: Avant-Garde Re-volt: ‘New Realists’ Mock U.S. Mass Culture in Exhibition at Sidney Janis Gallery,” New York Times, October 31, 1962. For his second review of “The New Realists” see Brian O’Doherty, “‘Pop’ Goes the New Art,” New York Times, November 4, 1962.

73. 276 “emptiness of industrialized modern life”: The New Real-ists (New York: Sidney Janis Gallery, 1962), np.

The Times critic and some of his peers could go even further, de-scribing the show’s works as ephemera, to be “thrown away when cir-cumstance has changed enough to remove their relevance”—Brian O’Doherty, “Art: Avant-Garde Revolt: ‘New Realists’ Mock U.S. Mass Culture in Exhibition at Sidney Janis Gallery,” New York Times, October 31, 1962. Another review described the works as non-art, mere “dis-plays”—see “New Realist Show Draws Laughter Instead of Shock,” Phila-delphia Inquirer Public Ledger, November 11, 1962. That review, too, read Pop Art as cutting and satirical of American culture. One critic also took care to point out that the show had opened on Halloween; that was also three days after the Cuban Missile Crisis, when the world had looked set to end—see Kelly M. Cresap, Pop Trickster Fool: Warhol Performs Naivete (Urbana, IL: University of Illinois Press, 2004), 9.

74. 277 “Too Many Boys”: See the entry on the January1956 issue of Dance Magazine in Paul Maréchal, Andy Warhol: The Complete Commis-sioned Magazine Work 1948–1987, Catalogue Raisonné (New York: Prestel, 2014), 135.

75. 277 glass that protected the painting: See Eric Shanes, Pop Art (New York: Parkstone, 2012), 33. See also Roger Copeland, “Seeing with-out Participating,” in Warhol Live: Music and Dance in Andy Warhol’s Work, ed. Stéphane Aquin and Emma Lavigne (Munich: Prestel, 2008), 31. The primary-source basis for this claim is unclear.

76. 277 a set of instructions: Warhol had already encountered simi-larly radical art in Pittsburgh when he was a teen: With its usual foresight, Outlines gallery had displayed—as art—a print by Alexander Calder that was just a line diagram for a monumental, imaginary mobile; the print featured the same snaking arrows as Warhol’s dance piece. Calder’s Gran-deur—Immense (“Size—Vast”) was shown at Outlines in 1941 and was still in the hands of a descendant of the gallery’s founder in 2014. The Calder exhibition is documented in Outlines Gallery, scrapbook (n.d.), Rockwell family collection.

Another very likely precedent for Warhol’s Fox Trot was a 1951 Rauschenberg painting called Should Love Come First?, which prominently


336 NOTES

featured precisely the same kind of dance diagram that Warhol enlarged a decade later. Warhol would have seen it in Rauschenberg’s first solo exhibition, at Betty Parson’s gallery, before the artist covered it in other paint—see Jonathan Katz, “Committing The Perfect Crime: Sexuality, Assemblage and the Postmodern Turn in American Art,” at http://www.queerculturalcenter.org/Pages/KatzPages/Katz%20Art%20Journal.pdf, accessed September 11, 2017.

77. 277 his first riff: Ad for I. Miller shoes, New York Times, Novem-ber 30, 1958.

78. 277 “the artist himself is the idea man”: Harold Rosenberg, “The Art Galleries: The Game of Illusion,” The New Yorker (November 24, 1962): 161.

79. 278 quite early in the year: All but the Do It Yourself had already been spotted in Warhol’s studio a full seven months earlier—see Andy Warhol, interview by David Bourdon, typed notes, March 12, 1962, Da-vid Bourdon papers, Archives of American Art, Smithsonian Institution. Even the D.I.Y. had been finished by early July—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Cat-alogue Raisonné (New York: Phaidon, 2002), 193.

80. 278 a Bonwit Teller window: A Warhol image of a half painted-in vase of flowers, in a window display backdrop still in his 1950s style, is reproduced in Retail Reporting Bureau, Views and Reviews, November 4, 1961.

81. 278 “squelches his native urge”: Kenneth D. Winebrenner, “Creative Citizens,” The School Arts Magazine (May 1955): 48. This echoes just what serigraphers had said about the “mechanical” craft of the pho-tosilkscreen. Winebrenner is quoted in William L. Bird, Paint by Number (New York: Princeton Architectural Press, 2001), 78. Bird’s book gives invaluable context for understanding the original force of Warhol’s Do It Yourself paintings. See also the account of the public’s fondness for DIY culture given by Stanley Kunitz that December in “A Symposium on Pop Art,” Arts Magazine (April 1963): 40.

82. 278 “calendar paintings”: Marcel Duchamp, interview by Wil-liam C. Seitz, typed notes, December 6, 1962, William C. Seitz Papers, III.1, Museum of Modern Art Archives, New York.

83. 278 an abstract collage: The check-list printed on Duchamp’s poster for the show includes a 1916 collage by Hans Arp titled Construc-tion élémentaire selon les droits du hazard (“Basic Construction Following the Laws of Chance”).

84. 278 mutual chanciness: Dore Ashton, in “A Symposium on Pop


NOTES 337

Art,” Arts Magazine (April 1963): 39.On Warhol’s desire to relinquish traditional artistic control see Se-

bastian Egenhoger, “Subjectivity and the Production of Meaning in War-hol’s Early Work,” in Andy Warhol: The Early Sixties, ed. Bernhard Mendes Burgi (Ostfildern: Hatje Cantz, 2010), 39.

85. 278 “second wind”: Marcel Duchamp, in Francis Steegmuller, “Duchamp: Fifty Years Later,” Show (February 1963): 29.

86. 279 “half-finished”: George Warhola, interview provided to the author by Jesse Best, digital audio, n.d.

87. 279 child-made outsider art: The Stable Do It Yourself work also implied, maybe, that most of Warhol’s early Pop paintings also had roots in the childlike act of coloring-in: A lot of them, including the big Noodle Soup canvas at Janis, consisted of drawn outlines that were then filled-in with paint. You could (and can) still see the penciled lines that surround Warhol’s paint, especially in all his many unfinished early paintings, which may themselves have suggested the unfinished-ness of the paint-by-numbers pieces.

88. 279 happy to prove them right: The same idea is mooted in John Perreault, typescript introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.

89. 279 “ignorance”: Jac Venza, interview by author, August 1, 2018. Venza was a Bonwit Teller window dresser and then longtime arts programmer at PBS. Other friends from that same world have similar memories of their disdain for Warhol’s skill-free Pop.

90. 279 “a supermarket is more interesting”: Richard Huelsen-beck, transcript from an unidentified radio broadcast, 1962, gift of Nye Ffarrabas, courtesy The Roy Lichtenstein Foundation Archives.

One diehard young abstractionist—who would go on to design the packaging that was the source for Warhol’s Brillo Box sculptures—com-pared Pop Art, and Warhol’s work in particular, to the sentimental work of nineteenth-century “pompier” painters like William-Adolphe Bou-guereau: “The realism of a Campbell’s soup can is the same as the realism of a running maid in the woods.” See James Vivian Harvey, oral history, December 12, 1962, Archives of American Art, Smithsonian Institution.

91. 279 left him en masse: David Bourdon, Warhol (New York: Abrams, 1989), 136.

92. 279 Tremaines had already bought: Kathleen L. Housley, Emily Hall Tremaine: Collector on the Cusp (Meriden, CT: Emily Hall Tremaine Foundation, 2001), 157.

93. 279 maids in white caps: James Rosenquist, in Victor Bockris,


338 NOTES

Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2459, Kindle edition.

94. 280 “But please, at any other time”: Burton Tremaine, quoted by James Rosenquist, in Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 2462, Kindle edition.

95. 280 “it’s not worth very much”: Warhol, quoted by Les Levine, interview by author, April 26, 2016.

96. 280 “Enclosed is a receipt”: Emile De Antonio to Andy Warhol, November 8, 1962, attached in 1962 datebook, AWMA.

97. 280 “20lb ham 19lb beef”: 1962 datebook, AWMA. A Stable gallery document (TC11, AWMA) is stamped “Preview

Nov. 6 5–7.”98. 280 a sold-out show: Eleanor Ward, in Les Levine, “The Golden

Years: A Portrait of Eleanor Ward,” Arts Magazine (April 1974): 42.99. 280 a story on hip party guests: “Young Americans and the

Well Mixed Party,” Harper’s Bazaar (August 1962): 89.100. 281 “young leaders of the big breakthrough”: “A Red Hot

Hundred,” Life (September 14, 1962): 4.101. 281 “vulgarism”: Dore Ashton, “New York Report,” Das Kunst-

werk, December 20, 1962, 70.102. 281 “the most spectacular”: Michael Fried, “New York Report,”

Art International (December 20, 1962): 54.103. 281 a two-artist exhibition: The show was presented by Alan

Stone, who had already given Warhol’s Pop some of its first exposure. 104. 281 owner and editor: James Fitsimmons, who had panned

Warhol’s show of Capote drawings at the Hugo Gallery in 1952, went on to appear on the masthead of Art International as owner, publisher and editor.

105. 281 “they were just—crass”: Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA.

106. 281 a pair of paintings: They were the same Marilyns Warhol had seen hanging in the Tremaines’ apartment a week earlier, which were then loaned back to Ward. It was the Tremaines who had suggested that Warhol treat the two separate paintings as a diptych, a move he later repeated many times—see Gregory Hedberg, “The History of the Tremaine Collection,” in The Tremaine Collection: 20th Century Masters, the Spirit of Modernism (Hartford, CT: Wadsworth Atheneum, 1984), 20.

107. 281 Byzantine art: Roy Lichtenstein, interview by Bici Hen-dricks (later Nye Ffarrabas) and Geoffrey Hendricks, typed notes, De-cember 7, 1962, courtesy The Roy Lichtenstein Foundation Archives.


NOTES 339

108. 282 a source of modern myths: Parker Tyler lectured at Out-lines gallery in 1945 and again in 1947, when he published Magic and Myth of the Movies. That was a book that Warhol owned, probably while still in college—it survives in his archives. Tyler later became a big supporter of Warhol’s films and a good friend.

109. 282 erudite Frenchman: Edgar Morin, The Stars, trans. Richard Howard (New York: Grove Press, 1961). Gerard Malanga described find-ing the book on Warhol’s shelves, apparently early in their relationship in 1963, and Warhol noticing when Malanga removed it without asking—see Gerard Malanga and Gunnar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Gerard Malanga (Milan: Skira/Astrup Fearnley Museum, 2008), 33.

110. 282 “Marilyn Monroe, the torrid vamp”: Edgar Morin, The Stars, trans. Richard Howard (New York: Grove Press, 1961), 31.

111. 282 this news had triggered his paintings: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jova-novich, 1980), 28. There is no reason to believe that the reference to Mari-lyn’s death that a ghostwriter put into Warhol’s mouth originated with Warhol himself, rather than with another interviewee or even a second-ary source.

A reference to Marilyn’s death did appear in Gene R. Swenson, “What Is Pop Art? Interviews with Eight Painters (Part I),” Art News (No-vember 1963): 60. But that reference is much more cryptic in the original transcript—see Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

112. 282 a glamour shot of Marilyn: Irving Blum, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

113. 282 nudged Warhol to portray her: Stephen Bruce, interview by author, October 12, 2017.

114. 282 Troy Donahue: When the Donahue toured to Pittsburgh, Warhol’s home-town paper raved about its “hypnotic echo of a screaming teen-age chant—Troy-Troy—or a modern Greek chorus”—see Jeanette Jena, “Carnegie’s ‘Pop Art’ Is Startling,” Pittsburgh Post-Gazette, January 21, 1964.

115. 282 didn’t need to die: There is other evidence for dating at least some of Warhol’s paintings of Marilyn to before her death: Eleanor Ward


340 NOTES

herself mentions having seen a Marilyn on her first visit to Warhol’s stu-dio, which she dated to June 1962—see Ward in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 505.

John Weber, assistant to Martha Jackson, mentions having sold a Marilyn from the Jackson back office, which would most likely have hap-pened before Warhol’s break with her in late July—see John Weber, oral history, March 21, 2006, Archives of American Art, Smithsonian Institu-tion. Documents in the Warhol archives show that Warhol’s last consign-ment of paintings to the Martha Jackson Gallery seem to have occurred on July 27, 1962. There are a few records, however, of later sales through Jackson.

116. 282 the “dumb blonde”: Henry Geldzahler, “Introduction: War-hol Print Catalogue Raisonné” (typescript draft, 1985), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

117. 282 title for a de Kooning: David Anderson, son of Martha Jack-son, interview, c.1973, Exhibition records of the Contemporary Wing of the Finch College Museum of Art, Archives of American Art, Smithson-ian Institution.

In a 1956 issue of Harper’s Bazaar the aristocratic Cecil Beaton had camped about Marilyn Monroe as “an undulating basilisk, scorching ev-erything in her path but the rosemary bushes.” His essay ends with the poignant words “she is only fifteen years old; and she will never die”—see Cecil Beaton, “Little Girl Alias Femme Fatale,” Harper’s Bazaar ( June 1956): 74.

118. 282 was pasting Marilyn: The Ray Johnson estate says that his Hand Marilyn Monroe, in the Whitney Museum collection, is dated 1958.

119. 282 had already painted her: The Pop painters included, in Brit-ain, Pauline Boty and Peter Phillips—see Jim Edwards et al., Pop Art: U.S./U. K. Connections 1956–1966, ed. David E. Brauer (Ostfildern: Hatje Kantz, 2001).

120. 283 Life magazine: “The Growing Cult of Marilyn,” Life ( Janu-ary 25, 1963): 89.

121. 283 “masking out”: Leo Steinberg, in Barbara Rose, “Pop Art at the Guggenheim,” Art International (May 25, 1963): 22.

Warhol’s repetition of Marilyn across different canvases evokes the way all the different glamor shots of an actress could substitute for each other, since in the end it was the actress that mattered, not any one im-age of her. The Times, in its otherwise skimpy review of the Stable show, talked about how “Marilyn Monroe’s radiant smile and Elvis Presley’s sensual sulkiness are repeated in rows as if the canvases had been sprayed


NOTES 341

by image-making machine guns”—Stuart Preston, “Art: Drawings by Copley: Metropolitan Museum of Art Displays 19 Works of the Colonial Portraitist,” New York Times, November 9, 1962.

122. 283 “I was just making fabrics”: Warhol, in Lana Jokel, Andy Warhol, documentary, 1972.

123. 283 the garish tints: Henry Geldzahler, “Recent Developments” (typescript for a talk at the Metropolitan Museum of Art, January 1963), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University. (The typescript mentions the January 25, 1963, issue of Life as being the current one.)

124. 283 “social realist painter negligible”: Balcomb Green, in a clipping from unidentified newspaper (March 5, 1938), Balcomb and Ger-trude Greene papers, Archives of American Art, Smithsonian Institution.

125. 283 homo imago: Hal Foster, The First Pop Age (Princeton Uni-versity Press, 2012), 11, 55, 91 and passim.

126. 283 Campbell’s Soup Can: Warhol’s new art had only been in circulation for something like nine months, but his “introduction” at the Stable also stands as something close to a survey of his entire Pop achievement, already close to complete at that point. On top of the Marilyns, Elvises and Donahues that Eleanor Ward had chosen, she had included Warhol’s early silkscreen of the slugger Roger Maris, a hand-painted enlargement of a tabloid’s front page, two paintings built around Coca-Cola, two more Dance Diagrams that sat on the floor and another Do It Yourself—of a sailboat, this time.

127. 283 pair of babies: See Alfred Statler’s photographs of the open-ing, AWMA.

128. 284 “I felt like an idiot”: Leo Castelli, in Ann Hindry, “Andy Warhol, Quelques Grands Témoins,” Artstudio, 1988, 118.

129. 284 “felt like an idiot”: Leo Castelli, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 184.

130. 284 Warhol’s discoverer: “Leo Castelli: Avant Garde Dealer Discovers ‘Breakthrough’ Artists,” Art Voices (November 1962): 27.

131. 284 Jasper Johns showed up: See Alfred Statler’s photographs of the opening, AWMA.

132. 284 Guests were given: See Alfred Statler’s photographs of the opening, AWMA.

133. 284 deejayed by Karp: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 135.

134. 284 “this stupid camera”: Hanford Yang, interview by author, September 22, 2017.


342 NOTES

135. 284 Ward gave him the news: Victor Bockris, Warhol: The Biog-raphy (Cambridge, MA: Vintage Books, 2003), loc. 2471, Kindle edition.

136. 284 $800: Philip Johnson, in transcripts included with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006). Johnson apparently got a fairly standard “good client” discount on the $1,200 fig-ure given on the show’s price list in the Stable Gallery records, Archives of American Art, Smithsonian Institution.

137. 284 art market panic: “Sold out Art,” Life (September 20, 1963): 125.

138. 284 buying for themselves: Geldzahler had bought 129 Die in Jet even before the show opened—see Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 184.

On Alfred Barr’s purchase see Eleanor Ward in her April 4, 1970, deposition in a lawsuit Warhol brought against her (AWMA).

139. 284 $7,000: Financial documents in the Warhol archives provide prices for a number of the Stable works: The small “flavor” Marilyns went for $225 each as did Close Cover Before Striking, while the Troy Dona-hue diptych sold for $1,500. Other prices can be estimated based on those, and on discussions of pricing in Eleanor Ward’s April 4, 1970, deposition in a lawsuit Warhol brought against her (AWMA). Ward also mentions having taken a thirty-three percent commission on sales.

Slightly different prices are given in an annotated price list from the show, Stable Gallery records, Archives of American Art, Smithsonian Institution.

Works known not to have sold include the two Dance Diagrams—see their provenances in Georg Frei and Neil Printz, Paintings and Sculp-ture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002).

140. 284 sold-out first solos: James Rosenquist said that his January 1962 show at the Green Gallery had actually sold out before it opened—see James Rosenquist and David Dalton, Painting below Zero: Notes on a Life in Art (New York: Knopf, 2009). On Lichtenstein’s sales, see Ivan Karp, interview by David Bourdon, typed notes, March 7, 1962, David Bourdon papers, Archives of American Art, Smithsonian Institution. El-eanor Ward said that her September 1962 show of Robert Indiana also sold out—Ward in Les Levine, “The Golden Years: A Portrait of Eleanor Ward,” Arts Magazine (April 1974): 42.

141. 284 “sign of approval”: Eleanor Ward, in Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal pa-pers.


NOTES 343

142. 285 “you know it isn’t art”: Charles Lisanby, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2491, Kindle edition.

143. 285 “worth a million dollars”: Warhol, quoted by Lisanby, in Television Academy, Charles Lisanby: Production Designer, Web video, ac-cessed March 10, 2019, https://interviews.televisionacademy.com/inter-views/charles-lisanby.

144. 285 vast and varied: See Robert Watts, interview by Bici Hen-dricks (later Nye Ffarrabas), typed notes, December 14, 1962, courtesy The Roy Lichtenstein Foundation Archives.

145. 285 “Just print it”: Warhol, in Andy Warhol, Factory Diary: Lana Jokel Cooks a Chinese Dinner, videotape, c.1972.

Warhol’s idol Ben Shahn had used silkscreens, in large editions, as a moneymaker when McCarthyism cost him his work on ads—see How-ard Greenfield, Ben Shahn: An Artist’s Life (New York: Random House, 1998), 281.

146. 285 “whims of the marketplace”: Stanley Kunitz, in “A Sym-posium on Pop Art,” Arts Magazine (April 1963): 40. The magazine was presenting papers from a symposium on Pop held at MoMA the previous December.

147. 285 “that capitalistic dollar”: Marcel Duchamp, interview by William C. Seitz, typed notes, December 6, 1962, William C. Seitz Pa-pers, III.1, Museum of Modern Art Archives, New York.

148. 285 “stocking up on New Dada”: Ettore Sottsass, “Dada, New Dada, New Realists,” Domus (February 2, 1963): 27. This author’s transla-tion.

149. 285 “very impressed”: Virginia Dwan to Andy Warhol, Sep-tember 17, 1962, AWMA.

150. 286 Geldzahler had brought him by: Henry Geldzahler, inter-view by David Bourdon, typed notes, October 4, 1987, David Bourdon pa-pers, Archives of American Art, Smithsonian Institution. Geldzahler said he brought Rauschenberg to Warhol “because he wanted to learn about silkscreen.” Geldzalher confirms this in Roni Feinstein, Robert Rauschen-berg: The Silkscreen Paintings, 1962–64 (New York: Bulfinch Press, 1991), 45n11.

The visit is said to have taken place on September 9, 1962, in David Bourdon, Warhol (New York: Abrams, 1989), 132. Polaroids survive from the visit (AWMA). Rauschenberg apparently payed close attention as Warhol showed him the silkscreening process—see Andy Warhol, notes from an interview, August 23, 1976, box M88, AWMA.


344 NOTES

Rauschenberg may have borrowed from Warhol even before this: The titular animal in his 1962 print called “Abby’s Bird” could have come straight from a Warhol illustration.

151. 286 “Rauschenberg got the idea of silkscreening from me”: Andy Warhol, notes from an interview, August 23, 1976, box M88, AWMA.

152. 286 lent one of his printing screens: David Bourdon, Warhol (New York: Abrams, 1989), 123n9.

153. 286 Rauschenberg had become the subject: Warhol was appar-ently at work on his Rauschenberg portraits when that sitter came by to learn silkscreening—see Ivan Karp, interview by Bici Hendricks (later Nye Ffarrabas), typed notes, November 30, 1962, courtesy The Roy Lich-tenstein Foundation Archives.

154. 286 of a friend in art: The artist portraits are of Robert Rauschen-berg, Patty Oldenburg (née Mucha) and Rosalyn Drexler, whose paint-ings based on tabloid disasters may in fact predate Warhol’s.

155. 286 “Sure, stop by”: Ray Johnson, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2300, Kindle edition.

156. 286 “My Country ’Tis of Thee”: Warhol’s “American love god-dess,” as the show’s catalog described Marilyn, was on view alongside such things as Claes Oldenburg’s “giant hamburger, an emblem of the na-tion’s business life” and Roy Lichtenstein’s comic books, “inflated to gi-ant size and spelling out their clichés like esoteric wonders”—see Gerald Nordland, My Country ‘tis of Thee (Los Angeles: Dwan Gallery, 1962), np, https://www.aaa.si.edu/collections/items/detail/my-country-tis-thee-exhibition-catalog-dwan-gallery-los-angeles-calif-8805.

In a sign of how challenging this art still was, the catalog took care to say that these works weren’t really about the low-culture subjects they portrayed but about using their undignified imagery as the scaffold for attractive, elite compositions. Virginia Dwan herself remembered those subjects as having been “taboo” and “déclassé”—see Virginia Dwan, oral history, interview by Charles F. Stuckey, March 27, 1984, Archives of American Art, Smithsonian Institution. The Dwan interview is cited in Jessica Dawson, “Whatever Happened to Virginia Dwan?” http://x-traonline.org/article/whatever-happened-to-virginia-dwan/, accessed October 10, 2017.

157. 287 “ridiculous legpulling”: Henry J. Seldis, “‘New Realism’ Comes in Humor, Cynicism,” Los Angeles Times, December 2, 1962.

158. 287 good sales: John Weber to Richard Bellamy, December 7,


NOTES 345

1962, Dwan Gallery Archive, cited in James Sampson Meyer, “The Art Gallery in an Age of Mobility,” in Los Angeles to New York: Dwan Gallery, 1959–1971 (London: University of Chicago Press, 2016), 382n147.

159. 287 “New Painting of Common Objects”: The exhibition’s poster shows that it only ran September 25 to October 19.

160. 287 “Commonism”: Nathan Gluck, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 322.

161. 287 “OK Art”: Ivan Karp spoke of a dinner with Warhol, Rosen-quist and Oldenburg at which they came up with the new name, which they then ran by Lichtenstein—see Ivan Karp, interview by Bici Hen-dricks (later Nye Ffarrabas), typed notes, November 30, 1962, courtesy The Roy Lichtenstein Foundation Archives.

162. 287 The Pasadena survey: For the checklist see Jim Edwards, “New Painting of Common Objects: An Interview with Walter Hopps,” in Pop Art: U.S./U.K. Connections, 1956–1966, ed. David E. Brauer (Ostfil-dern: Hatje Cantz, 2001), 45. Warhol was also supposed to contribute a mimeographed drawing to a fundraising portfolio for the show but the mimeo stencils for the four drawings he produced survive unused at the Museum of Modern Art.

163. 287 “direct response to life”: John Coplans, “The New Paint-ings of Common Objects,” Artforum (November 1962): 26.

164. 287 an ad by Warhol: The ad was for the San Francisco store called Doppelganger, and consists of a Christmas text written entirely in Julia Warhola’s handwriting, complete with spelling errors. Warhol scholars Matt Wrbican, Nina Schleif and Paul Maréchal, in October 31, 2017, e-mails to the author, expressed doubts about its authorship, whereas the Warhol collector Jay Reeg was certain of it. It does seem hard to imagine some other illustrator indulging in such slavish imitation of Warhol’s signature style—and Julia Warhola’s.

CHAPTER 17

1. 289 “a painting about a person”: Warhol, in Benjamin Buchloh, “Andy Warhol’s One Dimensional Art: 1956–1966,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 27.

2. 289 fireman’s pole: Warhol’s friend Charles Lisanby remem-bered sliding down the pole—see his March 22, 2007, interview in Tele-vision Academy, Charles Lisanby: Production Designer, Web video, accessed March 10, 2019, https://interviews.televisionacademy.com/interviews/charles-lisanby.


346 NOTES

Gerard Malanga, who arrived at the firehouse six months into War-hol’s tenure there, recalled a hole in the floor where the pole had been—Gerard Malanga, interview by Peter Headington, typescript, February 12, 1983, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

3. 289 in 1868: Tom Miller, “The 1868 Hook & Ladder 13—No. 159 E 87th Street,” Daytonian in Manhattan (blog), November 24, 2012, http://daytoninmanhattan.blogspot.com/2012/11/the-1868-hook-ladder-13-no-159-e-87th.html.

The building also came with a supply of quaint Victoriana that Warhol carted around with him for the next several decades: the official “Hook and Ladder 13” sign; a couple of hand-painted boards that listed nearby fire-department call boxes. (They were used as work surfaces in later studios and now bear scribbled phone numbers and rings of paint from dripping cans; information on the call-box signs comes from for-mer Warhol archivist Erin Byrne, in an October 20, 2017, e-mail.) The fire department’s American flag was still flying over the door when Warhol was there—see the 1963 photograph in the Gerard Malanga collection.

4. 289 mothballed building: Tom Miller, “The 1868 Hook & Lad-der 13—No. 159 E 87th Street,” Daytonian in Manhattan (blog), November 24, 2012, http://daytoninmanhattan.blogspot.com/2012/11/the-1868-hook-ladder-13-no-159-e-87th.html.

5. 289 $150 a month: Andy Warhol to New York City Department of Real Estate, November 19, 1962, AWMA.

6. 289 two months’ deposit: Andy Warhol to New York City De-partment of Real Estate, November 19, 1962, AWMA.

The lease was for a single month, no doubt with the expectation that it would be extended on a month-to-month basis.

7. 289 fell down it: John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 134.

8. 289 second floor of the firehouse: The interiors can be seen in contact sheets by photographer Edward Wallowitch, AWMA.

The studio only occupied part of the space, according to Andy War-hol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 32. The lease documents (AWMA) suggest the same: The footprint of the space to be rented is given as 2,500 square feet, half of what the building as a whole would have provided

While Warhol had access to the lower floor, and stored some stretched canvases there, it had few if any windows and no lighting at all and so was almost useless as a work space—see Gerard Malanga, inter-


NOTES 347

view by author, April 11, 2018.9. 290 the building did not include: Gerard Malanga has claimed

there was no heat or electricity—see Gerard Malanga, interview by Christoph Heinrich, typescript, 1999, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University. But films seem to have been shot there (including a three-minute portrait of Malanga) which would have required power to run both the camera’s motor and the lights that Malanga recalled seeing there—Gerard Malanga, inter-view by author, December 14, 2016.

10. 290 perished before its time: Gerard Malanga and Gunnar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Ge-rard Malanga (Milan: Skira/Astrup Fearnley Museum, 2008), 23.

11. 290 “like a little Czech tank”: David Dalton, interview by au-thor, October 4, 2017.

12. 290 “capitalist art”: Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

13. 290 “factory”: Gerard Malanga, “Andy Warhol Interviewed,” in Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 11. This is the original version of the interview, conducted by Malanga while Warhol and he were still working in the firehouse. Malanga pub-lished a revised version, set in the later Forty-Seventh Street studio, in Gerard Malanga, “Andy Warhol: Interview,” Kulchur (Winter 1964). That is the version widely known from its reprinting as “Andy Warhol In-terviewed by Gerard Malanga,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews (New York: Avalon, 2004), Kindle edition.

14. 290 “volunteer helpers”: Nathan Gluck, holograph note (Janu-ary 16, 1976).

15. 290 scouring magazines: David Bourdon reports crowds of friends hunting for source images for Warhol, and that he himself con-tributed ones used in the suicide and Liz Taylor paintings—see David Bourdon, “The Factory Decades: An Interview,” Boss, 1979, 21.

16. 290 a friend’s pile of old press photos: Gerard Malanga, “A Conversation with Andy Warhol,” Print Collector’s Newsletter, February 1971, 125.

The friend was John Rublowsky—see Malanga, “My First Day with Andy Warhol,” in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 371. Rublowsky went on to write one of the first full books on Pop Art—John Rublowsky, Pop Art (New York: Basic Books, 1965).

Ray Johnson, as reported by the late Warhol archivist Matt Wrbican,


348 NOTES

stated that Warhol had also found some boxes of images put out on the street. They were labeled “Scene”, the name of a men’s magazine, and the Warhol archives hold many of them, still labeled with subject headings.

17. 290 “crashes and disasters”: Henry Geldzahler, interview by Jean Stein, typescript interview for Jean Stein’s biography of Edie Sedg-wick, January 6, 1973, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

18. 291 “catastrophe”: Robert Rosenblum, “In the Galleries: Robert Rauschenberg,” Arts (March 1958: 61.

19. 291 as an early Disaster: Warhol, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

20. 291 silkscreening cans of poisonous tuna: The photos were taken by Ellen Hulda Johnson on May 6, 1963—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Cat-alogue Raisonné (New York: Phaidon, 2002), figs. 227, 237.

21. 291 “Warhol is spokesman”: Lucy R. Lippard, “New York Pop,” in Pop Art, ed. Lucy R. Lippard (New York: Praeger, 1966), 98.

22. 292 “people who died in car crashes”: Warhol, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Net-work, 2006).

23. 292 the obvious morbidity: John Rublowsky, Pop Art (New York: Basic Books, 1965), 116.

24. 292 “he could talk about it brilliantly”: Christophe de Menil, quoted from an April 4, 2007, interview in Annie Cohen-Solal, Leo and His Circle: The Life of Leo Castelli (New York: Knopf, 2010), 343.

25. 292 Julius and Ethel Rosenberg: The Rosenbergs were in the news because Morton Sobell, convicted as an accomplice, was launching an appeal, and the government had admitted that Ethel Rosenberg did not receive a fair trial.

Warhol’s photo of the chair came with a caption that described its use in the Rosenberg executions.

26. 292 “the electric chair”: Henry Geldzahler, in an interview transcript provided in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

27. 292 “side of the dogs”: Henry Geldzahler, in Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 314.


NOTES 349

On the painting and its meanings see Anne M. Wagner, “Warhol Paints History, or Race in America,” Representations, no. 55 (Summer 1996): 98–119.

28. 293 “Death in America”: Warhol, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

Note that Sonnabend seems to have chosen to title the show—or at least its catalog—simply “Warhol,” stencilled onto the catalog’s cover in a distinctly Jasper Johns-ish typeface.

29. 293 “All French people very shock”: Walasse Ting to Andy Warhol, holograph letter from Paris, February 14, 1964, AWMA.

30. 293 panned the show: M. C. L., “A travers les galeries,” Le Monde, January 31, 1964.

31. 293 “brutality and death”: Jean-Jacques Lebel, “Constat d’accident [‘Accident Report’],” in Warhol (Paris: Ileana Sonnabend, 1964), np.

32. 293 “a state of pure tragedy”: Alain Jouffroy, “Andy Warhol,” in Warhol (Paris: Ileana Sonnabend, 1964), np.

33. 293 to act as his guide: See John Ashbery to Andy Warhol, Sep-tember 3, 1963, AWMA. Ashbery asks the artist to take him to the studios of Lichtenstein, Rosenquist and Öyvind Fahlström.

34. 293 given him a work: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 154.

35. 293 “His show shakes you up”: John Ashbery, “Artist’s Horror Pictures Silence Snickers,” New York Herald-Tribune, January 15, 1964.

36. 293 a Next Big Thing: Peter Selz and Sharon Zane, oral history, February 14, 1994, Museum of Modern Art Archives, New York, https://www.moma.org/docs/learn/archives/transcript_selz.pdf.

On the internal conflicts at MoMA see Aline B. Saarinen, “Explosion of Pop Art,” Vogue (April 15, 1963): 86.

37. 294 show of those new items: “Painting and Sculpture Acqui-sitions, January 1, 1962 through December 21, 1962,” Bulletin of the Mu-seum of Modern Art 30, no. 2–3 (1963): 29–29. A copy is in Time Capsule -26, AWM.

MoMA’s show “Recent Acquisitions to the Museum Collection,” which ran November 20, 1963, to January 13, 1964, includes the Rivers and the Thiebaud from the announcement but not the Warhol or the Wessel-man—see the checklist in Recent Acquisitions to the Museum Collection (Mu-seum of Modern Art, 1962), https://www.moma.org/momaorg/shared/


350 NOTES

pdfs/docs/press_archives/3077/releases/MOMA_1962_0136_131.pdf.38. 294 “just one thing of mine”: May 22, 1984, entry in Andy War-

hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 14899, Kindle edition.

John Giorno, who was dating Warhol just when MoMA should have been collecting him, laid the neglect at the feet of Frank O’Hara, the gay poet and MoMA curator: “Frank hated Andy, hated Andy’s work, hated everything about him and was mean to him too. . . . It was the reason the Museum of Modern Art didn’t acquire any Andy Warhols in the early years. . . . Frank used to laugh at Andy, make fun of him to his face and torture him.” See Giorno in Winston Leyland, “John Giorno: The Poet in New York,” Gay Sunshine (Spring 1975): 5.

On O’Hara and Warhol see also Brad Gooch, City Poet: The Life and Times of Frank O’Hara (New York: Knopf, 1993), 395.

39. 294 a lifelong anti-Pop-ist: Peter Selz and Sharon Zane, oral history, February 14, 1994, Museum of Modern Art Archives, New York, https://www.moma.org/docs/learn/archives/transcript_selz.pdf.

40. 294 “fraudulent”: A record of the event was published as “A Symposium on Pop Art,” Arts Magazine (April 1963): 36.

41. 294 “legitimate subject matter”: “A Symposium on Pop Art,” Arts Magazine (April 1963): 36.

42. 295 “go abstract”: Ellen Hulda Johnson to Andy Warhol, Au-gust 23, 1963, TC -24, AWMA.

43. 295 to stop a museum: Kathleen L. Housley, Emily Hall Tre-maine: Collector on the Cusp (Meriden, CT: Emily Hall Tremaine Foun-dation, 2001), 176. Tremaine discouraged the Wadsworth Atheneum, where she had vast influence, from buying a Warhol Electric Chair.

44. 295 refused to show them: David Bourdon, Warhol (New York: Abrams, 1989), 148.

45. 295 “kill your economy”: Ivan Karp, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 139.

46. 295 “an aesthetic pause”: Sidney Tillim, “Month in Review,” Arts Magazine (April 1963): 46.

“Pause that Refreshes” had been an advertising slogan for Coca Cola since 1929, first published in the Saturday Evening Post, February 1929—see Dominic Smith, “The Evolution of Viral Advertising,” The Next Web (blog), April 14, 2014, https://thenextweb.com/dd/2014/04/14/brief-his-tory-brand-love-evolution-viral-advertisement/.

47. 295 the technique’s pioneer: Lawrence Alloway, “Six Painters


NOTES 351

and the Object,” in Imagining the Present, ed. Richard Kalina and Rebecca Peabody (New York: Routledge, 2006), 91.

The show became a huge hit as museums across the country de-manded to be on its tour—see Nan Rosenthal, “Los Angeles,” Show (Au-gust 1963): 29.

Vogue magazine, no less, felt obliged to recognize the exhibition’s heft by assigning a long, analytical feature on it to a famous TV art critic. She gave Warhol top billing as “the pop-art kid,” then praised his novel grasp of how the industrial world “mass produces and mass distributes in absolutely impersonal terms products and people-symbols.” Yet in the end she slammed him for failing to bring about the kind of traditional ar-tistic “transformation” that would have made his audience see that world “more sharply, more concentratedly, more memorably than you might have”—see Aline B. Saarinen, “Explosion of Pop Art,” Vogue (April 15, 1963): 87.

The show’s tour included a stop at the Carnegie art museum in Pitts-burgh—see Jeanette Jena, “Carnegie’s ‘Pop Art’ Is Startling,” Pittsburgh Post-Gazette, January 21, 1964.

48. 295 witnesses for the defense: Lawrence Alloway, Six Painters and the Object (New York: Soloman R. Guggenheim Museum, 1963).The preface was by Guggenheim director Thomas M. Messer.

49. 295 The Beast in Me: Kaye Ballard and Jim Hesselman, How I Lost 10 Pounds in 53 Years: A Memoir (New York: Back Stage Books, 2006), 222.

50. 295 James Thurber: Warhol knew and admired Thurber’s art. In the 1940s he’d owned a volume of Thurber’s Fables for Our Time (AWMA), which is among the books he seems to have received from friends in col-lege. His 1950s illustrations sometimes came close to copying Thurber’s style, for example in the cover of the April 1955 issue of Glamour, where Warhol’s drawings of rabbits are recognizably Thurberian.

Warhol had another connection to the show: Its choreography was by his 1950s friend (and crush) John Butler.

51. 296 “little pieces of fabric”: Kaye Ballard and Jim Hesselman, How I Lost 10 Pounds in 53 Years: A Memoir (New York: Back Stage Books, 2006), 222.

52. 296 union’s admissions test: On April 22, 1963, the musical’s producer, Haila Stoddard, forwarded an envelope to Warhol (AWMA) containing information on the next set of tests, which were on June 8, almost a month after the show was to open.

53. 296 “costume concept”: Warhol claims credit for the costumes in his diaries, and mentions the union issue. He also back-dates the pro-


352 NOTES

duction to the mid-1950s—see August 6, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11995, Kindle edition.

54. 296 postponed premiere: “Adjustments Delay ‘Beast in Me’ De-but,” New York Times, May 11, 1963.

Major changes and additions were still being announced the day af-ter the show’s original opening night: See “Restaurants and Night Clubs: Thurber’s ‘Beast in Be’ Marc Connelly to Narrate,” Women’s Wear Daily, May 15, 1963.

55. 296 “tasteful”: Howard Taubman, “Theater: Beast in Me: 11 of Thurber’s Fables Provide Material,” New York Times, May 17, 1963.

56. 296 “attractive”: See William Glover, “New Thurber Play Pleas-ing on Broadway,” Austin Statesman, May 17, 1963.

57. 296 closed on May 18: “Beast in Me Closes Tonight,” New York Times, May 18, 1963.

Images of the production survive at the New York Public Library.58. 296 “failure is always so sordid”: Haila Stoddard to Andy War-

hol, June 10, 1963, AWMA. 59. 296 “charming and pleasant”: John Chapman, “Failure of

Thurber Revue Points up Theater’s Changes,” Chicago Tribune, May 26, 1963.

60. 296 exhibition included: Dorothy McCardle, “A Spoof or Art: Much Debate at This Show,” Washington Post, April 22, 1963. Warhol also showed four of the smaller Marilyns from the same Stable show—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 277.

61. 296 nine paintings: The Popular Image Exhibition (Washington, D.C.: Washington Gallery of Modern Art, 1963), np.

Warhol also got to design the cover for the show’s vinyl record of artists’ interviews. In one of the simplest, boldest moves that he had ven-tured thus far, his cover simply appropriated a splashy, hand-lettered sign from some store or supermarket: “Giant Size—$1.57” was all there was on the album’s front. (By comparison, his interview that can be heard on the album itself—available at the Archives of American Art of the Smithsonian Institution—is so wan and cagey as to barely be there at all.) The interview was recorded by the Bell Labs engineer Billy Klüver at a February 9, 1963, party given by Tom Wesselman, according to a Klüver diary entry shared with the author by Julie Martin, Klüver’s widow, in a January 24, 2018, e-mail.

62. 296 “polar responses”: Alan R. Solomon, “The New Art,” in


NOTES 353

The Popular Image Exhibition (Washington, D.C.: Washington Gallery of Modern Art, 1963), np.

63. 296 Photos of the opening: John Anderson, “What Happened in Washington,” Washington City Paper, March 12, 2012, //www.wash-ingtoncitypaper.com/arts/museums-galleries/blog/13077263/what-hap-pened-in-washington.

64. 297 “I hate it”: Dorothy McCardle, “A Spoof or Art: Much De-bate at This Show,” Washington Post, April 22, 1963.

65. 297 “I wouldn’t hang these things”: Dorothy McCardle, “A Spoof or Art: Much Debate at This Show,” Washington Post, April 22, 1963.

66. 297 “mass audience of millions”: Alan R. Solomon, “The New Art,” in The Popular Image Exhibition (Washington, D.C.: Washington Gallery of Modern Art, 1963), np.

67. 297 “Their thesis is anti-thesis”: Leslie Judd Ahlander, “Wash-ington Gallery Shows Pop Art,” The Washington Post, April 21, 1963.

68. 297 “The place was filled”: Tom Donnelly, of The Washington Daily News, in John Anderson, “What Happened in Washington,” Wash-ington City Paper, March 12, 2012, //www.washingtoncitypaper.com/arts/museums-galleries/blog/13077263/what-happened-in-washington.

For details on the event see “Pop Culture,” Time (May 3, 1963): 77.69. 297 founder of a garage band: The band had been Warhol’s

idea, according to member La Monte Young, interviewed April 22, 2015. Patty Mucha (formerly Oldenburg) confirmed this—see Stéphane Aquin, “Andy Warhol, Musician,” in Warhol Live: Music and Dance in Andy War-hol’s Work, ed. Emma Lavigne and Matt Wrbican (Munich: Prestel, 2008), 20.

The best treatment of The Druds is Branden Joseph, “No More Apol-ogies: Pop Art and Pop Music ca. 1963,” in Warhol Live: Music and Dance in Andy Warhol’s Work, ed. Stéphane Aquin and Emma Lavigne (Munich: Prestel, 2008), 122.

70. 297 “fights between Lucas and Patty”: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 34.

71. 298 “drank up the bottle”: The lyrics are transcribed in Bran-den Joseph, “No More Apologies: Pop Art and Pop Music ca. 1963,” in Warhol Live: Music and Dance in Andy Warhol’s Work, ed. Stéphane Aquin and Emma Lavigne (Munich: Prestel, 2008), 126.

72. 298 recorded in Washington: A single brief tape was made by engineer Billy Klüver, who was involved in the Washington show, and survives in the collection of his widow, Julie Martin.


354 NOTES

The recording was made at the Washington home of curator Alice Denney according to Patty Mucha (formerly Oldenburg), interview by author, n.d. But note that it is also said that the tape was recorded in the Oldenburg home in New York, according to Branden Joseph, “No More Apologies: Pop Art and Pop Music ca. 1963,” in Warhol Live: Music and Dance in Andy Warhol’s Work, ed. Stéphane Aquin and Emma Lavigne (Munich: Prestel, 2008), 122.

73. 298 “I quit”: La Monte Young, interview by author, April 22, 2015.

74. 298 “It didn’t go too well”: Andy Warhol, notes from an inter-view, n.d., box M88, AWMA.

75. 298 “venomously funny world”: Rosalyn Drexler, interview by author, September 26, 2017.

76. 298 Months earlier: There might have been a lapse of three months or more between Warhol’s work on the images and their publica-tion, which would have been the standard lag in the magazine industry. A three-month delay between article submission and publication is men-tioned in Mary Ellin Barrett, of Glamour magazine, to Henry Geldzahler, May 27, 1963, Henry Geldzahler papers, Beinecke Rare Book and Manu-script Library, Yale University.

77. 298 a series of photomat booths: Slightly different formats among the different photo-strips indicate that various machines were used.

78. 298 a picture of their picture: The photos he held up survive in the Warhol Museum, as do many of the photo-booth strips—see Matt Wrbican, “A Guided Tour of Time Capsule 21,” in Andy Warhol’s Time Capsule 21 (Dumont, 2004), 27.

79. 298 “part willingness to stick your neck out”: “Bazaar: Your Youngest Summer,” Harper’s Bazaar ( June 1963): 47.

80. 299 high-status items: Also of relevance to Warhol would have been an Avedon photo of Salvador Dalí, who had added a speech bubble coming out of his mouth with the word “Pop?” scribbled inside. That went with a quote in which Dalí claimed paternity of Warhol’s new Pop movement, which Dalí must have meant either as a passing of the torch or condescension—see “A Lapidary Liveliness,” Harper’s Bazaar ( June 1963): 56.

In addition to his main Photomat feature, Warhol himself was pres-ent in the magazine two more times. Art directors used yet another of his photobooth portraits to go with a mini-profile of Roland Kirk (p. 30), most radical of jazzmen and fine company for Warhol the avant-gardist


NOTES 355

to find himself in. Warhol’s work came up again in the background of a portrait of a young fashion designer named John Kloss, described (p. 60) as “extremely prophetic.” The designer was shown in a classic down-town loft filled with his growing art collection—one of that moment’s new signs of status—and it included a Warhol Marilyn that would have been at most a few months old when it went up on his wall. Kloss was an acquaintance of Warhol’s and the lover and roommate of Pop artist Robert Indiana, so the portrait of Kloss might have been shot in their loft on Coenties Slip—see Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 69. The Bazaar article mentions Kloss trading his women’s fashions for art, as mentioned also in the unpublished memoirs of Patty Oldenburg, provided by her to this author. She wore Kloss dresses that must have come from deals he made with her husband Claes. The Marilyn that Kloss owned was the “Cherry” one shown at the Stable Gallery the previous November—see Rainer Crone, “Das Bildnerische Werk Andy Warhols” (Ph.D., Frei Universitat, 1976), 330.

81. 299 small-time portrait business: John Warhola, oral history, interview by Matt Wrbican, audiocassette, November 24, 2004, AWMA.

For the social history of the Photomaton, and its meaning for War-hol, see Kelly Sidley, “Beyond Self Portraiture: The Fabrication of Andy Warhol, 1960–1968” (Ph.D., New York University, 2006).

82. 299 a feature on photo booths: Tony Scherman and David Dal-ton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 160.

83. 299 “machine that could take instant photos”: Ruth Ansel, in-terview by author, August 12, 2015.

Israel was fired because of a dispute over the cover of the January issue of Bazaar, so that the April issue was the last one he designed. An-sel then became co-art director with Bea Feitler—see “Harper’s Bazaar Archive: Ruth Ansel,” Harper’s Bazaar (September 29, 2016), http://www.harpersbazaar.co.uk/culture/bazaar-art/news/a38138/bazaar-flashback-ruth-ansel/.

84. 299 “honest little lie detector”: “Instant Self-Analysis: 25c,” Harper’s Bazaar (April 1963): 144.

85. 299 photos of President Dwight Eisenhower: New York Times Magazine (March 29, 1959): cover. Thanks to Paul Maréchal for pointing me to the issue.

86. 299 birthday present: Work on the project began soon af-ter Warhol’s arrival at the firehouse in mid-June, according to Gerard Malanga, interview by Christoph Heinrich, typescript, 1999, Gerard


356 NOTES

Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale Uni-versity. The portraits of Ethel Scull seem well under way, and maybe completed, in Ellen Hulda Johnson, photograph of Andy Warhol in his studio (July 30, 1963), Ellen Hulda Johnson papers, Archives of American Art, Smithsonian Institution.

87. 299 “friendly with Andy”: Robert Scull, oral history, June 15, 1972, Archives of American Art, Smithsonian Institution.

88. 300 silent partner at the Green Gallery: Jane Kramer, “The Man Who Is Happening Now,” The New Yorker (November 26, 1966): 87.

89. 300 “He said, “Just watch the red light”: Ethel Scull, in an in-terview transcript included with Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

90. 300 thirty-five separate canvases: Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 410. Although the painting is now known as Ethel Scull 36 Times, Warhol only added the thirty-sixth canvas later in the 1960s.

91. 300 3-D effects: Warhol tipped his hat to 3D in his two-tone portraits of Patty Oldenburg (née Mucha) and of Rosalyn Drexler, who was among Bazaar’s New Faces. His silkscreened portrait of Drexler was based on an old, tabloid-style photo from her brief spell as a female wrestler. The portrait of Patty Oldenburg repeats her unsmiling face, unchanged, sixteen times on a single canvas, giving the piece some of the gravitas of Warhol’s multiplied Marilyns.

92. 301 “psychological excitement”: Robert Scull, oral history, June 15, 1972, Archives of American Art, Smithsonian Institution.

93. 301 “Those diamonds are going to be paintings”: Warhol, quoted by Wynn Chamberlain, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 162.

Around the same time, Warhol had tried to sell portraits to Arthur and Theodora Edelman, the clients for his snakeskin ads, as he tried to finalize his shift from commercial work to fine art. “We headed to a photobooth and had our pictures taken,” Arthur Edelman remembered. “He kept pumping the machine full of quarters and telling us what to do. Later, I made the one major mistake of my association with Andy: I asked him how much a portrait would cost. Without missing a beat he said, ‘This is my art. I would have to get $2,500.’” The hide tycoons declined and their faces remained on the photomat strips, never to be turned into paintings—see Arthur Edelman, “The Day I Offered Andy


NOTES 357

Warhol a Job,” The Guardian, September 4, 2016, https://www.theguard-ian.com/lifeandstyle/2016/sep/04/the-day-i-offered-andy-warhol-a-job-arthur-edelman.

94. 301 Warhol delivered: A September 6, 1963, bill (TC 55, AWMA) charges Warhol for a printing screen that is the right size and subject for the Scull portraits, and it seems unlikely that completion and delivery happened after Warhol’s absence in Los Angeles for much of October. See Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 162.

See also Robert Scull, oral history, June 15, 1972, Archives of Ameri-can Art, Smithsonian Institution. Scull talks about the paintings being delivered as his wife’s October birthday was approaching.

95. 301 “we can always change it”: Ethel Scull, quoting Warhol in the transcript included in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

96. 301 “and that should be there”: Ethel Scull, in the transcript included with Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

97. 302 from early that spring: The paintings are often dated to the first months of the year, when the Mona Lisa would have still been on her way to New York or just barely arrived—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 300–301. But that was before War-hol would have had a chance to digest the scene the painting made in New York. A spring dating thus seems more likely.

On the other hand, Gerard Malanga, who has said that he didn’t begin to work as Warhol’s assistant until the summer, once claimed to have been involved with the project—see David Bourdon, Warhol (New York: Abrams, 1989), 162.

98. 302 a million New Yorkers: “Today in Met History: February 4,” The Metropolitan Museum of Art, February 4, 2013, https://www.metmuseum.org/blogs/now-at-the-met/features/2013/today-in-met-his-tory-february-4.

It looks as though Warhol was one of the visitors to the show, or at least he got the exhibition booklet that supplied the reproductions that he turned into silkscreens—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 300.


358 NOTES

99. 302 “Mona Lisa has crossed the Atlantic”: “Editorial: A Great Lady and Her Public Relations,” Art News ( January 1963): 47. (In TC -17, AWMA.)

100. 302 vast space to Leonardo: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 556.

101. 302 “profoundly intellectual”: Edward McNall Burns, West-ern Civilizations: Their History & Their Culture (W. W. Norton, 1941), 396. Warhol also annotated other parts of Burns’s discussion of Leonardo.

102. 302 disparage the Cans: Warhol, in David Bourdon, “Warhol Interviews Bourdon,” in I’ll Be Your Mirror: The Selected Andy Warhol Inter-views, ed. Kenneth Goldsmith (New York: Avalon, 2004), loc. 609, Kindle edition.

103. 302 considered doing Mona Lisa: Warhol, in David Bourdon, “Warhol Interviews Bourdon,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), loc. 609, Kindle edition.

104. 302 told a patron: Peter Brant, interview by author, December 11, 2017.

105. 303 “some transformation”: Stanley Kunitz, in Provincetown Art Association, “Pop Art Symposium” (transcript, August 28, 1963), Ar-chives of American Art, Smithsonian Institution.

CHAPTER 18

1. 305 “He is a lark”: “Pop Art? Is It Art?: A Revealing Interview with Andy Warhol,” Art Voices (December 1962).

2. 305 “last night was divine”: Andy Warhol to Gerry [Gerard Malanga], March 20, 1963, Gerard Malanga papers, The Harry Ransom Center at The University of Texas at Austin. ©The Andy Warhol Founda-tion for the Visual Arts, Inc.

The letter is reproduced in Donald Albrecht, Gay Gotham: Art and Un-derground Culture in New York (New York: Skira Rizzoli, 2016), 183. It was also included in the 2016 exhibition of the same name, while the Andy Warhol Foundation for the Visual Arts has repeatedly claimed copyright on the letter as a document produced by Warhol.

3. 306 Daisy Aldan: Gerard Malanga, in Winston Leyland, “Inter-view with Gerard Malanga for Gay Sunshine” (typescript draft, n.d.), Ge-rard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University. Aldan was editor of the notable arts magazine called Folder.

4. 306 “how to say no”: Gerard Malanga, in Ina Chadwick Wilde and Lynn Savitt, interview for Gravida magazine, typescript draft, n.d.,


NOTES 359

Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

5. 306 “sex came first”: Gerard Malanga, in Winston Leyland, “Gerard Malanga: An Interview,” Gay Sunshine ( January 1974): 6.

6. 306 “genius is unexplainable”: Gerard Malanga quoting Wil-lard Maas in Winston Leyland, “Gerard Malanga: An Interview,” Gay Sunshine ( January 1974): 6. The quote is precisely as printed in a blurb contributed by Maas to the verso of a flyer for a poetry reading by Malanga, dated “Wednesday Feb. 5” [1964], at the Café Le Metro. (Seen in the Gerard Malanga Collection, April 11, 2018.)

7. 306 Christmas 1962: For the date see Andy Warhol in notes from an interview, n.d., box M88, AWMA.

8. 306 at a party: Malanga confirmed meeting Warhol at that party—Gerard Malanga, interview by author, December 14, 2016. He also mentioned that Willard Maas was close to George Klauber, Warhol’s college friend from Tech who had first introduced Warhol to the gay scene in Brooklyn Heights. Maas and Klauber lived near each other in the Heights, so Klauber might have been the conduit between Maas and Warhol.

In other contexts Malanga has claimed that his first meeting with Warhol came six months later, when Charles Henri Ford introduced them on June 9, 1963—see Gerard Malanga, interview by Peter Heading-ton, typescript, n.d., Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University. See also Gerard Malanga, interview by Alan R. Solomon, c.1966, Alan R. Solomon papers, Archives of Ameri-can Art, Smithsonian Institution.

Malanga has said that at the June meeting “I did not know or had [not] even heard of” Warhol—Gerard Malanga, Archiving Warhol: Writ-ings & Photographs (London: Creation Books, 2002), 102.

9. 306 Stan Brakhage: See the request for a copy of Malanga’s Brakhage article in Toronto Film Society to Gerard Malanga, Febru-ary 26, 1962, Gerard Malanga papers, The Harry Ransom Center at The University of Texas at Austin. The Brakhage item was in the event only published much later, in the 1964 issue of the Wagner Literary Magazine, according to Gerard Malanga, interview by author, April 11, 2018.

10. 306 “Here you turn up with Andy Warhol”: Marie Menken, quoted by Charles Henri Ford in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 52.

11. 306 “to put the make on him”: Andy Warhol, in notes from an interview, n.d., box M88, AWMA.


360 NOTES

12. 306 at a poetry reading: Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 102. Malanga always cites June 9, 1963, as the date of the reading, but the diaries of Ted Berrigan put both Malanga and Warhol at a reading in May—see Daniel Kane, All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (Berkeley: University of California Press, 2003), 118. Of course it is possible that the two of them were at that reading without encountering or greeting one another.

Steven Watson says this more formal introduction between Warhol and Malanga “took place on Sunday, June 13, in the garden behind the New School, following a poetry reading by Frank O’Hara and Kenneth Koch”—Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 93. June 13 was not, however, a Sunday in 1963. Charles Henri Ford said that he re-introduced Warhol and Malanga at a bar directly after a reading that Malanga himself had given at the New School—see Charles Henri Ford in Winston Leyland, ed., “Ira Cohen Interviews Charles Henri Ford,” in The Gay Sunshine Interviews (San Fran-cisco: Gay Sunshine Press, 1978), 54.

Malanga has dated to June 11, which he cites as his first day working with Warhol, a series of photographs (AWMA) taken by Edward Wallow-itch of Malanga and Warhol working together at the firehouse on paint-ings that include the Tunafish Disasters, although the photos are dated to April in Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonne (New York: Phaidon, 2002), 348. The sweaters and wool jackets the two men are wearing do seem at odds with New York’s June 11 high temperature of 78 degrees Fahrenheit. The Tunafish Disasters certainly seem to have been finished by May 6, when the art historian Ellen Hulda Johnson shot slides of them at the Firehouse.

13. 306 needed a new helper: Charles Henri Ford, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 54.

14. 306 “Max”: Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 342.

15. 306 “commercial artist”: Gerard Malanga, interview by Peter Headington, typescript, n.d., Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University. In his high-school year-book (Leon Hecht collection), Malanga’s photo is indeed captioned “Ad-vertising Art.”

16. 306 printing textiles: Gerard Malanga, in Winston Leyland,


NOTES 361

“Gerard Malanga: An Interview,” Gay Sunshine ( January 1974): 6. The lover was Leon Hecht, who said that Malanga “was always gay”—Hecht, interviewed June 8, 2018.

See also Robert Pincus-Witten, “Floriano Vecchi,” Artforum (Sum-mer 2008): 438.

17. 307 “you could get more”: Gerard Malanga, interview by au-thor, December 14, 2016.

Although Malanga mentioned this as the minimum wage, that didn’t rise from $1.15 to $1.25 until late in 1964—see New York State Depart-ment of Labor, “History of the General Hourly Minimum Wage in New York State,” accessed November 22, 2019, https://labor.ny.gov/stats/min-imum_wage.shtm.

18. 307 asked him to start: Gerard Malanga, Archiving Warhol: Writ-ings & Photographs (London: Creation Books, 2002), 102.

19. 307 show him helping: Edward Wallowitch contact sheets, AWMA.

20. 307 on a Liz Taylor: Gerard Malanga, “A Conversation with Andy Warhol,” Print Collector’s Newsletter, February 1971, 125.

No image of a Liz Taylor painting occurs in the more than 300 pho-tos by Edward Wallowitch (AWMA) that Malanga has said were taken on his first day in Warhol’s studio.

21. 307 Warhola cooking a lunch: Gerard Malanga, in Charles Giuliano, “Gerard Malanga on Andy Warhol’s Mother Julia,” Berkshire Fine Arts, June 4, 2015, http://www.berkshirefinearts.com/06-04-2015_gerard-malanga-on-andy-warhol-s-mother-julia.htm.

22. 307 “Sally Go ’Round the Roses”: See “Song Database,” accessed November 3, 2017, http://www.song-database.com/artist.php?aid=2082. See also Billboard, August 24, 1963.

23. 307 “He’s the one I’d read about”: Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 105. There was indeed an image of a Soup Can painting, and a passing refer-ence to Warhol and his presence in the Sidney Janis show, in “Which Twin Is the Phony,” Show (February 1962): 89. Given the February date of the article, Malanga’s recognition of Warhol as the artist in Show might easily have happened around the time of Warhol’s March 20, 1963, letter to him.

On another occasion, Malanga said that it was only after a few days of work with Warhol that he looked through a magazine (“I think it was Show”) and recognized the paintings in his boss’s house—see Gerard Malanga, interview by author, December 14, 2016.


362 NOTES

24. 307 “For Andy ‘Pie’”: The photo (AWMA) is dated June 18, 1963.25. 307 favorite piece of clothing: Andy Warhol, in notes from an

interview, n.d., box M88, AWMA.26. 307 cozy in bed: Undated photo, AWMA. An identical photo

in the Shunk-Kender archives at the Getty Research Institute is dated May 8–9, 1965.

27. 307 “very relaxed”: Gerard Malanga, interview by author, De-cember 14, 2016.

28. 307 taxi ride home: Gerard Malanga, interview by author, April 11, 2018.

29. 307 pas de deux: See Lane Slate, “USA Artists [Andy Warhol and Roy Lichtenstein],” television broadcast (New York: WNET, March 8, 1966).

30. 308 “the work of a dozen apprentices”: Andy Warhol, inter-view by David Bourdon, typed notes, June 27, 1963, David Bourdon pa-pers, Archives of American Art, Smithsonian Institution.

31. 308 “first imitator”: Warhol and Gerard Malanga, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

The printed version of the interchange is different—see Gene R. Sw-enson, “What Is Pop Art? Interviews with Eight Painters (Part I),” Art News (November 1963): 26. The interviews would have been conducted a number of months before the issue was distributed in October.

32. 308 “as well as I could”: Warhol, in Neal Weaver, “The Warhol Phenomenon: Trying to Understand It,” After Dark ( January 1969): 23.

33. 308 “He did a lot of my paintings”: Warhol, in Sterling McIl-henny and Peter Ray, “Inside Andy Warhol,” Cavalier Magazine (Septem-ber 1966): 88.

34. 308 he was no star: “Malanga was an accepted poet—not big, but he was on the scene” said Malanga’s contemporary the poet Edward Field, interview by author, May 2, 2016.

In 1962, Malanga won the Dylan Thomas Memorial Poetry Prize—see Winston Leyland, “Gerard Malanga: An Interview,” Gay Sunshine ( January 1974): 4. That same year Malanga also won the “1st Avant Garde Poetry Prize (funded by Gotham Book Mart) for his exceptional poetry” in a workshop run by Robert Lowell—see the point-form biography in Debra Miller, typescript for a book proposal on Gerard Malanga (n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University. For a period reference to the prize see the note on “Po-


NOTES 363

etic Income” in Tony Towle, Poetry Project Newsletter, December 30, 1975, https://www.poetryproject.org/wp-content/uploads/PPNL_30_Dec1975–1.pdf.

35. 309 “girlish curls”: Nathan Gluck, interview by David Bour-don, typed notes, March 22, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

36. 309 “accepted poet”: Edward Field, interview by author, May 2, 2016.

37. 309 Café Le Metro: See Terence Diggory, “Cafe Le Metro,” in Encyclopedia of the New York School Poets (Infobase Publishing, 2009).

38. 309 “like a real trouper”: Gerard Malanga, interview by author, December 14, 2016.

39. 309 “corny”: Gerard Malanga, in Isabel Eberstadt, “Are You Hu-man, Andy” (typescript, c.1965), Fernanda Eberstadt personal papers.

40. 309 “I was curious”: Andy Warhol, notes from an interview, n.d., box M88, AWMA.

41. 309 Allen Ginsberg: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 154.

42. 309 “Taylor Mead”: Charles Henri Ford, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 55.

43. 309 led Malanga westward: Gerard Malanga, interview by au-thor, December 14, 2016.

44. 309 glow-in-the-dark paint: Gerard Malanga, interview by Pe-ter Headington, typescript, February 12, 1983, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University. The play was Asphodel, in Hell’s Despite—see Gary Comenas, “Asphodel,” Warhol-stars (blog), accessed March 28, 2019, http://www.warholstars.org/aspho-del.html.

Marie Menken, Willard Maas’s artist-wife, had told Malanga where to get the paint, having earlier given Warhol one of the glow-in-dark paintings that were her specialty—see Gerard Malanga, interview by au-thor, April 11, 2018.

45. 309 send him announcements: See Richard Higgins, The Tart, a typed script apparently mailed to Warhol in 1963 (TC39, AWMA). See also the program for a series of Happenings at Douglass College that Higgins mailed to Warhol on March 29, 1963 (TC83, AWMA). By the end of the year, George Brecht, a radical pioneer of conceptual and perfor-mance art, was mailing art ideas jointly addressed to Warhol and Gerard Malanga at Warhol’s townhouse—see George Brecht to Andy Warhol and Gerard Malanga, December 19, 1963, AWMA.


364 NOTES

46. 309 The Dutchman: Hazel Sharper, “The Sharper Side of New York,” New Pittsburgh Courier, January 25, 1964.

47. 309 “reticent”: Gerard Malanga, interview by author, Decem-ber 14, 2016.

48. 309 “worried about my weight”: Andy Warhol, notes from an interview, n.d., box M88, AWMA.

49. 309 doctor was telling him: Dr. Denton Cox, medical report on Andy Warhol (December 9, 1964), TC25, AWMA.

50. 309 “pudgy side”: Gerard Malanga, in “The Autobiography and Sex Life of Andy Warhol,” Web broadcast (Clocktower Radio, June 23, 2010), http://clocktower.org/show/the-autobiography-and-sex-life-of-andy-warhol.

51. 310 $100 Exercycle: See the February 17, 1960, invoice from Ex-ercycle Sales Ltd. (AWMA).

52. 310 Al Roon’s Riverside Club: See the August 8, 1963, receipt for 36 visits to the gym at $155 (miscellaneous box 101, AWMA).

53. 310 “needed for energy”: Dr. Denton Cox, medical report on Andy Warhol, January 5, 1970, AWMA. Cox had been Warhol’s doctor from the early 1960s and had apparently been his first Obetrol prescriber.

54. 310 “a hard drug”: Diane Di Prima, in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 133.

55. 310 “dropped into cups of coffee”: Diane Di Prima, Recollec-tions of My Life as a Woman: The New York Years, a Memoir (New York: Viking Press, 2001), 418.

56. 310 “recommended” dose: “Obetrol,” in Physicians Desk Ref-erence to Pharmaceutical Specialties and Biologicals (Medical Economics., 1968), 888.

Warhol’s daily dose is listed as one half of a 20mg pill in Dr. Denton Cox, medical report on Andy Warhol, January 5, 1970, AWMA. But that was when Warhol was still recovering his health from the assassination attempt against him, and after the dangers of amphetamines had become much more evident. There’s also no way of knowing if in fact Warhol stuck to that dose.

57. 310 sometimes took more than one: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 261.

58. 310 “lovely speed”: Rene Ricard, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 285, Kindle edition.


NOTES 365

A September 1965 receipt from Plaza Apothecary (TC25, AWMA) records Warhol’s purchase of one hundred 20mg Obetrol pills.

59. 310 “tingling feeling”: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2763, Kindle edition.

60. 310 A reel of film: The film is known as Taylor and Me and gives a glimpse of one of the so-called Race Riot paintings that Warhol made in the summer of ’63, before becoming friends with Mead in the fall.

61. 310 survived on Obetrol and coffee: Warhol, in Prue Vosper, “Warhol!,” International Times, June 10, 1967.

62. 310 started popping speed: Stephen Shore, interview by author, October 11, 2016.

63. 311 “be more playful”: Glenn O’Brien and Billy Name, “Factory Workers Warholites Remember: Billy Name,” Interview (November 30, 2008), https://www.interviewmagazine.com/culture/factory-workers-warholites-remember-billy-name.

64. 311 give an erotic edge: Andrew Wylie, who knew Warhol after his shooting, in a January 4, 2019, e-mail to the author.

65. 311 “a pill to get going”: Bob Colacello, Holy Terror: Andy War-hol Close Up (New York: Vintage Books, 1990), loc. 2791, Kindle edition. By then the pill in question was Dexamil, a combination of amphetamine and barbiturate. Diane di Prima used it in the early 1960s, describing it as having “a way of sneaking up on you, disguising your jitters. It left me more open to excess, ’cause nothing told me when I’d had enough”—see Diane Di Prima, Recollections of My Life as a Woman: The New York Years, a Memoir (New York: Viking Press, 2001), 205. On Warhol’s lifetime consumption of Obetrol see also Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1349, Kindle edition. That is confirmed in Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution. Warhol’s archives include several prescription bottles for Obetrol.

66. 311 downers: Warhol took the barbiturate Seconal (his receipts for it survive in his archives), and on the phone with Brigid Berlin he once admitted having taken codeine on a daily basis, but it’s not clear when or for how long—see Andy Warhol and Brigid Berlin, typed notes from a telephone call (c.1969), document box 201, AWMA. Toward the end of his life he was admitting to a Valium addiction—see October 2, 1986, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 19674, Kindle edition. Prescriptions for Valium sur-vive in Warhol’s archives.


366 NOTES

67. 311 “you get a lot of great ideas”: John Giorno, in Larissa Har-ris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 24.

68. 311 The Carpetbaggers: Gerard Malanga said that he and Warhol saw The Carpetbaggers five times in their early days together—see Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 24.

Warhol is said to have seen it three times in the summer of 1963 in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Har-court Brace Jovanovich, 1980), 47.

69. 311 “art brut”: Emile de Antonion, in Bruce Jackson, “Conver-sations with Emile de Antonio,” Senses of Cinema (blog), April 21, 2004, http://sensesofcinema.com/2004/politics-and-the-documentary/emile_de_antonio/.

70. 311 he and Warhol dissected: Gerard Malanga, “My First Day with Andy Warhol,” an unpublished text dated 1965 and reprinted in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 369. The first public screening of Point of Order didn’t happen until it was shown at the Museum of Modern Art on September 14, 1963, so Malanga was probably back-dating a later mem-ory, unless de Antonio held private screenings for friends—see Eugene Archer, “An All-Monster Film Festival Is Planned at the New Yorker: Mu-seum Adds 2 Films,” New York Times, August 30, 1963.

71. 311 “I started making them”: Warhol, quoted in Emile De An-tonio’s journal entry for May 31, 1978, included with Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

72. 312 “experimental movie”: Warhol, in “Behind Our Bylines,” American Girl, May 1961.

73. 312 “amateur art movie making”: “The Arts and Business” (Menlo Park, CA: Stanford Research Institute, 1962), 8.

74. 312 to see advanced fare: The datebook page for July 30, 1961 (AWMA) shows Warhol going to see La Dolce Vita with his former boy-friend Carlton Willers and a few others. The page for December 22, 1962, records a visit to L’Eclisse with Henry Geldzahler.

75. 312 underground filmmakers: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 48.

76. 312 taken him to see: Andy Warhol, notes from an interview, August 23, 1976, box M88, AWMA.


NOTES 367

77. 312 Sunday: The film was by Dan Drasin. Emile De Antonio used him as an occasional assistant, and eventually took on the distri-bution of Drasin’s Sunday. It went on to make a splash in Europe. See Douglas Kellner, Dan Streible, and Dan Streible, eds., Emile de Antonio: A Reader, Visible Evidence, v. 8 (Minneapolis: University of Minnesota Press, 2000), 13.

78. 312 cinematheque of Jonas Mekas: Those loft screenings hap-pened under the aegis of something called the Film-Makers’ Coopera-tive, a collaborative that Mekas had helped start in early 1962 and that Warhol started to frequent something like a year later—Jonas Mekas, in an April 15, 2017, e-mail to the author.

79. 312 “watching movies for months”: Jonas Mekas, interview by author, November 25, 2014.

80. 312 “learned to make movies”: John Giorno, who was present with Warhol at many such screenings, in Marian Kivila, Interview with John Giorno: Making of Andy Warhol s Sleep, Web video, 2014, https://www.youtube.com/watch?v=BIHfKbreHoU.

81. 312 “so great”: Warhol, in Cal Green, “Andy Warhol: A Hemi-Semi-Happening,” radio broadcast (WBAI, November 13, 1967), https://archive.org/details/pra-BB3271.

82. 312 private loft screenings: Jack Sargeant, Naked Lens: Beat Cin-ema (New York: Soft Skull, 2009), 108.

83. 312 “so much more than that”: Jonas Mekas, “Movie Journal,” Village Voice, April 19, 1963.

The first public screening of Flaming Creatures came on April 29, 1963, at midnight at the Bleecker Street Cinema, a space often programmed by Mekas, and Warhol was in attendance—see John Giorno in Marian Kivila, Interview with John Giorno: Making of Andy Warhol s Sleep, Web video, 2014, https://www.youtube.com/watch?v=BIHfKbreHoU.

84. 312 “twenty-four times”: John Giorno, in Marian Kivila, Inter-view with John Giorno: Making of Andy Warhol s Sleep, Web video, 2014, https://www.youtube.com/watch?v=BIHfKbreHoU.

85. 313 “hallucinogens”: Norman R. Glick, who was present at the shoot, in a November 21, 2014, e-mail reproduced at Gary Come-nas, “Jack Smith,” Warholstars (blog), 2015, http://www.warholstars.org/jack_smith.html.

86. 313 acquaintances since the mid-1950s: Wynn Chamberlain, in Berlin Screening Q and A: Andy Warhol Jack Smith Stories, Web video, 2015, http://www.brandxmovie.com/video/berlin_q_and_a.html.

87. 313 daily phone talkers: Sally Chamberlain, Wynn’s widow, in


368 NOTES

a May 6, 2016, e-mail to the author.88. 313 “What’s happening tonight?”: Sally Chamberlain, Wynn’s

widow, in a May 6, 2016, e-mail to the author.89. 313 “aging Buddhist nudists”: Wynn Chamberlain, draft mem-

oir (n.d.), personal papers of Sally Chamberlain.90. 313 “cultural time bomb”: Wynn Chamberlain, draft memoir

(n.d.), personal papers of Sally Chamberlain.91. 313 a few others: John Giorno mentions the artists Marisol and

Robert Indiana, but implies that they alone had been invited by Eleanor Ward, while he and Warhol had been invited to Old Lyme by Wynn Chamberlain—see John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 129.

Gerard Malanga, in a November 18, 2017, e-mail to the author, said that he and Warhol had in fact been guests of Ward, but that “both groups were chummy that weekend.”

92. 313 built by Claes and Patty Oldenburg: The Oldenburgs’ par-ticipation was confirmed by Patty Mucha (formerly Oldenburg) in a Janu-ary 19, 2018, e-mail to the author.

93. 313 Friday night: The date is given as Memorial Day weekend, i.e., May 31 to June 2, 1963, in John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 130. Note that Giorno describes the weather as having been sweltering, whereas on the weekend he mentions the highs were only around 75 de-grees. Other evidence clearly points to the footage for Normal Love having been shot the weekend of August 10 to 11, since Diane di Prima, filmed dancing on Jack Smith’s cake with Malanga and Warhol, is heavily preg-nant in that footage, and gave birth the following Monday—see Diane Di Prima, Recollections of My Life as a Woman: The New York Years, a Mem-oir (New York: Viking Press, 2001), 358. Thanks to the Whitney’s Claire Henry for her help in sorting out the dates of the Old Lyme events.

94. 314 downtown notables: Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

95. 314 “superstars”: Warhol mentions Jack Smith as the originator of the term “superstar” in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 38. Smith was using the term in print by early in the year following his shoot for Normal Love—see Jack Smith, “Super-stars of Cinemaroc,” Gnaoua (Spring 1964): 68.

96. 314 “sprayed pink”: Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

97. 314 Michelangelo Antonioni: Wynn Chamberlain, draft mem-


NOTES 369

oir (n.d.), personal papers of Sally Chamberlain.98. 314 seen his Eclipse: See the December 22, 1962, entry in War-

hol’s datebook (AWMA). 99. 314 coming over from Ward’s: Eleanor Ward herself had gone

off in a rage after finding the remains of a haircut on a greensward she’d groomed for croquet . She had also been mooned by Taylor Mead, whose butt went on to star in a Warhol film—see Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

100. 314 Normal Love: Clips from the film were viewed at Isla Leaver-Yap, “What Is Normal Love?” 2015, https://walkerart.org/collections/publications/art-expanded/what-is-normal-love/. Marisol is visible in the film and is mentioned as present in John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 126.

101. 314 “floozy red dress”: Gerard Malanga, in a December 19, 2016, e-mail to the author.

102. 314 police seized it: J. Hoberman and Johnathan Rosenbaum, Midnight Movies (New York: Harper & Row, 1983), 60.

103. 315 “1929 Bolex”: Sally Chamberlain, in a July 11, 2016, e-mail to the author.

Although Chamberlain dates Warhol’s loan of the Bolex to the week-end when Normal Love was shot, which was definitely in early August, she also says that the loan was made in the spring—a much more likely date, given other evidence described in further notes to this biography.

104. 315 lovely reels: The exact date of this footage is hard to de-termine. All the figures in it are known to have been in Old Lyme the weekend of Normal Love, but they might also have been there on other trips.

105. 315 “straight, rich, middle-class”: John Giorno, in Winston Leyland, “John Giorno: The Poet in New York,” Gay Sunshine (Spring 1975): 4.

106. 315 met the previous fall: John Giorno, in Marian Kivila, In-terview with John Giorno: Making of Andy Warhol s Sleep, Web video, 2014, https://www.youtube.com/watch?v=BIHfKbreHoU. A slightly different timeline is given in John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 126.

107. 315 dating almost daily: John Giorno, in Marian Kivila, Inter-view with John Giorno: Making of Andy Warhol s Sleep, Web video, 2014, https://www.youtube.com/watch?v=BIHfKbreHoU. See also John Giorno, interview by David Bourdon, typed notes, September 1, 1987,


370 NOTES

David Bourdon papers, Archives of American Art, Smithsonian Institu-tion.

108. 315 “Giorno lay sleeping”: Although Wynn Chamberlain de-scribed this as taking place the same weekend as the Normal Love shoot, he is certainly wrong. It had to have occurred earlier in the summer, as Giorno has always stated, if as Wynn Chamberlain said Warhol was us-ing Sally Chamberlain’s family Bolex: Warhol purchased his own Bolex, in the company of Malanga and Charles Henri Ford, between June 11 (if Malanga is right in giving that as the day he started working for Warhol) and early July, when Charles Henri Ford wrote a postcard to Warhol from Europe (AWMA), where he then stayed for some time. Sally Cham-berlain’s diaries indicate visits to Old Lyme with Giorno the weekends of April 20th and May 5th—Sally Chamberlain, in a May 30, 2018, e-mail to the author.

One early reel from Sleep, not used in the final version of the film, survives in a film-box marked “Old Lyme”—Greg Pierce, of the Warhol Museum, in a November 22, 2017, e-mail to the author. That suggests if nothing else that the project was indeed begun in the country.

109. 316 “Watching you”: John Giorno, “Andy Warhol’s Movie Sleep” (typescript, 1970), David Bourdon papers, Archives of American Art, Smithsonian Institution.

110. 316 intense gay love affair: John Giorno made clear that he and Warhol were sharing a double bed in Old Lyme—see John Giorno, in-terview by David Bourdon, typed notes, September 1, 1987, David Bour-don papers, Archives of American Art, Smithsonian Institution. Gerard Malanga, in a November 18, 2017, e-mail to the author, wrote that he was the one sharing a bedroom—with twin beds—with Warhol on the Normal Love weekend. This would make sense if the origins of Sleep date to a different weekend when Giorno was in that room instead.

111. 316 a heavy sleeper: Marian Kivila, Interview with John Giorno: Making of Andy Warhol s Sleep, Web video, 2014, https://www.youtube.com/watch?v=BIHfKbreHoU.

112. 316 “Every time Andy telephoned”: John Giorno, in Winston Leyland, “John Giorno: The Poet in New York,” Gay Sunshine (Spring 1975): 5.

Another source for Sleep might be stories Warhol heard from a friend about his mother watching him as he lay sleeping in bed—see Vito Giallo, interview by author, January 1, 2015.

113. 316 a Cage concert: John Giorno, in Marian Kivila, Interview with John Giorno: Making of Andy Warhol s Sleep, Web video, 2014, https://


NOTES 371

www.youtube.com/watch?v=BIHfKbreHoU.114. 316 “court musician of Dadaism”: “Shoot the Piano Players,”

Newsweek (September 20, 1963): 54.115. 316 composition by Eric Satie: On Warhol and Satie see Gary

Comenas, “Erik Satie and Andy Warhol,” Warholstars (blog), 2015, http://www.warholstars.org/andy_warhol_sleep_vexations.html. See also Branden Joseph, “The Play of Repetition: Andy Warhol’s Sleep,” Grey Room, no. 19 (Spring 2005): 22. Among other things, Joseph estab-lishes Warhol’s presence at the concert, which was confirmed by Gerard Malanga in a November 27, 2017, e-mail to the author, who said the two stayed at the concert “for about 4 hours.”

Any influence of Satie on Sleep would have come more from the length and monotony of his composition than from the particular struc-ture of its repetitions, which is a suggestion by Giorno that both Com-enas and Joseph address.

116. 317 “full of variety”: “New Faces, New Forces, New Names in the Arts,” Harper’s Bazaar ( June 1963).

Jonas Mekas remembered going to a La Monte Young concert with Warhol “where one note was stretched out to four or five hours”—see Sean O’Hagan, “Jonas Mekas: The Man Who Inspired Andy Warhol to Make Films,” The Guardian, December 1, 2012, https://www.theguard-ian.com/film/2012/dec/01/jonas-mekas-avant-garde-film-interview.

117. 317 “Set up and focus a movie camera”: See “Letter from Jack-son Mac Low to George Maciunas,” Film Culture (Summer 1967): 62.

118. 317 their first dinner: John Giorno said the dinner took place on April 28, 1963, meaning that they would have attended the epochal premiere of Yvonne Rainer’s dance called Terrain, with its one section titled “Sleep”—see John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 127. War-hol confirms his attendance in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 66. War-hol (or his ghostwriter) mentions going with David Bourdon rather than Giorno, however.

119. 317 “ready for your close-up”: John Giorno, in “Seeing War-hol: 14 Friends Remember Andy Warhol,” Interview (November 2008), https://www.interviewmagazine.com/art/seeing-warhol.

120. 317 settle down for the night: John Giorno, interview by David Bourdon, typed notes, September 1, 1987, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

121. 317 “anything bad is right”: Andy Warhol and David Bourdon,


372 NOTES

typed notes from a telephone call (December 11, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

122. 317 He got advice: John Giorno said the advice came from film-maker Buddy Wirtschafter—see Giorno in Marian Kivila, Interview with John Giorno: Making of Andy Warhol s Sleep, Web video, 2014, https://www.youtube.com/watch?v=BIHfKbreHoU. Wirtschafter himself said that he met Warhol around the time that Sleep was being made, but mentions the technical advice as having been given about a more advanced sound camera that Warhol only acquired in 1964—see Wirtschafter in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 243.

123. 317 Giorno would awake: John Giorno, interview by David Bourdon, typed notes, September 1, 1987, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

124. 317 let himself in with a key: Warhol, in Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol In-terviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 44, Kindle edition.

On Warhol having a key see Gerard Malanga, Archiving Warhol: Writ-ings & Photographs (London: Creation Books, 2002), 106.

125. 317 “It was an easy shoot”: John Giorno, in Ugo Rondinone, “Ugo Rondinone: I [heart] John Giorno,” accessed March 28, 2019, https://www.swissinstitute.net/exhibition/i-%e2%9d%a4-john-giorno/.

126. 317 twenty-two different views: On the number of shots see J. J. Murphy, The Black Hole of the Camera: The Films of Andy Warhol (Berke-ley: University of California Press, 2012), 19.

127. 318 “cut it out”: Sarah Dalton, September 29, 2019, e-mail to the author.

128. 318 De Antonio had edited: Daniel Talbot, “On Historic Hear-ings from TV to the Screen,” New York Times, January 12, 1964.

129. 318 easier than painting: See Warhol in “The Making Of An Underground Film,” television broadcast (CBS, December 31, 1965), https://www.youtube.com/watch?v=CX2LRvyM0cE.

130. 318 shooting new reels: John Giorno, in Marian Kivila, Inter-view with John Giorno: Making of Andy Warhol s Sleep, Web video, 2014, https://www.youtube.com/watch?v=BIHfKbreHoU.

131. 318 eight hours’ worth: Warhol was still citing Sleep as an al-most-finished eight-hour movie in October 1963—see Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol In-terviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 40, Kindle


NOTES 373

edition.See also “Foofs, Spoofs Are Far out and Big,” Life (December 20,

1963): 43, “Warhol has shot six hours of a projected eight-hour film on a man asleep.”

132. 318 “Amazing Slow Motion”: Peerless Camera, New York Times, August 24, 1961, advertisement. The ad is quoted in Anthony E. Grudin, Warhol’s Working Class: Pop Art and Egalitarianism (Chicago: University of Chicago Press, 2017), 128.

133. 318 “eat him up all you want to”: Warhol, in Gretchen Berg, “Andy Warhol: My True Story,” The East Village Other, November 1, 1966.

This Hollywood connection ran deep in the piece: Warhol had even planned to give Sleep a score—see him in Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Da Capo Press, 2009), Kindle edition.

A first, pie-in-the-sky idea for Sleep, which according to Malanga came even before the Old Lyme interlude, was to have the French star Brigitte Bardot do the sleeping—see Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 39. Warhol was still hoping to do a Bardot Sleep a couple of years later—see Warhol in “Pop Goes the Video Tape,” Tape Recording Magazine (October 1965): 16.

134. 318 films that repudiated: See Tony Rayns, “Andy’s Hand-Jobs,” in Who Is Andy Warhol?, ed. Colin MacCabe et al. (London and Pittsburgh: British Film Institute and The Andy Warhol Museum, 1997), 85.

135. 319 “isolation and starkness”: Henry Geldzahler, “Andy War-hol” (typescript of an essay marked as being for the catalog of “Ameri-kansk pop-konst,” a Pop Art exhibition that opened February 29, 1964, at the Moderna Museet in Stockholm, n.d.), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

136. 319 aesthetic value: “Is Beauty Obsolete?” Show (December 1963): 73.

137. 319 a photo of Marilyn: Warhol, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

138. 319 “styleless style”: Parker Tyler, “Dragtime and Drugtime,” Evergreen Review (April 1967): 29.

139. 319 “nostalgia tends to eliminate”: Robert Rauschenberg, in “The Emperor’s Combine,” Time (April 18, 1960): 92.

140. 319 “bypassing representation”: Robert Rauschenberg, inter-view by Gene R. Swenson, typed notes, n.d., Sean Carrillo collection, Hudson, NY.

141. 319 has given Warhol the book: Ed Ruscha, interview by au-


374 NOTES

thor, February 2, 2017. Ruscha’s book was published in April 1963 and Ruscha said that his New York trip came shortly thereafter. He also men-tioned Warhol playing a single of the song “I Will Follow Him,” by Little Peggy March, which was indeed getting major airplay that same April.

142. 319 carefully crafted: J. J. Murphy, The Black Hole of the Camera: The Films of Andy Warhol (Berkeley: University of California Press, 2012), 16.

143. 319 his companion that day: Taylor Mead, interview by Asako Kitaori, typescript, January 20, 1997, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

144. 319 porch sitting: Warhol, in Leon Rosenblatt, “What Makes Andy Warhol so Great,” Miami Herald, September 7, 1980.

145. 319 to a fireplace: Irving Blum, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

146. 319 “movies to read by”: Warhol, in Andrew Sarris, “Under-ground Movies,” Show (November 1964): 46.

147. 319 Stan Brakhage: “The Making Of An Underground Film,” television broadcast (CBS, December 31, 1965), https://www.youtube.com/watch?v=CX2LRvyM0cE.

148. 319 “like a painting”: Suzanne Stanton to Andy Warhol, Octo-ber 5, 1962, AWMA.

149. 320 “nothing happens”: David Bourdon, notes on a lecture tour with Warhol (February 1968), David Bourdon papers, Archives of Ameri-can Art, Smithsonian Institution.

150. 320 “less and less happens”: Henry Geldzahler, press release for the first screening of “Sleep” (January 17, 1964), TC34, AWMA.

151. 320 “absolute fascination”: Ronald Tavel, in J. J. Murphy, The Black Hole of the Camera: The Films of Andy Warhol (Berkeley: University of California Press, 2012), 18.

152. 320 “emotionally involved”: Neal Weaver, “The Warhol Phe-nomenon: Trying to Understand It,” After Dark ( January 1969): 25.

153. 320 in the front room: Nathan Gluck, “About Andy, His Mother and 3 Cats Named Sam and Hester” (typescript, n.d.), Nathan Gluck es-tate, Luis de Jesus Los Angeles gallery.

154. 320 “old clacking projector”: John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 142.

155. 320 fell in love with it: Gerard Malanga, interview by Alan


NOTES 375

R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

156. 320 public release: Henry Geldzahler, press release for the first screening of “Sleep” (January 17, 1964), TC34, AWMA.

157. 320 “gay movie”: John Giorno, in Ugo Rondinone, “Ugo Ron-dinone: I [heart] John Giorno,” accessed March 28, 2019, https://www.swissinstitute.net/exhibition/i-%e2%9d%a4-john-giorno/.

158. 320 a still life: Henry Geldzahler, “Andy Warhol” (typescript of an essay marked as being for the catalog of “Amerikansk pop-konst,” a Pop Art exhibition that opened February 29, 1964, at the Moderna Mu-seet in Stockholm, n.d.), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

159. 321 “Renaissance statue”: John Giorno, in Stephen Smith, “‘He Loved Weightlifting and Buying Jewels’: Andy Warhol’s Friends Reveal All,” The Guardian, August 14, 2015, https://www.theguardian.com/ar-tanddesign/2015/aug/14/andy-warhol-friends-reveal-all.

Elsewhere, however, Giorno has said that Warhol was ugly and sex-ually unattractive—see John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 32.

160. 321 already screening Kiss: Ads for Kiss appear in November and Sleep was still incurring lab expenses in December—Whitney Mu-seum film curator Claire Henry, in a January 11, 2018, e-mail to the au-thor.

161. 321 “is he playing a joke”: Jonas Mekas, “Movie Journal,” Vil-lage Voice, December 5, 1963, reprinted in Jonas Mekas, Movie Journal: The Rise of New American Cinema, 1959–1971 (New York: Columbia University Press, 2016), 115.

162. 321 discussed and illustrated: Edgar Morin, The Stars, trans. Richard Howard (New York: Grove Press, 1961), 9. The same book gave Warhol his idea for a repeated image of a gunslinging Elvis—see the discussion later in this biography. It may also have provided the impetus for Warhol’s first painting of Marilyn Monroe.

163. 321 “I like Edison!”: Warhol, interviewed in early 1965, in Da-vid Ehrenstein, “An Interview with Andy Warhol,” Film Culture (Spring 1966). The quote is from the interview as reprinted in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 69, Kindle edition.

164. 321 the final film: Scott MacDonald and Amos Vogel, eds., Cin-ema 16: Documents toward a History of the Film Society, Wide Angle Books (Philadelphia: Temple University Press, 2002), 410. MacDonald is cited by


376 NOTES

Gary Comenas at www.Warholstars.org.165. 321 in separate installments: One dealer said that Warhol of-

fered him Kiss in seven-minute installments for a show in Los Angeles in 1964—see Herbert Palmer, oral history, December 2004, Archives of American Art, Smithsonian Institution. Of course it is possible that Warhol’s single 100-foot reels, four minutes long when screened at si-lent speed, would have been shown when Kiss premiered in New York. This is what the film critic Amy Taubin recalled many decades later, although it’s hard to know the accuracy of such a remote memory of a single screening—see Amy Taubin, “****,” in Who Is Andy Warhol?, ed. Colin MacCabe et al. (London and Pittsburgh: British Film Institute and The Andy Warhol Museum, 1997), 24.

There is a reference to the screening of a “three-minute kiss” in Jonas Mekas, “Movie Journal,” Village Voice, December 5, 1963, reprinted in Jonas Mekas, Movie Journal: The Rise of New American Cinema, 1959–1971 (New York: Columbia University Press, 2016), 115.

166. 321 Andy Warhol’s Serial: See Amy Taubin, “****,” in Who Is Andy Warhol?, ed. Colin MacCabe et al. (London and Pittsburgh: British Film Institute and The Andy Warhol Museum, 1997), 24. Taubin says she saw Kiss screened under the title Serial at the Gramercy Arts Theater, where Sleep would also be shown, and ads in the Village Voice also use the Serial title.

167. 321 Hollywood kisses: Gerard Malanga, interview by Alan R. Solomon, typed notes, c. 1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

168. 321 men and women involved: Early screenings of Kiss only showed heterosexual couples—Jonas Mekas, interview by author, No-vember 25, 2014.

169. 321 “two men kissing”: John Giorno, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2994, Kindle edition.

The same story is told in more detail in John Giorno, “Andy Warhol’s Retinue as a Young Artist,” in Andy Warhol: Private Drawings from the 1950s (Köln: Walter König, 2003), np.

Several reels that relate to Kiss do show kisses between men, but since Warhol continued shooting such reels well into 1964, some of them would have been produced in the more freewheeling setting of the Silver Factory, which might have been the only place they were ever shown. Even when Warhol sent several reels of Kiss to be screened at a daring Harold Stevenson show of a vast male nude, at the Feigen-Palmer gallery


NOTES 377

in Los Angeles in January 1964, they all featured straight embraces—see Herbert Palmer, oral history, December 2004, Archives of American Art, Smithsonian Institution. See also Herbert Palmer Gallery, n.d., http://www.herbertpalmergallery.com/main_pages/history_exhibits.html-http://www.herbertpalmergallery.com/main_pages/history_exhibits.html. The Stevenson exhibition is in January 1964 gallery listings in Los Angeles newspapers.

On that Feigen-Palmer show and its screening see also Harold Ste-venson, in Tawsha Brinkley Davenport, “American Art Icon Calls Idabel Home,” McCurtain Daily Gazette, February 27, 2006. The Davenport ar-ticle has been reproduced by Gary Comenas at http://www.warholstars.org/articles/haroldstevenson.html.

170. 321 beatings he suffered: Taylor Mead, in David Tipmore, “A Walk on the Wild Side with Taylor Mead,” Village Voice, June 6, 1976.

171. 322 “threatening remarks”: Taylor Mead, “Son of Andy War-hol” (typescript draft of a memoir, n.d.), 50, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

172. 322 punched in the face: Kelly Sidley, “Beyond Self Portraiture: The Fabrication of Andy Warhol, 1960–1968” (Ph.D., New York Univer-sity, 2006), 187.

173. 322 “unleashed sensitivities”: Jonas Mekas, “Movie Journal”, Village Voice, May 2, 1963, reprinted in Jonas Mekas, Movie Journal: The Rise of New American Cinema, 1959–1971 (New York: Columbia University Press, 2016), 92.

174. 322 “big breasts”: Warhol, in Gene R. Swenson, “What Is Pop Art? Interviews with Eight Painters (Part I),” Art News (November 1963): 60.

175. 322 “raw pornography”: Robert Indiana, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2640, Kindle edition.

176. 322 “Camp taste”: Susan Sontag, “Notes on Camp,” in Against Interpretation and Other Essays (New York: Delta Books, 1966), 289.

177. 322 “unbearably tedious”: Thomas Meehan, “Not Good Taste, Not Bad Taste—It’s Camp,” New York Times Magazine (March 21, 1965).

178. 322 “threatening its sexual values”: Phillip Leider, “Saint Andy: Some Notes on an Artist Who, for a Large Section of a Younger Generation, Can Do No Wrong,” Artforum (February 1965): 27.

179. 322 about homosexuality: Warhol, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with


378 NOTES

Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

180. 322 a benefit for Mekas: Henry Geldzahler, press release for the first screening of “Sleep” (January 17, 1964), TC34, AWMA.

181. 322 attendance: Tony Scherman and David Dalton, Pop: The Ge-nius of Andy Warhol (New York: HarperCollins, 2009), 229–30. See also the Film-Makers’ Cooperative accounts document (document box 113, AWMA) for the January 1, 1964, screenings of Sleep, which lists an atten-dance of 43 people for the last screening, on a Monday.

182. 322 lost almost $400: January 1964 to March 1965 rental log for Warhol’s films, AWMA. The log shows the Sleep premiere taking a loss of $382.05. See also the Film-Makers’ Cooperative accounts document (document box 113, AWMA) for the January 1 to 17, 1964, screenings of Sleep.

183. 323 “lynch you, buddy”: Mike Getz, in a letter reprinted in Jo-nas Mekas, “Movie Journal,” Village Voice, July 2, 1964.

184. 323 “Wake up!”: Arthur Knight, “Renascence in a Youthful Me-dium,” Aspen, 1966, np.

185. 323 “Andy Warhol spoofs”: Pauline Kael, “Spoofing and Schtick,” Atlantic (December 1965): 84.

186. 323 a tantrum: Marie Menken, in Bert Koetter, Andy Warhol and His Clan, documentary (TV3, 1970).

187. 323 reductio ad absurdum: Henry Geldzahler, in Village Voice, January 16, 1964, advertisement.

188. 323 “joke on them”: Roy Lichtenstein, interview by Bici Hen-dricks (later Nye Ffarrabas) and Geoffrey Hendricks, typed notes, De-cember 7, 1962, courtesy The Roy Lichtenstein Foundation Archives.

Some of the more notable works in early Pop surveys, including in the Washington show that gave Warhol such play, were deadpan paint-ings of such things as a parking meter and a stop sign all bearing the signature of a certain Vern Blosum—the pseudonym, in fact, of a serious abstract painter who meant to poke fun at Pop but whose fun-poking was happily adopted as Pop, even once the fraud was uncovered. “Hoax or no hoax, I like the painting which is now on view,” said MoMA head Alfred Barr, once his museum had bought one of the Blosums—see Alan R. Solomon, “The New Art,” in The Popular Image Exhibition (Washing-ton, D.C.: Washington Gallery of Modern Art, 1963), np.

On Blosum see Alex Greenberger, “Vern Blosum, Semi-Fictional Artist Who Slyly Parodied Pop, Dies at 81,” Artnews, October 2, 2017, http://www.artnews.com/2017/10/02/vern-blosum-semi-fictional-artist-


NOTES 379

who-slyly-parodied-pop-dies-at-81/.189. 323 The original essay: Suzanne Stanton, “On Warhol’s ‘Camp-

bell’s Soup Can’,” May 20, 1962, TC36, AWMA. Lawrence Alloway, a notable British-born supporter of Warhol’s,

was the adjunct professor in question.190. 323 the letter she wrote: Suzanne Stanton to Andy Warhol, Oc-

tober 5, 1962, AWMA. 191. 324 a porno flick: Suzanne Stanton, in an August 21, 2017, e-

mail to the author.192. 324 John Cage: “I’ve Got a Secret,” television broadcast (CBS,

February 24, 1960).193. 324 “quite lunatic”: Alan Bowness, in Richard Calvocoressi,

“Yves Klein and the Birth of the Blue,” The Guardian, May 13, 2016, https://www.theguardian.com/artanddesign/2016/may/13/yves-klein-london-birth-blue.

In November 1962 Yves Klein had a major posthumous show at Iolas Gallery, a decade after the same gallery had shown Warhol’s drawings based on Truman Capote. See the large ad that ran in the same Decem-ber 1962 issue of Art Voices that included an interview with Warhol as well as large ads for Warhol’s Stable and Janis shows.

194. 324 “perpetual one upmanship”: Jeffrey S. Weiss, “‘Marcel Du-champ Qui Est Inquietant’: Avant-Gardism and the Culture of Mystifica-tion and ‘Blague,’” in The Popular Culture of Modern Art : Picasso, Duchamp, and Avant-Gardism (New Haven, CT: Yale University Press, 1994), xviii.

195. 324 blank canvases: Jeffrey S. Weiss, “‘Marcel Duchamp Qui Est Inquietant’: Avant-Gardism and the Culture of Mystificatnion and ‘Blague,’” in The Popular Culture of Modern Art : Picasso, Duchamp, and Avant-Gardism (New Haven, CT: Yale University Press, 1994), 117.

196. 324 early 1963: See the February 26, 1963, receipt from the Gug-genheim Museum registrar (AWMA) that lists a silver Electric Chair (Sil-ver Disaster #6) whose right half is blank.

197. 324 for the money: See Gene R. Swenson, “The Personality of the Artist” (typescript draft of a lecture given October 21, 1965, at the Institute of Contemporary Art in Philadelphia, n.d.), Sean Carrillo col-lection, Hudson, NY.

198. 324 “Spoof or Art”: Dorothy McCardle, “A Spoof or Art: Much Debate at This Show,” Washington Post, April 22, 1963.

199. 324 “impudent”: Gene R. Swenson, “The New American ‘Sign Painters,’” Art News (September 1962): 46.

200. 324 “parody and overstatement”: Emily Genauer, “Can This


380 NOTES

Be Art?” Ladies Home Journal (March 1965): 154.201. 324 “a true original”: “Pop Art? Is It Art?: A Revealing Inter-

view with Andy Warhol,” Art Voices (December 1962): 18.On Warhol’s interviews, and his resistance in them, see Reva Wolf,

“Introduction: Through the Looking Glass,” in I’ll Be Your Mirror: The Se-lected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), xi–xxxi, Kindle edition.

202. 325 “you do it right”: Warhol, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

203. 325 “put-on”: Jacob Brackman, The Put-on: Modern Fooling and Modern Mistrust (Chicago: Regnery, 1971), 17.

Brackman (p. 7) says he began his study in 1966 and then saw it pub-lished in The New Yorker the following year, and finally released in book form in 1971.

204. 325 Lichtenstein and Oldenburg: On Roy Lichtenstein see Ja-cob Brackman, The Put-on: Modern Fooling and Modern Mistrust (Chicago: Regnery, 1971), 15. Claes Oldenburg and Sleep are mentioned on p. 27.

205. 325 “thatched male hair”: Jacob Brackman, The Put-on: Modern Fooling and Modern Mistrust (Chicago: Regnery, 1971), 17.

206. 325 “monumental impenetrability”: Henry Geldzahler, “In-troduction: Warhol Print Catalogue Raisonné” (typescript draft, 1985), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

207. 326 “Woof, woof”: Jacob Brackman, The Put-on: Modern Fooling and Modern Mistrust (Chicago: Regnery, 1971), 16. No such interview with the Beatles can be traced today.

208. 326 “refuge of the untalented”: Jacob Brackman, The Put-on: Modern Fooling and Modern Mistrust (Chicago: Regnery, 1971), 26, 27.

209. 326 “modern audience”: Jacob Brackman, The Put-on: Modern Fooling and Modern Mistrust (Chicago: Regnery, 1971), 32.

210. 326 “lie about anything”: Warhol, in Richard A. Ogar, “Warhol Mind Warp,” Berkeley Barb, September 1, 1967.

211. 326 “most subversive”: Phillip Leider, “Saint Andy: Some Notes on an Artist Who, for a Large Section of a Younger Generation, Can Do No Wrong,” Artforum (February 1965): 27.

CHAPTER 19

1. 329 “loneliest position “: Isabel Eberstadt “Are You Human,


NOTES 381

Andy” (typescript, c.1965), Fernanda Eberstadt personal papers.2. 329 too scared: Taylor Mead mentioned Warhol’s fear of fly-

ing in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 133. If that fear existed at all, it did not prevent him from becoming an eager jet-setter over coming years. Warhol—or his ghostwriter—explicitly denied any fear of flying in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 44.

3. 329 September 24, 1963: A New Jersey toll receipt (TC55, AWMA) gives the date of departure.

4. 329 a secondhand Ford: Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain. Chamberlain himself said his car was a used one, and that is the claim in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2822, Kindle edition. But the Falcon is described as new in Deborah Davis, The Trip: Andy Warhol’s Plastic Fantastic Cross-Country Adventure (New York: Atria Books, 2015), 105. The source for this may be the claim that it was new in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 172.

Davis gives an exhaustive account of the entire trip to Los Angeles.5. 329 had met that summer: Taylor Mead mentions having met

Warhol a few weeks earlier in Steven Watson, “Interview with Taylor Mead ‘Mr. Sixties,’” Christopher Street (August 1978): 21. But Mead says that first meeting had taken place several months before the trip to L.A in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 133. He says the same in Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), 74, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library. In the same source he also mentions having met Warhol more casually, at poetry readings, before that.

6. 329 shot with his Bolex: A hundred-foot reel survives with Warhol’s footage of Mead with Jack Smith and John Giorno, apparently shot in the country at Old Lyme. That suggests that all three might have been present at the shooting of Normal Love in August, although Mead does not seem to be seen in any of its surviving footage.

7. 329 “agreed to Taylor”: There is a claim that Wynn Chamber-lain had requested that Mead join as second driver in Deborah Davis, The Trip: Andy Warhol’s Plastic Fantastic Cross-Country Adventure (New York: Atria Books, 2015), 105. Mead, for his part, claimed that he joined the posse at Warhol’s invitation—see Taylor Mead, “Son of Andy Warhol”


382 NOTES

(typescript draft of a memoir, n.d.), 74, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

8. 329 “deranged”: Jonas Mekas, “Ron Rice, Vernon Zimmerman, the Poetry of the Absurd,” Film Culture (Spring 1962). This was reprinted with other reviews in “I Love the Films of Vernon Zimmerman” (an unpublished compendium of reviews, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

9. 330 revolution in film: Taylor Mead, “The Movies Are a Revolu-tion,” Film Culture (Summer 1963): 9.

10. 330 save on the cost: Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

11. 330 to do a survey: See the May 12, 1963, letter in which Irving Blum asks Warhol about his “new series,” and then one from May 28 in which he writes, “the more I have had the opportunity to consider it, the more convinced I am that your exhibition in the gallery should be the most intense and far reaching composite of past work, and the Elvis paintings should be shown in my rear gallery area”—both cited in Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 355.

12. 330 a fully scheduled exhibition: This is this author’s reading of Ileana Sonnabend’s March 7 and March 18, 1963, letters to Warhol (AWMA), regarding his cancellation of a one-man show she had sched-uled for April 17, which would have been his first solo in Europe.

13. 330 aluminum paints: Jo Crook and Tom Learner, The Impact of Modern Paints (New York: Watson-Guptill, 2000), 175.

14. 330 a PR shot: Gerard Malanga claimed to have found the source image for the Elvis paintings in a “glossy” film-still from a used book shop—see Gerard Malanga, interview by David Bourdon, typed notes, April 6, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

15. 330 rocker persona: The Stable gallery “Red Elvis” was in fact based on a still from Presley’s first film, Love Me Tender, but a source in movies can’t be told from the silkscreen itself.

16. 330 fallen eminence: On Elvis as “sold-out” see Branden Joseph, “No More Apologies: Pop Art and Pop Music ca. 1963,” in Warhol Live: Music and Dance in Andy Warhol’s Work, ed. Stéphane Aquin and Emma Lavigne (Munich: Prestel, 2008), 125.

17. 330 “Funeral Music”: The Ray Johnson performance was on


NOTES 383

April 6, 1963, and Warhol had been sent a copy of the program (TC83, AWMA) in advance by the Fluxus artist Dick Higgins. A recording was provided to the author by Maria Ilario of the Ray Johnson Estate. A pho-tograph of the Elvises, dated May 6, 1963, was taken by the art historian Ellen Hulda Johnson, and is in her estate.

18. 331 recordings of gunshots: See Marguerite Lamkin, “What’s New,” Glamour, September 1963, 158. The article, which purports to de-scribe the Ferus show but would have been written several months be-fore it opened, must reflect Warhol’s original plans. It mentions a total of 64 images of Elvis, including 16 silkscreened onto a single canvas 37 feet long, which was in fact hung in the show and then cut up later—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 355.

19. 331 greatest screen murders: Warhol, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

20. 331 the same book: Edgar Morin, The Stars, trans. Richard Howard (New York: Grove Press, 1961).

21. 331 a gun-toting Marlon Brando: Gerard Malanga, in Gerard Malanga and Gunnar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Gerard Malanga (Milan: Skira/Astrup Fearnley Mu-seum, 2008), 33.

22. 331 one giant frieze: For the full roll, see Ellen Hulda Johnson’s June 9, 1963, photos of Warhol at work in the Firehouse; for the cut and stretched Elvises, see the 1963 photos taken in the Firehouse by Duane Michals and others by Evelyn Hofer.

23. 331 exiled all ten Liz paintings: Irving Blum, interview by au-thor, November 26, 2017. See also Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 393.

Warhol’s footage of his show reveals that the back room in ques-tion was available only through a door; it was not visible from the space where the Elvises hung. A photograph shows the back room to have been large and well-lit—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), fig, 251.

24. 331 no instructions: Irving Blum, in a December 1, 2017, e-mail to the author. It seems not all the shipments arrived the same day.

Blum has often said that Warhol sent stretcher bars with the roll of


384 NOTES

canvas—see for example Blum in Gagosian Gallery, Ferus (New York: Rizzoli, 2009), 28. This would have dictated the width of the eventual paintings, and how many there were to be, but not where the roll of can-vas needed to be cut to fit the stetchers. And one assumes that the bars for the 37-foot Elvis would have been bought in L.A.

25. 332 “hung edge to edge”: Irving Blum, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 222.

26. 332 out-of-town rival: On the tensions caused at the Ferus by Blum’s interest in East Coast artists, see Walter Hopps, Deborah Tre-isman, and Anne Doran, The Dream Colony: A Life in Art (New York: Bloomsbury USA, 2017).

27. 332 “[crop] marks”: Billy Al Bengston, in Claremont Graduate University, Artists Talk: L.A. Legends, With Larry Bell, Billy Al Bengston, Ed Moses, and Ed Ruscha, Web video, accessed April 1, 2019, https://www.youtube.com/watch?v=BJ1j9IDNYNg.

Note that in Warhol’s footage of his Ferus exhibition we can see a 16-figure, 37-foot-long canvas that is the same as one mentioned in the Glamour magazine feature written well before the show, meaning that Bengston and Irwin did somehow get news of at least some of Warhol’s intentions—perhaps from reading the article, which would have come out by then.

In 2018, Joan Quinn said that Billy Al Bengston had recently told her that Warhol and he had met earlier, at Bengston’s exhibition at the Martha Jackson gallery in New York in the late 1950s, before Warhol had begun his career as an avant-garde artist and when he was functioning more as a collector—see Joan Agajanian Quinn, interview by author, July 31, 2018. That could have encouraged Bengston not to take Warhol seriously in Los Angeles in the fall of 1963.

28. 332 “Everybody was butch”: Ed Moses, in Claremont Graduate University, Artists Talk: L.A. Legends, With Larry Bell, Billy Al Bengston, Ed Moses, and Ed Ruscha, Web video, accessed April 1, 2019, https://www.youtube.com/watch?v=BJ1j9IDNYNg.

29. 332 “Fagots”: “Sign of the Times: Infamous ‘Fagots Stay Out’ Sign Was Displayed at Barney’s Beanery for Years,” WEHOville (blog), June 20, 2013, https://www.wehoville.com/2013/06/20/sign-of-the-times-infamous-fagots-stay-out-sign-was-displayed-at-barneys-beanery-for-years/.

30. 332 had organized things: Marguerite Lamkin, “What’s New,” Glamour (September 1963): 158. Duane Michals was the photographer on the shoot.


NOTES 385

31. 332 read magazines: Deborah Davis, The Trip: Andy Warhol’s Plastic Fantastic Cross-Country Adventure (New York: Atria Books, 2015), 139.

32. 332 pot smoke: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 2822, Kindle edition. See also Tay-lor Mead in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 133.

33. 332 revved up on speed: Andy Warhol and Gerard Malanga, notes from an interview, n.d., box M88, AWMA.

34. 332 “chauffeured”: Andy Warhol and Gerard Malanga, notes from an interview, n.d., box M88, AWMA.

35. 332 “super-cool Andy”: Taylor Mead, interview by Asako Kitaori, typescript, January 20, 1997, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

36. 332 his mother worried: Gerard Malanga, in Charles Giuliano, “Gerard Malanga on Andy Warhol’s Mother Julia,” Berkshire Fine Arts, June 4, 2015, http://www.berkshirefinearts.com/06-04-2015_gerard-malanga-on-andy-warhol-s-mother-julia.htm.

37. 333 at Wagner College: Gerard Malanga said he only went back to Wagner for the spring term of 1964—see Gerard Malanga, interview by author, December 14, 2016.

38. 333 roll through his home state: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 173.

39. 333 highway mirages: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 173.

40. 333 “Once you ‘got’ pop”: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 50.

41. 333 classic photo essay: “Bad Taste,” Show (October 1962): 82.42. 333 bewigged: Malanga said the incident happened in the motel

room the two shared once they got to Los Angeles—see Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: Harper-Collins, 2009), 175. It is said to have happened in a motel in Amarillo on the way to Los Angeles in Deborah Davis, The Trip: Andy Warhol’s Plastic Fantastic Cross-Country Adventure (New York: Atria Books, 2015), 168.

43. 333 “semi-elegant shit”: Taylor Mead, in John Wilcock, The Au-tobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 134.

44. 333 “fascinated by Andy”: Taylor Mead, in Winston Leyland, “Taylor Mead: An Interview,” Gay Sunshine (Summer 1975): 7.

45. 334 “nellie queens”: Taylor Mead, “Son of Andy Warhol” (type-


386 NOTES

script draft of a memoir, n.d.), 74–76, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

Mead was used to the hazards of gay life on the road, according to other anecdotes in his memoir. A decade or so before, when he was first coming out, he’d thumbed his way across the land, sleeping in jails when-ever the local police decided they’d had enough of his antics or when he needed a warm bed. “All that getting arrested contributed to my feeling of being an outsider,” he said.

46. 334 Mead offered fellatio: Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

47. 334 “if the person was gay”: Taylor Mead, in Steven Watson, “Interview with Taylor Mead ‘Mr. Sixties,’” Christopher Street (August 1978): 21.

48. 334 “big gray penis”: Taylor Mead, in “The Autobiography and Sex Life of Andy Warhol,” Web broadcast (Clocktower Radio, June 23, 2010), http://clocktower.org/show/the-autobiography-and-sex-life-of-andy-warhol.

49. 334 “fucking up”: Taylor Mead, “Son of Andy Warhol” (type-script draft of a memoir, n.d.), 77, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

50. 334 “Who needs genius?”: Taylor Mead, in Brian Bayerl, Taylor & Ultra: On the 60s, The Factory, and Being a Warhol Superstar, documen-tary, 2016.

51. 334 “going quietly mad”: Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

52. 334 four mad days: Deborah Davis, The Trip: Andy Warhol’s Plas-tic Fantastic Cross-Country Adventure (New York: Atria Books, 2015), 3.

53. 334 The Surf Rider Inn: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 175.

54. 334 “beach-faggot”: Taylor Mead, “Son of Andy Warhol” (type-script draft of a memoir, n.d.), 64, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

55. 334 John Chamberlain: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 55.

56. 334 Jack Smith: Patty Mucha (formerly Oldenburg), unpub-lished memoir (n.d.).

While in L. A. Warhol shot footage of Jack Smith, Gerard Malanga,


NOTES 387

John Chamberlain and the Oldenburgs—see Callie Angell, Andy War-hol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 186.

57. 334 a long drive: Wynn Chamberlain, draft memoir (n.d.), per-sonal papers of Sally Chamberlain.

58. 335 a “Hollywood” party: Deborah Davis, The Trip: Andy War-hol’s Plastic Fantastic Cross-Country Adventure (New York: Atria Books, 2015), 8.

59. 335 had them paper: Dennis Hopper, 1712 North Crescent Heights: Dennis Hopper Photographs 1962–1968 (Los Angeles: Greybull Press, 2001), np.

60. 335 “this kind of new art”: Dennis Hopper, 1712 North Cres-cent Heights: Dennis Hopper Photographs 1962–1968 (Los Angeles: Greybull Press, 2001), np.

61. 335 “Movie Star party”: Andy Warhol, notes from an interview, n.d., box M88, AWMA.

62. 335 “Breakfast was delicious”: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), 76, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Divi-sion, The New York Public Library. Mead remembered their having gone straight to the Beverly Hills Hotel on arrival in the city, but hotel bills (TC55, AWMA) show that their stay there came between two sojourns at the Surf Rider, one from September 29 to October 2 and then another from October 5 to October 11.

Wynn Chamberlain said that they had always intended to stay at the Beverly Hills but that this “fell through,” landing them at the Surf Rider—see Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

63. 335 “‘coming-on’ to me”: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), 75, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

64. 335 “Troy’s career”: Taylor Mead, “Son of Andy Warhol” (type-script draft of a memoir, n.d.), 182, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

65. 335 the magazine ad: Gagosian Gallery, Ferus (New York: Riz-zoli, 2009). The ad for Warhol’s Ferus show had appeared in Artforum, then a minor West Coast magazine.

In Warhol’s own footage of the exhibition, Irving Blum is shown


388 NOTES

proudly displaying the ad—with Blum himself featured in it.66. 335 “he was so great”: Warhol, in Patrick S. Smith, Andy War-

hol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 522.67. 336 “L.A. collectors”: Brooke Hayward, interview by author,

February 23, 2017.68. 336 best friends: Irving Blum, in Hunter Drohojowska-Philp,

“Art Dealer Irving Blum on Andy Warhol and the 1960s L.A. Art Scene,” Hollywood Reporter, November 4, 2013, https://www.hollywoodre-porter.com/news/art-dealer-irving-blum-andy-653195.

69. 336 to work with Dwan: “John Chamberlain Artworks & Fa-mous Sculptures,” The Art Story, accessed April 1, 2019, https://www.theartstory.org/artist-chamberlain-john.htm.

70. 336 pot that was smoked: Andy Warhol, notes from an inter-view, n.d., box M88, AWMA. See also Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

Brooke Hayward denied that anyone could have been kicked out for using marijuana, given Dennis Hopper’s own taste for it—Brooke Hay-ward, interview by author, February 23, 2017.

71. 336 “a high point of the party:” Brooke Hayward, in Dennis Hopper, 1712 North Crescent Heights: Dennis Hopper Photographs 1962–1968 (Los Angeles: Greybull Press, 2001), np.

72. 336 “moral”: Warhol, in Jim Paltridge, “Andy out West,” Califor-nia Weekly, October 10, 1967.

73. 336 “brave new images”: R.G.W., “Dennis Hopper: Primus-Stuart Galleries,” Artforum (April 1963): 45.

“Dennis was interested in art,” Warhol recalled. “Somehow he thought he was an intellectual and he was painting or something and thought he was an artist”—Andy Warhol, notes from an interview, Au-gust 23, 1976, box M88, AWMA.

74. 336 “verbal street-fighting”: Jules Langsner, “Art News from Los Angeles,” Art News (September 1961): 81.

75. 337 “was a zoo of people”: Ed Ruscha, interview by author, February 2, 2017.

76. 337 mod-ish dark one: See the photos enclosed with John Weber, of the Dwan Gallery, to Andy Warhol, October 15, 1963, TC5, AWMA.

77. 337 “cocktail opening”: Phillip Leider, “Saint Andy: Some Notes on an Artist Who, for a Large Section of a Younger Generation, Can Do No Wrong,” Artforum (February 1965): 28.

78. 337 “the artist’s touch”: Statement written by Larry Bell “upon


NOTES 389

first seeing an exhibition of Warhol’s work” in September 1963, in Phillip Leider, “Saint Andy: Some Notes on an Artist Who, for a Large Section of a Younger Generation, Can Do No Wrong,” Artforum (February 1965): 28.

Walter Hopps suggests that Bell’s text was a response to Warhol’s 1962 Campbell’s Soup show at Ferus in Jim Edwards, “New Painting of Common Objects: An Interview with Walter Hopps,” in Pop Art: U.S./U.K. Connections, 1956–1966, ed. David E. Brauer (Ostfildern: Hatje Cantz, 2001), 48.

79. 338 “banalities”: Henry J. Seldis, “Nature’s Poetry Prevails in Three One-Man Shows,” Los Angeles Times, October 4, 1963.

80. 338 “No, I’m simple”: Warhol in Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Da Capo Press, 2009), 31, Kindle edition.

81. 338 “transvaluation”: Taylor Mead, in Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Da Capo Press, 2009), 33, Kindle edi-tion.

82. 338 “nothing to say”: Warhol, in Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Da Capo Press, 2009), 36, Kindle edition.

83. 338 “He really is great”: Warhol, in Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Da Capo Press, 2009), 42, Kindle edi-tion.

84. 338 “eight-hour movie”: Warhol, in Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Da Capo Press, 2009), 40, Kindle edi-tion.

85. 338 Elvises didn’t move at all: Irving Blum, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 222.

The price—apparently for the largest Elvis—is given in Henry J. Seldis, “Nature’s Poetry Prevails in Three One-Man Shows,” Los Angeles Times, October 4, 1963.

86. 338 “she said she’d take one”: Irving Blum, in Gagosian Gal-lery, Ferus (New York: Rizzoli, 2009), 28.

87. 339 reservations voiced by Cecil Beaton: “Beaton had the feel-ing that Andy was out to take over his world and Andy was discouraged that Beaton couldn’t seem to understand what Pop-ism was all about, even though the name of the movement had been coined in Britain sev-


390 NOTES

eral years before”—Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

According to Taylor Mead, however, Beaton had been witty and charming as he served his guests tomato juice in little cans, as “an added touch for Andy”—Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), 78, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

88. 339 book of his portraits: Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 34. See also Malanga in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 395.

There does seem to be a notable difference between the Elvis paint-ings done before Malanga’s arrival, seen in photos from May, and the many overlaps in the Elvises that were sent to Los Angeles, which seem to have been screened with his help.

89. 339 deployed by Beaton: See Deborah Davis, The Trip: Andy Warhol’s Plastic Fantastic Cross-Country Adventure (New York: Atria Books, 2015), 213. Davis cites the Beaton photos that were reproduced in Christo-pher Isherwood, “Christopher Isherwood on ‘Images’ by Cecil Beaton,” Vogue (September 1963): 208. On several occasions, however, Malanga has mentioned that Beaton showed them the photos in a new book of his, which would have been the newly published Cecil Beaton, Images (New York: London House and Maxwell, 1963).

90. 339 “Cecil’s book”: Gerard Malanga, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 167.

91. 339 Warhol stole a glass: Cecil Beaton, in his diary entry for Oc-tober 5, 1963, in Hugo Vickers, Cecil Beaton: A Biography (Boston: Little, Brown, 1985), 497.

92. 339 hotel-room pilfering: Warhol’s archives are full of objects, such as towels, cutlery, and salt and pepper packets that he liberated from hotels and airlines that he patronized.

93. 339 “the beats and off-beats”: Taylor Mead, “Son of Andy War-hol” (typescript draft of a memoir, n.d.), 78, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

94. 339 shut down by the authorities: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), 78, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Divi-


NOTES 391

sion, The New York Public Library.95. 339 “fantastic orgy”: Cecil Beaton, in his diary entry for Oc-

tober 5, 1963, in Hugo Vickers, Cecil Beaton: A Biography (Boston: Little, Brown, 1985), 497.

96. 339 new-model Bolex: The camera was purchased in July, and had “through-the-lens focusing,” according to Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 37.

Charles Henri Ford said that he was there when the camera was bought, and that this took place in the spring “before I left for Europe,” and indeed he sent a postcard to Warhol from Paris that July (AWMA)—see Ford in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 54. (The inventory of Ford’s New York journals held at the Ransom Center of the University of Texas, Austin, suggests, however, that Ford was still in New York on June 30—further study of Ford’s papers might establish the precise dates of his departure and of his contacts with Warhol.)

Period photos reveal the camera to be an H16 Rex 2 model Bolex, as per January 2018 e-mails to the author from Jeff Kreines of kinetta.com. (Warhol is shown in a very few photos, and mentioned in some biographies, with a simpler and cheaper H16M camera, but he already has the Rex 2 in photos from early 1964, so that seems to have been his main camera.)

97. 340 “peeved homeowner”: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), 77, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

Cementing Warhol’s connection to the local avant-garde, they also filmed during a visit to a kind of proto-hippie artists’ colony that gathered around Wallace Berman, a deeply radical collagist whose solo show at the Ferus gallery in 1957 had been shut down by the cops.

98. 340 Hopper sometimes stood in: Wynn Chamberlain said that Dennis Hopper, as the only professional involved on the project, had insisted on a token payment before he would sign a release, launching a decade’s worth of trouble that Warhol had with such documents—see Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Cham-berlain.

99. 340 zebra-skin bathing suit: Taylor Mead, in Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol In-terviews, ed. Kenneth Goldsmith (New York: Da Capo Press, 2009), 38, Kindle edition.


392 NOTES

100. 340 simply Tarzan: Taylor Mead, in John Wilcock, The Autobiog-raphy and Sex Life of Andy Warhol (New York: Trela, 2010), 135.

101. 340 winning raves: Jonas Mekas, Movie Journal: The Rise of New American Cinema, 1959–1971 (New York: Columbia University Press, 2016), 95. Mekas reprints his column from the July 25, 1963, Village Voice.

In early September, the New York Times had photographed Naomi Levine sitting next to Malanga at that endless Eric Satie recital. Warhol had also run into her that summer at the most radical of theater events and at underground film screenings.

102. 340 convinced Mekas: John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 142. Although prompted by Levine, the screening apparently actu-ally took place at Wynn Chamberlain’s loft—see Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2986, Kindle edition.

103. 340 “Naomi Levine”: Andy Warhol and Gerard Malanga, notes from an interview, n.d., box M88, AWMA.

104. 340 “some think I’m crazy”: Naomi Levine to Andy Warhol, n.d., trunk TC, AWMA.

105. 340 needled him for being gay: Naomi Levine, in John Wil-cock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 109.

Billy Name told a slightly different version of the ejection in “Billy Name—Legend,” accessed December 27, 2017, http://www.billieraymar-tin.com/?p=1826.

106. 340 “I was very free”: Naomi Levine, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 106. Levine said that she’d gone to Los Angeles to raise funds for Mekas’s Film-Maker’s Co-Op and had stayed with the sculptor John Chamberlain, who was also in Los Angeles at that moment.

107. 341 “fraudulent” Pop Art: Naomi Levine, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 106.

108. 341 “he’s so sweet”: Naomi Levine, in John Wilcock, The Auto-biography and Sex Life of Andy Warhol (New York: Trela, 2010), 108.

109. 341 “assuage Naomi”: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), 78, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

Gerard Malanga remembered getting access to the pool at the Bev-erly Hills Hotel because Cecil Beaton had a bungalow there—see Gerard


NOTES 393

Malanga and Gunnar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Gerard Malanga (Milan: Skira/Astrup Fearnley Mu-seum, 2008), 34. But in fact Beaton was lodging at the Bel-Air—see Hugo Vickers, Cecil Beaton: A Biography (Boston: Little, Brown, 1985), 465. Other sources claim the scene was shot next door to John Houseman’s place at the Malibu home of the art dealer Virginia Dwan—see James Samp-son Meyer, Los Angeles to New York: Dwan Gallery, 1959–1971 (Washington, D.C.: National Gallery of Art, 2016), 298.

110. 341 “Naomi who was paying”: Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

Receipts (TC55, AWMA) show that Warhol and friends purchased at least 29 reels of black and white movie film and 11 reels of color film.

111. 341 “silent movie star”: Taylor Mead, in Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Da Capo Press, 2009), 31, Kindle edi-tion.

112. 341 Charlie Chaplin: Taylor Mead, cited by Matt Wrbican in a December 20, 2018, note to the author.

113. 341 Happenings: Henry Geldzahler, “Happenings: Theater by Painters,” Hudson Review (Winter 1965): 581.

114. 341 “Arcadian comedy”: James Stoller, “Tarzan and Jane Re-gained—Sort Of,” Moviegoer (Summer/Autumn 1964): 68.

115. 342 the Tarzana sign: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), 76, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

116. 342 “a Taylor Mead movie”: Gerard Malanga, in Gerard Malanga and Gunnar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Gerard Malanga (Milan: Skira/Astrup Fearnley Mu-seum, 2008), 34.

117. 342 “Directed Sort of”: Taylor Mead’s editing tasks had in-cluded doing battle with a suddenly prudish Naomi Levine over shots of her crotch that she wanted excised. Mead also added a soundtrack with music and small bits of voice-over.

118. 342 “story stuff”: Billy Name, in John T. O’Connor and Benja-min Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 40.

119. 342 “Marcel Duchamp”: Gerard Malanga, extract from an un-published memoir provided to the author in a December 12, 2016, e-mail.

120. 342 “disruptive artist”: John Perreault, typescript introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.


394 NOTES

121. 342 Hamilton and Warhol: Gary Comenas, “Mark Lancaster Interview,” Warholstars (blog), 2004, http://www.warholstars.org/andy-warhol/interview/mark/lancaster.html.

Warhol himself had already invested in a deluxe edition of the mas-ter’s Boîte-en-valise (“Box in a Suitcase”), a suite of miniature versions of his Nude Descending a Staircase, of his urinal Fountain and of all his other radical creations.

That Warhol already owned one of the Boîtes when they met Du-champ in Los Angeles is implied in Gerard Malanga and Gunnar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Ge-rard Malanga (Milan: Skira/Astrup Fearnley Museum, 2008), 24.

Warhol superstar Ondine remembered Warhol buying Duchamp material from Rose Fried, a prominent dealer who happened to be On-dine’s boyfriend’s aunt—see Ondine in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 454. Records from Fried’s gallery show her buying and selling copies of Duchamp’s Boîte in late 1960 and 1961—Rose Fried Gallery records, Archives of Ameri-can Art, Smithsonian Institution. Fried’s sales came at about the time that Warhol was supposed to have bought his Boîte: see Marjorie Frankel Nathanson, “Chronology,” in Andy Warhol: A Retrospective, ed. Kynaston McShine (New York: Museum of Modern Art, 1989), 407.

122. 343 fading hotel: The venue was the Green Hotel—see Bert Mann, “‘Pride of Pasadena’: Grand Dame Strives for New Dignity,” Los Angeles Times, November 19, 1972.

123. 343 shy and boyish: The photos were by Julian Wasser—see “Julian Wasser at Craig Krull Gallery,” accessed April 1, 2019, http://www.craigkrullgallery.com/Wasser/index3.html.

Warhol shot footage of the opening in which views of the art are far outnumbered by shots of the cutest men there.

124. 343 to get Mead admitted: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), 79, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library. Wynn Chamberlain said that that it was Irving Blum, rather than Marcel Duchamp, who arranged Mead’s admission—see Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

125. 343 “cheap pink champagne”: Taylor Mead, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 134.

126. 343 signed the pink cloth: Walter Hopps, in Jim Edwards, “New Painting of Common Objects: An Interview with Walter Hopps,”


NOTES 395

in Pop Art: U.S./U.K. Connections, 1956–1966, ed. David E. Brauer (Ostfil-dern: Hatje Cantz, 2001), 49.

127. 343 “cab fare?”: Taylor Mead, interview by Asako Kitaori, type-script, January 20, 1997, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

128. 343 brought a girl home: Deborah Davis, The Trip: Andy War-hol’s Plastic Fantastic Cross-Country Adventure (New York: Atria Books, 2015), 220.

129. 343 cost $225: Deborah Davis, The Trip: Andy Warhol’s Plastic Fantastic Cross-Country Adventure (New York: Atria Books, 2015), 240.

130. 343 $1,200: The price, for the package of equipment seen in vari-ous photos of Warhol with his Bolex, was provided by Jeff Kreines of ki-netta.com in a January 18, 2018, e-mail to the author, based on a February 1963 Bolex Paillard price list in Kreines’s possession.

131. 344 a story on trademarks: “Big Case over Lower Case,” New York Herald-Tribune, October 20, 1963.

132. 344 “I have bills to pay”: Warhol, quoted in John Giorno, “Andy Warhol’s Retinue as a Young Artist,” in Andy Warhol: Private Drawings from the 1950s (Köln: Walter König, 2003), np. Giorno misdates the ad as having appeared on October 10.

133. 344 condemned for it: Fred Ferrar, “Ad Series Successful—but It Boomerangs,” Chicaco Daily Tribune, February 14, 1963.

On the Container Corporation of America and Warhol’s work with it see Alexander J. Taylor, “Forms of Persuasion: Art and Business in the 1960s” (Ph.D., University of Oxford, 2014). My thanks to Taylor for his help on the CCA ad.

134. 344 “Does your package”: Container Corporation of America, Purchasing, August 10, 1964, 100, advertisement.

135. 344 “Great Ideas”: See for example Container Corporation of America, Business Week, April 4, 1964, 96, advertisement.

136. 344 $3,000: The invoice to the Container Corporation of Amer-ica (AWMA) is dated February 5, 1964. Warhol had originally promised to supply 30 “color paintings” for the ad, and the client was disappointed with the black-on-color silkscreening that he had done instead and de-cided to use only 12 of them—see N. W. Ayer and Son, Philadelphia, to Fritzie Miller, Warhol’s agent, February 7, 1964, AWMA. Ayer asked for a discount, but it’s not clear if Warhol ever did come down in price.

The Container Corporation kept the 12 canvases used in the ad and Warhol sold a grid of another 12 as a work of art. Another 6 were in his estate when he died, but they mostly repeat images from the first 24—


396 NOTES

see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 446.

137. 344 reinserted back into commerce: The feedback loop be-tween art and advertising was also on view in another 1964 ad that saw a designer for the S&H Green Stamp company ripping off a Green Stamp painting by Warhol—see Sperry & Hutchinson Co., Business Week, March 14, 1964, advertisment.

138. 344 $65,000: Taylor Mead, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 137.

139. 344 still being listed: Julia W. Philip, Who’s Who in Commercial Art and Photography (New York: Directors Art Institute, 1964), 105. War-hol had also been in the 1960 edition.

140. 344 vast mural contract: See Thompson Starrett Construction Co. to Andy Warhol, letter and contract for Warhol’s work on the New York State Exhibit at the 1964 World’s Fair, August 23, 1963, trunk TC, AWMA. The $1,000 was just an advance, however, on the $6,000 he was supposed to be paid, of which he eventually received only $4,000. See the full discussion later in this book.

141. 344 $700: Warhol, interview transcript included in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

142. 344 fastest-growing industry: “Month in Review,” Arts Maga-zine (September 1964): 58.

143. 345 “send me some money”: The note to Eleanor Ward (box B566, AWMA) is undated, but on the same Wagner College stationery as Warhol’s March 1963 letter to Gerard Malanga.

There’s mention of a recent hospitalization in Gerard Malanga to Julia Warhola, May 5, 1965, AWMA. But that reference can’t have been to the same illness that Warhol was referring to in his note to Ward, because by Christmas 1964 Warhol had definitively left Ward for Cas-telli. Julia Warhola was described as experiencing “healing bilateral mod-erately-advanced pulmonary tuberculosis” in Dr. Denton Cox to Julia Warhola, November 3, 1965, AWMA. She was still taking medication for tuberculosis four years later—see Dr. Denton Cox to Julia Warhola, May 3, 1968, TC9, AWMA.

144. 345 Pop banners: See the March 3, 1963, press release (TC38, AWMA) from the Graham Gallery in New York, which initiated the ban-ner edition. See also “New Banner Art Form on Exhibit at PSUC,” Platts-burgh Press-Republican, April 12, 1963.

145. 345 a European monopoly: Annie Cohen-Solal, Leo and His Cir-


NOTES 397

cle: The Life of Leo Castelli (New York: Knopf, 2010), 316.146. 345 Sonnabend’s advice: Calvin Tomkins, “An Eye for the

New: A Private Woman’s Pervasive Influence in the Contemporary Art World,” The New Yorker ( January 16, 2000): 61.

147. 345 a fearsome letter: Ileana Sonnabend to Andy Warhol, May 4, 1963, AWMA. See also Sonnabend’s letter of August 23.

148. 345 six paintings and six drawings: Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 473.

In May 1963 Warhol got his first European display in a Sonnabend show called “Pop Art Americain” that included three of the paintings that Ileana Sonnabend had on consignment.

149. 345 “it’s necrophilia”: Ileana Sonnabend, in Annie Cohen-Solal, Leo and His Circle: The Life of Leo Castelli (New York: Knopf, 2010), 307.

150. 345 “a roll of newsprint”: Harry Malcolmson, Toronto Telegram, March 27, 1965.

151. 345 “ painted a blank canvas”: Warhol, in Barry Blinderman, “Modern ‘Myths’: Andy Warhol,” in Art Talk 2: Discourse on The Early 80s (Ann Arbor: UMI Research Press, 1988), 16.

152. 346 a major survey: Dorothy C. Miller, Americans 1963 (New York: Museum of Modern Art, 1963), http://www.moma.org/docu-ments/moma_catalogue_3442_300190151.pdf.

153. 346 “I was crushed”: Warhol, quoted in John Giorno, “Andy Warhol Interviewed by a Poet” (typescript, 1963), TC27 and TC32, AWMA.

Giorno said that the interview was conducted in June or July 1963—see I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), loc. 786, Kindle edition. But since “Americans, 1963” is referred to in the past tense but as taking place “this year,” the interview must have occurred after it closed on August 18, 1963—see Museum of Modern Art, press release for “Americans 1963” (May 22, 1963), https://www.moma.org/documents/moma_press-re-lease_326307.pdf.

154. 346 “New Vocabulary”: A copy of the brochure for “Art 1963—A New Vocabulary” is in the Joan Kron papers, Archives of American Art, Smithsonian Institution.

155. 346 a vast feature: Dorothy Gees Seckler, “The Artist in Amer-ica—Victim of the Culture Boom?” Art in America (December 1963): 27.

156. 346 saw Warhol’s blanks: Gene R. Swenson, “The Personality of the Artist” (typescript draft of a lecture given October 21, 1965, at the


398 NOTES

Institute of Contemporary Art in Philadelphia, n.d.), Sean Carrillo collec-tion, Hudson, NY.

157. 346 “fools will buy”: Gene R. Swenson, “The New American ‘Sign Painters,’” Art News (September 1962): 45.

158. 346 Q&A with Warhol: Gene R. Swenson, “What Is Pop Art? Interviews with Eight Painters (Part I),” Art News (November 1963): 24, 60. My discussion also draws on the original recordings of the interview as transcribed in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Tran-script of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

159. 346 serious artist and thinker: Gerard Malanga claimed that the interview was so successful because Swenson kept his microphone hidden—see Malanga in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 165. But the rediscovered transcript makes clear that Warhol knew he was being taped for all of the interview except for one brief mo-ment—see Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

160. 346 “style isn’t really important”: Warhol, in Gene R. Swen-son, “What Is Pop Art? Interviews with Eight Painters (Part I),” Art News (November 1963): 60.

161. 347 “Let’s go to work”: Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 81.

Warhol was supposed to have been alone in the studio when he got the news of the Kennedy assassination, according to Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jova-novich, 1980), 77.

162. 348 “to think about it”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 78.

163. 348 reputation for detachment: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 77.

164. 348 “I started crying”: John Giorno, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2940, Kindle edition.

165. 348 “crocodile tears”: John Giorno, in Tony Scherman and Da-vid Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 185. Giorno has given so many different versions of his Warhol


NOTES 399

stories that it is hard to know which ones can be trusted.166. 348 “assassination”: Danny Fields, in Tony Scherman and Da-

vid Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 186.

167. 348 “wide-eyed”: John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 125. Giorno claims that Claes and Patty Oldenburg were present at the Billy Klüver party, when in fact it seems they were still in Los Angeles—see Patty Mucha (formerly Oldenburg), unpublished memoir (n.d.).

Warhol shot footage of the party, which includes an image of the television and its images of the obsequies.

168. 348 pulled out his Bolex: Jill Johnston, Mother Bound (New York: Knopf, 1983), 158.

169. 348 over the next few months: Warhol was still silkscreening a Flower painting in November 1964—see Jack Kroll, “Saint Andrew,” Newsweek (December 7, 1964). The article was reprinted in Alan R. Pratt, ed., The Critical Response to Andy Warhol, Critical Responses in Arts and Letters, no. 25 (Westport, CT: Greenwood Press, 1997), 11. (The author of the article was misidentified as Robert Rosenblum when it was re-printed in the Pratt volume.)

170. 348 309 little canvases: Warhol: Jackie (New York: Blain/Di Donna Galleries, 2014), 17.

171. 348 “a proposition”: David Antin, “Warhol: The Silver Tene-ment,” Artnews ( July 1966): 58.

172. 348 one year minus a day: See David Whitney, ed., Leo Castelli: Ten Years (New York: Leo Castelli, 1967), np.

173. 348 forty-two identical Jackies: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02A—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 120, 142.

174. 348 “dumb flowers”: Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal papers.

175. 349 “guilt and horror”: Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal papers.

176. 349 “gloomy”: Gerard Malanga, “Andy’s Orbit” (typescript of an essay for Galerie von Bartha in Basel, Switzerland, 1983), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

177. 349 male-on-male reels: One gay Kiss takes place on the famous Art Deco couch in the Silver Factory, so can only have been shot many months after the first Kisses with Naomi Levine. Close study of the full series of Kiss reels, still in the process of being catalogued, may reveal


400 NOTES

which ones were shot where. A Kiss reel with Gerard Malanga and Mark Lancaster wasn’t shot until August 1964—see Gary Comenas, “Mark Lancaster Interview,” Warholstars (blog), 2004, http://www.warholstars.org/andywarhol/interview/mark/lancaster.html.

178. 349 pulled from a screening: “Bar Showing at University of Kiss Film,” Globe and Mail, October 9, 1964.

179. 349 a shoot at Serendipity: Serendipity owner Stephen Bruce, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 460.

180. 349 Name cooked: Stephen Bruce, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 456. Others have said Billy Name was a waiter, as has Name him-self.

181. 349 got to witness his efforts: Warhol kept the invitation (TC38, AWMA) to an August 25, 1963, dance performance at the Judson, involving such notables as Diane di Prima, Lucinda Childs and Yvonne Rainer, with Billy Name listed as lighting designer.

182. 349 “a new kind of free”: Billy Name, full unpublished tran-script for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

183. 349 “mostly looking wise”: Diane Di Prima, Recollections of My Life as a Woman: The New York Years, a Memoir (New York: Viking Press, 2001), 337.

184. 349 metabolic disorder: Billy Name, interview by author, July 24, 2014.

Ever since a teenage auto accident Name had also suffered from pancreatitis—see George Abagnalo, interview by David Bourdon, typed notes, n.d., David Bourdon papers, Archives of American Art, Smithson-ian Institution.

185. 350 first encounters: Name and Warhol were given a more for-mal introduction by Warhol’s old pal Ray Johnson, a lover of Name’s who had invited them both to the “Mr. New York” bodybuilding contest in Brooklyn in May—high camp for the three artsies but a perfectly seri-ous event for the contestants. See the May 25, 1963, flyer for the event (AWMA). It was held at the Brooklyn Academy of Music, which at the time hosted any number of such modest rental events—see http://ba-m150years.blogspot.com/2012/01/harvey-oral-history-judo-school-mus-cle.html, accessed January 8, 2018.

Name e-mailed Warhol researcher Gary Comenas about the three


NOTES 401

of them attending the contest—see http://www.warholstars.org/warhol1/5serendipity.html, January 8, 2018.

186. 350 avant-garde pedigree: Billy Name, in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 82.

187. 350 disciple of Cage: Billy Name, in a June 22, 2009, e-mail to Gary Comenas, in Gary Comenas, “Erik Satie and Andy Warhol,” War-holstars (blog), 2015, http://www.warholstars.org/andy_warhol_sleep_vexations.html.

188. 350 relax among the Elvises: See Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 188.

189. 350 “I pick you”: Billy Name to Andy Warhol, holograph in-scription on verso of envelope, December 27, 1963, TC59, AWMA.

190. 350 Name as Warhol’s son: An undated proof-sheet for the en-try in Who’s Who in the East is in the Warhol archives (TC14).

The eight-line biography was printed in volume 10 of the publica-tion, copyrighted 1965, but had to have been written before April 1964, when Warhol’s work was removed from that year’s World’s Fair in New York—which the entry still lists as one of Warhol’s exhibition venues.

191. 350 “very awkward and shy”: Billy Name, in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 128.

192. 350 “lie together sometimes”: Billy Name, interview by author, July 24, 2014.

193. 350 “he would jump”: Billy Name, interview by author, July 24, 2014.

194. 350 Warhol’s own touch: The anonymous lover, who slept with Warhol several times between 1961 and 1963, is quoted in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2718, Kindle edition.

Warhol’s fellatio was described by Rudy Franchi, interview by au-thor, November 7, 2018.

195. 350 “animated young man”: Johnny Dodd, a friend of both Billy Name and Freddy Herko, in Johnny Dodd, interview by David Bourdon, typed notes, January 17, 1988, David Bourdon papers, Archives of Ameri-can Art, Smithsonian Institution.

196. 350 “start doing things”: Billy Name, in Glenn O’Brien, “Magic with Mirrors: Billy Name’s Window into the World of Andy Warhol,” The Guardian, September 11, 2014.


402 NOTES

197. 350 ferocious work ethic: Billy Name, interview by author, July 24, 2014.

198. 350 a barber relation: Billy Name’s grandfather is said to have been the barber in question in George Abagnalo, interview by David Bourdon, typed notes, n.d., David Bourdon papers, Archives of American Art, Smithsonian Institution. The barber is said to have been his father by Glenn O’Brien, in Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), 21. The same claim is made (probably on the basis of Name’s book) in Randy Kennedy, “Billy Name, Who Glazed Warhol’s Factory in Silver, Dies at 76,” New York Times, July 21, 2016. But the father is described as the owner of a welding shop in “William Linich (Sr.) Obituary,” Poughkeepsie Journal, No 1980.

Matt Wrbican has specified that the barber relative was in fact Name’s great-uncle Andy Gusmano—see Matt Wrbican, A Is for Archive: Warhol’s World from A to Z, ed. Abigail Franzen-Sheehan (New Haven, CT: Yale University Press, 2019), 143. In a December 20, 2018, note to the author Wrbican said that the source of his information was Name himself.

199. 350 “hair-cutting salon”: Billy Name, in John W. Walter, How to Draw a Bunny, documentary, 2004.

200. 350 Ray Johnson brought Warhol: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 119.

201. 351 most esoteric programs: Under the title “The End of Dawn,” one of Warhol’s haircut films was on the program (AWMA) for a March 12, 1964, event called “Sights and Sounds IV” at the American Theater for Poets. It preceded “Amazing Grace” by Richard Maxfield, in which a recording of the title song got severely distorted.

202. 351 radical dance performance: Freddy Herko, quoted from an unnamed source in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 137.

203. 351 opaque dance “review”: John Daley, “Billy Linich’s Party,” The Floating Bear, November 1963, http://www.warholstars.org/hair-cut-1.html. Daley went on to be one of the figures in Warhol’s film now known as Haircut (No. 1).

204. 351 his boss attended: Gerard Malanga, Archiving Warhol: Writ-ings & Photographs (London: Creation Books, 2002), 127. Malanga remem-bered that first visit to a haircutting party as taking place during the day.

CHAPTER 20

1. 353 “ inside of a gem”: Billy Name, in Gregory Barker, “Billy Name: Silver Age,” Hotshoe, accessed April 1, 2019, http://www.hotshoe-


NOTES 403

international.com/blog/shows/billy-name-silver-age.2. 353 fourth floor of the building: Thomas Kiedrowski, Andy

Warhol’s New York City: Four Walks, Uptown to Downtown (New York: Little Bookroom, 2011), 70.

My account of the Forty-Seventh Street studio depends on Kied-rowski and also on measured drawings by Lucy Hogg based on photos of the space.

3. 353 $200: Warhol’s earliest check stubs for payments to the landlord, Elk Realty, are for $200, but a lease document (TC -2, AWMA) shows the rent being raised to $300 in November 1967, a few months before Warhol moved out.

4. 353 just bare wires: Billy Name, interview by author, July 24, 2014.

5. 353 “to the bathroom”: Jackie Curtis, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 273.

6. 353 “Flush GENTLY”: See the Bob Adelman photo in Marvin Elkoff, “American Painter as a Blue Chip,” Esquire ( January 1965): 37.

7. 353 had to flush: Sterling McIlhenny and Peter Ray, “Inside Andy Warhol,” Cavalier Magazine (September 1966): 87.

8. 353 ancient machinery: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 34.

9. 353 officially canceled: A city government copy of the lease, auctioned by Sotheby’s New York on April 1, 2015, is annotated with the scrawled words “This lease terminated 5/63.” The same hand also wrote “sold” on it, as though that were the reason for the termination, appar-ently contradicting numerous sources that have said that the building was sold out from under Warhol in the fall.

It could be, however, that the annotations were written at the time of the fall sale, citing the termination as something that had happened months before and as the reason the sale had been able to proceed, thus removing the building from the city’s purview.

10. 354 bid came in low: Nathan Gluck, “About Andy, His Mother and 3 Cats Named Sam and Hester” (typescript, n.d.), Nathan Gluck es-tate, Luis de Jesus Los Angeles gallery.

11. 354 “hoofing it”: Gerard Malanga, in Gerard Malanga and Gun-nar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Gerard Malanga (Milan: Skira/Astrup Fearnley Museum, 2008), 29.

12. 354 romantic loft: Gerard Malanga, interview by author, De-cember 14, 2016.

13. 354 to hymn for Glamour: Henry Geldzahler, “Article on Lofts


404 NOTES

for Glamour” (typescript draft, n.d.), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University. The article does not seem to have been published, maybe because of the problems with the draft discussed in Mary Ellin Barrett, of Glamour magazine, to Henry Geldzahler, May 27, 1963, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

See also Gilbert Millstein, “Portrait of the Loft Generation,” New York Times, January 1, 1962.

14. 354 endless warehouse: Henry Geldzahler, “Article on Lofts for Glamour” (typescript draft, n.d.), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

15. 354 Lower East Side: See Eli Waldron, “The New American Capital of Bohemia,” Saturday Evening Post, May 23, 1965, 97ff.

16. 354 a famous party: Sally Chamberlain, in an excerpt from an unpublished memoir shared with the author in a July 11, 2016, e-mail.

17. 354 the hat or the shoe manufacturer: Warhol mentions a shoe factory having preceded him in the space in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 34. The idea that the studio had once been a hat factory seems to crop up for the first time in a quite tentative mention by Gerard Malanga in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 397. Articles from the 1960s don’t seem to make either claim.

18. 354 Bickford’s coffee shop: Warhol, in Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), np. See also “6 Restaurant Sites Taken by Bickford,” New York Times, January 31, 1962.

19. 354 Peerless Camera: Gerard Malanga, in “WFMU’s Special Ar-chives for Kenny G’s Hour of Pain: Author Gerard Malanga,” Web audio, accessed April 1, 2019, https://wfmu.org/special.php/KG.

20. 354 Connoisseur’s Corner: Billy Name, in “Billy Name: After Andy Was Shot,” an extra track included with Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

21. 354 Warhol’s big worktable: Billy Name, in Glenn O’Brien and Billy Name, “Factory Workers Warholites Remember: Billy Name,” In-terview (November 30, 2008), https://www.interviewmagazine.com/cul-ture/factory-workers-warholites-remember-billy-name.

22. 354 old office discards: Billy Name, in “Billy Name: After Andy Was Shot,” an extra track included with Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

23. 354 Grand Central Y.M.C.A.: The YMCA awning is so lettered


NOTES 405

in “Monitor: Cheese! Or What Really Did Happen in Andy Warhol’s Stu-dio,” television broadcast (BBC Four, July 1965), https://www.bbc.co.uk/programmes/b00drs8y.

24. 354 hunky weightlifters: John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 230.

25. 354 Its showers appealed: Gerard Malanga, in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 43.

26. 355 “centers of attraction”: Hugh Hagius, ed., “Gaedicker’s Sodom-On-Hudson,” in Swasarnt Nerf’s Gay Guides for 1949 (New York: Bibliogay Publications, 2010), 39.

27. 355 all-male bacchanals: John Donald Gustav-Wrathall, Take the Young Stranger by the Hand: Same-Sex Relations and the YMCA (Chicago: University of Chicago Press, 1998), 180.

28. 355 rooming at the Y: Jackie Curtis, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 273.

29. 355 “New studio”: He learned later that the building was at least part-owned by the heiress and pop author Barbara Goldsmith—see Larry Rivers and Andy Warhol, notes from an interview, February 20, 1975, box M88, AWMA.

Documents suggest that Goldsmith was the sister-in-law of Alfred R. Goldstein, a major philanthropist and president of Elk Realty, the com-pany that managed Warhol’s occupancy on Forty-Seventh Street.

30. 355 “so far uptown”: Billy Name, interview by author, July 24, 2014.

31. 355 “three minutes”: Gerard Malanga, “Freezing a Motion Pic-ture: An Interview with Gerard Malanga,” in Andy Warhol Photography (Pittsburgh: The Andy Warhol Museum, 1999), 118.

32. 355 “Andy Warhol films”: Billy Name, in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 82.

33. 355 sit perfectly still: Amy Taubin, in Callie Angell, Andy War-hol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 198.

34. 356 “making eye contact”: Ronald Tavel, in Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 201.

35. 356 panicked and isolated: Jane Wilson, in Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 210.


406 NOTES

36. 356 “Boy that never Blinked”: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 101. The “boy” was the photographer Peter Hujar.

37. 356 “nothing comes through”: Mary Woronov, in Planet Group Entertainment, “The Mary Woronov Interview from the Factory People Notebook,” accessed November 24, 2019, http://planetgroupentertain-ment.squarespace.com/the-mary-woronov-interview/.

38. 356 “takes over by itself”: Warhol, in “The Making Of An Un-derground Film,” television broadcast (CBS, December 31, 1965), https://www.youtube.com/watch?v=CX2LRvyM0cE.

39. 357 an author photo: Gerard Malanga, interview by author, De-cember 14, 2016. More details were provided later in Gerard Malanga, interview by author, April 11, 2018.

40. 357 sprocket holes left visible: Gerard Malanga, “Freezing a Motion Picture: An Interview with Gerard Malanga,” in Andy Warhol Photography (Pittsburgh: The Andy Warhol Museum, 1999), 117.

41. 357 Thirteen Most Beautiful Boys: It could be that Warhol never screened more than 13 of their portraits at one go; he mostly might have screened fewer.

The number in the title derives from a 13 Most Wanted Men flyer, is-sued by the New York Police Department, that Warhol had been using at least since October 1963 as the source for a mural project for the 1964 New York World’s Fair, as discussed later in this book.

42. 357 screened the series in public: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 245.

43. 358 a large dormitory: Gerard Malanga, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 3072, Kindle edition.

44. 358 romance with Giorno: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 199.

45. 358 “starfucker”: Robert Pincus-Witten, interview by author, June 8, 2017.

46. 359 “wasn’t about love”: Billy Name, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 199.

47. 359 a term he’d also used: Gerard Malanga, “Andy Warhol Inter-viewed,” in Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 11. This is the original version of the interview, conducted by Malanga while Warhol and he were still working in the firehouse.


NOTES 407

Malanga published a revised version, set in the later Forty-Seventh Street studio, in Gerard Malanga, “Andy Warhol: Interview,” Kulchur (Winter 1964). That is the version widely known from its reprinting in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), Kindle edition.

48. 359 “It’ll look fabulous”: Billy Name, full unpublished tran-script for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d. Name is almost certainly telescoping the narrative, eliminating the gap that would have occurred between Warhol’s visit to his apartment in the fall and the move to the Factory in late January. Other sources say that Warhol asked Name to do the silvering on the occasion of Name’s first visit to the new studio.

Name once said that he’d first tried decorating his apartment with the primary colors (red, yellow, blue) before settling on silver—see his interview in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 81.

49. 359 electric lights: Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), np.

50. 359 “just the clean foil”: Billy Name, interview by author, July 24, 2014.

51. 360 brushed or sprayed with silver paint: Carolyn Bengston, “New York Report: About Andy Warhol, Pop Art and Underground Mov-ies,” Austin American, January 16, 1966. Some photos do show a floor that is clearly plain cement, indicating that the paint must have quickly worn off.

The floors were repainted silver every two weeks according to David Bourdon, “Warhol and Malanga: Magnetic Duo” (typescript, 1989), Da-vid Bourdon papers, Archives of American Art, Smithsonian Institution.

52. 360 the toilet door: Sterling McIlhenny and Peter Ray, “Inside Andy Warhol,” Cavalier Magazine (September 1966): 87.

53. 360 Reynolds Metals: Majorie Sherman, “Art and the Corpora-tion,” Boston Globe, February 14, 1965.

54. 360 comped Warhol: Billy Name, interview by author, July 24, 2014.

55. 360 “Wonderfoil”: Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), np.

56. 360 “you keep doing it”: Gerard Malanga, “Andy’s Orbit” (type-


408 NOTES

script of an essay for Galerie von Bartha in Basel, Switzerland, 1983), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

Billy Name said he’d first fallen for silver in his native Poughkeep-sie, watching its iron bridge get a coat of aluminum rustproofing—see Name in Paul Bui, “Billy Name Remembers Andy Warhol & the Silver Age,” Milk (blog), November 14, 2014, https://milk.xyz/articles/3169-Billy-Name-remembers-Andy-Warhol-the-Silver-Age/.

57. 360 “tape deck”: Billy Name to Andy Warhol, postcard ad-dressed to Warhol care of the Sonnabend Gallery in Paris, c.1965, Gerard Malanga papers, The Harry Ransom Center at The University of Texas at Austin.

Both the silvered stereo and the new tape deck are visible in photos in Billy Name, The Silver Age (Reel Art Press, 2014), np.

58. 360 “glamor carved out”: Neal Weaver, “The Warhol Phenom-enon: Trying to Understand It,” After Dark ( January 1969): 29.

59. 360 sell aluminum’s virtues: Alcoa was a client and supporter of both the Tech-affiliated designer Peter Muller-Munk and of Warhol’s own teacher Robert Lepper, who employed Warhol’s classmate Philip Pearlstein on an Alcoa contract—see Philip Pearlstein, “Philip Pearlstein, A Story of an Artist,” Scholastic Art & Writing Awards (blog), May 27, 2016, http://blog.artandwriting.org/2016/05/27/philip-pearlstein-a-story-of-an-artist/.

60. 360 “painted silver”: Al Hansen, A Primer of Happenings & Time/Space Art (New York: Something Else Press, 1965), 125.

On the date see “Silver City for Andy Warhol,” Performance Artist Database, accessed April 1, 2019, http://padb.net/resource/silver_city_for_andy_warhol_1963_6_22.

61. 361 silver space suits: Louden S. Wainwright, “The Chosen Three for First Space Ride,” Life (March 3, 1961): 27.

Popism mentions silver space suits, but there is no way to know if that actually gives insight into Warhol’s thinking back in 1964, or is a ghostwriter’s conceit from the late 1970s.

62. 361 crinkled aluminum foil: Retail Reporting Bureau, Views and Reviews, July 3, 1960. The window earned the headline “Startling and Dramatically Effective Display.”

63. 361 “environment”: Warhol, quoted by Kaye Ballard and Jim Hesselman, How I Lost 10 Pounds in 53 Years: A Memoir (New York: Back Stage Books, 2006), 22.

64. 361 “all the silver”: Billy Name, in Gregory Barker, “Billy Name:


NOTES 409

Silver Age,” Hotshoe, accessed April 1, 2019, http://www.hotshoeinter-national.com/blog/shows/billy-name-silver-age.

65. 361 “tacky relationships”: Billy Name, in Steven Watson, Fac-tory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 128.

66. 361 established himself: Billy Name spent the weekends in Henry Geldzahler’s empty apartment. He was officially there to clean it, but in fact it became a party space for him and his speed-freak friends, who would dig deep into the curator’s opera collection. “Rather extreme people,” Geldzahler called them—see Geldzahler and Name, in Stephen Shore, The Velvet Years: Warhol’s Factory, 1965–67 (New York: Thunder’s Mouth Press, 1995), 115.

67. 361 “showing off my butt”: Gerard Malanga, in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 198.

68. 361 “living in the loft”: Gerard Malanga, in Gerard Malanga and Gunnar B. Kvaran, Long Day’s Journey into the Past: Gunnar B. Kvaran Speaks with Gerard Malanga (Milan: Skira/Astrup Fearnley Museum, 2008), 29.

69. 361 $1,100: Gerard Malanga, interview by author, April 11, 2018.70. 362 “4th Floor”: Mark Lancaster, “Andy Warhol Remembered,”

Burlington Magazine (March 1989): 198.71. 362 “obscurely busy tenant”: Isabel Eberstadt, “Are You Hu-

man, Andy” (typescript, c.1965), Fernanda Eberstadt personal papers.72. 362 dropped out of college: Gerard Malanga, interview by au-

thor, December 14, 2016. 73. 362 “don’t be acting like that”: Billy Name, interview by au-

thor, July 24, 2014.74. 362 “foreman of the Factory”: Andy Warhol, interview by Alan

R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

75. 362 prime minister: Gerard Malanga, interview by Peter Head-ington, typescript, February 12, 1983, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

76. 362 “The Factory”: Billy Name, in Glenn O’Brien and Billy Name, “Factory Workers Warholites Remember: Billy Name,” Interview (November 30, 2008), https://www.interviewmagazine.com/culture/factory-workers-warholites-remember-billy-name.

77. 362 boxes dedicated to: Unless otherwise indicated, all details on the Box sculptures come from Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02A—The Andy Warhol Catalogue Raisonné


410 NOTES

(New York: Phaidon, 2002).78. 363 roped into helping: Gene R. Swenson, “The Personality of

the Artist” (typescript draft of a lecture given October 21, 1965, at the Institute of Contemporary Art in Philadelphia, n.d.), Sean Carrillo col-lection, Hudson, NY.

79. 363 “all five sides again”: Gerard Malanga, “How We Made the Brillo Boxes,” in Archiving Warhol: Writings & Photographs (London: Cre-ation Books, 2002), 148.

Footage and numerous photos of Warhol at work show him using house paint on his boxes, rather than the acrylics that he did, in fact, use for the backgrounds of his silkscreened paintings.

Billy Name said that, up late and obsessive because of his drugs, he would spend the night laying down an immaculate coat of house paint on each box so that when Malanga and Warhol arrived, often around noon, they could silkscreen the brand labels on top: “I can always spot the ones I painted because I was the most meticulous”—see Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), 93.

80. 364 “disposable container”: Henry Geldzahler, “Andy Warhol” (typescript of an essay marked as being for the catalog of “Amerikansk pop-konst,” a Pop Art exhibition that opened February 29, 1964, at the Moderna Museet in Stockholm, n.d.), Henry Geldzahler papers, Bei-necke Rare Book and Manuscript Library, Yale University.

81. 364 from camp to cool: Around the same time, we know War-hol was also in contact with some silkscreened cardboard-box sculptures by the artist Alfred Leslie—see Riva Castleman, “Floriano Vecchi and the Tiber Press,” Print Quarterly 21, no. 2 (June 2004): 144. The conceptual frameworks for the Leslie and Warhol boxes are so different, however, that the influence should be seen as inconsequential.

The boxes actually had roots that stretched back even further. In the first days of his Campbell’s Soups, Warhol had tried out a single proto-type box that was supposed to capture the look of a stack of soup cans. It didn’t. Photos from the same era (AWMA) show him toying with other ideas for sculpture, stacking real cardboard cartons to make a true ready-made that has not survived—see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02A—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 61.

During the trip to L.A. for the Elvis show in the fall of 1963 Taylor Mead told an interviewer that Warhol was “going into sculpture and we were going to go into a supermarket and put fixative on one of the dis-plays in the supermarket and transport it to a museum or something”—


NOTES 411

see Mead in Ruth Hirschman, “Pop Goes the Artist,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Da Capo Press, 2009), loc. 930, Kindle edition. That doesn’t seem to have happened—not even the “or something.” But back in New York in No-vember, Warhol did talk sculpture with a Los Angeles gallery director who was planning a February survey of works based on boxes—see John Weber to Andy Warhol, November 26, 1963, quoted in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02A—The Andy War-hol Catalogue Raisonné (New York: Phaidon, 2002), 53. “Your idea of mak-ing cardboard boxes is sensational,” wrote Weber once he got home. “If, per chance, you can’t make them in time I would like to use the Camp-bell Soup sculpture.” Warhol did meet the deadline. Cardboard turned out not to work as an art supply so he had wooden boxes made instead. There were only four of them, at first: Three bright yellow Brillo boxes (the color of a special Brillo pack that came with a three-cent discount) and one for Heinz tomato ketchup, at last letting Warhol commit to a famous Pittsburgh brand he’d slighted by spending so much time with Campbell’s. Years later, Warhol admitted it: “When I lived in Pittsburgh, the Heinz factory was there, and I used to go visit the Heinz factory a lot. They used to give pickle pins. I should have done Heinz soup. I did the Heinz Ketchup box instead”—Warhol in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 34.

82. 364 pulled from his ad: Nathan Gluck, in Mark Allen, “My Conversation with Nathan Gluck,” accessed March 4, 2019, http://www.markallencam.com/nathangluck.html.

83. 364 “artsy”: Nathan Gluck uses the term “artsy” in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 35.

84. 364 “something ordinary!”: Warhol, quoted by Gerard Malanga, interview by author, December 14, 2016.

85. 364 claiming that Minimalism: Andy Warhol, interview by Da-vid Bourdon, typed notes, April 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

86. 365 actual cardboard cartons: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02A—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 78.

87. 365 a legendary academic paper: Arthur Danto, “The Art-world,” The Journal of Philosophy 61, no. 19 (October 1964): 571.

88. 365 the show’s poster: The poster for the Stable gallery Box show survives in the Warhol archives.


412 NOTES

The ad for the show appeared in Art International (April 1964): inside back cover. It is referenced in Kelly Sidley, “Beyond Self Portraiture: The Fabrication of Andy Warhol, 1960–1968” (Ph.D., New York University, 2006), 69n82.

89. 365 “The Personality of the Artist”: Although the photo is credited on the poster to Gene Swenson, the text’s author, it was actually taken in a photobooth by Warhol himself—see Kelly Sidley, “Beyond Self Portraiture: The Fabrication of Andy Warhol, 1960–1968” (Ph.D., New York University, 2006), 160. This is a rare case where Warhol wanted to hide his identity as the creator of his own persona.

90. 365 “reality already gave us”: Arthur C. Danto, Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective (New York: Farrar, Straus & Giroux, 1992), 139.

91. 365 “Here be art”: See the photo in Dennis Hopper, 1712 North Crescent Heights: Dennis Hopper Photographs 1962–1968 (Los Angeles: Grey-bull Press, 2001), np.

92. 366 “guffaws and heehaws”: Emile de Antonio, journal entry included in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

93. 366 footage of it: Marie Menken, Andy Warhol, experimental film, 1965, https://www.youtube.com/watch?v=W6vceN6Ls4Q.

94. 366 “going through a maze”: Robert Indiana, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 3123, Kindle edition.

The presentation at the Stable gallery calls to mind a famous de-scription of a Happening that Warhol might easily have attended and certainly read about: “Everybody is crowded into a downtown loft, mill-ing about, like an opening. It’s hot, there are lots of big cartons sitting all over the place. One by one they start to move, sliding and careening drunkenly in every direction, lunging into people and one another” (al-though at the Stable it was the people lunging and the cartons standing still)—see Allan Kaprow, “Happenings in the New York Scene,” Art News (May 1961): 37.

95. 366 touring the Heinz factory: Warhol, in Glenn O’Brien, “In-terview: Andy Warhol,” High Times (August 1977): 34.

96. 366 shift and restack them: Marie Menken, Andy Warhol, exper-imental film, 1965, https://www.youtube.com/watch?v=W6vceN6Ls4Q. Photos of the Stable installation show it changing over time.

97. 366 “Anti-Art”: A gallery visitor quoted in Grace Glueck, “Art


NOTES 413

Notes: Boom?” New York Times, May 10, 1964.98. 366 “the ugliness”: Barbara Rose, “New York Letter,” Art Inter-

national (Summer 1964): 80. Another critic called the show “a gesture of aggressive passivity . . .

an instance of sublime but compulsive negation”—see Sidney Tillim, “Andy Warhol,” Arts Magazine (September 1964): 62.

99. 366 “disbelief”: Ken Heyman, “Behind the Lens” (typescript memoir provided by Heyman to the author, n.d.).

100. 366 Danto pointed out: Arthur Danto, “The Artworld,” The Journal of Philosophy 61, no. 19 (October 1964): 580.

101. 367 “get rid of them”: Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), np.

102. 367 “never saw them”: Eleanor Ward, in David Bourdon, War-hol (New York: Abrams, 1989), 186.

103. 367 to buy twenty boxes: Grace Glueck, “Art Notes: Boom?” New York Times, May 10, 1964.

104. 367 took to pretending: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), 117, Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

105. 367 wrap them in plastic: Nathan Gluck, in Mark Allen, “My Conversation with Nathan Gluck,” accessed March 4, 2019, http://www.markallencam.com/nathangluck.html.

106. 367 visiting nephews: George Warhola, interview by author, November 25, 2016.

107. 367 “good commercial design”: Glueck, “Art Notes: Boom?” New York Times, May 10, 1964.

108. 367 in his sleep: James Vivian Harvey, oral history, December 12, 1962, Archives of American Art, Smithsonian Institution.

109. 367 “saleability”: Lucy R. Lippard, “New York Pop,” in Pop Art, ed. Lucy R. Lippard (New York: Praeger, 1966), 90.

110. 367 “I designed those!”: James Harvey, in James Gaddy, “Shadow Boxer,” Print Magazine (blog), June 1, 2008, https://www.print-mag.com/article/shadow_boxer/.

111. 367 an opponent: “I can’t possibly relate to Andy Warhol as a painter,” Harvey had said the year before—see James Vivian Harvey, oral history, December 12, 1962, Archives of American Art, Smithsonian In-stitution.

112. 367 Victorian paintings: James Vivian Harvey, oral history, De-cember 12, 1962, Archives of American Art, Smithsonian Institution.


414 NOTES

113. 367 “it was amusing”: Joan Washburn, in Eileen Kinsella, “The Brillo-Box Scandal,” Artnews, November 1, 2009, http://www.artnews.com/2009/11/01/the-brillo-box-scandal/.

114. 368 box-for-box trade: Irving Sandler, A Sweeper-up after Artists: A Memoir by Irving Sandler (London: Thames & Hudson, 2004), 297.

115. 368 five sentences: Grace Glueck, “Art Notes: Boom?” New York Times, May 10, 1964. See also “Boxing Match,” Time (May 5, 1964): 90. The design firm where James Harvey held his day job does seem to have put out some kind of press release about Warhol’s “theft” of Harvey’s design: “It is galling enough for Jim Harvey, an abstract expressionist, to see that a pop artist is running away with the ball, but when the ball happens to be a box designed by Jim Harvey, and Andy Warhol gets the credit for it, well, this makes Jim scream.” The statement, of which no original copy seems to exist, doesn’t seem to have had much effect—it seems to be quoted in Lawrence Campbell, “Andy Warhol,” Artnews (Summer 1964): 16.

A later article often cited as discussing legal action by Harvey is in fact an unreported opinion piece that merely says that “the thought of a lawsuit entered Harvey’s mind” but was immediately abandoned—see Robert Cenedella, “Who’s Andy Warhol: He Ain’t the Father of That Brillo Box,” Manhattan Tribune, May 3, 1969. Cenedella was almost cer-tainly just rehashing the 1964 item in Time that had Harvey “choke back an impulse to start a paternity suit” upon seeing Warhol’s Brillos.

116. 368 opposite of an old Campbell’s label: James Vivian Harvey, oral history, December 12, 1962, Archives of American Art, Smithsonian Institution.

117. 368 an incensed columnist: Robert Cenedella, “Who’s Andy Warhol: He Ain’t the Father of That Brillo Box,” Manhattan Tribune, May 3, 1969.

118. 368 only of the Brillos: Brillo is often the only brand noted at all. See for instance Elizabeth Kilbourn, “Art and Artists: Dynamic New York,” Toronto Daily Star, May 16, 1964.

119. 368 “facsimiles”: Eugene Archer, “Festival Bringing Pop Art-ist’s Films to Lincoln Center,” New York Times, September 12, 1964.

CHAPTER 21

1. 371 “pale skin”: “The Personality of the Artist,” Art Interna-tional (April 1964): np, advertisement for the Warhol exhibition at the Stable gallery.

2. 371 “high points of the ’60s”: Emile De Antonio, notes from an


NOTES 415

interview, September 13, 1976, box M88, AWMA.Billy Name was also initially denied access, as cited by Matt Wrbican

in a December 20, 2018, memo to the author.3. 372 “all-time bitch party”: Emile De Antonio, notes from an

interview, September 13, 1976, box M88, AWMA.4. 372 Everyone who mattered: See the contact sheets of the Box

party in the Fred McDarrah estate; other details of the party, including the presence of LeRoi Jones, come from the contact sheets forwarded to the author by photographer Ken Heyman.

Ray Johnson’s presence is known from an April 4, 1964, letter that he wrote to Jill Johnston, mentioning his presence at the previous night’s party—copies survive in the Johnson estate and among the David Bour-don papers at the Museum of Modern Art.

5. 372 Jean Shrimpton: Jean Shrimpton is seen in a photo of the party by Ken Heyman: “Claes Oldenburg, Tom Wesselmann, Roy Li-chtenstein, Jean Shrimpton, James Rosenquist and Andy Warhol, New York, by Ken Heyman,” accessed November 28, 2019, http://www.artnet.com/artists/ken-heyman/claes-oldenburg-tom-wesselmann-roy-lichten-stein-PXe1Ix5eXkOXZK89LK42ow2.

6. 372 Drue and Jack Heinz: For details on the party guests see Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 210.

Attendees included Warhol’s fellow Pop artists Tom Wesselmann, Roy Lichtenstein, James Rosenquist and Claes Oldenburg and the ab-stractionist Edward Avedisian. Ahmet Ertegun, the soul-music mogul, was also there.

The Los Angeles dealer Virginia Dwan showed up, only to be turned away by Ethel Scull, who generally “snubbed all the important people”—see Ivan Karp to Ileana Sonnabend, April 22, 1964, Leo Castelli Gallery Records, Archives of American Art, Smithsonian Institution. (Although the document is an unsigned copy, the context strongly suggests that it was written by Karp. Its mention of Scull’s expulsion of “Kondratieff” is a reference to Dwan by her married name.)

7. 372 Brillo gown: Suzanne Moss, audio guide track for “The Warhol Look” (Antenna Audio for the Art Gallery of Ontario and The Andy Warhol Museum, 1998), provided to the author by producer David Tarnow.

With Warhol’s help, his young friend Sarah Dalton had also put to-gether a fancy, floor-length red outfit silkscreened with the “Fragile” sign from an early Pop painting by Warhol, maybe in a nod to her extreme


416 NOTES

youth and naiveté—Sarah Dalton, interview by author, September 26, 2017.

8. 372 “Eight Million Sold”: See the contact sheets of the party in the Fred McDarrah estate.

9. 372 a hungry Warhol: Photos by both Ken Heyman and Wayne Miller show Warhol eating the hotdogs.

10. 372 fanciest French restaurant: Ken Heyman, interview by author, February 24, 2018. The restaurant was La Lutece and Heyman declined Warhol’s request.

11. 372 “pop”: Hugh Casson, “Critique of Our Expanding Subto-pia,” New York Times, October 27, 1957.

12. 372 Jill Johnston could be seen swinging: See the contact sheets of the party in the Fred McDarrah estate.

13. 372 “over the juke-box”: Ray Johnson to Jill Johnston, April 22, 1964, Ray Johnson estate.

14. 372 “formal matters”: “Channel 13 Plans Study of Pop Art,” New York Times, March 16, 1964, 13.

15. 373 an interview program: Colin Clark, “Oh Dada, Poor Dada,” television broadcast (WNDT Channel 13, March 3, 1964).

16. 373 “too high”: Warhol, in Carol Anne Mahsun, ed., “Roy Lich-tenstein, Claes Oldenburg and Andy Warhol in Conversation with Bruce Glaser,” in Pop Art: The Critical Dialogue (Ann Arbor: UMI Research Press, 1989), 139–54. Mahsun reprints this transcript from “Roy Lichtenstein, Claes Oldenburg and Andy Warhol in Conversation with Bruce Glaser,” Artforum (February 1966).

See Oldenburg on p. 149: “I would like to say that I have a very high idea of art. I am still romantic about that. This process of humbling it is a testing of the definition of art. . . . If I make an image that looks very much like a commercial image I only do it to emphasize my art and the arbitrary act of the artist who can bring it into relief somehow.”

For the date of the broadcast, see the programming entry at “Pop Art: Roy Lichtenstein, Claes Oldenburg and Andy Warhol in Conversa-tion with Bruce Glaser,” WBAI Folio, June 7, 1964.

17. 373 “whole world was happening”: Robert Scull, oral history, June 15, 1972, Archives of American Art, Smithsonian Institution.

18. 373 tasteful dark suit: See the photo at “Claes Oldenburg, Tom Wesselmann, Roy Lichtenstein, Jean Shrimpton, James Rosenquist and Andy Warhol, New York, by Ken Heyman,” accessed November 28, 2019, http://www.artnet.com/artists/ken-heyman/claes-oldenburg-tom-wes-selmann-roy-lichtenstein-PXe1Ix5eXkOXZK89LK42ow2. Its setting is


NOTES 417

established by other photos of the party by Heyman and Fred McDarrah that show Warhol wearing the same outfit and flower.

19. 373 “creepiest shoes”: Emile De Antonio, notes from an inter-view, September 13, 1976, box M88, AWMA.

See for instance the summer 1965 photo in Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), 23.

20. 373 sculptural portrait: See “Marisol Escobar (b. 1930), Andy,” accessed December 4, 2019, https://www.christies.com/lotfinder/Lot/marisol-escobar-b-1930-andy-5559179-details.aspx.

21. 373 to fancy restaurants: Emile De Antonio, notes from an in-terview, September 13, 1976, box M88, AWMA.

22. 373 fine suits of his commercial years: Gerard Malanga, inter-view by author, December 14, 2016.

23. 374 Janis “New Realists” show: See the photographs of the opening by Alfred Statler, AWMA.

24. 374 starting on Elvis: See the May 6, 1963, photo taken by El-len Hulda Johnson, in Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), fig. 227. See also the photo by Evelyn Hofer at http://images.exhibit-e.com/www_danzigerprojects_com/1115.jpg, accessed February 17, 2018.

25. 374 read lips: Ellen Hulda Johnson, Fragments Recalled at Eighty: The Art Memoirs of Ellen H. Johnson, ed. Athena Tacha (Vancouver: Gal-lerie Publications, 1993), 73.

26. 374 portrait of Ethel Scull: See the July 30, 1963, photograph in the Ellen Hulda Johnson papers, Archives of American Art, Smithsonian Institution.

27. 374 on the set: Colin Clark, “Oh Dada, Poor Dada,” television broadcast (WNDT Channel 13, March 3, 1964).

28. 374 “since Garbo”: Peter Bart, “Advertising: Sunglasses for Ev-ery Mood,” New York Times, September 3, 1963.

29. 374 “sunglasses”: Virginia Lee Warren, “Dark Glasses after Dark: For the Eyes or Ego?” New York Times, December 10, 1964.

30. 375 among the beatniks: Vanessa Gill-Brown, Cool Shades: The History and Meaning of Sunglasses (New York: Bloomsbury Academic, 2015), 106, 123.

31. 375 “trying to look ‘in’”: Virginia Lee Warren, “Dark Glasses after Dark: For the Eyes or Ego?” New York Times, December 10, 1964.

32. 375 “Without his glasses”: Six pairs of Warhol’s glasses, both clear and dark, were examined by a Pittsburgh optician—Jamie Kirka-


418 NOTES

vitch, interview by author, February 8, 2017.In a German documentary, Warhol admitted to being hopelessly

nearsighted, only to have the admission described as his latest put-on—see Bert Koetter, Andy Warhol and His Clan, documentary (TV3, 1970).

33. 375 “I put sunglasses on”: Andy Warhol, notes from an inter-view, August 23, 1976, box M88, AWMA.

34. 375 painful hard kind: https://www.college-optometrists.org/the-college/museum/online-exhibitions/virtual-contact-lenses-gallery/soft-contact-lenses.html, accessed February 16, 2018.

35. 375 band of dark hair: Marie Menken, Andy Warhol, experimen-tal film, 1965, https://www.youtube.com/watch?v=W6vceN6Ls4Q.

36. 375 “outrageous silver hair”: Gerard Malanga, in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 175.

37. 375 Warhol’s own hair: Kit Kincade, “Silver Square ‘So Noth-ing’ at Fair It Satisfies Warhol,” New World Telegram, July 6, 1965.

A photograph by Stephen Shore, titled Diana Hall Pointing a Gun At Andy’s Head, shows the entire rear half of Warhol’s rather long wig left dark, with the front half in silver—Stephen Shore, Factory: Andy Warhol (London: Phaidon, 2016).

38. 375 almost none of the photos: A single photograph by Fred McDarrah ran, as a stand-alone image, in the Village Voice, but it showed Warhol and his Pop Art colleagues rather than the party itself—Fred W. McDarrah, Village Voice, April 30, 1964, photograph.

The other photographer at the party was Ken Heyman, who was gathering images for the first volume to be published on Pop Art, a move-ment not yet seen as certain to sell books—Ken Heyman, interview by author, February 24, 2018.

39. 376 70 million people: Ralph Chapman, “1964-’65 Fair Expects Draw of 70 Million: Admissions Revenue Put at $84 Million,” New York Herald Tribune, April 27, 1960.

40. 376 late in 1962: A March 22, 1963, purchase order from the Fair’s builders (AWMA) included a set of specifications for the art works dated December 26, 1962.

41. 376 “Pavilion”: “New York State at the Fair,” New Pittsburgh Cou-rier, April 18, 1964.

42. 376 almost a dozen: The original list in the December 1962 specifications for the project featured 11 artists, including Claes Olden-burg, but he was soon dropped.

43. 376 gay and artistic circles: See John Giorno, in Larissa Harris


NOTES 419

and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 25.

David Whitney, who stayed close to Warhol for many years, may have been the real driving force behind both Philip Johnson’s Marilyn purchase and the Fair commission.

44. 376 comrades-in-art: Warhol must also have heard that Robert Lepper, his old teacher at Tech, would be present on the fairgrounds in the West Virginia pavilion, with a huge sculpture built out of found printing plates that might have hinted at the influence of his Pop Art pu-pil—see Matt Wrbican, “Robert Lepper, Artist & Teacher,” (unpublished exhibition essay, 2009), AWMA.

45. 376 “they’ll practically riot”: Robert Indiana, oral history, Sep-tember 12, 1963, Archives of American Art, Smithsonian Institution.

46. 376 $6,000: See the December 26, 1962, specifications for the art works (AWMA).

47. 376 enraged his friend: The story is from William S. Wilson, a friend of Ray Johnson’s, who said he was there when Warhol made the offer—see William S. Wilson to Gary Comenas, “Non-Identical Rep-etition,” e-mail provided to the author by Comenas, June 25, 2013. For the same text see also William S. Wilson, “Bill Wilson’s Stories about Andy Warhol, Marisol, Ray Johnson, Dorothy Podber and the Shot Mari-lyns,” William S. Wilson: Collected Writings (blog), July 23, 2016, https://williamswilsonwritings.wordpress.com/2016/07/23/bill-wilsons-stories-about-andy-warhol-marisol-ray-johnson-dorothy-podber-and-the-shot-marilyns/.

Wilson remembered the event taking place early in 1964, but that is unlikely because Warhol had settled on his subject by then.

48. 377 Most Wanted flyers: John Giorno, You Got to Burn to Shine: New and Selected Writings (New York: High Risk Books/Serpent’s Tail, 1994), 127. Giorno said the dinner took place on April 28, 1963, but also that they discussed Robert Indiana’s “new show at the Stable”—although no such show took place anywhere near that date.

Six months later, Warhol’s piece is being described in “Avant-Garde Art Going to the Fair: Huge Works Commissioned to Adorn State Pavil-ion,” New York Times, October 5, 1963. The Times article was mentioned in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 220.

49. 377 “sexiest newcomer”: Motion Picture, December 1961. Liz Taylor was on the cover of the issue, making it doubly appealing to War-hol.


420 NOTES

50. 377 “‘most wanted’ men”: The program for the 1955 movie ver-sion of Guys and Dolls is in TC51, AWMA. Warhol’s ticket stub from the premiere also survives in his archives.

51. 377 relaxed about homosexuality: On working-class attitudes toward homosexuals see George Chauncey, Gay New York (NY: Basic Books 1994).

52. 377 a famous Wanted poster: Marcel Duchamp’s Wanted im-age was also on the poster for his October 1963 survey in Pasadena, but of course that poster (but not its image) came after Warhol’s decision to use the same concept for his mural. See Benjamin Buchloh, “Andy Warhol’s One Dimensional Art: 1956–1966,” in Andy Warhol, ed. Annette Michel-son and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 43n48.

53. 377 poster was mentioned: Emily Genauer, “Fair Mural Taken Off, Artist to Do Another,” New York Herald-Tribune, April 18, 1964. Genauer dismissed Duchamp’s original Wanted poster and called War-hol’s piece “kid stuff, and boring.”

54. 377 in an assemblage: The Robert Rauschenberg piece with a Wanted flyer is called Hymnal.

55. 377 “artistic”: “Défense de pendre les gibiers de potence,” Le Nouveau Candide, January 30, 1967. The article was referring to a version of the Most Wanted Men that Warhol did on canvas, made from the same screens he used for the World’s Fair and that he showed at Ileana Sonna-bend’s gallery in Paris. The dots would have been much less visible seen from a distance on the mural at the fair.

Work by Ray Johnson may be the most relevant precedent for War-hol’s visible dots, since Warhol had once got Johnson a gig doing the cover for a Rimbaud book whose vastly enlarged, spotty image of the poet was a dead ringer for the dotted faces Warhol used on his mural. On Warhol’s use of half-tone screens see this author’s blog post “What the Dots Mean in Andy Warhol’s Pop Art,” Warholiana (blog), March 17, 2017, https://warholiana.com/post/158525581311/reposted-from-my-daily-pic-of-march-17-2017-at.

56. 378 “evocative surfaces”: Lawrence Alloway, “Artists as Con-sumers,” in Imagining the Present, ed. Richard Kalina and Rebecca Pea-body (New York: Routledge, 2006), 73.

57. 378 worried Johnson: Philip Johnson, in a March 3,1964, tele-gram to Warhol, AWMA.

58. 378 “sociological factor”: “Faces on Wall,” Bridgeport Post, April 16, 1964.


NOTES 421

59. 378 “been drinkin”: Jimmy Breslin, “Art and Abstinence,” New York Herald-Tribune, April 14, 1964. A copy of the Breslin article survives in Time Capsule 5 in the Warhol archives. Breslin’s column was syndicated in other newspapers as well, including for instance the April 14, 1964, issue of the Boston Globe, where it ran with the headline “Looking at Crooks, Talking about Drinking.”

60. 378 “let them use you?”: Soren Agenoux, quoted by Billy Name in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy War-hol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 82.

61. 379 “image to the world:” Richard Barr and Cyril Egan Jr., “Some Not-so-Fair Faces: Mural Is Something Yegg-Stra,” New York Jour-nal American, April 15, 1964.

62. 379 “public hue and cry”: “The Artist’s Prerogative: No Pickle? Its a Crime,” Albany Times-Union, April 17, 1964. Since this article ap-peared on the 17th, its interviews with Warhol and Johnson would have had to have happened on the 16th, as a “follow,” as reporters say, from the Journal American’s coverage of the previous day.

That same day, the New York Times, somehow behind on the news, had written about the mural as though it were still in the cards—see Mil-ton Esterow, “Spain’s Paintings to Arrive Today,” New York Times, April 17, 1964.

63. 379 tarped over: A photo of the un-tarped mural was published in the April 17 New York Times, and most probably would have been taken within a day or two of that.

64. 379 a film crew: Albert Fisher, in Larissa Harris and Media Far-zin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 109.

65. 379 “nothing to do with the art”: Mel Juffe, “Fair’s Most Wanted Mural Becomes Least Desirable,” New York Journal American, April 18, 1964. See also Emily Genauer, “Fair Mural Taken off, Artist to Do Another,” New York Herald-Tribune, April 18, 1964. Genauer quotes Philip Johnson making almost identical points as in the Juffe article.

66. 379 risk of lawsuits: Philip Johnson, in Rainer Crone, Andy War-hol (Stuttgart: Gerd Hatje, 1970), 30.

67. 379 “in anguish”: Johnson, in the transcript included in Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Doug-las Kellner (Irvington, NY: Voyager, 1996), CD-ROM.

This ethnic issue had first been reported as a problem in Leonard Lyons, New York Post, September 23, 1964. It is also mentioned in Henry Geldzahler and Philip Johnson, notes from an interview, 1982, Henry


422 NOTES

Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

68. 379 Republican presidential nomination: Richard Norton Smith, in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 35.

69. 379 pandering nod: Gerard Malanga, in Larissa Harris and Me-dia Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 43.

70. 379 homophobia: Richard Meyer, “Most Wanted Men: Homo-eroticism and the Secret of Censorship in Early Warhol,” in Outlaw Rep-resentation: Censorship & Homosexuality in Twentieth-Century American Art (Boston: Beacon Press, 2004).

71. 380 “social disorder”: Paul Welch, “Homosexuality in Amer-ica,” Life (June 26, 1964): 66. My thanks to Jay Reeg for pointing me to this article.

72. 380 “criminality”: Anthony Grudin, in Larissa Harris and Me-dia Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 73.

73. 380 knobbly pickle: Warhol, in Richard Barr and Cyril Egan Jr., “Some Not-so-Fair Faces: Mural Is Something Yegg-Stra,” New York Journal American, April 15, 1964.

74. 380 rough trade: See the conversation between Richard Meyer and Douglas Crimp in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 62.

75. 380 “silver is so nothing”: Kit Kincade, “Silver Square ‘So Noth-ing’ at Fair It Satisfies Warhol,” New York World Telegram, July 6, 1965.

Warhol did produce an alternative mural—a grid of 25 portraits of fair director Robert Moses, all printed from the same single screen to save money—but he said that the people in charge refused to put it up. Burned by Warhol’s Most Wanted Men, fair organizers could only have imagined that their trickster artist had somehow snuck a gibe into a work that might otherwise have been seen—that Warhol might even have meant—as innocuous flattery of one of the city’s Great Men. “I re-ally liked him,” said Warhol just a few years later, making Moses sound really and truly . . . wanted. See Andy Warhol, interview by Emile De Antonio, transcript for “Painters Painting,” n.d., Emile de Antonio Pa-pers, Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research.


NOTES 423

But Warhol is also quoted as saying, in 1965, “Moses—he was a pompous asshole”—see Albert Fisher, interviewed in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 113.

76. 381 excellence of his criminal art: Warhol so liked his thirteen crooks that he went to the trouble of silkscreening them all onto canvas, although he can’t have imagined they’d sell very well. He was still keep-ing a few of them up in his studios in the 1970s and ’80s, after the Silver Factory had long-since been left behind—see Mark Lancaster in Gary Comenas, “Mark Lancaster Interview,” Warholstars (blog), 2004, http://www.warholstars.org/andywarhol/interview/mark/lancaster.html. Paintings from the series are also visible in the Union Square studio in several photographs from 1969 or ’70 in Billy Name and Collier Schorr, All Tomorrow’s Parties: Billy Name’s Photographs of Andy Warhol’s Factory (New York: D.A.P., 1997).

77. 381 Warhol also took a blow to his wallet: The promised $6,000 fee somehow got reduced by a third when the time came to pay it—see the 1964 tax form from Philip Johnson (box B17, AWMA) declar-ing the $3,000 he had paid to Warhol. The other $1,000 would have been paid in 1963, as an advance, as stated in the December 26, 1962, specifi-cations for the fair’s art works (AWMA). Warhol mentions having been paid $4,000 in Richard Barr and Cyril Egan Jr., “Some Not-so-Fair Faces: Mural Is Something Yegg-Stra,” New York Journal American, April 15, 1964.

78. 381 “Social Commentary”: Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

79. 381 “became a fixture”: Billy Name, interview by author, July 24, 2014.

80. 382 eight slots to fill: Majorie Hunters, “8 Artists Chosen for Venice Show,” New York Times, April 3, 1964.

81. 382 “rows of identical horrors”: Fundação Calouste Gulben-kian, Painting & Sculpture of a Decade, 54–64 (London: Gulbenkian Foun-dation, 1964), 40. The exhibition opened the day after Warhol’s Box show and continued through June 28.

82. 382 starting the session: Ken Heyman, interview by author, February 24, 2018.

The mirrored ball visible in the portrait was positioned over the women’s toilet before it got moved to the main Factory space.

83. 382 “way, way out”: Vincent Canby, “Pictures: Critic and Panel-ist Negatives Offset by Pluses at Lincoln Center Fest,” Variety, October 21, 1964, 8.


424 NOTES

84. 382 screened complete: Excerpts, no doubt highly expurgated, began to be screened in March 1965—see Ara Osterweil, “On (and Off) the Couch,” in Warhol in Ten Takes, ed. Glyn Davis and Gary Needham (British Film Institute, 2013), 48.

85. 382 “You debauch”: Ronald Tavel, in Patrick S. Smith, ed., War-hol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 303.

86. 383 “Empire State Building”: Jonas Mekas, A Dance with Fred Astaire (New York: Anthology Editions, 2017), 327.

John Palmer gives a slightly different version of the genesis of Sleep in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 161.

87. 383 public relations: “U. of C. Gets $15,000 for Concert,” Chi-cago Tribune, October 19, 1964.

88. 383 forty-first floor: Jonas Mekas, “Movie Journal,” Village Voice, July 30, 1964.

Gerard Malanga has mentioned the forty-fourth floor as the site of the shoot, but the Rockefeller Foundation only occupied space on the forty-first and forty-second floors—see “2 Floors Change Hands in Time-Life Building,” New York Times, November 17, 1974.

89. 383 “Empire State”: Joseph Lelyveld, “The Empire State to Glow at Night: Lights Will Flood Upper 30 Floors after April 1,” New York Times, February 23, 1964.

90. 383 professional newsreel camera: Jonas Mekas, in e-mails to the author and published accounts, claimed to have rented the camera and procured the film stock.

Gerard Malanga gives an account where John Palmer plays a more central role, renting the camera and telling Malanga which film to buy for it—see Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 85. In several conversations with the author Malanga gave such detailed accounts of procuring the equipment that his narrative seems more reliable than Mekas’s.

91. 383 Mekas’s girlfriend: Marie-Claude Desert, interview by au-thor, March 6, 2018. See also Jonas Mekas’s February 26, 2018, e-mail to the author.

92. 383 no pot virgin: See Jennifer Sichel, “‘What Is Pop Art?’ A Re-vised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

See also the footage of Warhol in Chuck Workman, Superstar: The


NOTES 425

Life and Times of Andy Warhol, documentary, 1990.93. 383 opened the aperture: Gerard Malanga, interview by author,

April 11, 2018. Malanga said that the lens aperture had been set for night-time exposure, resulting in the overexposure of the film’s first reels, shot before the sun had set.

94. 384 “An 8-hour hard on!”: Warhol, in Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 86. This passage represents the totality of the notes that were taken, according to Gerard Malanga, interview by author, April 11, 2018.

95. 384 eight hours: Slowed down in projection to 16 frames per second, as was Warhol’s normal practice for his “stillies,” Empire runs for eight hours and five minutes, a length that must have been planned when Warhol shot it—especially given that he talked about an “eight-hour hard-on” during the shoot, which only lasted less than six hours.

96. 384 sun went down: Given the darkness of the scene they shot, the film had to be “pushed” in the processing to get a useable image, at a cost of $350. As John Palmer tells the story, when it came time to pick up the footage Warhol balked at the cost, even suggesting they dump the whole project, so Palmer got his mother to pay the lab bill—see Palmer in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pan-theon Books, 2003), 161. Palmer used his mother’s funding as leverage to demand a full co-creator credit in early screenings, which Gerard Malanga was pleased to help him get. Malanga was in charge of produc-ing the announcement for Empire’s premiere and was careful to make sure Palmer’s name was on it—Gerard Malanga, interview by author, December 14, 2016.

97. 384 watch it in shifts: See John Liikala’s November 22, 2008, e-mail published in Gary Comenas, “Andy Warhol 1966,” Warholstars (blog), accessed April 9, 2019, http://www.warholstars.org/1966.html.

98. 385 “most revolutionary”: Jonas Mekas, “Movie Journal,” Vil-lage Voice, August 13, 1964.

99. 385 “When the lights”: An anonymous viewer, quoted in Rich-ard Kostelanetz, “Inferential Art,” Columbia Forum (Summer 1969): 25.

100. 385 “cinematic character”: Kostelanetz, “Inferential Art,” Co-lumbia Forum (Summer 1969): 25.

101. 385 throwing trash: Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 40.

102. 385 “why see it?”: Jonas Mekas, A Dance with Fred Astaire (New York: Anthology Editions, 2017), 328.

103. 385 “they don’t like it?”: Warhol, in Gerard Malanga, Archiving


426 NOTES

Warhol: Writings & Photographs (London: Creation Books, 2002), 40.104. 385 “just interesting”: Warhol, in Lazarus [James Tapley],

“Andy Warhol,” Oz (February 1969): np.105. 385 “restrict our consciousness”: Kurt von Meier, “Introduc-

tion,” in Mixed Masters (Houston: University of St. Thomas, 1967). Meier’s essay discussed Warhol, and was written for a show that in-

cluded three of his works and had been organized by his new friend Fred-erick Hughes for his new patrons Dominique and John de Menil.

106. 385 “painted out”: Henry Geldzahler, interview by David Bour-don, typed notes, October 4, 1987, 19, David Bourdon papers, Archives of American Art, Smithsonian Institution.

107. 385 in May: The first printing screen for the Flowers series is invoiced to Warhol on June 22, 1964 (AWMA) and is based on the June is-sue of Modern Photography, proving that the trip mentioned by Geldzahler would have had to happen early that month, or maybe in May, since the magazine would have been released somewhat before the month on its cover. See Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02A—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 280, 292.

108. 386 “picture of flowers”: Henry Geldzahler, typescript inter-view for Jean Stein’s biography of Edie Sedgwick, May 10, 1973, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

As so often with Warhol, there is an alternate genesis story: Ted Carey said that he was the one to suggest to Warhol that he leave be-hind the “sensationalism” of his earlier Pop Art and instead do “some beautiful, romantic paintings in your screen technique. Just do beautiful, romantic flowers, something beautiful”—see Carey in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern Uni-versity, 1982), 477.

109. 386 “It Works”: “It Works!!!!!!!!!!!!!!!!!!!!!!!!,” Modern Photography ( June 1964): 84.

110. 386 reproductive technology: See Ryan McGinness in David Stillman Meyer, “Ryan McGinness Channels Andy Warhol’s Flower Power in Aspen,” Aspen Times, June 20, 2019, https://www.aspentimes.com/entertainment/ryan-mcginness-channels-andy-warhols-f lower-power-in-aspen/.

111. 386 450 paintings: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002).


NOTES 427

112. 386 “emotional reaction”: Samuel Adams Green, Andy Warhol (Philadelphia: Institute of Contemporary Art, 1965), np.

113. 387 “hair-dresser crowd”: Duane Michals, interview by author, September 9, 2014.

114. 387 floral paintings: Gerard Malanga, in Winston Leyland, “Gerard Malanga: An Interview,” Gay Sunshine ( January 1974): 4. It was Levine herself who first suggested this “plagiarism” to Malanga—see Gerard Malanga, interview by author, April 11, 2018. Note that in 1958, several years before he’d even met Levine, Warhol had used flowers re-markably similar to his Pop ones for the cover of a record by the saxo-phonist Johnny Griffin—see Paul Maréchal, Andy Warhol: The Complete Commissioned Record Covers, 1949–1987, Catalogue Raisonné (New York: Prestel, 2015), 21.

115. 387 a surprising window: A surviving photograph of the win-dow (AWMA) dates it to August 15, 1959, and has stapled to it a typed note further explaining the display’s polemic. Warhol’s contribution to the window consisted of a huge line-drawing of an old-fashioned pincushion that he painted right across the glass in front of the display, almost as a ghostly reminder of the hand-sewing that American production was displacing. The same window was reproduced (without any attribution to Warhol) in a prestigious round-up of the industry’s best work—see Walter H. Herdeg, Window Display: An International Survey of the Art of Window Display Vol. 2 (Zurich: Amstutz & Herdeg, 1961), 126.

116. 387 “one big painting”: Warhol, in Phyllis Tuchman, “Pop!,” Artnews (May 1974): 26.

117. 387 “not the Party”: Bibbe Hansen, interview by author, Febru-ary 17, 2017.

118. 387 early afternoon: Gerard Malanga, Archiving Warhol: Writ-ings & Photographs (London: Creation Books, 2002), 34. Malanga is said to have normally come in around 2:00 p.m. in Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal papers.

119. 387 press-ganging: See Mark Lancaster in Gary Comenas, “Mark Lancaster Interview,” Warholstars (blog), 2004, http://www.war-holstars.org/andywarhol/interview/mark/lancaster.html.

120. 388 adjusting the image: See Georg Frei and Neil Printz, Paint-ings and Sculpture 1964–1969: Warhol 02B—The Andy Warhol Catalogue Rai-sonné (New York: Phaidon, 2002), 24ff.

121. 388 “Marimekko”: Chicago Tribune, June 17, 1964, advertise-ment. Marimekko fashions had been described as a “uniform for intel-lectuals” in a column by a friend of Warhol’s—see Eugenia Sheppard,


428 NOTES

“Intellectuals Go for Uniform,” Hartford Courant, November 14, 1963. The Tribune ad for those fashions ran just when the Factory began silk-screening its smart, distinctly Marimekko-ish blooms.

122. 388 poppy prints: Marianne Aav, ed., Marimekko: Fabrics Fashion Architecture (New Haven, CT: Yale University Press, 2003), 151, 235, 314.

123. 388 “flower-spattered”: Patricia Peterson, “Everything’s Com-ing up Flowers,” New York Times, June 6, 1965.

124. 388 “cheap awnings”: Warhol, in Jack Kroll, “Saint Andrew,” Newsweek (December 7, 1964): 103.

125. 388 “pleasant patterns”: Charlotte Willard, “In the Art Galler-ies,” New York Post, December 6, 1964.

For a summary of other similar statements see Michael Lobel, “In Transition: Warhol’s Flowers,” in Andy Warhol Flowers (Eykyn Maclean, 2012), n10.

126. 388 floral fabric: The Warhol archives include numerous in-voices that Warhol sent out to textile companies and some letters back from them, as well as several samples of fabrics he designed. Many show signs of having been produced by silkscreen.

Only a few months before embarking on his Flower paintings, Warhol had been producing “swinging” textiles of his own, still in his blotted-line style, for a new fashion line put out by Serendipity: Given the cafe setting, the fabrics featured pretzels and ice cream rather than Warhol’s more usual blossoms; in the era of Obetrol diets and Twiggy, it seems those food themes stopped the fashions from selling. Reproduc-tions of these textiles, and a discussion of Warhol’s textile commissions, is in Geoffrey Rayner, Richard Chamberlain, and Annamarie Stapleton, Artists’ Textiles: Artist Designed Textiles 1940–1976 (Woodbridge, UK: An-tique Collectors Club, 2012), 228. The authors misdate the Serendipity textiles, however, which were discussed by Eugenia Sheppard, “Inside Fashion: Right and Left,” New York Herald-Tribune, February 28, 1964. The following year, Warhol had a plan to design clothes from fur cut-offs—see Eugenia Sheppard, “He Sees Girls in Owl Dresses,” Hartford Courant, November 11, 1965.

127. 388 “dress fabric”: Phyllis Tuchman, “Pop!,” Artnews (May 1974): 26.

128. 388 “useless”: Henry Geldzahler, “Andy Warhol’s Boxes” (type-script draft, c.1964), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University. A similar text appeared in Henry Geldzahler, “Andy Warhol,” Art International (April 1964): 34.

129. 389 “wallpaper”: Thomas B. Hess, “Andy Warhol,” Artnews


NOTES 429

(January 1965): 11.130. 389 “a whole wall”: Ileana Sonnabend to Andy Warhol, July 10,

1965, AWMA.131. 389 “over the sofa”: Arne Glimcher, in Loretta Ford, “‘Pop Art’

Swings the Most,” Boston Globe, January 19, 1964.132. 389 “tired of being educated”: Sidney Tillim, “Further Obser-

vations on the Pop Phenomenon,” Artforum (November 1965): 17.133. 389 “everything is beautiful”: Warhol, in Jack Kroll, “Saint An-

drew,” Newsweek (December 7, 1964).134. 390 somber Jackies: Georg Frei and Neil Printz, Paintings and

Sculpture 1964–1969: Warhol 02B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 142.

135. 390 dedicated to the dancer Freddy Herko: David Bourdon, “Art: Andy Warhol,” Village Voice, December 3, 1964.

136. 390 “powerful threat”: David Bourdon, “Art: Andy Warhol,” Village Voice, December 3, 1964.

137. 390 could barely afford: The maquette (AWMA) that Warhol sent to the technician who was preparing screens for one of the bigger Flower paintings came with a note telling that technician to prepare only half the screens, since Warhol’s finances would have to improve before he could pay for the rest.

CHAPTER 22

1. 391 “easy to assimilate”: Peter Selz, “The Flaccid Art,” Partisan Review (Summer 1963): 139.

2. 392 “ bad feelings”: Andy Warhol to Eleanor Ward, handwrit-ten draft, n.d., TC -12, AWMA. ©The Andy Warhol Foundation for the Visual Arts, Inc. The final typed draft is dated May 26, 1964.

3. 392 Ivan Karp: The handwriting is a perfect match for docu-ments known to have been written by Ivan Karp.

4. 392 lunching and dining: January 9 and January 15 entries in Warhol’s 1962 datebook, AWMA.

5. 392 some Warhol sales: Emily Hall Tremaine to Andy Warhol, letter concerning the sale of paintings negotiated by Ivan Karp and to be picked up by a Castelli truck, May 15, 1962, Emily Hall Tremaine papers, Archives of American Art, Smithsonian Institution.

6. 392 in their negotiations: Leo Castelli Gallery is mentioned as an exhibition venue for Warhol in the entry he submitted to volume 10 of Who’s Who in the East, vol. 10 (Boston: Larkin, Roosevelt & Larkin, 1965). Although the book is copyrighted 1965, the entry and its mention of Cas-


430 NOTES

telli had to have been written before late April 1964, when Warhol’s work was removed from that year’s World’s Fair in New York—which the en-try still lists as a site where Warhol showed.

If Warhol did write the entry later in the year, his mention of the Fair would have involved a kind of after-the-fact wishful thinking. But given widespread knowledge of the debacle, it seems unlikely that he’d bring it up at all in a book where so many readers could spot it as an empty boast.

7. 392 host-like: Alan Groh, Eleanor Ward’s gallery director, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 237.

8. 392 “courtesy”: Charlotte Willard, “In the Art Galleries,” New York Post, July 19, 1964.

9. 392 writing about rumors: Sidney Tillim, “Month in Review,” Arts Magazine (September 1964): 56. Tillim’s column would have been written by early August, at the very latest, given normal delays between submission of copy and publication.

10. 392 inventory was moving: Georg Frei and Neil Printz, Paint-ings and Sculpture 1964–1969: Warhol 02A—The Andy Warhol Catalogue Rai-sonné (New York: Phaidon, 2002), 283.

Eleanor Ward could hardly have been that shocked at Warhol’s de-parture from her stable: The recent art boom had seen all kinds of art-ists bouncing between galleries—see.Grace Glueck, “Dealer-Switching: Rising Stars Have a Way of Going off into New Orbits,” New York Times, October 4, 1964. Ward also had every right to be saddened by the depar-ture, as she is described by Robert Indiana in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 225. That season, her roster had also lost Warhol’s friend Marisol, one of her major stars. Ward asked go-betweens to convince Warhol that Cas-telli wouldn’t give the kind of service she did, and that he only wanted Warhol on board to make Johns and Rauschenberg look better by com-parison, not exactly the most fervent expression of her belief in Warhol’s own greatness—see Samuel Adams Green, in David Bourdon, Warhol (New York: Abrams, 1989), 187.

11. 392 on the small side: James Rosenquist and David Dalton, Painting Below Zero: Notes on a Life in Art (New York: Knopf, 2009), 152.

12. 392 white Jaguars: Warhol couldn’t have known that for a long time the sell-out shows by Johns were the gallery’s only real profit center; the rest of its exhibitions were underwritten by those—see Leo Castelli cited in Irving Blum, interview by author, November 5, 2014.

Not many artists would have realized that Castelli, for all his fame


NOTES 431

and gifts, was not actually much of a salesman; some of his biggest clients functioned more like patrons, buying work at Castelli’s request just to keep the gallery solvent. Unlike other dealers of equal renown, Castelli never made a vast fortune plying his trade. See Barbara Rose and Ivan Karp in Tony Scherman and David Dalton, Pop: The Genius of Andy War-hol (New York: HarperCollins, 2009), 227.

13. 393 “commercial artists are richer”: Carol Anne Mahsun, ed., “Roy Lichtenstein, Claes Oldenburg and Andy Warhol in Conversation with Bruce Glaser,” in Pop Art: The Critical Dialogue (Ann Arbor: UMI Research Press, 1989), 150. Mahsun reprints this transcript from “Roy Lichtenstein, Claes Oldenburg and Andy Warhol in Conversation with Bruce Glaser,” Artforum (February 1966).

14. 393 electric bill: “So What Can You Say?” Observer, October 11, 1964.

15. 393 $1,500 or $3,000: Leo Castelli to Andy Warhol, itemized statement of payments and sales, February 1, 1966, box B17, AWMA.

16. 393 “myth material”: Leo Castelli, in Josh Greenfeld, “Sort of the Svengali of Pop,” New York Times, May 8, 1966.

17. 393 “he loves the work”: Emile De Antonio, Painters Painting: A Candid History of the Modern Art Scene, 1940–1970, ed. Mitch Tuchman (New York: Abbeville Press, 1984), 34.

18. 393 “edge of a vision”: Josh Greenfeld, “Sort of the Svengali of Pop,” New York Times, May 8, 1966.

19. 393 little actual payoff: See Jim Jacobs, a Castelli employee, in Michael Shnayerson, Boom: Mad Money, Mega Dealers, and the Rise of Con-temporary Art (New York: PublicAffairs, 2019), 61.

20. 393 a poetry reading: See the December 16, 1964, invitation (AWMA) to the Gerard Malanga reading. On Joan Jonas’s 1972 perfor-mance at Castelli, see “Organic Honey’s Vertical Roll, Joan Jonas,” Elec-tronic Arts Intermix, accessed April 2, 2019, https://www.eai.org/titles/organic-honey-s-vertical-roll.

21. 394 $5,000: The dealer David Herbert, a friend of Warhol’s, listed a Warhol “Homage to Marilyn Monroe” at $5,000 in David Her-bert, “Projected Earnings 1964–65” (n.d.), David Herbert papers, Ar-chives of American Art, Smithsonian Institution. That is no doubt the double Marilyn that Warhol had given to Herbert in exchange for his help with sales in 1962—see Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 275.

Lists of sold works from the 1962 Stable Gallery show (AWMA) price


432 NOTES

single Marilyns at $250.22. 394 American Republic Insurance Company: A payment of

$2,000 is recorded, as the second installment on a May 24, 1964, commis-sion, in American Republic Insurance Company to Andy Warhol, July 6, 1964, AWMA. A second letter (AWMA) dated October 6 of that year, mentions a “final payment” of another $6,000, so it seems safe to assume that the total fee would have been $10,000, plus perhaps an amount for expenses. And of course this would be the equivalent of a gallery sale for $20,000, since no dealer seems to have been involved in the Powell project, or to have taken a commission on it.

Warhol’s fee is given as $8,500, without any source for that figure, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 223.

23. 394 “zealous champion”: “Total Design on a Grand Scale,” Life (April 29, 1966): 54.

24. 394 Powell’s thirty-two years of service: “Total Design on a Grand Scale,” Life (April 29, 1966): 54.

25. 394 The American Man: A brochure (AWMA) put out in Janu-ary 1965 by the insurance company gave the work’s title as “The Ameri-can Man (Portrait of Watson Powell)”—see Collection of the American Republic Insurance Company (Des Moines: American Republic Insurance Company, 1965), np. When a single image from the portrait got sold by Castelli—Warhol almost always made extra canvases of commissioned works—it was listed as All American on the February 1, 1966, statement of sales (box B17, AWMA) that the gallery sent to Warhol.

26. 394 bright and varied colors: Georg Frei and Neil Printz, Paint-ings and Sculpture 1964–1969: Warhol 02A—The Andy Warhol Catalogue Rai-sonné (New York: Phaidon, 2002), 240.

27. 394 “32 different expressions”: “Total Design on a Grand Scale,” Life (April 29, 1966): 54.

28. 394 “Mr. Nobody”: Mark Lancaster, “Andy Warhol Remem-bered,” Burlington Magazine (March 1989): 198.

29. 394 un-sold-out: That fall of the Flowers, Warhol used his Pop chops to produce one completely commercial product: the cover for an album by his old Greenwich Village friend John Wallowitch. The pianist appeared on the record jacket in a Warholian grid of photobooth shots that were recognized in the entertainment industry as being by “one of the top contemporary pop artists”—see “Music: Pop Goes the Easel,” Variety, December 2, 1964, 47. Unlike with the Powell portrait, Warhol added some real vanguard edge to this work he did for his old friend:


NOTES 433

Wallowitch’s head is cropped off in every photo.30. 395 thirty-six of the canvases: Georg Frei and Neil Printz,

Paintings and Sculpture 1964–1969: Warhol 02A—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 284.

31. 395 “a staid matron”: Charlotte Willard, “In the Art Galleries,” New York Post, December 6, 1964.

32. 395 “plastic table-clothes”: David Bourdon, “Art: Andy War-hol,” Village Voice, December 3, 1964.

33. 395 $50,000: Financial documents for 1964 and 1965 (AWMA) show Warhol receiving approximately $25,000 from Castelli on the sale of Flower paintings, about two thirds of his total income from the gal-lery’s sales. Actual gross sales would have come to double that amount.

34. 395 “ersatz products”: The “ersatz products” phrase was used of a Claes Oldenburg show in Barbara Rose, “New York Letter,” Art Inter-national (April 25, 1964): 53.

35. 395 “If it were bad”: Warhol, in Jane Howard, “The Man Who Paints Big Eyes,” Life (August 27, 1965): 42.

Walter Keane’s paintings were later shown to have in fact been painted by his wife, Margaret Keane.

36. 395 Saturday: Just when his gallery was committing to Pop, Cas-telli had moved its openings from Tuesdays, when shows had tradition-ally been revealed to the art world, to Saturdays, when his exhibitions could grab some of the energy, and crowds, of a New York weekend. Castelli himself, always keen on occupying the heights, claimed that his original intention had been to save his shows from the social-scene atmosphere that had come to reign on New York’s Tuesday-night “art walk”—see Leo Castelli, oral history, May 14, 1969, Archives of Ameri-can Art, Smithsonian Institution. The effect was just the reverse. Under the headline “Shoppers’ Special,” the Times said that “the all-day Satur-day opening, innovated by Leo Castelli, draws buyers, browsers and dog walkers”—see Grace Glueck, “Art Rite—Opening Night,” New York Times, December 13, 1964.

Castelli’s first Saturday opening was a John Chamberlain show, on January 13, 1962—see the exhibition dates in David Whitney, ed., Leo Castelli: Ten Years (New York: Leo Castelli, 1967). Ivan Karp mistakenly remembered the innovation as coming much later, in 1964—see Annie Cohen-Solal, Leo and His Circle: The Life of Leo Castelli (New York: Knopf, 2010), 333.

37. 396 West Side loft: A photographer who shot the party had a vague recollection that the apartment might have belonged to Green—


434 NOTES

see Frederick Eberstadt, interview by author, May 20, 2016. Green mentioned a party (his first, he said) in which he tricked a furrier into supplying something for his guests to sit on in the newly-rented and still empty apartment—see Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA. Green also casually implied that that party took place in May. The New York telephone directory for 1965 lists Green at 14 West Sixty-Eighth Street, and descriptions and photos of its upper floor seem to match photos of the party, which include the furs mentioned by Green—see Tom Miller, “The 1896 August Zinsser Man-sion—No. 12–14 W. 68th Street,” Daytonian in Manhattan (blog), July 2, 2014, http://daytoninmanhattan.blogspot.com/2014/07/the-1896-august-zinsser-mansion-no-12.html.

38. 396 “tidal wave of guests”: Jack Kroll, “Saint Andrew,” News-week (December 7, 1964): 100.

39. 396 a welcome there: See photos by Sam Falk of the New York Times, provided to the author by Crystal Henry of ReduxPictures.com. In a March 15, 2018, e-mail, Gerard Malanga identified Richard Bellamy, director of the Green Gallery, the artist Lucas Samaras and Frederick Kiesler, the architect, in those photos.

40. 396 “naked man lounging”: Frederick Eberstadt, interview by author, March 23, 2018. Eberstadt took a photograph of Warhol at the party, and it ran in Grace Glueck, “Art Rite—Opening Night,” New York Times, December 13, 1964.

41. 396 no sign even: Gerard Malanga, in a March 15, 2018, e-mail to the author, said he had not been present at the Green party.

42. 396 “Baby Jane”: James W. Brady, “Baby Jane Switches On,” Women’s Wear Daily, August 17, 1964, 4.

43. 396 “better piece of film”: Jane Holzer, notes from an inter-view, February 2, 1977, box M88, AWMA.

44. 396 “princess at the top”: Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA.

45. 396 too visibly a “JAP”: Jane Holzer, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Mu-seum, 2014), provided to the author by director Jamie Schutz, n.d.

46. 396 “I said, ‘Sure!”: Jane Holzer, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

47. 397 “we just had fun”: Jane Holzer, full unpublished transcript


NOTES 435

for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Mu-seum, 2014), provided to the author by director Jamie Schutz, n.d.

48. 397 “simple beautiful things”: Jane Holzer, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

49. 397 “flamboyant girl”: Tom Wolfe, “The Girl of the Year,” New York, the Sunday magazine of the New York Herald-Tribune, December 6, 1964.

50. 397 “Underground flicks”: Joseph X. Dever, “Baby Jane Strikes Pose for Show Magazine,” New York World Telegram and Sun, October 28, 1964.

51. 397 Billy Name once acknowledged: Callie Angell, Andy War-hol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 250.

See also Eugenia Sheppard, “Underground Group,” New York Herald-Tribune, October 19, 1964. Warhol’s work as a filmmaker would hardly have been covered by Sheppard if it hadn’t given her the chance to men-tion Holzer and other fashion-world figures.

52. 397 a columnist: Ward Cannel, “People Market,” Austin Amer-ican-Statesman, February 10, 1965. Cannel’s column was syndicated and widely distributed by the Newspaper Enterprise Association.

53. 398 nine reels: Details on the footage were supplied by Claire Henry, of the Whitney Museum, in an April 8, 2019, e-mail to the author.

Warhol collaborated on the project with theater director Jerry Ben-jamin. In the fall of 1963, the two had worked together on a Judson play directed by Benjamin called Asphodel, In Hell’s Despite for which War-hol had provided designs. Those had to be completed by Benjamin after Warhol’s sudden decision to drive to Los Angeles—see Gerard Malanga, interview by author, April 11, 2018.

Benjamin had initiated the Soap Opera project and much or all of the footage had been shot before Warhol spliced in Lester Persky’s ads—Ge-rard Malanga, interview by author, December 14, 2016. Malanga said that the ads were supplied to Warhol as kinescopes.

54. 398 “a way of social climbing”: Samuel Adams Green, in Da-vid McCabe and David Dalton, A Year in the Life of Andy Warhol (London: Phaidon, 2003), 49.

55. 398 “bunch of cameras”: Samuel Adams Green, notes from an


436 NOTES

interview, March 21, 1975, box M88, AWMA.56. 398 so scratched: Bruce Jenkins, in “Andy Warhol’s Soap Op-

era,” a July 18, 2015, panel at the Whitney Museum of American Art, New York.

57. 398 “lugubrious”: Grace Glueck, “Art Notes,” New York Times, July 5, 1964.

58. 399 makers of the real soap opera: Roy Winsor Productions to Andy Warhol, July 24, 1964, TC79, AWMA.

59. 399 “nothing really happens”: Warhol, in Leticia Kent, “Andy Warhol, Movieman: ‘Its Hard to Be Your Own Script,’” Vogue (March 1, 1970): 167.

60. 399 seemed almost random: Gerard Malanga, interview by au-thor, April 11, 2018.

61. 399 “more arresting”: Stephen White, “Advertising: Today’s Temple of Talent,” Horizon: A Magazine of the Arts (March 1961): 101.

62. 399 “best things on TV”: Warhol, in A. H. Weiler, “The Post-man Rings Thrice,” New York Times, July 23, 1972.

63. 399 norm in daytime TV: Claire Henry, in “Andy Warhol’s Soap Opera,” a July 18, 2015, panel at the Whitney Museum of American Art, New York.

64. 399 “cheap trickery”: Carl Sandburg, in Lawrence R. Samuel, Brought to You By: Postwar Television Advertising and the American Dream (Austin: University of Texas Press, 2001), 136.

65. 400 top of an article: “May Co. Store Hangs Pop Art,” Women’s Wear Daily, February 17, 1965, 46.

66. 400 “die in tame retreat”: Katharine Kuh, “The Day Pop Art Died,” Saturday Review, May 23, 1964, 24.

67. 400 “fantastic absorption”: Mario Amaya, Pop Art . . . and After (New York: Viking Press, 1966), 73.

68. 401 “basically, fun”: Peter Benchley, “The Story of Pop,” News-week (April 25, 1966): 56.

69. 401 “lastest trend”: Ben Shahn, The Artist and the Public, re-corded lecture (Maryland Institute College of Art, Baltimore, MD, 1963), https://archive.org/details/mma016–01.

70. 401 pillows and fridges: George O’Brien, “The Art World Influ-ences Furniture: Design Trends Spotted at Market in Chicago Are Re-viewed,” New York Times, January 9, 1965. See also Vivian Brown, “Pop and Op: Furniture Looks,” Baltimore Sun, March 17, 1965; Charles Gre-ville, “Playing It Cool with Pop Art,” London Daily Mail, January 12, 1965.

71. 401 “commercial tie-in”: Warhol, in David Bourdon, notes on


NOTES 437

a studio visit with Warhol (March 7, 1962), David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

72. 401 “commercialism”: E. Marshall Nuckols, Jr. (vice president—administrative services, Campbell Soup Company), August 25, 1964, to William G. Linich [a.k.a. Billy Name], reprinted in Alexander J. Taylor, “Forms of Persuasion: Art and Business in the 1960s” (Ph.D., University of Oxford, 2014), 51.

73. 401 costume jewelry firm: “Seen and Heard in the Markets,” Women’s Wear Daily, February 21, 1964, 20. The jewelery firm was KJL, owned by Warhol’s friend Kenneth Jay Lane, so it is possible that Warhol was involved in designing or producing the pins.

74. 401 “Baby Jane”: “Underground Clothes,” Life (March 19, 1965): 116.

75. 401 “Pop living!”: New York Herald-Tribune, January 10, 1965. 76. 402 signed by the caseload: The gallery’s co-owner recalled

Warhol signing six cases of cans—Ben Birillo, interview by author, May 17, 2018.

77. 402 coverage: See Grace Glueck, “Gallery Market Hawks Art on Rye: Store Display Is Set up for Pop Food Creations,” New York Times, October 8, 1964. See also “So What Can You Say?” Observer, October 11, 1964.

78. 402 “difficult art”: Samuel Wagstaff, in Florence Berkman, “Pop Art on Exhibition Free, Far Out,” Hartford Times, January 11, 1964.

79. 402 “they’d never seen it”: before Richard A. Ogar, “Warhol Mind Warp,” Berkeley Barb, September 1, 1967.

80. 402 “abject conformity”: Peter Selz, “The Flaccid Art,” Partisan Review (Summer 1963): 139.

81. 402 impinging on the displayman: Lester Gaba, “Fashion in Display,” Women’s Wear Daily, October 13, 1964.

82. 402 “decidedly hostile”: Calvin Tomkins, “Art or Not, It’s Food for Thought,” Life (November 20): 1964.

83. 402 “tastes so good”: Warhol, in “So What Can You Say?” Ob-server, October 11, 1964.

84. 402 Pop was finished: Warhol, in John Ashbery, “Andy War-hol Causes Fuss in Paris,” New York Herald-Tribune (Paris Edition), May 18, 1965.

85. 402 “Pop came and went”: Emily Hall Tremaine, giving a Janu-ary 1965 speech to the Society for Encouragement of Contemporary Art, quoted in Kathleen L. Housley, Emily Hall Tremaine: Collector on the Cusp (Meriden, CT: Emily Hall Tremaine Foundation, 2001), 158.


438 NOTES

CHAPTER 23

86. 405 “perverts today”: Jonas Mekas, “Movie Journal,” Village Voice, April 22, 1965.

87. 405 a Christmas tree: See “Celebrities Decorate Trees to Suit Personal Designs,” Schenectady Gazette, December 5, 1964.

88. 405 “truly represent you”: Hallmark Cards Inc. to Andy War-hol, telegram, July 15, 1964, TC5, AWMA.

89. 405 twenty-two celebrities: The final list of decorators was given in a full-page ad published in the New York Times, December 6, 1964.

90. 405 left out of the cheery color spread: Margaret Davidson, “Trees: Stars of Christmas,” Ladies Home Journal (December 1964): 50.

91. 406 PR shot beside his tree: See Cards Magazine (Winter 1964): 6. An image of the magazine was provided to the author in a March 19, 2018, e-mail from Andy DiOrio of Hallmark Cards, Inc.

92. 406 Warhol’s tree came surrounded: Photographs of the tree in situ were provided to the author in a March 19, 2018, e-mail from Andy DiOrio of Hallmark Cards, Inc.

A letter from Hallmark implies that the artist had expressed some kind of political or at least philanthropic intentions to the card company when he’d first communicated his idea for the unadorned spruce, and that the company had approved—see David L. Strout, of Hallmark Cards Inc., to Andy Warhol, August 25, 1964, TC5, AWMA. Hallmark offered “a central location” for Warhol’s tree so as to “set a mood that we would like to achieve in accordance with your wishes.”

Warhol and the other participants only provided the concepts for their trees; the trees themselves were to be provided, decorated and placed by Hallmark staff.

93. 406 a seventeen-footer: On the tree’s height see Cards Magazine (Winter 1964): 6.

94. 406 “Cecil B. DeMille”: Mike Mcgrady, “The Underground Movie,” Newsday, December 12, 1964.

95. 406 world becomes transposed: The award citation is reprinted in full at Gary Comenas, “Film Culture 6th Award—Andy Warhol,” War-holstars (blog), accessed April 3, 2019, http://www.warholstars.org/war-hol/warhol1/andy/warhol/articles/filmculture/filmculture.html.

96. 407 never did get screened: Jonas Mekas, interview by author, November 25, 2014. Mekas said that the footage was shown in private to the Village Voice critic who wrote about it.

97. 407 “very potent”: The friend, unnamed, is quoted in John Wil-


NOTES 439

cock, “The Detached Cool of Andy Warhol,” Village Voice, May 6, 1965.98. 407 “most destructive”: Stan Brakhage, in Victor Bockris, War-

hol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 3332, Kin-dle edition.

99. 408 “lurking in the back”: Jane Holzer, full unpublished tran-script for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

100. 408 “viciously intense”: Mary Woronov, in Planet Group En-tertainment, “The Mary Woronov Interview from the Factory People Notebook,” accessed November 24, 2019, http://planetgroupentertain-ment.squarespace.com/the-mary-woronov-interview/.

101. 408 prettiest of them: For a photo see Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), np.

102. 408 Audrey Hepburn role: Michael Smith, “Ondine 1937–89,” Village Voice, May 16, 1989.

103. 408 “aesthetic-storming”: Billy Name, in Glenn O’Brien and Billy Name, “Factory Workers Warholites Remember: Billy Name,” In-terview (November 30, 2008), https://www.interviewmagazine.com/cul-ture/factory-workers-warholites-remember-billy-name.

104. 408 fabric showroom: Henry Geldzahler, “Billy Linich and His Silver Trunk,” in The Billy Name Collection: The Silver Era at Warhol’s Fac-tory (Poughkeepsie, NY: Vassar College Art Gallery, 1989), np.

105. 408 Mole People: Paul Morrissey, in Nelson Lyon, “Paul Mor-rissey,” Interview ( July 2008): 107.

106. 408 dark glasses: Ondine, in Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 149.

There’s a chance that the term Mole People may not in fact have been used until Mary Woronov published her Factory memoir, Swim-ming Underground, in 1995—see Gerard Malanga, interview by author, April 11, 2018.

107. 408 nocturnal: Mary Woronov, “Mary Woronov on Dancing at the Dom,” Tate, Summer 2005, 69. Thanks to Jay Reeg for this reference.

Ondine would often frequent the Factory around 4 a.m., according to his interview in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 447.

108. 408 home and hangout: Billy Name, in Glenn O’Brien and Billy Name, “Factory Workers Warholites Remember: Billy Name,” Interview (November 30, 2008), https://www.interviewmagazine.com/culture/


440 NOTES

factory-workers-warholites-remember-billy-name.109. 408 might barely be visible: Billy Name, interview by author,

July 24, 2014.110. 408 “sometimes brilliant”: Mary Woronov, oral history, inter-

view by Matt Wrbican, audiocassette, April 21, 1995, AWMA.111. 408 “drug and criminal element”: Billy Name, in “Billy Name:

After Andy Was Shot,” an extra track included with Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, docu-mentary, 2007.

112. 408 “didn’t suffer fools”: Bibbe Hansen, interview by author, February 17, 2017.

113. 409 “no limit to the destruction”: Mary Woronov, in Planet Group Entertainment, “The Mary Woronov Interview from the Factory People Notebook,” accessed November 24, 2019, http://planetgroupen-tertainment.squarespace.com/the-mary-woronov-interview/.

114. 409 “was thrown out”: Ondine, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 259.

Ondine and Warhol would have also met in August 1963 at the film-ing of Jack Smith’s Normal Love in Old Lyme—see Wynn Chamberlain, draft memoir (n.d.), personal papers of Sally Chamberlain.

115. 409 in more Warhol films: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 149.

116. 409 Freddy Herko’s star: My account of Freddie Herko is based on Diane Di Prima, Recollections of My Life as a Woman: The New York Years, a Memoir (New York: Viking Press, 2001).

117. 409 almost homeless: Johnny Dodd, interview by David Bour-don, typed notes, January 17, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

118. 409 October afternoon: See Donald McDonagh, “The Incan-descent Innocent,” Film Culture (Summer 1968): 59.

119. 409 a grand finale: Many details of the death are in flux. A sum-mary of the various stories is in Chelsea Weathers, “Drugtime,” Criticism 56, no. 3 (Summer 2014). Weathers’s summary omits David Bourdon, Warhol (New York: Abrams, 1989), 191. Bourdon quotes direct from Dodd, who was the only person present at the time—see Johnny Dodd, interview by David Bourdon, typed notes, January 17, 1988, David Bour-don papers, Archives of American Art, Smithsonian Institution.

Di Prima mentions a sixth-floor window, but the building, still


NOTES 441

standing at 5 Cornelia Street, only has five stories. The window is on the fourth floor in Gerard Malanga, Archiving Warhol: Writings & Pho-tographs (London: Creation Books, 2002), 128. Bourdon’s biography of Warhol says that Dodd’s apartment was on the fifth floor—but that is not derived from Dodd’s interview notes. It is also the view of Robert Heide, who knew Herko and lived nearby, and of Donald McDonagh, “The Incandescent Innocent,” Film Culture (Summer 1968): 59.

120. 409 to film the fall: David Bourdon, Warhol (New York: Abrams, 1989), 191. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 3287, Kindle edition.

121. 409 “all brilliant people”: Billy Name, in Planet Group Enter-tainment, “The Billy Name Interview from the Factory People Note-book,” accessed November 29, 2019, http://planetgroupentertainment.squarespace.com/the-billy-name-interview/.

122. 409 Opera People: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 57.

123. 409 Motown and the British Invasion: Mark Lancaster, “Andy Warhol Remembered,” Burlington Magazine (March 1989): 198.

124. 409 “makes me mindless”: Warhol, in “Rock ‘n’ Roll: The Sound of the Sixties,” Time (May 21, 1965): 85. Thanks to Jay Reeg for this reference.

125. 410 “left a poem behind”: Lou Reed, “My First Year in New York,” New York Times Magazine (September 17, 2000): 124.

126. 410 opera show: “Radio Highlights,” New York (October 7, 1985): 120.

127. 410 a closet opera fan: One young acolyte remembered an occa-sion in the mid 1960s when he was on the street carrying an album of La Boheme and ran into Warhol, and how the artist knew the details of the piece and of the particular interpretation on the album—Stephen Shore, interview by author, October 11, 2016.

128. 410 “uninterrupted”: Gerard Malanga, interview by author, December 14, 2016.

129. 410 Ruby and Lacy: Ruby was, of course, a redhead and Lacy was black; both were eventually sent away when Warhol got tired of see-ing them walk on his paintings—see Billy Name in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 82.

Name led Warhol archivist Matt Wrbican to believe that his cats were named Black Lace and White Pussy—the latter being the name given on the poster for Harlot, the film shot by Warhol at the end of 1964,


442 NOTES

for the white cat that appeared in it.130. 410 “freaks”: Jane Holzer, notes from an interview, February 2,

1977, box M88, AWMA. 131. 410 contempt for Gerard: Billy Name, in Planet Group Enter-

tainment, “The Billy Name Interview from the Factory People Note-book,” accessed November 29, 2019, http://planetgroupentertainment.squarespace.com/the-billy-name-interview/.

132. 410 “brilliant I mean, just brilliant”: Mary Woronov, in Planet Group Entertainment, “The Mary Woronov Interview from the Factory People Notebook,” accessed November 24, 2019, http://planetgroupen-tertainment.squarespace.com/the-mary-woronov-interview/.

133. 410 too withdrawn: Gerard Malanga, interview by author, April 11, 2018.

134. 410 gymnastic sex: Ara Osterweil, “Three’s Company,” Little Joe, 2015, 133–47.

The third man in the film is Walter Dainwood, described as “very much embedded in Billy’s crowd” by Gerard Malanga, interview by au-thor, December 14, 2016.

135. 410 close-up film of an ejaculating penis: Jan Wenner to Andy Warhol, April 16, 1973, TC88, AWMA.

136. 410 soft-core group show: See “Installation View of ‘The Arena of Love’ at the Dwan Gallery,” 1965, Lucy R. Lippard papers, Archives of American Art, Smithsonian Institution, https://www.aaa.si.edu/col-lections/items/detail/installation-view-arena-love-dwan-gallery-10534. Warhol designed the flyer for the show, which was a photograph of Her-shey’s Kisses in their quite Warholian silver foil.

137. 410 “Erotic Art”: Erotic Art 66 (New York: Sidney Janis Gallery, 1966), np.

138. 411 “The First International Girlie Exhibit”: John Canaday, “Art: From Clean Fun to Plain Smut: ‘Girlie Exhibit’ Opens at Pace,” New York Times, January 7, 1964.

The Warhol catalogue raisonné does not seem aware of that first showing of Bosoms.

139. 411 “more than the healthy artists”: Jonas Mekas, “Movie Jour-nal,” Village Voice, April 22, 1965.

140. 411 “Andy never looked”: Henry Geldzahler to Maggy Gil-christ and Jean-Michel Brouhr, draft of a fax transmission to the Musée national d’art moderne, Paris, n.d., Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

Gerard Malanga claimed he was also present at the shoot, contra-


NOTES 443

dicting Geldzahler’s account—see Gerard Malanga, interview by author, April 11, 2018.

141. 411 “acting or being himself?”: Warhol, in Frances Fitzgerald, “What’s New Henry Geldzahler, What’s New,” New York Herald-Tribune, November 21, 1965.

142. 412 twenty-six-year-old: Philip Fagan’s birth date is listed as June 5, 1938, on his September 1964 identity card from the Merchant Marines (TC85, AWMA), cited in Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 308n3.

143. 412 motorcycle speed records: See “Ft. Worth’s Enigmatic Golden Boy Racer,” North Texas Norton Owners Association, accessed April 6, 2019, https://www.ntnoa.org/Philip%20Fagan.htm.

144. 412 the navy and merchant marines: See Philip Fagan’s 1964 identity card from the Merchant Marines (TC85, AWMA), cited in Cal-lie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 308n3.

His 1961 papers from the navy are glimpsed in the trailer for an un-realized documentary on Fagan by his nephew—see Philip Fagan, Phil-ip’s Shadow (Trailer), Web video, accessed April 6, 2019, https://vimeo.com/46890845. That trailer provided much of the information on Fagan that follows.

145. 412 a concert in October of ’64: Ronald Tavel, “Screen Test: (Also, Philip’s Screen Test; Screen Test 1),” accessed November 29, 2019, https://ronaldtavel.com/documents/screen_test_1.pdf.

146. 412 filmmaker and performance artist: The artist was Alejan-dro Jodorowsky—see Philip Fagan, Philip’s Shadow (Trailer), Web video, accessed April 6, 2019, https://vimeo.com/46890845.

147. 412 appeared in experimental movies: James Froeschle, “De-fining ‘Philip’s Shadow,’” Ovation (Fall 2009): 26.

148. 412 skilled little films: Copies of Philip Fagan’s footage were viewed at The Andy Warhol Museum in Pittsburgh.

149. 412 “transvestitism”: Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal papers.

150. 412 article on Warhol’s Flowers: David Bourdon, “Art: Andy Warhol,” Village Voice, December 3, 1964.

151. 412 footage of all three: Marie Menken, Andy Warhol, experi-mental film, 1965, https://www.youtube.com/watch?v=W6vceN6Ls4Q.

152. 412 Warhol and the two younger men: The photo (AWMA) is by Duane Michals.


444 NOTES

153. 413 “VERRYMERRYFUCKINGCHRISTMAS”: Andy Warhol and Philip Norman Fagan to Henry Geldzahler, Christmas card, Decem-ber 1964, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

154. 413 “forgotten you”: Phillip Fagan, quoted by Unidentified fe-male speaker, in Philip Fagan, Philip’s Shadow (Trailer), Web video, ac-cessed April 6, 2019, https://vimeo.com/46890845.

155. 413 “twinkie”: Ronald Tavel, Andy Warhol’s Ridiculous Screen-plays (Silverton, OR: Fast Books, 2015), 13–14.

156. 413 ninety-six days: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 217. The first reel from the series was dated November 6, 1964.

157. 413 “intensely handsome”: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 217.

158. 413 “he was less crazy”: Ronald Tavel, in Philip Fagan, Phil-ip’s Shadow (Trailer), Web video, accessed April 6, 2019, https://vimeo.com/46890845.

159. 413 Aging: Ronald Tavel, Andy Warhol’s Ridiculous Screenplays (Silverton, OR: Fast Books, 2015), 15.

160. 413 Six Months: Ronald Tavel, “The Banana Diary (1966),” in Andy Warhol Film Factory, ed. Michael O’Pray (London: BFI Publishing, 1989), 72.

161. 414 half a year: The idea of the six-month portrait of Fagan is confirmed in Isabel Eberstadt, “Are You Human, Andy” (typescript, c.1965), Fernanda Eberstadt personal papers. Eberstadt describes the daily three-minute reels as eventually being supposed to add up to nine hours of footage—i.e., six months’ worth.

162. 414 talismanic effect: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 217.

163. 414 Philip Dying: Ronald Tavel, “Screen Test: (Also, Philip’s Screen Test; Screen Test 1),” accessed November 29, 2019, https://ronald-tavel.com/documents/screen_test_1.pdf.

164. 414 around February: The last Fagan reel that survives is from February 9, 1965—see Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 217.

165. 414 seventy-minute film: Ronald Tavel said that the film was shot on January 23, 1965—see Ronald Tavel, “Screen Test: (Also, Philip’s Screen Test; Screen Test 1),” accessed November 29, 2019, https://ronald-


NOTES 445

tavel.com/documents/screen_test_1.pdf.166. 414 “humiliating the auditioner”: Ronald Tavel, “Screen Test:

(Also, Philip’s Screen Test; Screen Test 1),” accessed November 29, 2019, https://ronaldtavel.com/documents/screen_test_1.pdf.

167. 414 “not to come back”: Warhol, quoted in Ronald Tavel, “Screen Test: (Also, Philip’s Screen Test; Screen Test 1),” accessed No-vember 29, 2019, https://ronaldtavel.com/documents/screen_test_1.pdf.

168. 414 Fagan packed his bags: Gerard Malanga, interview by au-thor, April 11, 2018.

See also Malanga quoted in Ronald Tavel, “Screen Test: (Also, Phil-ip’s Screen Test; Screen Test 1),” accessed November 29, 2019, https://ronaldtavel.com/documents/screen_test_1.pdf.

169. 414 “spiritual quest”: Philip Fagan, Philip’s Shadow (Trailer), Web video, accessed April 6, 2019, https://vimeo.com/46890845.

170. 415 “I know you cared too”: Philip Norman Fagan to Andy Warhol, October 25, 1969, TC57, AWMA.

171. 415 killed himself: Ronald Tavel, “Screen Test: (Also, Philip’s Screen Test; Screen Test 1),” accessed November 29, 2019, https://ronald-tavel.com/documents/screen_test_1.pdf.

172. 415 “bought movie cameras”: Warhol, in John Ashbery, “Andy Warhol Causes Fuss in Paris,” New York Herald-Tribune (Paris Edition), May 18, 1965.

173. 415 “way, way, way, way out”: Vincent Canby, “Pictures: Critic and Panelist Negatives Offset by Pluses at Lincoln Center Fest,” Variety, October 21, 1964, 8.

174. 415 “sell your product anywhere”: Fairchild Camera and In-strument Corporation, “Shake His Hand. Open the Box. Plug It In. Let’er Roll,” Wall Street Journal, February 25, 1964, advertisement.

175. 415 looped a segment: The films had been transferred to 8mm stock to be used in the machines.

Jonas Mekas, in a July 23, 2017, talk at the Swiss Institute in New York, said that Warhol and he had transferred a number of films to 8mm to rent to the home market, but that there was no demand at all for them.

176. 415 complained: Warhol, in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 265. As usual, it is hard to know if the complaint attributed to Warhol actually had its original source in anything he said or if it derived from an interview with someone else.

177. 415 “wilder forms”: Eugene Archer, “Festival Bringing Pop Artist’s Films to Lincoln Center,” New York Times, September 12, 1964.


446 NOTES

178. 415 cost one-tenth of that: Receipts from Warhol’s suppli-ers (AWMA) show that the total cost of materials for a 24” by 36” silk-screened painting might typically come to under $50.

179. 416 $1,672.20: Film-makers’ Cooperative, IRS 1099 form to Warhol for calendar year 1965, box M31, AWMA.

180. 416 from a single big Flower: On Flowers prices see the Febru-ary 1, 1966, statement of sales (AWMA) sent from the Castelli Gallery to Warhol.

181. 416 “frightfully expensive”: Warhol, in “Pop Goes the Video Tape,” Tape Recording Magazine (October 1965): 16.

182. 416 he paid union wages: Andrew Wylie, in a January 5, 2015, e-mail to the author, citing a circa 1970 conversation with Warhol.

183. 416 “The Cinema of Andy Warhol”: Signed copy of contract, dated only “1965,” box M60, AWMA.

184. 416 “Leaving Pop Pictures”: Jean-Pierre Lenoir, “Paris Im-pressed by Warhol Show: Artist Speaks of Leaving Pop Pictures for Films,” New York Times, May 13, 1965.

185. 416 “retired artist”: Warhol, in Jean-Pierre Lenoir, “Paris Im-pressed by Warhol Show: Artist Speaks of Leaving Pop Pictures for Films,” New York Times, May 13, 1965. Warhol also mentioned abandon-ing painting in an article that ran a few days later—John Ashbery, “Andy Warhol Causes Fuss in Paris,” New York Herald-Tribune (Paris Edition), May 18, 1965.

186. 417 “they’re the least static”: Warhol, in Grace Glueck, “Art Notes,” New York Times, July 5, 1964.

187. 417 “don’t really mean anything”: Warhol, in Lane Slate, “USA Artists: Andy Warhol and Roy Lichtenstein,” in I’ll Be Your Mirror: The Se-lected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 1739, Kindle edition.

Warhol is quoted saying “I don’t really believe in objects” in Leonard Shecter, “The Warhol Factory,” New York Post, February 23, 1966. This was a precocious position to take in 1966, and only became common later in the decade with the rise of Conceptual Art.

188. 417 “started making movies”: Prue Vosper, “Warhol!,” Interna-tional Times, June 10, 1967.

189. 417 incorporate snippets of projection: See John Gruen, “The Canvas Screen,” New York Herald-Tribune (Sunday Magazine), December 6, 1964.

190. 417 “ I was serious”: Warhol, in Barry Blinderman, “Modern ‘Myths’: Andy Warhol,” in Art Talk 2: Discourse on The Early 80s (Ann Ar-


NOTES 447

bor: UMI Research Press, 1988), 145.191. 417 Liz completely disappear: Lane Slate to Andy Warhol, Jan-

uary 7, 1963, TC38, AWMA. See also Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 75.

192. 417 told that movie’s sleeper: Warhol, in John Giorno, “Andy Warhol Interviewed by a Poet” (typescript, 1963), TC27 and TC32, AWMA.

193. 418 arranging a trip: David Joselit, “Transformer: David Joselit on Gregory Battcock,” Artforum (September 2012): 506–11.

194. 418 last meaningful painters: “University Roundtable Series: Interview with Gregory Battcock,” radio broadcast (WFUV, December 11, 1969), WFUV radio interviews relating to art, Archives of American Art, Smithsonian Institution.

195. 418 listed as a participant: See Geoffrey Hendricks and Mead Art Museum, Critical Mass: Happenings, Fluxus, Performance, Intermedia and Rutgers University 1958–1972 (New Brunswick, NJ: Rutgers University Press, 2003), 188.

196. 418 “dead art” of painting: George Maciunas, “George Maci-unas. Fluxus Manifesto. 1963 | MoMA,” The Museum of Modern Art, accessed April 4, 2019, https://www.moma.org/collection/works/127947.

197. 418 his latest film: The film was Harlot, Warhol’s first talkie, which showed at one of the “Monday Night Letters” events organized by Fluxus members at the Café au Go Go, as advertised in the Village Voice, January 7, 1965. This was the same issue in which Jonas Mekas an-nounced Warhol as a new star of underground cinema.

198. 418 “extraordinary creature”: Malka Saffro, who later founded the famous New York boutique Tender Buttons, in John W. Walter, How to Draw a Bunny, documentary, 2004.

199. 418 candy bowl: William S. Wilson, in Charles Darwent, “Dor-othy Podber: ‘Witch’ Who Shot Warhol’s Marilyns,” Independent, March 13, 2008.

200. 419 “evil woman”: William S. Wilson, in Charles Darwent, “Dorothy Podber: ‘Witch’ Who Shot Warhol’s Marilyns,” Independent, March 13, 2008.

201. 419 “doing things”: Malka Safro, who later co-founded the fa-mous New York boutique Tender Buttons, in John W. Walter, How to Draw a Bunny, documentary, 2004.

202. 419 “She walked in”: Billy Name, in John W. Walter, How to Draw a Bunny, documentary, 2004. Several sources deny the oft-told tale


448 NOTES

that Dorothy Podber, pretending to have shown up to take pictures, said “Andy, I’m here to shoot your Marilyns” before pulling the trigger—see William S. Wilson to Gary Comenas, “Non-Identical Repetition,” e-mail provided to the author by Comenas, June 25, 2013. The same text was posted at William S. Wilson, “Bill Wilson’s Stories about Andy Warhol, Marisol, Ray Johnson, Dorothy Podber and the Shot Marilyns,” William S. Wilson: Collected Writings (blog), July 23, 2016, https://williamswil-sonwritings.wordpress.com/2016/07/23/bill-wilsons-stories-about-andy-warhol-marisol-ray-johnson-dorothy-podber-and-the-shot-marilyns/.

Billy Name said that after the shooting Podber actually continued to hover in the Factory until Warhol asked Name to throw her out—see Name in Tony Scherman and David Dalton, Pop: The Genius of Andy War-hol (New York: HarperCollins, 2009), 234.

203. 419 he’d already raged: William S. Wilson, in the transcription of an earlier conversation included in William S. Wilson to Gary Com-enas, “Non-Identical Repetition,” e-mail provided to the author by Com-enas, June 25, 2013.

204. 419 enlarged repeats: There is a strong possibility that the en-larged Marilyn and Jackie paintings might have been commissions—see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02A—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002). That is confirmed by Mark Lancaster in Gary Comenas, “Mark Lancaster Interview,” Warholstars (blog), 2004, http://www.warholstars.org/andy-warhol/interview/mark/lancaster.html. The commission was arranged by the dealer Ben Birillo, interview by author, May 17, 2018.

205. 419 bigger Tomato Soups: See the Campbell’s company docu-ment celebrating the commission (TC11, AWMA) preserved as a tearsheet from an unknown magazine.

For details and documents on the October 1965 commission see Al-exander J. Taylor, “Forms of Persuasion: Art and Business in the 1960s” (Ph.D., University of Oxford, 2014), 53. On the fee see William C. Parker to Ivan Karp, October 6, 1964, Leo Castelli Gallery Records, Archives of American Art, Smithsonian Institution. See also “Campbell Soup to Introduce Special-Edition Cans with Labels Reminiscent of Andy Warhol’s Paintings,” New York Post, August 29, 2012, https://nypost.com/2012/08/29/campbell-soup-to-introduce-special-edition-cans-with-labels-reminiscent-of-andy-warhols-paintings/.

206. 419 “dead paintings”: Gerard Malanga, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.


NOTES 449

207. 419 “it’s a pimple”: Warhol, quoted by Peter Brant in Tony Shafrazi, “An Interview with Peter Brant,” in Warhol (Rome: Antique Collectors Club, 2014), np.

208. 420 “possibilities of sound”: Jonas Mekas, in.Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 319.

209. 420 $2,600: See the December 11, 1964, receipt from F&B/Ceco, Inc., AWMA.

210. 420 “risk my ass for you”: Emile de Antonio, in Bruce Jackson, Emile de Antonio in Buffalo (Buffalo: Center for Studies in American Cul-ture, 2003), 30.

211. 420 still photos of the filming: Contact sheets by Lawrence Fried were supplied to the author by his daughter, Patricia Fried.

212. 421 “sue him for a million dollars”: Emile de Antonio, in Bruce Jackson, Emile de Antonio in Buffalo (Buffalo: Center for Studies in Ameri-can Culture, 2003), 30.

213. 421 “like the Serpent”: Ronald Tavel, Andy Warhol’s Ridiculous Screenplays (Silverton, OR: Fast Books, 2015), 2.

The strange timbre of Tavel’s reading voice was confirmed by Ge-rard Malanga, interview by author, April 11, 2018.

214. 421 “Wanna make movies?”: Ronald Tavel, in Dorothy Kra-sowska, “Collaborating with Warhol: An Interview with Ronald Tavel,” Cabinet (Fall 2002), http://cabinetmagazine.org/issues/8/krasowska.php.

Gerard Malanga remembered Warhol and Ronald Tavel meeting af-ter Tavel’s reading, out on the street—see Gerard Malanga, interview by author, April 11, 2018.

215. 421 “make it interesting”: Ronald Tavel, Andy Warhol’s Ridicu-lous Screenplays (Silverton, OR: Fast Books, 2015), 136.

216. 421 “It was human sound”: Ronald Tavel, in Dorothy Kra-sowska, “Collaborating with Warhol: An Interview with Ronald Tavel,” Cabinet (Fall 2002), http://cabinetmagazine.org/issues/8/krasowska.php.

217. 422 secretly cut a slit: Ronald Tavel, Andy Warhol’s Ridiculous Screenplays (Silverton, OR: Fast Books, 2015), 3.

For an image of the three men gathered around the microphone see Ronald Tavel, “Harlot,” accessed November 29, 2019, https://ronaldtavel.com/documents/harlot.pdf.

218. 422 “Star is rats backward”: The dialogue is provided in Ron-ald Tavel, “The Banana Diary,” Film Culture (Spring 1966). That text is


450 NOTES

reprinted in Michael O’Pray, Andy Warhol Film Factory (London: BFI Pub-lishing, 1989), 86.

219. 422 its first screening: Shana Alexander, “Report from Under-ground,” Life ( January 29, 1965): 24.

220. 422 “it is two reels:” Ronald Tavel, Andy Warhol’s Ridiculous Screenplays (Silverton, OR: Fast Books, 2015), 4.

221. 422 “fleeting charm”: Shana Alexander, “Report from Under-ground,” Life ( January 29, 1965): 24.

222. 422 a sound technician of sorts: Buddy Wirtschafter was the sound technician for Harlot and also for other early Warhol films—see Gerard Malanga, “Andy’s Orbit” (typescript of an essay for Galerie von Bartha in Basel, Switzerland, 1983), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

design work on a major film: Allen Lewis, of Lewis-Hodgdon Pro-ductions (The Balcony, Lord of the Flies), offered Warhol the position of art director on a film version of the novel The Day of the Locust, although there’s no sign the film ever went into production—see Allen Lewis to Andy Warhol, March 9, 1965, AWMA.

223. 423 “nonstatic” films: Village Voice, June 17, 1965, advertise-ment.

224. 423 “look good without money”: Joseph Gelmis, The Film Di-rector as Superstar (Garden City, NY: Doubleday, 1970), 69.

225. 423 “not-nothing to something”: Billy Name, interview by au-thor, July 24, 2014.

CHAPTER 24

1. 425 “Edie was the best”: Warhol, in Kevin Thomas, “A Far-out Night with Andy Warhol,” Los Angeles Times, May 5, 1966.

2. 425 “Mrs. Johnson appeared”: Marylin Bender, “First Lady Shops Here For Easter,” New York Times, April 8, 1965.

3. 425 Geldzahler had organized: Stuart Preston, “Art: 300 Years of American Painting: Extensive Show Opens at Metropolitan,” New York Times, April 9, 1965.

4. 425 beating them: John Cale, in texts for the exhibition “Edie Sedgwick: Silver Hill to Silver Screen,” The Andy Warhol Museum, Pitts-burgh, June 10 to September 2, 2001. The show was curated by Matt Wrbican, then Assistant Archivist.

5. 425 died by his own hand: Both brothers’ deaths are called sui-cides in Norah Ephron, “Woman in the News: Edie Sedgwick, Super-star,” New York Post, September 5, 1965.


NOTES 451

6. 426 “trying to sleep with me”: Quoted from interviews con-ducted for the film Ciao! Manhattan in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 117, Kindle edition. Edie Sedgwick also spoke of her two brothers having been “seduced” by their father—Sepp Donahower, interview by author, June 26, 2017.

7. 426 paid $10,000 a month: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 154.

8. 426 “That wasn’t Edie”: Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 301, Kindle edition.

9. 426 around midwinter: “In December of ’64 or January ’65”—Andy Warhol, notes from an interview, December 31, 1974, box M88, AWMA. The earlier date is more likely, given that he is supposed to have visited Edie Sedgwick in hospital after her New Year’s Eve car accident, as below. Sedgwick was already hanging out at a Factory film shoot by mid-January—see Debra Miller, Billy Name: Stills from the Warhol Films (Munich: Prestel, 1994), 40n6.

10. 426 “He was very impressed”: Lester Persky, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 180, Kindle edition.

Persky said that the party was for Tennessee Williams’s birthday, which would have been on March 26, but several other sources, includ-ing Warhol himself, have said the first meeting between the artist and Edie Sedgwick had taken place near the New Year. The two already knew each other “in the winter of 1964” when Warhol visited Sedgwick in hos-pital in New York, where she was recovering from a New Year’s Eve car accident—see Ashton Hawkins, “In His Own Words: Ashton Hawkins,” STAIR Galleries (blog), accessed April 5, 2019, https://www.stairgalleries.com/news-insights/insights/in-his-own-words-ashton-hawkins-on-andy-warhol-georgia-okeeffe-david-hockney-and-life-in-the-art-world/.

It seems likely that Persky is confusing two of the many parties he gave, and that Warhol and Sedgwick were present at both. Gerard Malanga believed that he would have first met Sedgwick at the March party at Persky’s, when she already had her scars, and that Warhol might have met her without him at an earlier party—Gerard Malanga, inter-view by author, April 11, 2018.

11. 426 “balletlike rock ’n’ roll”: Chuck Wein, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 179, Kindle edition.

12. 426 visited her in the hospital: Ashton Hawkins, “In His Own Words: Ashton Hawkins,” STAIR Galleries (blog), accessed April 5, 2019,


452 NOTES

https://www.stairgalleries.com/news-insights/insights/in-his-own-words-ashton-hawkins-on-andy-warhol-georgia-okeeffe-david-hockney-and-life-in-the-art-world/.

Edie Sedgwick is said to have broken her leg in a New Year’s Eve crash in California—Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 173, Kindle edition. But it’s not clear if that is the same accident that brought her to the hospital in New York where Hawkins met her. Several accounts mention her wearing a cast on her arm, but Watson, Factory Made, has it on her leg, perhaps based on Stein.

13. 426 “heavy, strange make-up”: Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA.

The scar is described as “sinister” in Norah Ephron, “Woman in the News: Edie Sedgwick, Superstar,” New York Post, September 5, 1965.

14. 426 dancing in a cast: Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 174, Kindle edition.

15. 427 “you just fell in love with her”: Danny Fields, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 286.

16. 427 “beautiful and rare creatures”: Bibbe Hansen, in “In Con-versation with Bibbe Hansen,” Interview (November 11, 2017).

17. 427 “low, husky voice”: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 142. The original source of the description, whether Warhol or someone else quoted by his ghostwriter, is unknown.

18. 427 “so rich and so bananas”: Danny Fields, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 286, Kindle edition.

19. 427 apartment on Park Avenue: Gordon Baldwin, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 282.

20. 427 wild hours and unannounced guests: Saucie Sedgwick, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 158, Kindle edition.

21. 427 spending was out of control: Bob Neuwirth, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 166, Kindle edition.

22. 427 paying the way: Danny Fields, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 163, Kindle edition.


NOTES 453

23. 427 “redistributing the wealth”: Danny Fields, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 167, Kindle edition.

24. 427 Thin as a rail”: Cale, in Stephen Shore, The Velvet Years: War-hol’s Factory, 1965–67 (New York: Thunder’s Mouth Press, 1995), 63.

25. 427 rhinoceros named Wallow: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 154.

26. 427 “illusion of having money”: Gerard Malanga, interview by Peter Headington, typescript, February 12, 1983, Gerard Malanga Pa-pers, Beinecke Rare Book and Manuscript Library, Yale University.

27. 427 in the Social Register: Rubye Graham, “Edie Sedgwick Is the ‘Youthquaker’ of the Pop Set,” Philadelphia Inquirer, November 2, 1965.

28. 427 $500 a month: Gerard Malanga, interview by Peter Head-ington, typescript, February 12, 1983, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University. That account is con-firmed in Andy Warhol, notes from an interview, n.d., box M88, AWMA.

Sedgwick said that her money had run out by April 1965—see Me-lissa Painter and David Weisman, Edie: Girl on Fire (San Francisco Chron-icle Books, 2006), 104. Her friend Bob Neuwirth claimed that Sedgwick went through $30,000 the first year and then another $40,000 the next—Melissa Painter and David Weisman, Edie: Girl on Fire (San Francisco Chronicle Books, 2006), 134.

29. 427 “Chateau Margaux”: Nat Finkelstein, Andy Warhol: The Fac-tory Years, 1964–1967 (New York: PowerHouse Books, 2000), np.

30. 427 kept in the fridge: Danny Fields, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 164, Kindle edition.

31. 427 speed-laced “vitamins”: Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 260, Kindle edition. See also Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA; Boyce Rensberger, “Two Doctors Here Known to Us-ers as Sources of Amphetamines $10 to $25 a Prescription,” New York Times, March 25, 1974.

32. 428 “wonderful to film”: Warhol, in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 137. As usual with this source, the attribution directly to Warhol has to be in doubt.

33. 428 in mid-April: The Vinyl shoot took place on April 15, 1965, according to the journals kept by screenwriter Ronald Tavel—see Ron-


454 NOTES

ald Tavel, “Vinyl,” accessed November 29, 2019, http://www.ronaldtavel.com/documents/vinyl_screen.pdf.

34. 428 hadn’t had the funds to option: Warhol, in John Wilcock, “A ‘High’ School of Music and Art,” East Village Other, April 15, 1966.

David Bailey, introduced to Warhol by Jane Holzer in 1964, has claimed that he and Warhol had entered into negotiations with Burgess to purchase the rights to his book but failed to do so—see Matt Wrbican, A Is for Archive: Warhol’s World from A to Z, ed. Abigail Franzen-Sheehan (New Haven, CT: Yale University Press, 2019), 156. But Gerard Malanga said that Warhol had indeed bought the rights—see Malanga in Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), np.

For a version of the story told by Rolling Stones manager Andrew Loog Oldham see “Return of a Star Maker,” The Scotsman, accessed April 5, 2019, https://www.scotsman.com/lifestyle/culture/music/re-turn-of-a-star-maker-1-528892. For further, conflicting stories on the first film adaptations of A Clockwork Organce see “A Clockwork Orange,” The Works of Tinto Brass (blog), accessed November 29, 2019, https://rjbuffalo.com/tinto.html.

35. 428 had come up with the idea: Ronald Tavel, “Vinyl,” accessed November 29, 2019, http://www.ronaldtavel.com/documents/vinyl_screen.pdf.

36. 428 “more plastic-sounding”: Gerard Malanga, interview by Peter Headington, typescript, February 12, 1983, Gerard Malanga Pa-pers, Beinecke Rare Book and Manuscript Library, Yale University.

37. 428 “stick her in for decoration”: Warhol, quoted by Gerard Malanga, interview by Peter Headington, typescript, February 12, 1983, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

38. 428 recognized her surprising charisma: Gerard Malanga, interview by Peter Headington, typescript, February 12, 1983, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale Uni-versity.

39. 428 begun within days: Gerard Malanga, in Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), np.

40. 429 “Everything is left in”: Warhol, speaking to an unnamed visitor, in “Monitor: Cheese! Or What Really Did Happen in Andy War-hol’s Studio,” television broadcast (BBC Four, July 1965), https://www.bbc.co.uk/programmes/b00drs8y.

41. 429 “She never understood”: Warhol, in Kevin Thomas, “A Far-out Night with Andy Warhol,” Los Angeles Times, May 5, 1966.


NOTES 455

42. 429 “to become more Edie-like”: Henry Geldzahler, interview by Jean Stein, typescript interview for Jean Stein’s biography of Edie Sedgwick, January 6, 1973, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

43. 429 “sad, unrehearsed”: Jonas Mekas, “Movie Journal,” Village Voice, April 29, 1965.

44. 429 “A new one every minute”: Andy Warhol, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

45. 429 “deepest dysfunctions”: Norman Mailer, in Vincent Canby, “When Irish Eyes Are Smiling, It’s Norman Mailer,” New York Times, Oc-tober 27, 1968.

46. 429 “pale, frail, glamorous people”: Henry Geldzahler, inter-view by Jean Stein, typescript interview for Jean Stein’s biography of Edie Sedgwick, January 6, 1973, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

47. 429 “broke me and Andy up”: Billy Name, interview by author, July 24, 2014.

48. 430 Warhol’s total absence: Warhol’s head does appear—just—in Stan Vanderbeek’s crowded collage of underground filmmakers, and Warhol’s name is given in a guide to the collage at the back of the maga-zine. Thanks to Jay Reeg for pointing out this Warhol (non-)coverage.

49. 430 French taste for Impressionism: Andy Warhol, notes from an interview, n.d., box M88, AWMA.

50. 430 new passport: Warhol’s passport (AWMA) was issued on April 23, 1965.

51. 430 $1,600: A & F Travel Tours, April 27, 1965, invoice to Leo Castelli Gallery, AWMA.

On Flowers prices see the February 1, 1966, statement of sales (AWMA) sent from the Castelli gallery to Warhol.

52. 430 a trade-in: Andy Warhol, notes from an interview, n.d., box M88, AWMA.

53. 430 “A new girl in town”: Eugenia Sheppard, “Skip Little Noth-ing,” Washington Post, December 18, 1964.

54. 430 in a gossip column: Leonard Lyons, “The Lyons Den,” May 3, 1965. Lyons’s column was widely syndicated.

55. 430 a grand good-bye: Jonas Mekas, diary entry for April 25, 1965, in Jonas Mekas, A Dance with Fred Astaire (New York: Anthology Editions, 2017), 259. He specifies that the party was in honor of Warhol’s imminent departure. Warhol’s passport (AWMA) shows him arriving in


456 NOTES

Paris on April 30, 1965.56. 431 “Judy Garland and Lester Persky fighting!”: Lester Persky

and Andy Warhol, notes from an interview, December 8, 1975, box M88, AWMA. The conversation has been slightly edited here for length and clarity.

57. 431 “you know damn well I’m very talented”: Judy Garland, quoted by Sally Chamberlain, in an excerpt from an unpublished memoir shared with the author in a July 11, 2016, e-mail.

58. 432 “They disappeared among the new”: Jonas Mekas, diary entry for April 25, 1965, in Jonas Mekas, A Dance with Fred Astaire (New York: Anthology Editions, 2017), 259.

59. 432 “Nureyev, looking stoned”: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 206.

60. 432 “the new kind of celebrity”: Ondine, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 224, Kindle edition.

61. 432 “speed freaks twitching”: Sally Chamberlain, in an excerpt from an unpublished memoir shared with the author in a July 11, 2016, e-mail.

62. 432 the headline that ran: John Ashbery, “Andy Warhol Causes Fuss in Paris,” New York Herald-Tribune (Paris Edition), May 18, 1965.

63. 432 dozens and dozens: See the May 10, 1965, photos in the Harry Shunk and Shunk-Kender photographs collection, The Getty Re-search Institute, Los Angeles, Accession no. 2014.R.20. May 12 is often listed as the first day of the show, but it seems from the dated photos that the opening itself was May 10.

64. 432 taste for foie gras: R. Couri Hay, interview by author, July 22, 2017.

65. 432 a raft of introductions: For some of the people they might have met on their trip, see the April 28 and 29, 1965, letters (AWMA) to Warhol from Sam Wagstaff, curator at the Wadsworth Atheneum. Wagstaff made introductions for Warhol to friends in Paris and London, including the Surrealist poet Edouard Roditi, the gay art historian John Pope-Hennessy and the outsider-ish painter Eden Fleming.

66. 432 fur-strewn hotel bed: See the May 1965 photos in the Harry Shunk and Shunk-Kender photographs collection, The Getty Research Institute, Los Angeles, Accession no. 2014.R.20.

67. 432 full-frontal Malanga: Undated photo, stamped “Shunk-Kender, 19 Quai au Fleurs, Paris 14” (AWMA). The Shunk-Kender ar-chives in the Getty collection hold another photo of Warhol, alone, shot


NOTES 457

in May 1965 in a Paris hotel room with the same wallpaper as in the shot with Malanga, and wearing the same dark glass, which were unlike the ones he normally wore in New York.

68. 432 “I’m watching out after him”: Gerard Malanga to Julia Warhola, May 5, 1965, AWMA.

69. 432 popping Seconal: Gerard Malanga, in a diary entry cited in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 3521, Kindle edition.

70. 433 “baguette” of hashish: Gerard Malanga, interview by au-thor, April 11, 2018.

71. 433 “She had an extraordinary charm”: Stanislas Klossowski de Rola, interview by author, May 2, 2018.

72. 433 who had written: Alain Jouffroy, “Andy Warhol,” in Warhol (Paris: Ileana Sonnabend, 1964), np.

73. 433 young photographer: The photographer was Jean Jacques Bugat. The club was Chez Castel, one of the most fashionable spots in Paris—Jean Jaques Bugat, interview by author, March 30, 2018.

74. 433 “the best dancing legs”: Marylin Bender, “Edie Pops up as Newest Superstar,” New York Times, July 26, 1965.

75. 433 “doing more for black tights”: “The Girl in Black Tights,” Life (November 26, 1965): 45.

76. 433 she was the true inventor: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (November 23, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

77. 433 “a hooker from Mars”: Ed Hennessy, in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 207.

78. 434 Chuck Wein had spent some time: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 141.

79. 434 a star-studded loft party: Harry Gilroy, “The Bowery: Art and Avant-Garde: Studio Party Attracts Poets, Novelists and Painters,” New York Times, April 24, 1965.

80. 434 “why everyone liked it so much”: Andy Warhol, notes from an interview, n.d., box M88, AWMA.

81. 434 barely been shown there: In October 1963, Warhol had been included as one of many Pop artists in the Institute of Contem-porary Art’s “Popular Image USA” exhibition, which had toured from California to London thanks to Illeana Sonnabend. See “Complete ICA Exhibitions List 1948-Present,” July 2017, https://www.ica.art/sites/de-fault/files/downloads/Complete%20ICA%20Exhibitions%20List%20


458 NOTES

1948%20-%20Present%20-%20July%202017.pdf.82. 434 a stream of pills: Gerard Malanga, in Victor Bockris, War-


83. 434 “a vitamin”: Andy Warhol, notes from an interview, n.d., box M88, AWMA.

84. 434 early March 1965: Ronald Tavel, “Suicide,” accessed April 28, 2019, http://www.ronaldtavel.com/documents/suicide.pdf.

85. 434 scarred wrists of a young depressive: Although the film shows physical signs of having been screened many times (Greg Pierce, March 22, 2018, e-mail to the author) it was never shown in a public venue because the sitter threatened to sue—see Ronald Tavel, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., North-western University, 1982), 884.

86. 434 “Queen of Underground Movies”: Warhol, in Steven Wat-son, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 186. Warhol’s quote is dated by Watson to “early 1964,” without a further indication of its source.

87. 435 “You aren’t the Girl of the Year”: Billy Name, interview by author, July 24, 2014.

88. 435 read the headline: Marylin Bender, “Edie Pops up as New-est Superstar,” New York Times, July 26, 1965.

89. 435 originate with Jack Smith: The term was used in print in Jack Smith, “Superstars of Cinemaroc,” Gnaoua (Spring 1964): 68. Warhol mentions Smith as the originator of the term in Glenn O’Brien, “Inter-view: Andy Warhol,” High Times (August 1977): 38.

90. 435 called Marilyn a superstar: Edgar Morin, The Stars, trans. Richard Howard (New York: Grove Press, 1961), 31.

91. 435 “substitute someone else”: Warhol, in Leticia Kent, “Andy Warhol, Movieman: ‘Its Hard to Be Your Own Script,’” Vogue (March 1, 1970): 204.

92. 436 a public screening: Ara Osterweil, “On (and Off) the Couch,” in Warhol in Ten Takes, ed. Glyn Davis and Gary Needham (Brit-ish Film Institute, 2013), 48.

93. 436 “found person”: John Perreault, typescript introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.

94. 436 the first time “superstar”: Newsweek (December 7, 1964): 103.

95. 436 “replacing Hollywood”: John Perreault, typescript in-troduction to lost unpublished monograph on Warhol (c.1971), TC246,


NOTES 459

AWMA.96. 436 “makes them into something”: Henry Geldzahler, inter-

view by Jean Stein, typescript interview for Jean Stein’s biography of Edie Sedgwick, January 6, 1973, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

97. 436 “the reel is creating the reality”: Chuck Wein, in Marylin Bender, “Edie Pops up as Newest Superstar,” New York Times, July 26, 1965.

98. 437 one hundred pounds of flesh: Marylin Bender, “Edie Pops up as Newest Superstar,” New York Times, July 26, 1965.

99. 437 big hair: Eugenia Sheppard, “Security Is Lots of Hair,” Hart-ford Courant, October 27, 1964.

100. 437 “She was one of his ego images”: Henry Geldzahler, in-terview by Jean Stein, typescript interview for Jean Stein’s biography of Edie Sedgwick, January 6, 1973, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

101. 437 brushed polish on his nails: Bruce Torbet, Superartist, doc-umentary, 1967. See also Ronald Tavel, Andy Warhol’s Ridiculous Screen-plays (Silverton, OR: Fast Books, 2015), 157.

102. 437 “the whole unisex trip”: Betsey Johnson, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 296, Kindle edition.

103. 437 “I always wanted to be a girl”: Andy Warhol, interview by Old Owl [Robert Reilly], typescript of an unpublished interview intended for the Yale Record (Spring 1966), TC14, AWMA.

104. 437 a shy boyfriend: See Philip Norman Fagan in Warhol’s Screen Test #1, shot in January 1965.

105. 437 Barbara Rubin assumed sailor stripes: See Daniel Kram-er’s photo of Barbara Rubin with Bob Dylan, taken November 7, 1964, in Princeton, at “Bob Dylan, the Beat Generation, and Allen Ginsberg’s America,” The New Yorker (August 13, 2010), https://www.newyorker.com/news/news-desk/bob-dylan-the-beat-generation-and-allen-gins-bergs-america.

106. 437 under formal wear: Leonard Shecter, “The Warhol Fac-tory,” New York Post, February 23, 1966.

107. 437 Breton stripes: See Trevor Adams, “Stars in Stripes,” Indy/Life (blog), July 9, 1999, www.independent.co.uk/life-style/the-essay-stars-in-stripes-1105547.html.

108. 437 a still of Marlon Brando: Lane Slate, “USA Artists [Andy Warhol and Roy Lichtenstein],” television broadcast (New York: WNET,


460 NOTES

March 8, 1966).109. 438 a Picasso festival: “Picasso: An American Tribute,” a pam-

phlet inserted at the page for May 11 in Warhol’s 1962 datebook (AWMA).110. 438 “I wonder if Picasso”: Warhol, in Ninette Lyon, “A Second

Fame: Good Food: Robert Indiana, Andy Warhol,” Vogue (March 1, 1965): 185.

111. 438 a competition: “L’Index connaissance des arts 1966,” Con-naissance des arts ( June 1966): 88. Roy Lichtenstein got one vote; Victor Vasarely received a fair number; total unknowns did even better.

112. 438 “unbelievably corny”: Andy Warhol and Anna Karina, notes from an interview, October 1973, box M88, AWMA.

113. 438 Collector’s items for the young crowd: Patricia Peterson, “Shirted to a T,” New York Times Magazine (May 31, 1964).

114. 438 major Pop story: John Canaday, “Pop Art Sells On and On—Why?” New York Times, May 31, 1964.

115. 438 “youthquakers”: “People Are Talking about . . . Youthquak-ers,” Vogue (August 1, 1965): 86. Note that Warhol got a passing mention (p. 140) in that same issue’s feature on the home of Dennis Hopper and Brooke Hayward.

116. 438 “undergrounds roll out like crêpes”: “People Are Talking about . . . Youthquakers,” Vogue (August 1, 1965): 90.

117. 438 Outer and Inner Space: The piece was first called simply Space—Gerard Malanga, in a May 10, 2018, e-mail to the author. But it may have got the longer title because Ronald Tavel had also used the word Space for one of his Warhol scripts.

118. 438 Inner and Outer Space: Robert Breer’s Inner and Outer Space was included in a major show of the same name that opened in Decem-ber, 1965, at the prestigious Moderna Museet in Stockholm, where War-hol had recently shown and whose curator he was close to.

119. 439 “children of technology”: Billy Name, interviewed by Col-lier Schorr in Billy Name and Collier Schorr, All Tomorrow’s Parties: Billy Name’s Photographs of Andy Warhol’s Factory (New York: D.A.P., 1997), 18.

120. 439 almost unusable: Paul Morrissey, in Brian Chamberlain, Factory Days: Paul Morrissey Remembers the Sixties, documentary, 2006.

121. 439 first one by Nam June Paik: Callie Angell, “Doubling the Screen: Andy Warhol’s Outer and Inner Space,” Millennium Film Journal 38 (Spring 2002), http://www.mfj-online.org/journalPages/MFJ38/an-gell.html.

122. 439 “I believe in television”: Warhol, in “Pop Goes the Video Tape,” Tape Recording Magazine (October 1965): 16.


NOTES 461

123. 440 flower-covered newsletter: Andy Warhol Fan Club of New York City, Andeeeeee MONTHLY (Wee Hope) GAZETTE, April 1965, 5, Leo Castelli Gallery Records, Archives of American Art, Smithsonian Insti-tution. The poem itself was submitted by a gay 23-year-old from North Carolina—see Phillip R. Poovey, interview by author, May 9, 2018.

124. 440 “They’re called ‘Fannies”: Warhol, quoted in John Ash-bery, “Andy Warhol Causes Fuss in Paris,” New York Herald-Tribune (Paris Edition), May 18, 1965.

125. 440 mailed signed photos: See the February 11, 1965, and March 25, 1965, fan letters in the Leo Castelli Gallery records, Archives of Amer-ican Art, Smithsonian Institution.

126. 440 the only fine artist: Ivan Karp, in “The Man of Campbell Soup and Coke,” The Collegian, February 24, 1965.

127. 440 a call to the new press agent: Ronald Tavel, Andy Warhol’s Ridiculous Screenplays (Silverton, OR: Fast Books, 2015), 6.

128. 440 as one ’60s thinker: Daniel J. Boorstin, The Image: A Guide to Pseudo-Events in America (Knopf Doubleday, 2012), loc. 928, Kindle edi-tion.

129. 440 “such a reputation”: John Wilcock, “The Detached Cool of Andy Warhol,” Village Voice, May 6, 1965.

130. 441 “Susan Soundbag”: Stanley Reynolds, “Pop, Flick and Hip,” The Guardian, December 5, 1964.

131. 441 article about food: Ninette Lyon, “A Second Fame: Good Food: Robert Indiana, Andy Warhol,” Vogue (March 1, 1965): 185.

132. 441 a hairdresser: Enid Nemy, “A ‘Happening’ Happens to Re-place a Hairdo Show,” New York Times, July 12, 1965.

133. 441 gum art: Jane Kass, “Gum Art Comes out from under the Table,” Newsday, July 21, 1965.

134. 441 adopted “Warhol”: “Lyons Den,” Syracuse Post Standard, July 15, 1965. Lyons’s column was syndicated in many other newspapers as well. The actor’s new name was Suraci Warhol.

135. 441 A New York Times feature: Angela Taylor, “What Audi-ence Wears When It’s on Camera,” New York Times Magazine (August 18, 1965).

136. 441 a description of Factory life: Howard Junker, “Andy War-hol, Movie Maker,” The Nation, February 22, 1965. Junker’s article is re-printed in.Carl Bromley, ed., Cinema Nation (New York: Thunder’s Mouth Press, 2000), 219.

137. 441 “making a fuss”: Warhol, in Robert Fulford, “He’s Foreman of the Pop Art Factory,” Toronto Daily Star, March 13, 1965.


462 NOTES

138. 441 first survey of Warhol’s Pop: Michael Hanlon, “Book Two Headliners for CNE Show,” Globe and Mail, March 3, 1965.

139. 442 in coach: Gerard Malanga, “Electric Chairs on Display in Toronto for First Time” (typescript, n.d.), Gerard Malanga Papers, Bei-necke Rare Book and Manuscript Library, Yale University.

140. 442 Ivan Karp: Ivan Karp, interview by David Bourdon, typed notes, April 22, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

141. 442 Warhol on TV: “Show on Shows,” CBC Times, April 3, 1965, 6.

Warhol’s appearance on Elwood Glover’s “Luncheon Date” pro-gram, mentioned in the above, was confirmed by Darren Yearsley of the CBC in a June 9, 2017, e-mail to the author.

142. 442 barely opened his mouth: Harry Malcolmson, Toronto Tele-gram, March 27, 1965. (Malcolmson’s column was untitled.)

143. 442 Karp did all the talking: Antony Ferry, “Meet the Dead-Eyed Daddy of Pop Art,” Toronto Daily Star, March 19, 1965.

144. 442 first really big Warhol feature: Robert Fulford, “He’s Fore-man of the Pop Art Factory,” Toronto Daily Star, March 13, 1965.

145. 442 a fancy profile: Roger Vaughan, “Superpop, or, A Night at the Factory,” New York Herald Tribune, August 8, 1965.

146. 442 originally been commissioned: Roger Vaughan, in a Feb-ruary 18, 2014, e-mail to the author.

147. 443 “three most famous female superstars”: Mike Mcgrady, “The Importance of Trivia,” Newsday, November 13, 1965.

148. 443 won an entry: Who’s Who in America, 1964–1965 (Chicago: Marquis Who’s Who, 1964).

CHAPTER 25

1. 445 “Love with Andy would have been beautiful”: Danny Williams, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 275.

2. 445 “find a way to squeeze them out”: Billy Name, in Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

3. 446 “A lot goes on in the studio”: Warhol, in Andy Warhol, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

4. 446 “the squirrels”: Warhol quoted by Mark Lancaster, in Gary Comenas, “Mark Lancaster Interview,” Warholstars (blog), 2004, http://


NOTES 463

www.warholstars.org/andywarhol/interview/mark/lancaster.html.5. 447 “He’s a voyeur-sadist”: Henry Geldzahler, interview by

Jean Stein, typescript interview for Jean Stein’s biography of Edie Sedg-wick, January 6, 1973, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

6. 447 “all that creative energy going on”: John Cale, in Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

7. 447 “let other artists do their thing”: Jane Holzer, in a tran-script provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

8. 447 “a community center for eccentrics”: Edgar J Driscoll, “The Art World: So What’s New?” Boston Globe, October 9, 1966.

9. 447 “symbol of the noncommittal”: Jonas Mekas, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5188, Kindle edition.

10. 447 “he made everyone feel important”: Pat Hackett in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 102, Kindle edition.

11. 447 “You would suffer”: Danny Fields, in Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documen-tary, 2007.

12. 447 “extremely fatherly”: Mary Woronov, oral history, inter-view by Matt Wrbican, audiocassette, April 21, 1995, AWMA.

13. 448 “People victimized themselves”: Mary Woronov, Eyewit-ness to Warhol: Essays (Los Angeles: Victoria Dailey, 2002), 15.

14. 448 “He promises meetings”: Taylor Mead, in David Bourdon, “The Factory Decades: An Interview,” Boss, 1979, 31.

15. 448 “stay in the underground”: “Billy Name—Legend,” ac-cessed December 27, 2017, http://www.billieraymartin.com/?p=1826.

16. 448 “People say he wasn’t generous”: John Cale, in “My 15 Minutes,” The Guardian, February 12, 2002, https://www.theguardian.com/culture/2002/feb/12/artsfeatures.warhol.

17. 448 “intellectual envy”: John Cale, in “My 15 Minutes,” The Guardian, February 12, 2002, https://www.theguardian.com/cul-ture/2002/feb/12/artsfeatures.warhol.

18. 448 “incomplete” people: John Cale, in Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documen-tary, 2007.

19. 448 budding filmmaker: On Paul Morrissey before Warhol see


464 NOTES

Maurice Yacowar, The Films of Paul Morrissey (New York: Cambridge Uni-versity Press, 1993).

20. 448 June of ’65: See the Paul Morrissey ad in the Village Voice, June 17, 1965.

21. 448 that his more technical skills: Billy Name and Gerard Malanga, full interview transcript for the documentary “The Factory People: Interview Archive” (Planet Group Entertainment, 2011), pro-vided to the author by producer Patrick Nagle, n.d.

22. 448 “which wasn’t much”: Morrissey, interview by Bockris-Wiley [Victor Bockris and Andrew Wylie], typed notes, December 24, 1973, Victor Bockris and Andrew Wylie Collection, The Harry Ransom Center at The University of Texas at Austin.

23. 448 “revolutionary”: Paul Morrissey, in Brian Chamberlain, Factory Days: Paul Morrissey Remembers the Sixties, documentary, 2006.

24. 449 “Andy ran the camera”: Paul Morrissey, interview by Bock-ris-Wiley [Victor Bockris and Andrew Wylie], typed notes, December 24, 1973, Victor Bockris and Andrew Wylie Collection, The Harry Ransom Center at The University of Texas at Austin.

25. 449 twisting out hanks: Richard Turley, interview by author, November 9, 2018.

26. 449 “devoid of sexuality”: Susan Pile, interview by author, March 28, 2017.

The same opinion is expressed by Joe Dallesandro in Alec Baldwin and Joe Dallesandro, “Joe Dallesandro Thought Warhol Made Soup,” Web audio (WNYC, June 21, 2016), https://www.wnycstudios.org/pod-casts/heresthething/episodes/htt-joe-dallesandro.

27. 449 help Warhol find sex: Rudy Franchi, interview by author, November 7, 2018. Franchi said that on that night, in the summer of 1965, Morrissey arranged for Franchi and Warhol to go home together.

28. 449 an antidrug short: Gary Comenas, “Family Brings Lawsuit against the Andy Warhol Foundation and Paul Morrissey for ‘Invasion of Privacy’ over a Short Film Directed by Morrissey in 1964,” Warholstars (blog), December 2009, http://www.warholstars.org/andy_warhol_1209.html.

29. 449 Father Flanagan: Susan Pile, interview by author, March 28, 2017.

30. 449 “The notion that he had ideas”: Paul Morrissey, in Kevin Maher, “Now Look Who’s Shot Andy Warhol,” Times of London, March 15, 2007.

31. 449 twenty-five-year-old: Brigid Berlin’s birth date is given as


NOTES 465

September 6, 1939, in Vincent Fremont and Shelly Dunn Fremont, Pie in the Sky: The Brigid Berlin Story, documentary (Vincent Fremont Enter-prises, 2000).

32. 449 Brigid Berlin: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 225. Watson is the most thor-ough source on the Factory’s cast of characters, although his book has a number of factual errors.

33. 449 “governess-coddled product”: Cherie Hart-Green, “Will the Real Andy Warhol . . . ,” Women’s Wear Daily, October 26, 1969.

34. 449 spiraling weight: Cherie Hart-Green, “Will the Real Andy Warhol . . . ,” Women’s Wear Daily, October 26, 1969.

35. 449 she had married: Brigid Berlin, in Vincent Fremont and Shelly Dunn Fremont, Pie in the Sky: The Brigid Berlin Story, documentary (Vincent Fremont Enterprises, 2000).

36. 449 “Brigid was evil”: Holly Woodlawn, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 2288, Kindle edition.

37. 449 helped introduce Warhol: Steven Balkin, interview by au-thor, June 12, 2018.

38. 450 a girl’s prison: Bibbe Hansen, interview by author, Febru-ary 17, 2017.

39. 450 her time in stir: Bibbe Hansen, interview by author, Febru-ary 17, 2017.

40. 450 self-promotion: Paul Carroll, “What’s a Warhol,” Playboy (September 1969).

41. 450 love letters: The letters, undated, are in the Gerard Malanga papers, The Harry Ransom Center at The University of Texas at Austin.

42. 450 “We were all outsider insiders”: Bibbe Hansen, in “In Con-versation with Bibbe Hansen,” Interview (November 11, 2017).

43. 450 “the manipulator”: business Joseph Freeman, interview by author, June 7, 2018.

44. 450 “solving our problems: Bibbe Hansen, interview by author, February 17, 2017.

45. 450 “Some blame Andy for Edie’s addictions”: Bibbe Hansen, interview by author, February 17, 2017.

46. 451 eighteen-year-old: Susan Pile, interview by author, March 28, 2017. See also Susan Pile, interview by author, May 19, 2017.

47. 451 Pentax camera: See the July 12, 1961, receipt for a Pentax H3 camera from Willoughby’s of New York (TC56, AWMA). It was one of the first high-end Japanese single-lens reflex cameras, and even after an


466 NOTES

unspecified trade-in it cost Warhol $162, a substantial sum at the time.48. 451 Another young man: The filmmaker was Danny Wil-

liams—see Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

49. 451 “I have the impression”: Andy Warhol, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

50. 451 “TEMPORARILY CLOSED”: Billy Name to Andy Warhol, May 1965, TC39, AWMA.

51. 451 ship out all reels: Billy Name, May 1965 note to Jonas Me-kas, reprinted in Jonas Mekas, A Dance with Fred Astaire (New York: An-thology Editions, 2017), 41.

52. 452 uniformed officers: Police Raid Andy Warhol’s Factory During Velvet Underground Filming, Web video [excerpt from Andy Warhol, “The Velvet Underground and Nico: Symphony of Sound” (1966)], accessed November 30, 2019, https://www.youtube.com/watch?v=bkvaO2ih6C4.

53. 452 complained about cops: Andy Warhol, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

54. 452 he’d overslept: Dorothy Kilgallen, “Dorothy Kilgallen’s Last Column,” Miami News, November 9, 1965. The incident would have been especially well-known because it was reported in the last piece writ-ten before the sudden death of Kilgallen, a well-known gossip columnist.

55. 452 “hereby directed not to have any such parties”: Alfred R. Goldstein, president of Elk Realty, to Andy Warhol, November 15, 1965, TC47, AWMA, http://www.lettersofnote.com/2011/08/factory.html.

56. 452 closing the Factory: Andy Warhol, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

57. 452 “No Drop-Ins—All Junk Out!!”: The sign is visible in pho-tos taken by Gretchen Berg in early 1966.

58. 452 clear out of the Factory: Diary entry for November 29, 1966, in Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manu-script Library, Yale University.

59. 452 On weekends: Joseph Freeman, interview by author, June 7, 2018. Freeman’s first trip to the Factory would have been in late 1965.

60. 452 pull down the ladder: John Wilcock and Martin Gardner, Manhattan Memories: An Autobiography (Amazon Digital Services, 2009), loc. 3739, Kindle edition.


NOTES 467

61. 452 to do daytime drugs: Bibbe Hansen, interview by author, February 17, 2017.

62. 452 “disastrous party”: Edward Field, in an April 30, 2016, e-mail to the author.

63. 452 was scared off: Carlton Willers, interview by author, Sep-tember 22, 2015.

64. 453 “We became disenchanted”: Sally Chamberlain, draft memoir e-mailed to the author on July 11, 2016.

65. 453 the pay phone: Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), np.

66. 453 sneaking a cigarette: Warhol is seen smoking in pictures taken by David McCabe at the Glass House of architect Philip Johnson in the winter of 1964/1965 and in shots by Robert Levin from May 1985.

67. 453 “Brigid, you’re foaming”: Warhol, quoted by Berlin in Fif-teen Minutes: Homage to Andy Warhol, CD (Wu-Shan Inc./Sony Music En-tertainment, 2011).

68. 453 “He was the saint of misfits”: Ricky Clifton, interview by author, May 21, 2016.

69. 453 “she had absolutely no idea”: Ronald Tavel, “Shower,” ac-cessed November 29, 2019, www.ronaldtavel.com/documents/shower_screen.pdf.

70. 453 “coup-minded drones”: Ronald Tavel, Andy Warhol’s Ridicu-lous Screenplays (Silverton, OR: Fast Books, 2015), 71.

71. 454 September of ’65: Dorothy Dean, one of the film’s organiz-ers, said the shoot was planned for “the weekend after Labor Day,” i.e., September 11 to September 12. See Dorothy Dean et al., partial notes from an interview, c.1965, TC60, AWMA.

72. 454 “definitely déclassé”: Ondine, in Dorothy Dean et al., par-tial notes from an interview, c.1965, TC60, AWMA.

73. 454 Wein and Sedgwick: Gerard Malanga, interview by author, April 11, 2018.

74. 454 Nagra tape recorder: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 234.

75. 454 no sign they used it: Greg Pierce, film curator at The Andy Warhol Museum, June 29, 2018, e-mail to the author.

76. 454 finished movie’s sound: The first time they projected My Hustler, they were in utter despair of ever hearing the dialog, but play-ing it on a better projector rather later convinced them the film could be salvaged—see Paul Morrissey, in Tony Rayns, “Andy Warhol Films Inc: Communication in Action,” Cinema (UK) (August 1970): 44.


468 NOTES

77. 454 “He’s refusing to pan”: Billy Name, in “Billy Name—Legend,” accessed December 27, 2017, http://www.billieraymartin.com/?p=1826.

78. 455 contribution to film history: Ronald Tavel, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwest-ern University, 1982), 874.

79. 455 “headache inducing”: A writer signing only as “Beau,” re-viewing a July 10, 1967, screening of My Hustler in an otherwise unidenti-fied clipping (TC12, AWMA).

80. 455 “just find interesting things”: Warhol, in an interview con-ducted in early 1965, published in David Ehrenstein, “An Interview with Andy Warhol,” Film Culture (Spring 1966). The quote is from the inter-view as reprinted in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 68, Kindle edition.

81. 455 “by public demand”: My Hustler by Andy Warhol,” Village Voice, March 31, 1966. The ad was accessed November 30, 2019, at https://warholfilmads.files.wordpress.com/2012/11/vv-jan-20-1966-warhol-1.jpg.

82. 455 $30,000: Paul Morrissey, in Tony Rayns, “Andy Warhol Films Inc: Communication in Action,” Cinema (UK) (August 1970): 44.

83. 456 Not everyone at the Factory: Billy Name, in Stephen Shore, The Velvet Years: Warhol’s Factory, 1965–67 (New York: Thunder’s Mouth Press, 1995), 38.

84. 456 “practicing” homosexuals: “Live and Let Live,” Annual An-nual ( June 1965): TC7, AWMA. The interview with Warhol, published in the same issue, was titled “Pop Goes the Artist.”

The interview with the gay men had been broadcast on public radio in July 1962—see “The Week’s Radio Programs,” New York Times, July 15, 1962. Warhol was on air in the fall of 1963. It could be that the imperative to immortalize both transcripts in print was only felt in June 1965, when they seemed more distinctly topical and after the Federal Communica-tions Commission had decided not to act on complaints about the gay-themed broadcast—see Anthony Lewis, “F.C.C. Sanctions Provocative TV: Warns on ‘Bland’ Programs in Renewing Licenses for Pacifica’s 3 Stations,” New York Times, January 23, 1964.

85. 456 to catch masturbators: J. J. Murphy, The Black Hole of the Camera: The Films of Andy Warhol (Berkeley: University of California Press, 2012), 116.

86. 456 “fully displayed genitals”: A writer signing only as “Beau,” reviewing a July 10, 1967, screening of My Hustler in an otherwise uniden-tified clipping (TC12, AWMA).


NOTES 469

87. 457 spring of ’65: An April 25, 1965, newspaper article where Williams is shown at the Factory is cited in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 207.

88. 457 brought the Nagra: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 273.

89. 457 his mother and Warhol’s: Esther Robinson, in “Gerard Malanga: Andy’s Mother,” an extra track included with Heather Rob-inson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

90. 457 a parting gift: Andy Warhol, notes from an interview, n.d., box M88, AWMA.

91. 457 a brainy look: See the photograph in Stephen Shore, Factory: Andy Warhol (London: Phaidon, 2016), 124.

92. 457 “a little chunky, but in a cute way”: Robert Heide, in Vic-tor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 3724, Kindle edition.

93. 457 “very sexual relationship”: Robert Heide, in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: Harp-erCollins, 2009), 275.

94. 457 “have me meet his glamorous friends”: Danny Williams, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 275.

95. 457 started planning: “‘The Bed’ to Shoot in N.Y. Early 1965,” Backstage, November 27, 1964, 1.

96. 457 “committing suicide”: Robert Heide, “Riots at the Stone-wall and Magic at Caffe Cino; Gay Revolution in Greenwich Village in the ’60s,” The Villager, June 25, 2015, https://www.thevillager.com/2015/06/riots-at-the-stonewall-and-magic-at-caffe-cino-gay-revolution-in-green-wich-village-in-the-60s/.

97. 458 Williams wielded another: Footage also survives that Danny Williams shot on a Bolex, but it doesn’t seem to have been used in the film as screened.

98. 458 the younger man also shot films: Some of Danny Wil-liams’s film work can be see in Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

99. 458 benefits of amphetamines: Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

100. 458 Williams: See “Chuck Wein: Fire Island Acid Trip,” an extra track included with Heather Robinson, A Walk Into the Sea: Danny Wil-


470 NOTES

liams and the Warhol Factory, DVD, documentary, 2007.101. 458 Wein: Tony Scherman and David Dalton, Pop: The Genius of

Andy Warhol (New York: HarperCollins, 2009), 272.102. 458 with LSD: Steven Watson, Factory Made: Warhol and the Six-

ties (New York: Pantheon Books, 2003), 235.For another account of the episode see Andy Warhol and Pat Hack-

ett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 158.

103. 458 seeing through walls: See “Chuck Wein: Fire Island Acid Trip,” an extra track included with Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

104. 458 cleaning and recleaning: Gerard Malanga, interview by author, December 14, 2016.

The reference to Paul Morrissey in a fetal position is from Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 272.

105. 459 “like little children in a playpen”: Paul America, in Guy Flatley, “How to Become a Superstar—and Get Paid, Too,” New York Times, December 31, 1967.

106. 459 alcohol that Williams also abused: Chuck Wein, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 273.

107. 459 yanked off Warhol’s wig: Victor Bockris, Warhol: The Biog-raphy (Cambridge, MA: Vintage Books, 2003), loc. 3730, Kindle edition.

108. 459 major depressive streak: Billy Name, in Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, docu-mentary, 2007.

109. 459 jealous of Williams: “Billy Name: After Andy Was Shot,” an extra track included with Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

110. 459 “nervous breakdowns”: Billy Name, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 3723, Kindle edition.

111. 459 In May: See the May 10, 1966, model release for Mary Woronov to appear in a Plaza 8 bra ad for a fee of $180 (box B13, AWMA).

112. 459 late turning it in: Greg Pierce, film curator at The Andy Warhol Museum, in an April 22, 2014, e-mail to the author, conveying information collected by Warhol film scholar Callie Angell.

113. 459 during the spring and summer: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009),


NOTES 471

338.114. 460 had come to blows: Heather Robinson, A Walk Into the Sea:

Danny Williams and the Warhol Factory, DVD, documentary, 2007.115. 460 “really treated like dirt”: Andy Warhol, notes from an in-

terview, n.d., box M88, AWMA.116. 460 abusing Williams: Gerard Malanga, in Heather Robinson,

A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, docu-mentary, 2007.

117. 460 “largest shareholder”: Danny Williams, in a document read aloud in Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

118. 460 He showered: Gerard Malanga, in Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, docu-mentary, 2007.

119. 460 “the worst druggy mess”: Gerard Malanga, interview by author, April 11, 2018.

120. 460 I would sit next to Danny: Ronald Tavel, Andy Warhol’s Ri-diculous Screenplays (Silverton, OR: Fast Books, 2015), 120.

121. 460 “I don’t care where he is”: Warhol, quoted by Ronald Tavel, Andy Warhol’s Ridiculous Screenplays (Silverton, OR: Fast Books, 2015), 121.

122. 461 his clothes were later found: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 295.

For a different account of Danny Williams’s end see Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCol-lins, 2009), 348.

123. 461 “innate brilliance”: Logan Smiley, reading aloud in “Logan Smiley: Letter to Danny’s Mother,” an extra track included with Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

CHAPTER 26

1. 463 “everything will be art”: Warhol, in Peter Benchley, “The Story of Pop,” Newsweek (April 25, 1966): 61.

2. 463 “PUBLIC RESPONSE TO THE WARHOL SHOW”: “Edi-torial,” Prometheus ( January 1966): trunk TC, AWMA. This irregular periodical was published by Philadelphia’s Makler Gallery, which spe-cialized in more conservative modern art.

3. 463 nine thousand prints: Nancy Love, “Pop Goes the Easel,” Greater Philadelphia (November 1965): 156. The number of invitations is


472 NOTES

given as 6,000 in Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA.

4. 463 museum director had them made: Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA. On the price see ICA News (Fall 1965), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

5. 463 flood of publicity: See for example Katherine Dunlap, “Andy Warhol Coming Here for the Preview,” Philadelphia Inquirer, Sep-tember 26, 1965. Warhol had used the press connections he’d already made as an illustrator to drum up coverage, according to Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA.

6. 463 new PR concept: Victoria Donohoe, “Art News,” The Phila-delphia Inquirer, September 12, 1965.

7. 464 “Andy and his superstars were the event”: Samuel Adams Green, in Stephen Shore, The Velvet Years: Warhol’s Factory, 1965–67 (New York: Thunder’s Mouth Press, 1995), 168.

8. 464 1,600 people: Tina H. Laver, “Pop Art and the Masses: War-hol ‘Exhibit’ Draws Hoardes—Termed ‘Insulting,’ ‘Weird,’ ‘Disgusting,’” The Daily Pennsylvanian, October 11, 1965.

9. 464 two turntables: Nancy Love, “Pop Goes the Easel,” Greater Philadelphia (November 1965): 156.

10. 464 TV crews: “Screening TV,” Philadelphia Inquirer, October 14, 1965.

11. 464 had been damaged: Jerald Ordover to Samuel Adams Green, December 13, 1965, Leo Castelli Gallery Records, Archives of American Art, Smithsonian Institution. The letter, from Warhol’s lawyer, concerns insurance claims for a damaged Tuna Fish, a stolen Red Liz and an Elvis painting that was graffitied toward the end of the Philadelphia show.

12. 464 “black nails on white wall”: Nancy Love, “Pop Goes the Easel,” Greater Philadelphia (November 1965): 156.

13. 464 “attracted more by the personalities”:Tina H. Laver, “Pop Art and the Masses: Warhol ‘Exhibit’ Draws Hoardes—Termed ‘Insult-ing,’ ‘Weird,’ ‘Disgusting,’” The Daily Pennsylvanian, October 11, 1965.

14. 464 “He was dressed for motorcycling”: Nancy Love, “Pop Goes the Easel,” Greater Philadelphia (November 1965): 156. Substantial pre-planning would have been required for a feature on an October event to have appeared in a November monthly: Space would have to be blocked out in advance for pre-assigned text and photography. The story itself makes clear that at the time of the opening the writer was reporting with substantial feature treatment in mind.


NOTES 473

On the magazine’s ambitions at just this moment see Diane Mas-trull, “Owner of Philadelphia Magazine Raised in Easton Dies at 88,” mcall.com, December 26, 2017, https://www.mcall.com/business/mc-biz-philadelphia-magazine-owner-dies-20171226-story.html.

15. 464 Malanga, Karp and Geldzahler: See. Alan R. Solomon, “Introduction,” in Andy Warhol (Boston: Institute of Contemporary Art, 1965), np.

16. 464 David Bourdon: David Bourdon, “Andy Warhol 1928–87,” Art in America (May 1987): 140.

17. 464 Brigid Berlin: Brigid Berlin is visible with Warhol and oth-ers in a photograph taken on the occasion of the opening, reproduced in From the Factory to the World: Photography and the Warhol Community (Madrid: La Fabrica Editorial/RIT, 2012), 76.

18. 464 “pop-artistic merrymakers”: Katherine Dunlap, “Andy Warhol Coming Here for the Preview,” Philadelphia Inquirer, September 26, 1965.

Various clippings also mention Rosalind Constable, Gene Swenson, David Bourdon and Philip “Fufu” Smith as having been in attendance.

19. 464 baby-food boxes: Nancy Love, “Pop Goes the Easel,” Greater Philadelphia (November 1965): 157.

20. 464 Campbell’s Soup: David Bourdon, “Help!,” Village Voice, Oc-tober 14, 1965.

21. 464 Gernreich dress: David Bourdon, “Help!,” Village Voice, Oc-tober 14, 1965.

22. 465 three fans out a window: David Bourdon, “Help!,” Village Voice, October 14, 1965.

23. 465 “like so many Beatlemaniacs”: “Screening TV,” Philadel-phia Inquirer, October 14, 1965.

24. 465 “Get his clothing”: David Bourdon, “Help!,” Village Voice, October 14, 1965.

25. 465 surrendered his new, goggly sunglasses: Frank Galuska, interview by author, May 18, 2015.

26. 465 “through and down the fire escape”: Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA.

27. 465 I.C.A.’s top job: “Penn Names Modern Art Aide,” Philadel-phia Inquirer, August 30, 1964.

28. 465 latest in visual culture: “Penn Names Modern Art Aide,” Philadelphia Inquirer, August 30, 1964.

29. 465 Renoir and Gauguin: Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA.


474 NOTES

30. 465 a.k.a. “Lallie”: See Edward J. Sozanski, “A Rare Eye for Art: Collector Eleanor Biddle Barnes Lloyd,” Philadelphia Inquirer, May 10, 1994. Her nickname is misspelled “Lally” in Warhol’s POPism and in the interview it is based on (AWMA).

The membership of Green’s board is listed in Katherine Dunlap, “Andy Warhol Coming Here for the Preview,” Philadelphia Inquirer, Sep-tember 26, 1965.

31. 466 “Lallie Lloyd said”: Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA.

32. 466 on the board: On McIlhenny’s presence at the Philadelphia Museum of Art see “Archives: Finding Aids for the Henry P. McIlhenny Papers,” accessed April 8, 2019, http://www.philamuseum.org/pma_ar-chives/ead.php?c=HPM&p=hn%20. Henry McIlhenny’s sister, another relative of Green’s, was the PMA’s president at the time of Green’s Warhol show.

33. 466 “He ridiculed it, but he supported me”: Samuel Adams Green, interview by Avis Berman, June 6, 2006, courtesy The Roy Lich-tenstein Foundation Archives.

34. 466 gay soirees: Jean-Claude van Itallie, interview by author, November 2, 2016. A visit to McIlhenny is recorded on the July 21 page in Warhol’s 1961 datebook (AWMA). See also Henry McIlhenny in Jack Smith, “Oh Henry!,” Philadelphia (March 1987): 100.

35. 466 “He loved it”: Samuel Adams Green, interview by Avis Ber-man, June 6, 2006, courtesy The Roy Lichtenstein Foundation Archives.

36. 466 “will there be anything else?”: Samuel Adams Green, notes from an interview, March 21, 1975, box M88, AWMA.

37. 466 given dinner: Dinner invitation addressed to Warhol, Ge-rard Malanga and Chuck Wein, TC59, AWMA.

38. 466 bedding down at McIlhenny’s: Gerard Malanga, interview by author, April 11, 2018.

There was certainly an almost comic contrast between Warhol, champion of the new, and stodgy old Philadelphia, blue-blooded birth-place of the nation. Henry McIlhenny said that even he eventually tired of the most extreme of Warhol’s antics and companions—see McIlhenny in Jack Smith, “Oh Henry!,” Philadelphia (March 1987). And yet the city also had a more recent history of welcoming the avant-garde. For a full decade already, the Museum of Art had been hosting the world’s greatest collection of works by Marcel Duchamp; the catalog for Warhol’s ICA show was careful to quote the Frenchman, now counting as a local hero, on the “anti-retinal” brilliance of the Campbell’s Soups. The local YMHA


NOTES 475

also fostered Philly’s Dada side: It had brought Alan Kaprow to town in 1962 for a happening that included plucked chickens in wire spheres; the next year the same Y had a show of all New York’s neo-Dadas—except Warhol—but eventually presented Warhol at his most extreme, sponsor-ing one of his rock-and-film extravaganzas.

39. 466 “hoodlums”: Gene R. Swenson, “The Personality of the Artist” (typescript draft of a lecture given October 21, 1965, at the Insti-tute of Contemporary Art in Philadelphia, n.d.), Sean Carrillo collection, Hudson, NY. The date of the lecture is specified in period press and in ICA press releases (AWMA).

40. 466 “They’re laughing at us”: Tina H. Laver, “Pop Art and the Masses: Warhol ‘Exhibit’ Draws Hoardes—Termed ‘Insulting,’ ‘Weird,’ ‘Disgusting,’” The Daily Pennsylvanian, October 11, 1965.

41. 467 “aesthetically indefensible”: “Editorial,” Prometheus ( Janu-ary 1966), trunk TC, AWMA. This irregular periodical was published by Philadelphia’s Makler Gallery, which specialized in more conservative modern art.

42. 467 describing himself: Warhol, in Jean-Pierre Lenoir, “Paris Impressed By Warhol Show: Artist Speaks of Leaving Pop Pictures for Films,” New York Times, May 13, 1965.

43. 467 eventually screened: “Andy Warhol Films Listed by 2nd Fret,” Philadelphia Daily News, November 10, 1965.

The ICA also scheduled a screening for November 9 at the Theater of the Living Arts, then run by the great André Gregory, but there’s no mention of what might have been shown there—see “Dinner Parties,” Philadelphia Inquirer, November 9, 1965.

On a Soap Opera screening see ICA News (Fall 1965), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

44. 467 “the enfant terrible of pop art”: Nancy Love, “Pop Goes the Easel,” Greater Philadelphia (November 1965): 156.

45. 467 “usual paint spattered best”: Katherine Dunlap, “Andy Warhol Coming Here for the Preview,” Philadelphia Inquirer, September 26, 1965.

46. 467 volley of safety pins: See Charles Steiner’s photo of Warhol at the ICA in Eric Kroll, Warhol: Dylan to Duchamp (Tucson, AZ: Eric Firestone Gallery, 2010), 60.

47. 467 bull whip: John P. Corr, “Warhol Finds Local ‘Pop Set’ Dull,” Philadelphia Inquirer, November 8, 1965.

There is one questionable reference to Warhol wearing leather be-fore then, at the bodybuilders’ convention he went to with Ray Johnson


476 NOTES

in 1963—see the unsourced mention in Tony Scherman and David Dal-ton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 150. But that appearance in leather, if it happened at all, seems to have been in a quite private context, outside of the public eye and in fact before anyone much was looking Warhol’s way.

48. 467 his leather look: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 36. On Wynn Chamberlain’s initial adoption of leather, see also Sally Chamber-lain, Wynn Chamberlain’s widow, in a July 11, 2016, e-mail to the author.

49. 468 “He created himself—you gotta love it”: LOU Reed on Andy Warhol, Web audio, 2012, https://soundcloud.com/brainpicker/lou-reed-on-andy-warhol.

50. 468 “so childish and commercial”: Jorge Romero Brest, in Andy Warhol (Buenos Aires: Galeria Rubbers, 1965). The exhibition catalog sur-vives in Time Capsule 11 of the Warhol archives.

51. 468 “wearing a long black cape”: Lynn Sands, “High Time,” Newsday, September 23, 1965.

52. 468 “Spook Hollow”: Suzy Knickerbocker, “Young Crowd There,” Philadelphia Inquirer, October 8, 1965.

53. 468 “perfectly willing to settle for the personality”: Alan R. Solomon, “Introduction,” in Andy Warhol (Boston: Institute of Contem-porary Art, 1965), np.

54. 469 “projecting his mysterious personality”: David Bourdon, in Lana Jokel, Andy Warhol, documentary, 1972.

55. 469 “idea of the artist as some sort of performer”: Brian O’Doherty, “Artist as Performer: Which Means New Criteria for Art,” New York Times, August 23, 1964.

56. 469 give a lecture: Gene R. Swenson, “The Personality of the Artist” (typescript draft of a lecture given October 21, 1965, at the Insti-tute of Contemporary Art in Philadelphia, n.d.), Sean Carrillo collection, Hudson, NY.

57. 469 “Theater of the Absurd”: Victoria Donohoe, “Warhol Show at Penn Institute,” Philadelphia Inquirer, October 10, 1964.

58. 469 “he’s a liar when he’s being interviewed”: Gerard Malanga, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 123.

59. 469 told his own mother: James Warhola, interview by David Bourdon, typed notes, August 10, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

60. 470 “Andy Warhol himself”: Harold Rosenberg, in Lana Jokel,


NOTES 477

Andy Warhol, documentary, 1972.61. 470 “Andy Warhol’ is Andy Warhol’s greatest superstar”:

John Perreault, “Andy Warhol Disguised Here as Andy Warhol,” Vogue (March 1, 1970): 165.

62. 470 “instrumentality of everyday life”: David Deitcher, “The Unsentimental Education: The Professionalization of the American Artist,” in Hand-Painted Pop: American Art in Transition, 1955–62, ed. Paul Schimmel et al. (Los Angeles: Museum of Contemporary Art/Rizzoli, 1992), 9.

63. 470 “We say ‘life before art”: Frank O’Hara and Larry Rivers, “How to Proceed in the Arts,” Evergreen Review (August 1961): 97.

64. 470 “Art can operate in the manner of life”: John Cage, in War-hol and Dance: New York in the 50’s (Paris: Galerie Thaddeus Ropac, 2010), 12.

65. 470 “gap between”: Robert Rauschenberg, “Statement,” in Six-teen Americans, ed. Dorothy C. Miller (New York: Museum of Modern Art, 1959), 58.

66. 470 “emotive pictorial device”: Robert Rauschenberg, in Alan R. Solomon, “The New Art,” in The Popular Image Exhibition (Washing-ton, D.C.: Washington Gallery of Modern Art, 1963), np.

67. 470 “Combine Generation”: John Gruen, The New Bohemia: The Combine Generation (New York: Shorecrest, 1966).

68. 471 “art attach itself directly to the life”: Cleve Gray, “Rem-burgers and Hambrandts,” Art in America (December 1963): 125.

69. 471 “a constant crossover”: Lawrence Alloway, in “Pop Art: An Historical Approach” (lecture transcript from a symposium organized by Willoughby Sharp for the Columbia University Graduate Art History Association, April 25, 1964), courtesy The Roy Lichtenstein Foundation Archives.

70. 471 first book on Pop Art: John Rublowsky, Pop Art (New York: Basic Books, 1965).

71. 471 one of the book’s reviewers: Harold Haydon, “Get the Drop on Pop and Op Art,” Tampa Times, August 18, 1965.

72. 471 “promote living art, anti-art”: George Maciunas, “George Maciunas, Manifesto 1 (1963),” George Maciunas Foundation Inc., accessed April 29, 2019, http://georgemaciunas.com/about/cv/manifesto-i/.

73. 471 “makes you very wise”: Warhol, in Ninette Lyon, “A Sec-ond Fame: Good Food: Robert Indiana, Andy Warhol,” Vogue (March 1, 1965): 186.

On Ono at the Factory see Stephen Shore, Factory: Andy Warhol (Lon-


478 NOTES

don: Phaidon, 2016), 84. 74. 471 pointing out things: Gabriela Rangel, “Alberto Greco: Sign-

ing the Transient,” Review: Literature and Arts of the Americas 40, no. 2 (November 2007): 298–300, https://doi.org/10.1080/08905760701654475.

75. 471 “Alberto Greco, artwork not in the catalogue”: See “Al-berto Greco,” accessed December 1, 2019, http://www.albertogreco.com/es/bio/albertogreco.pdf.

76. 472 guerilla raffle: See “Greco, Alberto—Maman Fine Art,” ac-cessed April 8, 2019, http://mamanfineart.com/artists/greco-alberto/.

77. 472 killed himself: See “Alberto Greco,” accessed December 1, 2019, http://www.albertogreco.com/es/bio/albertogreco.pdf.


79. 472 “Wants art to be for everyone”: Roberta Bernstein, unpub-lished journal entry for September 19, 1966, provided to the author by Bernstein in an October 3, 2018, e-mail.

80. 472 “poets, artists, engineers, film-makers etc”: Les Levine, in David Bourdon, “Plastic Man Meets Plastic Man,” New York (February 10, 1969): 44.

81. 472 “he has taken the most extreme position”: Barbara Rose, “In Andy Warhol’s Aluminum Foil, We Have All Been Reflected,” New York (May 31, 1971): 55.

82. 472 “That’s closer to the truth”: Paul Morrissey, in John Leon-ard, “The Return of Andy Warhol,” New York Times, November 10, 1968.

83. 473 “the artist is his own work of art”: John Perreault, type-script introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.

84. 473 claims to have inspired: Yayoi Kusama, in Lexi Manatakis, “Inside the Lost Years of Yayoi Kusama,” Dazed, October 8, 2018, https://www.dazeddigital.com/art-photography/article/41697/1/when-yayoi-kusama-was-forced-to-start-her-career-again-infinity-dogwoof.

Kusama and her eccentricity are discussed in Larry Rivers and Andy Warhol, notes from an interview, February 20, 1975, box M88, AWMA.

85. 473 “faraway, whispery voice”: Grace Glueck, “It’s Not Pop, It’s Not Op—It’s Marisol,” New York Times, March 7, 1965.

86. 473 “a handful of mist or fog”: David Prentice, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 1302, Kindle edition.

87. 473 Ileana Sonnabend: Brenda Richardson, “Ileana & Andy: A Story in Counterpoint,” in Warhol from the Sonnabend Collection (New


NOTES 479

York: Rizzoli, 2009), 11. 88. 473 how to be a woman who made art: See Frida Kahlo (Min-

neapolis: Walker Art Center, 2007) and Georgia O’Keeffe: Living Modern (New York: Brooklyn Museum, 2017.)

89. 474 “he’s all public relations”: Ethel Scull, in Jane Kramer, “The Man Who Is Happening Now,” The New Yorker (November 26, 1966): 119.

90. 474 “his greatest creation is himself”: Paul Morrissey, in John Heilpern, “The Fantasy World of Warhol,” Observer, June 12, 1966.

91. 474 Pauline Boty: See Sue Tate, Pauline Boty: Pop Artist and Woman (Wolverhampton Art Gallery & Museums, 2013), 149.

92. 474 a 1962 photograph: The photograph, by John Aston, is re-produced in Sue Tate, Pauline Boty: Pop Artist and Woman (Wolverhamp-ton Art Gallery & Museums, 2013), 98.

93. 474 “and you have Pauline Boty”: Scene, November 8, 1962. The article is quoted in Sue Tate, “Pauline Boty: Pop Artist, Pop Persona, Performing across the ‘Long Front of Culture,’” in Pop Art and Design, ed. Anne Massey and Alex Seago (London: Bloomsbury Academic, 2018), 157.

94. 474 a memorial spread: “Pieces of a Larger-than-Life Life,” Life ( January 25, 1963): 80.

95. 475 “It has a reality on a par with his subjects”: Arthur Danto, “Who Was Andy Warhol,” Artnews (May 1987): 132.

96. 475 “excess of any kind”: John Perreault, typescript introduc-tion to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.

97. 475 “you seem remarkably down to earth”: Neal Weaver, “The Warhol Phenomenon: Trying to Understand It,” After Dark ( Janu-ary 1969): 28.

98. 476 an Andy Suit: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 7156, Kindle edition.

99. 476 “once he gets past the WOW, GEE routine”: Edmund Car-penter, March 19, 1973, letter to Marshall McCluhan, provided to the author by Sean Mooney, chief curator of the Rock Foundation, in a Feb-ruary 8, 2019, e-mail.

100. 476 “knew precisely how and where to pose”: Nat Finkelstein, Andy Warhol: The Factory Years, 1964–1967 (New York: St. Martin’s Press, 1989), np.

101. 476 the best sitter: Ken Heyman, interview by author, February 24, 2018.

102. 476 picture book: The presence at the Factory of “a writer-pho-


480 NOTES

tographer team who are planning a book on him and his activities: About 20,000 words and the rest pictures” is attested in John Wilcock, “The Detached Cool of Andy Warhol,” Village Voice, May 6, 1965.

See David McCabe and David Dalton, A Year in the Life of Andy Warhol (London: Phaidon, 2003), 5. See also Nat Finkelstein, Andy Warhol: The Factory Years, 1964–1967 (New York: St. Martin’s Press, 1989).

103. 476 a prerelease Norelco: The loan of the Norelco cassette re-corder is mentioned by Gerard Malanga in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 404. The recorder was introduced to the United States as the “Carry-Corder 150” in October 1965. Warhol already has one in his hand in Billy Name’s October 4, 1965, photo on the Factory roof, on the day of the Papal visit—see Billy Name, Billy Name: The Silver Age (Reel Art Press, 2014), 153. He must have had it earlier than that, however, since it was used in August to tape Ondine for the book that became a: a novel. Norelco eventually decided to let Warhol keep the machine—see Victor Bockris, “Andy Warhol the Writer,” in Who Is Andy Warhol?, ed. Colin MacCabe et al. (London and Pittsburgh: British Film Institute and The Andy Warhol Museum, 1997), 18.

Warhol’s Uher 4000 Report L reel-to-reel, advertised as “a new revo-lutionary model” in the summer of 1966, survives in his archives, as does a receipt for its repair in December, 1966 (TC39, AWMA) at the then-sub-stantial cost of $148.94. The machine also appears in June 4, 1968, pho-tographs of his studio (Municipal Archives, New York City). Strangely, in 1967 Warhol was claiming that the deck had been stolen from the home of the actor Patrick Tilden Close, who had borrowed it from the Factory—see the account of a visit to the Silver Factory in Neal Weaver, “The Warhol Phenomenon: Trying to Understand It,” After Dark ( Janu-ary 1969): 28. Perhaps Warhol had bought a replacement by the summer of 1968.

104. 476 “Just record everything”: Michael Kalmen, in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 132, Kindle edition.

105. 476 part of the Factory’s art production: Gerard Malanga, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 404.

106. 476 “taped novel”: David Antin, “Warhol: The Silver Tene-ment,” Artnews ( July 1966): 59. The work was released in 1968 as Andy Warhol, a: a novel (New York: Grove Press, 1968).

107. 477 “metaphor of life as theater”: Susan Sontag, “Notes on Camp,” in Against Interpretation and Other Essays (New York: Delta Books,


NOTES 481

1966), 280.108. 477 “self-presentation, not of sensibility”: Mark W. Booth,

Camp (New York: Quartet, 1983), 17.109. 477 New York premiere: The premiere was the opening event

for a new SoHo building that housed the Leo Castelli and Sonnabend galleries and others of almost equal note—see “Gilbert and George,” The New Yorker (October 9, 1971): 40.

110. 477 “living sculptures”: “People Are Talking about: More than Life—the Art of Being Gilbert and George,” Vogue (March 1, 1971): 115.

111. 477 was there to witness: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (October 9, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York. War-hol’s invitation to the Gilbert and George event survives in his archives (TC17, AWMA).

112. 477 “in the full glare of publicity”: Larry Rivers, in Dorothy Gees Seckler, “The Artist in America—Victim of the Culture Boom?” Art in America (December 1963): 30.

113. 477 “without cover-up”: Mario Amaya, Pop Art . . . and After (New York: Viking Press, 1966), 16.

CHAPTER 27

1. 479 “Our aim was to upset people”: John Cale, in John Cale and Victor Bockris, What’s Welsh for Zen: The Autobiography of John Cale (London: Bloomsbury, 1999), 73.

2. 479 “Each one of their songs seems to last about three hours”: Andrew Lugg and Larry Kasdan, “Warhol’s Drugtime Phase,” Michigan Daily, November 4, 1967. The quote is from the article as reprinted in Clinton Heylin, ed., All Yesterdays’ Parties: The Velvet Underground in Print 1966–1971 (Cambridge, MA: Da Capo Press, 2005), 70.

3. 479 “It’s music to go out of your mind to”: Robert Gold, “The Velvet Underground at the Shrine,” Los Angeles Free Press, July 26, 1967. The quote is from the article as reprinted in Clinton Heylin, ed., All Yes-terdays’ Parties: The Velvet Underground in Print 1966–1971 (Cambridge, MA: Da Capo Press, 2005), 85.

4. 479 “a secret marriage between Bob Dylan and the Marquis de Sade”: Richard Goldstein, “A Quiet Night at the Balloon Farm,” New York (October 1966). The quote is from the article as reprinted in Clinton Heylin, ed., All Yesterdays’ Parties: The Velvet Underground in Print 1966–1971 (Cambridge, MA: Da Capo Press, 2005), 56.

5. 479 “sketching the carcinoma in our soul”: Paul Jay Robbins,


482 NOTES

“Andy Warhol and the Night on Fire,” Los Angeles Free Press, May 13, 1966. The quote is from the article as reprinted in Clinton Heylin, ed., All Yes-terdays’ Parties: The Velvet Underground in Print 1966–1971 (Cambridge, MA: Da Capo Press, 2005), 44.

6. 479 Warhol’s first encounter: See Maureen Tucker, in Legs McNeil, “Moe Tucker—Snapshots of the Velvet Underground,” Vice, January 21, 2014, https://www.vice.com/en_us/article/nnqneb/moe-tuckers-snapshots-of-the-velvet-underground.

7. 479 sawdust: Victor Bockris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus Press, 2002), 19.

8. 480 erotic murals: The murals can be seen in photographs of the Velvet Underground by Adam Ritchie, at https://www.adam-ritchie-photography.co.uk, accessed May 31, 2018.

9. 480 “So we played it again”: Lou Reed, Lou Reed on Andy War-hol, Web audio, 2012, https://soundcloud.com/brainpicker/lou-reed-on-andy-warhol.

10. 480 “make them feel uncomfortable”: John Cale, in John Cale and Victor Bockris, What’s Welsh for Zen: The Autobiography of John Cale (London: Bloomsbury, 1999), 73.

11. 480 Jonas Mekas and Edie Sedgwick: Gerard Malanga, Velvet New York (Paris: Éditions Mirafev, 2016), 40.

12. 480 up and dancing: Gerard Malanga, interview by Peter Head-ington, typescript, February 12, 1983, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

Sedgwick can be seen dancing with Malanga in photographs of the Velvet Underground by Adam Ritchie, at https://www.adam-ritchie-photography.co.uk, accessed May 31, 2018. Mekas is in them as well.

13. 480 “It’s not like just banging on pots and pans”: Edie Sedg-wick, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solo-mon papers, Archives of American Art, Smithsonian Institution. The Solomon interview seems to have been conducted in February 1966.

14. 480 Malanga asked for help: Gerard Malanga, interview by Pe-ter Headington, typescript, February 12, 1983, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

15. 480 “Andy was always in Time magazine”: Maureen Tucker, in Legs McNeil, “Moe Tucker—Snapshots of the Velvet Underground,” Vice, January 21, 2014, https://www.vice.com/en_us/article/nnqneb/moe-tuckers-snapshots-of-the-velvet-underground.

16. 480 distortion and feedback: John Wilcock, in Richie Unter-berger, White Light/White Heat: The Velvet Underground Day-by-Day (Lon-


NOTES 483

don: Jawbone, 2009), 64. 17. 480 “a cross between a bagpipe and a blackboard”: George

English, “The Worst Is yet to Come,” Fire Island News, June 4, 1966. 18. 480 Young concert: See the ad for the Young concert in the New

York Times, December 4, 1965.19. 481 Cale with John Cage: Harold C. Schonberg, “A Long, Long,

Long Night (and Day) at the Piano,” New York Times, September 11, 1963. 20. 481 studied modern music: Richie Unterberger, White Light/

White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 23.

21. 481 got mocked: “In the Picture,” Observer, June 16, 1963.22. 481 judged by Aaron Copland: Richie Unterberger, White Light/

White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 22.

23. 481 reminded him: John Cale, in Stéphane Aquin, “Andy War-hol, Musician,” in Warhol Live: Music and Dance in Andy Warhol’s Work, ed. Emma Lavigne and Matt Wrbican (Munich: Prestel, 2008), 21.

24. 481 occult bookstore: John Cale and Victor Bockris, What’s Welsh for Zen: The Autobiography of John Cale (London: Bloomsbury, 1999), 57.

25. 481 orgy scene: Wheeler W. Dixon, Cinema at the Margins (Lon-don: Anthem Press, 2013), 99.

The movie was Christmas on Earth, for which the orgy scenes seem to have been filmed in early 1965—Rubin scholar and documentarian Chuck Smith, in a June 18, 2018, e-mail to the author.

26. 481 birthday party: Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 43.

27. 481 live promotion: Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 35.

28. 481 fake news shots: Lou Reed, notes from an interview, n.d., box M88, AWMA.

29. 481 Warhol’s special attention: See Paul Morrissey in Victor Bockris and Gerard Malanga, Up-Tight: The Velvet Underground Story (Lon-don: Omnibus Press, 2002), 10.

30. 481 “nasty white and black rock ’n’ roll music”: Sterling Mor-rison, in Nick Modern, “Reflections in a Lone Star Beer,” New York Rocker ( July 1980): 25.

31. 481 live soundtracks: Lou Reed, Lou Reed on Andy Warhol, Web audio, 2012, https://soundcloud.com/brainpicker/lou-reed-on-andy-warhol. See also Richie Unterberger, White Light/White Heat: The Velvet


484 NOTES

Underground Day-by-Day (London: Jawbone, 2009), 44.32. 482 Dirt: The film was by Piero Heliczer, and is normally known

as Venus in Furs. Dirt is mentioned as the original title in “The Making Of An Underground Film,” television broadcast (CBS, December 31, 1965), https://www.youtube.com/watch?v=CX2LRvyM0cE. That title seems eventually to have been transferred to another Heliczer film.

33. 482 $500 a week: Paul Morrissey, in Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 64. There are a number of inaccuracies in Morrissey’s account, so the amount of the payment might also be incorrect. Sterling Morrison claimed that the offer was for $40,000 for four weekend gigs, but that number does not seem at all likely, either—Morrison in Victor Bock-ris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus Press, 2002), 30.

34. 482 “to extend the idea of the paintbrush”: Gerard Malanga, interview by author, April 11, 2018.

35. 482 “They’ll become more like impresarios”: Warhol, in John Ashbery, “Andy Warhol Causes Fuss in Paris,” New York Herald-Tribune (Paris Edition), May 18, 1965.

36. 482 “he knows a lot more than he ever, ever pretends”: Edie Sedgwick, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

37. 482 “definitely a co-conspirator”: John Cale, in John Cale and Victor Bockris, What’s Welsh for Zen: The Autobiography of John Cale (Lon-don: Bloomsbury, 1999), 85.

38. 483 “he just incorporated us. It was amazing”: Lou Reed, in Ian Fortnam, “Lou Reed on the Velvets, Bowie . . . and His Love of Heavy Metal,” Classic Rock Magazine (October 29, 2016), https://www.louder-sound.com/features/interview-lou-reed-on-the-velvets-bowie-and-his-love-of-heavy-metal.

39. 483 “Everybody’s Turned On”: “Rock ’n’ Roll: The Sound of the Sixties,” Time (May 21, 1965): cover and 85.

40. 483 some kind of deal: John Cale and Victor Bockris, What’s Welsh for Zen: The Autobiography of John Cale (London: Bloomsbury, 1999), 81.

41. 483 amplifiers: Paul Morrissey, notes from an interview, March 30, 1975, box M88, AWMA.

42. 483 gig at the discotheque: Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 81.


NOTES 485

43. 483 news spot on CBS: “The Making Of An Underground Film,” television broadcast (CBS, December 31, 1965), https://www.you-tube.com/watch?v=CX2LRvyM0cE.

44. 483 “his new rock n’ roll group”: Mike Mcgrady, “Early to Bet,” Newsday, January 5, 1966.

45. 483 “the famous artist of the Velvet Underground”: Andy Warhol, “Ondine’s Mare,” Evergreen Review (September 1968): 27, quoted in Lucy Mulroney, “Andy Warhol, Publisher” (Ph.D., University of Roch-ester, 2013), 91.

46. 484 exclusive Delmonico Hotel: Charlotte Curtis, “Delmoni-co’s Hotel Turns into Haven for Social Elite,” New York Times, March 2, 1964.

47. 484 “mass communications activities”: Grace Glueck, “Syn-dromes Pop at Delmonicos,” New York Times, January 14, 1966.

48. 484 comic books: “Comic Strips Called Potent Force,” Pittsburgh Post-Gazette, June 13, 1949.

49. 484 “sublimated sex desires”: “Rock ‘n’ Roll: The Sound of the Sixties,” Time (May 21, 1965): cover and 88.

50. 484 “But I don’t speak”: Carolyn Bengston, “New York Report: About Andy Warhol, Pop Art and Underground Movies,” Austin Ameri-can, January 16, 1966.

51. 484 “a Zen kind of event”: Jonas Mekas, interview by author, November 25, 2014.

52. 484 roast beef and string beans: Grace Glueck, “Syndromes Pop at Delmonicos,” New York Times, January 14, 1966.

53. 484 fruit-cup: See the photographs by Adam Ritchie, a friend of Barbara Rubin’s, at https://www.adam-ritchie-photography.co.uk/?page_id=1341, accessed May 31, 2018.

54. 484 “What does her vagina feel like?”: Barbara Rubin, in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 184.

55. 484 chaotic parody: For some footage see Jonas Mekas, Scenes from the Life of Andy Warhol, on Jonas Mekas, Marie Menken, and Willard Maas, Visions of Warhol, DVD (Electronic Arts Intermix, 2006).

56. 484 “a kind of community-action-underground-look”: Grace Glueck, “Syndromes Pop at Delmonicos,” New York Times, January 14, 1966.

57. 484 Longhaired and be-jeaned: See the photographs by Adam Ritchie, a friend of Barbara Rubin’s, at https://www.adam-ritchie-pho-tography.co.uk/?page_id=1341, accessed May 31, 2018.


486 NOTES

58. 484 “torture of cacophony”: Grace Glueck, “Syndromes Pop at Delmonicos,” New York Times, January 14, 1966.

59. 484 “The Chic Mystique”: “Newsmakers: Shock Treatment,” Newsweek ( January 24, 1966): 51.

60. 484 “I’m ready to vomit”: Seymour Krim, “Shock Treatment for Psychiatrists,” New York Herald-Tribune, January 13, 1966.

61. 485 “Why are they exposing us”: “Newsmakers: Shock Treat-ment,” Newsweek ( January 24, 1966): 51.

62. 485 “seemed like a whole prison ward had escaped”: Grace Glueck, “Syndromes Pop at Delmonicos,” New York Times, January 14, 1966.

63. 485 “the barely visible line between genius and madness”: Seymour Krim, “Shock Treatment for Psychiatrists,” New York Herald-Tribune, January 13, 1966.

64. 485 press exposure: Also of note to Warhol in the coverage: The same Newsweek issue that covered his psych soirée had featured his old idol Truman Capote on the cover.

65. 485 “dishing out Bob Dylan-Negro blues-bossa nova-type ma-terial”: Seymour Krim, “Shock Treatment for Psychiatrists,” New York Herald-Tribune, January 13, 1966.

66. 485 La Dolce Vita: See the entry for July 30 in Warhol’s 1961 date-book (AWMA).

67. 485 the cover of Esquire: “Esquire—September 1961,” Esquire, accessed April 9, 2019, https://classic.esquire.com/issue/19610901.Thanks to Jay Reeg for pointing this out to me.

68. 485 at a party together: Danny Fields, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 186.

69. 485 in both London and Paris: Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 46.

70. 485 copy of her new single: Gerard Malanga, interview by au-thor, April 11, 2018.

71. 485 bringing her along: Gerard Malanga, interview by author, April 11, 2018. Nico confirmed her presence at the Café Bizarre—see Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 72.

72. 485 as a “spotlight”: Gerard Malanga, interview by author, April 11, 2018. The account he gave seems to have had several errors, in-cluding that Nico was performing that fall at the Blue Angel, a club that


NOTES 487

seems to have closed the previous year.73. 485 “a really beautiful girl standing in front”: Paul Morrissey,

in Victor Bockris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus Press, 2002), 11.

74. 486 Bob Dylan songs: Gerard Malanga, interview by author, April 11, 2018.

75. 486 Nico and Dylan: Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 31.

76. 486 “She had this kind of spacey way”: Pete Sahula, in Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 19.

77. 486 “Archie Shepp to mainstream jazz”: John Wilcock, “On the Road with the Exploding Plastic Inevitable,” The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 164. From its phrasing, Wilcock’s article was clearly published—or meant to be published—in the spring of 1966, but no details are given of its original venue.

78. 486 “a cooler Dietrich”: John Wilcock, “A ‘High’ School of Mu-sic and Art,” East Village Other, April 15, 1966. The quotes are from the article as reprinted in Clinton Heylin, ed., All Yesterdays’ Parties: The Velvet Underground in Print 1966–1971 (Cambridge, MA: Da Capo Press, 2005), 38.

79. 486 on the rocks: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 3609, Kindle edition.

80. 486 “If I did have one, I think I’d remember”: Bob Dylan, in Scott Cohen, “Bob Dylan Revisited,” Spin (December 1985), http://www.interferenza.com/bcs/interw/85-dec.htm.

81. 486 Dylan and Sedgwick: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 179.

82. 487 “Why do I keep hanging on about Drella”: Edie Sedgwick, in Andy Warhol, a: a novel (New York: Grove Press, 1998), 115, Kindle edi-tion.

83. 487 meant scornfully: Gerard Malanga, interview by author, April 11, 2018.

84. 487 Wein once used it: Chuck Wein, in a handwritten, undated note, TC11, AWMA.

85. 487 a press release: Gerard Malanga, “Some Notes on Edie Sedgwick” (typescript, October 1, 1965), TC25, AWMA.

86. 487 covered as a duo: Suzy Knickerbocker, “Young Crowd There,” Philadelphia Inquirer, October 8, 1965.

87. 487 “the most contemporary couple around”: Rubye Graham,


488 NOTES

“Edie Sedgwick Is the ‘Youthquaker’ of the Pop Set,” Philadelphia Inquirer, November 2, 1965.

88. 487 at a fashion show: Jean Sprain Wilson, “Wild Fashion Show Held in New York,” Colorado Springs Gazette, December 13, 1965.

89. 487 “or how high she would be today”: Henry Geldzahler, in-terview by Jean Stein, typescript interview for Jean Stein’s biography of Edie Sedgwick, January 6, 1973, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

90. 487 December of ’65: Callie Angell, The Films of Andy Warhol Part II (Whitney Museum of American Art, 1994), 25.

91. 488 the final break: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 3696, Kindle edition.

92. 488 “She just went pale”: Paul Morrissey, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 284, Kindle edition.

93. 488 “Dylan’s got a right to be mean”: Andy Warhol, interview by Old Owl [Robert Reilly], typescript of an unpublished interview in-tended for the Yale Record (Spring 1966), TC14, AWMA.

94. 488 “She just wanted somebody to pay her bills”: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (No-vember 23, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

95. 488 that very evening: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 3696, Kindle edition.

96. 488 “Let’s split”: Bob Dylan, quoted by Robert Heide, “Andy Warhol in Greenwich Village,” Westview News, September 2012, http://westviewnews.org/2012/09/andy-warhol-in-greenwich-village/.

Heide’s many versions of this story often have significant differences and possible errors. He claims that Warhol arrived at the restaurant with a newly purchased pair of blue-suede pants—see Robert Heide, 25 Plays: And a Screenplay (Silverton, OR: Fast Books, 2017), 398. But the receipt for those survives (AWMA) and is dated October 4, 1966—far too late for that to have been the date of the encounter with Edie Sedgwick and Bob Dylan.

97. 488 “I hope she lets us know so we can film it”: David Bour-don, “Andy Warhol 1928–87,” Art in America (May 1987): 216.

98. 488 “I hope she lets us know so we can film it:” Warhol, quoted by Robert Heide, interview by David Bourdon, typed notes, April 15, 1988, David Bourdon papers, Archives of American Art, Smithsonian In-stitution.


NOTES 489

99. 489 to film his own near death: David Bourdon, “Andy Warhol 1928–87,” Art in America (May 1987): 140.

100. 489 to sing with them: Gerard Malanga, interview by author, April 11, 2018.

101. 489 “frayed beauty and presence of Marilyn Monroe”: John Cale, “Warhol, Nico, Sex and Me,” Observer, January 3, 1999.

102. 489 picking up the bill: John Cale, in “My 15 Minutes,” The Guardian, February 12, 2002, https://www.theguardian.com/cul-ture/2002/feb/12/artsfeatures.warhol.

103. 489 a horse race: “Notables at the Trots,” New York Telegram, January 4, 1964, TC79, AWMA.

104. 489 trip to the Factory: Of the two Dylan screen tests, showing him in identical clothing, one is on 1966 film stock, indicating a date no earlier than January of that year—see Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 66.

105. 489 Warhol offering one: Billy Name and Nat Finkelstein, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 300.

106. 489 a nightclub: Warhol is quoted on the collaboration in Kevin Kelly, “Wide, Wild Warhol,” Boston Globe, October 4, 1966. See also Greg-ory Mcdonald, “Built in Obsolescence: Art by Andy Warhol,” Boston Sun-day Globe, October 23, 1966. (It could be that the later article based its information on the earlier one.)

107. 489 a weeklong program: Callie Angell, The Films of Andy War-hol Part II (Whitney Museum of American Art, 1994), 24.

108. 489 full-blown member: See the ad in the February 10, 1966, Vil-lage Voice, reprinted at “Andy Warhol, Up-Tight,” accessed April 9, 2019, https://warholfilmads.files.wordpress.com/2012/11/vv-feb-10-1966-2.jpg.

See also Richie Unterberger, White Light/White Heat: The Velvet Un-derground Day-by-Day (London: Jawbone, 2009), 78. Another reference is in Gerard Malanga, interview by Peter Headington, typescript, February 12, 1983, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

109. 489 blue blood and new blood: Virgina Palmer, “Goddess of the Underground,” Pictorial Living, March 6, 1966, np.

110. 490 “I really have the greatest respect for him”: Edie Sedg-wick, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solo-mon papers, Archives of American Art, Smithsonian Institution. Internal evidence suggests a date in February 1966 for this interview.


490 NOTES

111. 490 “What’s my place with the Velvets?”: Edie Sedgwick, quoted by Gerard Malanga, in Victor Bockris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus Press, 2002), 26.

112. 490 refuse to pay: Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 115.

113. 490 Dylan’s manager: Gerard Malanga, Archiving Warhol: Writ-ings & Photographs (London: Creation Books, 2002), 117.

114. 490 “underground movie superstar”: Marylin Bender, “Black Jeans to Go Dancing at the Movies: It’s Inevitable,” New York Times, April 11, 1966.

115. 490 “an ugly Edie?”: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), 3696, Kindle edition.

For Chuck Wein’s account of the arrival of von Scheven see Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 218. Watson refers to Ingrid variously as “von Schefflin” and “von Schlefflen,” but the return address on a February 23, 1975, letter from von Scheven to Warhol (AWMA), provides the correct spelling of her name.

116. 490 “Her name became Ingrid Superstar”: René Ricard in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 282, Kindle edition.

117. 490 “She really believed she was a superstar”: Nat Finkelstein, Andy Warhol: The Factory Years, 1964–1967 (New York: PowerHouse Books, 2000), np.

118. 490 “We treat her like dirt”: Paul Morrissey, in Neal Weaver, “The Warhol Phenomenon: Trying to Understand It,” After Dark ( Janu-ary 1969): 29.

119. 490 “the girl you necked with in the back seat”: Paul Carroll, “What’s a Warhol,” Playboy (September 1969): 282.

120. 491 “She’s a real person; she’s not phony”: Andy Warhol, “Notes on My Epic,” in Andy Warhol’s Index (Book) (New York: Random House, 1967), np.

121. 491 “Is it true that you’re slightly retarded, Ingrid?”:Warhol, in Paul Carroll, “What’s a Warhol,” Playboy (September 1969): 282.

122. 491 “She never understood what I was doing to her”: War-hol, in Kevin Thomas, “A Far-out Night with Andy Warhol,” Los Angeles Times, May 5, 1966.

123. 491 her last stop: Sepp Donahower, interview by author, June 26, 2017.

The film was The Loves of Ondine, and the house belonged to War-hol’s friend Waldo Díaz-Balart, who testified in a lawsuit that the shoot


NOTES 491

had occurred on August 1, 1967—see “Fufu Says Warhol Took His Money Underground,” Newsday, August 29, 1968.

Donahower said, however, that the shoot happened just days before the start of his classes at the University of Southern California, whose term that year began on September 18, as per a July 2, 2018, e-mail to the author from Claude Zachary, University of Southern California Libraries Special Collections. On the other hand, contradicting both Díaz-Balart’s testimony and Donahower’s memory is a more reliable claim that the shoot happened on July 8 (“last Saturday”) in “Andy Warhol: Superstars in East Hampton,” Hamptons Voice, July 14, 1967.

124. 491 nothing but warmth: Marcelo Montealegre, interview by author, February 15, 2016.

125. 491 “floating somewhere in the cosmos”: Marcelo Mon-tealegre, interview by author, February 15, 2016.

126. 491 “She was humming and doing nothing”: Simone Swan, in a February 21, 2017, e-mail to the author.

127. 491 absolute wreck: See the photographs at Marcelo Mon-tealegre, “Andy Warhol (1928–1987),” accessed April 9, 2019, http://dou-blemphotos.com/andyw.html.

128. 491 drug-fueled feature film: The film, called Ciao Manhattan!, is discussed at length in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), Kindle edition.

129. 491 “We were never that close”: Warhol, as quoted by John Palmer and David Weisman, “We Shared with Edie What Her Life Had Become . . . ,” c.1972, AWMA, from a clipping with no source indicated.

130. 491 “it becomes rather terrifying”: Edie Sedgwick, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Ar-chives of American Art, Smithsonian Institution.

CHAPTER 28

1. 493 “Despite his much-quoted wish to ‘be a machine”: John Wilcock, “On the Road with the Exploding Plastic Inevitable,” in The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 165.

From its phrasing, Wilcock’s article was clearly published—or meant to be published—in the spring of 1966, but no details are given of its original venue.

2. 493 Red-checked tablecloths: See the April 7, 1966, photos taken by Larry Morris for the New York Times, posted at https://www.ny-times.com/slideshow/2017/03/14/arts/music/velvet-underground-show-the-dom-nico-andy-warhol.html, accessed June 6, 2018.


492 NOTES

3. 493 “howling, throbbing beat”: John Wilcock, “A ‘High’ School of Music and Art,” East Village Other, April 15, 1966. The quote is from the article as reprinted in Clinton Heylin, ed., All Yesterdays’ Par-ties: The Velvet Underground in Print 1966–1971 (Cambridge, MA: Da Capo Press, 2005), 38.

4. 493 “he danced frenetically”: John Wilcock, “A ‘High’ School of Music and Art,” East Village Other, April 15, 1966. The quote is from the article as reprinted in Clinton Heylin, ed., All Yesterdays’ Parties: The Velvet Underground in Print 1966–1971 (Cambridge, MA: Da Capo Press, 2005), 38.

5. 494 amplified trash cans: Maureen Tucker, in Legs McNeil, “Moe Tucker—Snapshots of the Velvet Underground,” Vice, January 21, 2014, https://www.vice.com/en_us/article/nnqneb/moe-tuckers-snap-shots-of-the-velvet-underground.

6. 494 “a crummy, rotten, old place”: Ivan Karp, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 102.

7. 494 the Dom: The Dom was officially the name of a smaller dance space downstairs, while the main stage upstairs that Warhol rented for the Velvets was the Open Stage, but the word “Dom” on the façade ended up being applied to both—see the October 22, 2008, e-mail from Open Stage manager John Liikala to Gary Comenas at Gary Co-menas, “Andy Warhol 1966,” Warholstars (blog), accessed April 9, 2019, http://www.warholstars.org/1966.html.

See also the ad for the first Dom performance in the Village Voice, March 31, 1966.

8. 494 “It was a new kind of dancing”: Mary Woronov, “Mary Woronov on Dancing at the Dom,” Tate, Summer 2005, 69. Thanks to Jay Reeg for this reference.

9. 494 “in aqua chiffon and chinchilla”: Marylin Bender, “Black Jeans to Go Dancing at the Movies: It’s Inevitable,” New York Times, April 11, 1966.

10. 494 “He really was the best dancer we ever saw: Paul Mor-rissey, notes from an interview, March 30, 1975, box M88, AWMA.

11. 494 kicked out: John Waters, in Tyler Trykowski, “Being an Outsider Isn’t Cool Anymore, John Waters Says So,” Vice, April 11, 2017, https://www.vice.com/en_us/article/yp9ayg/being-an-outsider-isnt-cool-anymore-john-waters-says-so.

12. 494 a side room: Samuel Adams Green, notes from an inter-view, March 21, 1975, box M88, AWMA.

13. 494 “It was the whole package”: Charlie Rothschild, in Richie


NOTES 493

Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 84.

14. 494 “Warhol’s latest work”: Barry Lord, “Velvet Underground in Hamilton,” ArtsCanada, February 1967, 15.

15. 495 “combining music and art and films together”: Warhol, in Gideon Bachmann, Underground New York, documentary, 1968.

16. 495 as collateral used to secure the venue: Warhol, in John Wilcock, “A ‘High’ School of Music and Art,” East Village Other, April 15, 1966. The quote is from the article as reprinted in Clinton Heylin, ed., All Yesterdays’ Parties: The Velvet Underground in Print 1966–1971 (Cambridge, MA: Da Capo Press, 2005), 38.

17. 495 the film buff: See the October 22, 2008, e-mail from John Liikala, the manager of the Dom space who had also run the Bridge The-ater, in Gary Comenas, “Andy Warhol 1966,” Warholstars (blog), accessed April 9, 2019, http://www.warholstars.org/1966.html.

18. 495 “Most of the shows were played at galleries or art shows”: Maureen Tucker, in Brian Coley, “Quiet, Mommy’s Recording,” New York Rocker ( July 1980): 25.

19. 495 “multiple screens, multiple projectors, multiple images”: The Village Voice, October 28, 1965, advertisement. That ad is reprinted at http://www.warholstars.org/expanded_cinema.html, accessed June 23, 2018.

20. 495 lawyer’s letter: Bobb Goldsteinn, interview by author, March 13, 2017. Goldsteinn said that the first of the weekly Lightworks loft parties was held around Christmas in 1965. Joshua White, who be-came his assistant in January 1966, remembered Warhol coming and tak-ing notes. The Lightworks parties deployed both slide projectors and a spinning mirror-ball, both of which were used by Warhol at the Dom.

See also Bobb Goldsteinn, “First, ‘The Summer of Light;’ Then, ‘The Summer of Love’,” draft of an essay supplied to the author by Joshua White.

The word “Lightworks” appears on an early poster for Warhol’s Dom show reproduced at http://www.warholstars.org/1966.html, ac-cessed July 4, 2018.

21. 495 double screens and colored gels: It looks likely that Rubin’s Christmas on Earth, although begun in 1963, was not given its final multi-screen form until early in 1965—Chuck Smith, documentarian, quoting scholar Lars Movin in a June 18, 2018, e-mail to the author.

22. 496 “Then he asked us if we wanted to do this”: Maureen Tucker, in Legs McNeil, “Moe Tucker—Snapshots of the Velvet Under-


494 NOTES

ground,” Vice, January 21, 2014, https://www.vice.com/en_us/article/nnqneb/moe-tuckers-snapshots-of-the-velvet-underground.

23. 496 “ever done the same thing in the same way even once”: John Wilcock, “On the Road with the Exploding Plastic Inevitable,” in The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 165. Wilcock’s phrasing makes clear that parts of the essay were published—or meant to be published—in the spring of 1966, but no details are given of its original home.

24. 496 three months earlier: Gary Comenas, “Expanded Cin-ema?,” Warholstars (blog), accessed April 9, 2019, http://www.warhol-stars.org/expanded_cinema.html.

25. 496 rented a PA system: Warhol, undated notebook embossed with “My Trip,” TC60, AWMA.

26. 496 heroin costs: Stephen Shore, Factory: Andy Warhol (London: Phaidon, 2016), 97.

27. 496 “as loud as anybody thought they could stand”: John Wil-cock, “On the Road with the Exploding Plastic Inevitable,” in The Autobi-ography and Sex Life of Andy Warhol (New York: Trela, 2010), 164.

28. 496 seeing his real name: Billy Name, in Stephen Shore, The Velvet Years: Warhol’s Factory, 1965–67 (New York: Thunder’s Mouth Press, 1995), 37.

29. 496 “Billy Name, that is a great pop name”: Billy Name, in-terviewed by Collier Schorr in Billy Name and Collier Schorr, All Tomor-row’s Parties: Billy Name’s Photographs of Andy Warhol’s Factory (New York: D.A.P., 1997), 29.

30. 496 “of doing a Warhol”: Billy Name, in Glenn O’Brien and Billy Name, “Factory Workers Warholites Remember: Billy Name,” In-terview (November 30, 2008), https://www.interviewmagazine.com/cul-ture/factory-workers-warholites-remember-billy-name.

31. 497 drive on the left: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 192.

32. 497 to shoot stills: See the photographs captioned as having been taken at Rutgers, in Stephen Shore, Factory: Andy Warhol (London: Phaidon, 2016), 74. Shore must have a memory of having been at Rutgers, but his photographs captioned as having been shot there don’t seem to have been: They seem to include the French singer Antoine (confused in the captions with the much younger French photographer Antoine Giacomoni), whose visit with Warhol and company didn’t come until October 1966.

33. 497 “noise and feedback”: Ingrid von Scheven, in Victor Bock-


NOTES 495

ris and Gerard Malanga, Up-Tight: The Story of the Velvet Underground (London: Omnibus Press, 1996), 29.

34. 497 “they still had these vibrations in their ears”: Lou Reed, notes from an interview, n.d., box M88, AWMA.

35. 497 “New York garbage”: Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 80.

36. 497 “punky kids”: Ingrid Superstar, in Andy Warhol, Andy War-hol’s Index (Book) (New York: Random House, 1967), np.

37. 497 “Always leave them wanting less”: Warhol, in Andy War-hol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 193.

38. 497 “No, don’t send Andy out!”: Moe Tucker, in Legs McNeil, “Moe Tucker—Snapshots of the Velvet Underground,” Vice, January 21, 2014, https://www.vice.com/en_us/article/nnqneb/moe-tuckers-snap-shots-of-the-velvet-underground.

39. 497 straight for the county line: Sterling Morrison, in Victor Bockris and Gerard Malanga, Up-Tight: The Story of the Velvet Underground (London: Omnibus Press, 1996), 29.

Maureen Tucker claimed the police actually allowed them to stay the night in a motel—see Tucker in Legs McNeil, “Moe Tucker—Snap-shots of the Velvet Underground,” Vice, January 21, 2014, https://www.vice.com/en_us/article/nnqneb/moe-tuckers-snapshots-of-the-velvet-underground.

40. 497 “They’re so many, and they are all so sweet”: Warhol, in Leonard Shecter, “The Warhol Factory,” New York Post, February 23, 1966.

41. 498 sped up her life: Mary Woronov, in “Andy Warhol’s Factory People Transcript,” accessed April 11, 2019, http://planetgroupentertain-ment.squarespace.com/feature-doc-transcript/.

42. 498 early in ’66: Catalog entries at Anthology Film Archives in New York give “February 1966” as the date for Mary for Mary, Gerard Malanga’s 16mm footage of Mary Woronov that was presumably shot in the countryside near Cornell. Woronov gives this as their first encoun-ter in Mary Woronov, Swimming Underground (Montaldo, 2013), loc. 210, Kindle edition.

43. 498 “But we were not fucking, you know”: Mary Woronov, in Planet Group Entertainment, “The Mary Woronov Interview from the Factory People Notebook,” accessed November 24, 2019, http://planet-groupentertainment.squarespace.com/the-mary-woronov-interview/.


496 NOTES

44. 498 “I was a total fucking virgin”: Mary Woronov, oral history, interview by Matt Wrbican, audiocassette, April 21, 1995, AWMA.

45. 498 a studio visit: Mary Woronov, in Planet Group Entertain-ment, “The Mary Woronov Interview from the Factory People Note-book,” accessed November 24, 2019, http://planetgroupentertainment.squarespace.com/the-mary-woronov-interview/. She reversed the chro-nology, saying that she showed up at the Factory first, then Malanga paid his visit to Cornell afterward, in Mary Woronov, oral history, interview by Matt Wrbican, audiocassette, April 21, 1995, AWMA.

46. 498 “They wanted to be stars”: Mary Woronov, Eyewitness to Warhol: Essays (Los Angeles: Victoria Dailey, 2002), 13.

47. 498 “I always thought the socializing part was my dept.”: Ge-rard Malanga to Andy Warhol, July 10, 1966, TC -12, AWMA.

48. 498 a magazine cover: See www.gettyimages.com/detail/news-photo/susan-bottomly-wearing-yardley-makeup-and-a-halo-of-coq-news-photo/533412972#/mademoiselle-cover-susan-bottomly-wear-ing-yardley-makeup-and-a-halo-picture-id533412972, accessed June 24, 2018.

49. 498 “girl who looked like a chic hangman”: Kevin Kelly, “Wide, Wild Warhol,” Boston Globe, October 4, 1966.

50. 498 Ingrid Superstar: Ingrid Superstar is mentioned as dancing in the Dom E.P.I. in David Antin, “Warhol: The Silver Tenement,” Art-news ( July 1966): 47.

51. 499 so frantic they look like Jackson Pollocks: Heather Rob-inson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

52. 499 stashed his drugs: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 320.

53. 499 sleeping together: Danny Williams with Andy Warhol, interview by Old Owl [Robert Reilly], typescript of an unpublished in-terview intended for the Yale Record (Spring 1966), TC14, AWMA. For more details on the interview see Robert Reilly, “Unpublished Manu-script from the Andy Warhol Archives, Pittsburgh, Spring 1966,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 1271, Kindle edition.

54. 499 the Velvets in Chicago: Susan Pile, oral history, interview by Matt Wrbican, audiocassette, May 19, 2000, AWMA.

55. 500 “100—Nico”: Warhol, undated notebook embossed with “My Trip,” TC60, AWMA. Another page in the notebook, inscribed with the date March 9, 1966, lists similar expenses for the Velvets’ trip to Rut-


NOTES 497

gers University in New Brunswick, New Jersey.56. 500 settled in at the Factory: See I’ll Be Your Mirror: The Selected

Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 118, Kindle edition.

57. 500 a cheapskate: Joseph Freeman, interview by author, June 7, 2018.

58. 500 $38,000: These figures do not include income from the re-lease of Chelsea Girls at the very end of 1966, which changed his financial situation—but mostly for the following year.

59. 500 traded art for much of the Factory’s office equipment: Warhol’s archives include many records of the trades he made with Syd-ney and Frances Lewis, collectors in Richmond, Virginia, who owned Best Products, a chain of vast retail showrooms.

60. 500 blotted drawings: See the January 11, 1966, invoice (TC25, AWMA) from Gluck to Warhol for “layout and finished art” for a Palizzio shoe ad.

61. 500 dose of hipness: Peter Bart, “Advertising: Yogurt Makers Stress Humor: Approach Applauded,” New York Times, July 18, 1963.

62. 500 Dannon yogurt: The project is mentioned in John Wilcock, “A ‘High’ School of Music and Art,” East Village Other, April 15, 1966. That article was cited from Clinton Heylin, ed., All Yesterdays’ Parties: The Velvet Underground in Print 1966–1971 (Cambridge, MA: Da Capo Press, 2005), 38.

Diagrams and Polaroids of a Dannon truck survive among Warhol’s papers (TC25, AWMA).

63. 501 pin-on button: A May 15, 1966, letter from John Milton Wil-liams (TC10, AWMA) first outlined the deal, and then it was finalized in a contract drawn up in August (box M60, AWMA).

64. 501 laxative spot: Ira Sturtevant worked for the ad agency Foote, Cone & Belding. The ad and a folder of documentation running from March 1965 to February 1966 were auctioned in 2019 from the collection of Sturtevant’s widow Meg Crane. They were viewed with Crane’s help on July 19, 2018. Thanks to Eric Shiner for pointing me to Crane.

Further documentation for the ad is in the Warhol archives, includ-ing a September 10, 1965, letter from Ira Sturtevant informing Warhol that his spot would not be used.

65. 501 “I think it stinks”: Robert E. Gernert, quoted by Arthur Kover in handwritten notes on meetings at the Foote, Cone & Belding agency, formerly in the collection of Meg Crane.


498 NOTES

66. 501 Plaza 8 lingerie: Greg Pierce, April 22, 2014, e-mail to the author. Various documents in the Warhol archives refer to the project. A May 10, 1966, model release for Mary Woronov shows her getting paid $180.

67. 501 most avant-garde ad: See the December 22, 1966, post-mor-tem on the project prepared for Grey Advertising by Richard Frank, in his archive.

68. 502 ran a test version of the Bufferin ad: Richard Frank, inter-view by author, October 4, 2016.

69. 502 “I like Bufferin better than Coca-Cola”: The dialog from a screening of Warhol’s Bufferin was quoted in Carol Rubright, “Pop Art’s ‘Pop’ Pops Movie,” Rochester Times Union, March 8, 1967.

70. 502 “you couldn’t get through the door”: Richard Frank, inter-view by author, October 4, 2016.

71. 502 take the blame: Richard Frank, interview by author, Octo-ber 4, 2016.

72. 502 $5,000: 1966 financial statements from the Film-maker’s Cinematheque (AWMA).

73. 502 $1,000: John Wilcock, “A ‘High’ School of Music and Art,” East Village Other, April 15, 1966. The article was reprinted in Clinton Heylin, ed., All Yesterdays’ Parties: The Velvet Underground in Print 1966–1971 (Cambridge, MA: Da Capo Press, 2005), 38.

74. 502 the same as they’d seen on the road at Rutgers: John Wil-cock, “On the Road with the Exploding Plastic Inevitable,” in The Autobi-ography and Sex Life of Andy Warhol (New York: Trela, 2010), 165.

75. 502 all 750 tickets: A claim, often repeated, that the show pulled in $18,000 in its first week at the Dom is in Victor Bockris and Gerard Malanga, Up-Tight: The Story of the Velvet Underground (London: Omnibus Press, 1996), 35. That seems impossible, however, given a maximum at-tendance at the Dom of 750 and a ticket price that averaged just over $2. The figure might more likely represent the income from the band’s entire three-week run, given that the Velvets had several nights off and that there are mentions of half-empty performances.

76. 502 James Brown: On Brown’s success at the Apollo see “Brown Top Draw,” Amsterdam News, January 1966. See also Les Matthews, “Mr. 1-2-5 Street,” New York Amsterdam News, January 8, 1966. More detail is at “James Brown Launches ’66,” Call and Post, January 8, 1966.

The Velvet’s visit to the Apollo is said to have occurred on Decem-ber 31, 1965, in Victor Bockris and Gerard Malanga, Up-Tight: The Story of the Velvet Underground (London: Omnibus Press, 1996), 24. But there is


NOTES 499

no record of James Brown performing that night at the Apollo and it is very unlikely he could have, since he was in Los Angeles for a show on New Year’s Day. The Velvets and Warhol might have seen him at one of his Apollo performances in May 1966, when he famously suffered a col-lapse while performing—see “James Brown Collapses on Stage Revived by Dr.: Record Breaking Show,” New York Amsterdam News, May 28, 1966.

77. 502 paid for new amps: John Cale and Victor Bockris, What’s Welsh for Zen: The Autobiography of John Cale (London: Bloomsbury, 1999), 81.

78. 502 $700 or so: Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 85. Another pro-ducer/investor named Norman Dolph is supposed to have put in about the same amount.

79. 502 minor silkscreen: Howard Sounes, Notes from the Velvet Un-derground: The Life of Lou Reed (London: Doubleday, 2015), 81. The paint-ing was one of the spare Watson Powell portraits—see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02A—The Andy War-hol Catalogue Raisonné (New York: Phaidon, 2002), 268.

80. 503 an album’s worth of tracks: Paul Morrissey, in Richie Un-terberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 85.

81. 503 the flashing lights: Joe Harvard, “Andy Warhol, Record Producer: Capturing the Sonic Attack of The Velvet Underground,” Sa-lon, November 18, 2017, https://www.salon.com/2017/11/18/33-13-ex-cerpt-andy-warhol-and-the-velvet-underground/.

82. 503 reel-to-reel demos: Joseph Freeman, in a June 16, 2018, e-mail to the author.

83. 503 “Don’t let them change it—don’t try to clean it up or any-thing”: Warhol, in Lou Reed, Lou Reed on Andy Warhol, Web audio, 2012, https://soundcloud.com/brainpicker/lou-reed-on-andy-warhol.

84. 503 “I was so excited I couldn’t move”: David Bowie, in a wall text for the exhibition “David Bowie Is,” September 25 to November 29, 2013, Art Gallery of Ontario, Toronto.

85. 503 “any sane person would buy or want to listen”: Norman Dolph, in Richie Unterberger, White Light/White Heat: The Velvet Under-ground Day-by-Day (London: Jawbone, 2009), 91.

86. 503 “can’t Cale play anything else?”: Studio executives, quoted by Lou Reed in Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 91.

87. 504 to supply the cover art: Lou Reed, in Richie Unterberger,


500 NOTES

White Light/White Heat: The Velvet Underground Day-by-Day (London: Jaw-bone, 2009), 93.

88. 504 sixty thousand: “Lou Reed & Exactly How Many Albums The Velvet Underground Sold,” Recordmecca, accessed April 9, 2019, https://recordmecca.com/news/lou-reed-exactly-many-albums-velvet-underground-sold/.

A random Bill Cosby record could sell more than the Velvets did, in one quarter the time—see “Warners Has Golden December,” Billboard, January 15, 1966, 4.

89. 504 “I don’t know why they signed us”: Maureen Tucker, in Legs McNeil, “Moe Tucker—Snapshots of the Velvet Underground,” Vice, January 21, 2014, https://www.vice.com/en_us/article/nnqneb/moe-tuckers-snapshots-of-the-velvet-underground.

90. 504 “It became the Rorschach test for who’s cool”: Stephanie Chernikowski, “Recall in Tranquility,” New York Rocker ( July 1980): 28.

91. 504 iffy lyrics got it banned: Victor Bockris and Gerard Malanga, Up-Tight: The Story of the Velvet Underground (London: Omnibus Press, 1996), 76.

92. 504 171st place: On the album’s place on the charts see Howard Sounes, Notes from the Velvet Underground: The Life of Lou Reed (London: Doubleday, 2015), 96. See also Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 171. It climbed to 103 on the Cashbox charts—see Victor Bockris and Gerard Malanga, Up-Tight: The Story of the Velvet Underground (London: Omnibus Press, 1996), 77.

93. 504 $22,000 in royalties: “Lou Reed & Exactly How Many Al-bums The Velvet Underground Sold,” Recordmecca, accessed April 9, 2019, https://recordmecca.com/news/lou-reed-exactly-many-albums-velvet-underground-sold/.

94. 504 one-fifth of that: See the November 13, 1967, letters of agreement (TC11, AWMA) between Warvel Inc. and Nico and the other Velvet Underground members.

Warhol never received any money at all from the recording because of contractual complications, according to Victor Bockris, Lou Reed—the Biography (London: Vintage, 1995), 135. Bockris’s claim is cited by Gary Comenas at www.Warholstars.com.

CHAPTER 29

1. 507 “I’m not doing paintings any more”: Andy Warhol, inter-view by Old Owl [Robert Reilly], typescript of an unpublished interview intended for the Yale Record (Spring 1966), TC14, AWMA.


NOTES 501

2. 507 “X-CHANGE”: The ad, described as being “in a recent issue of The Village Voice,” is transcribed in full in an untitled review by Robert Pincus-Witten, Artforum ( June 1966): 52. It is also transcribed in Richard Kostelanetz, “Inferential Art,” Columbia Forum (Summer 1969): 25. A sim-pler, better-known version of the ad appeared in the February 10, 1966, issue of the Village Voice.

3. 507 “That Art and Life are Interchangeable”: Robert Pincus-Witten, Artforum ( June 1966): 52.

4. 508 Warhol himself admitted: Leonard Shecter, “The Warhol Factory,” New York Post, February 23, 1966.

5. 508 ten times their prices: Ivan Karp, in Peter Benchley, “The Story of Pop,” Newsweek (April 25, 1966): 57.

6. 508 “I’m not doing paintings any more”: Warhol, in Andy War-hol, interview by Old Owl [Robert Reilly], typescript of an unpublished interview intended for the Yale Record (Spring 1966), TC14, AWMA.

7. 508 industrially silkscreened: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 209.

8. 508 “too large, too big, too ridiculous”: Ivan Karp, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 99.

9. 508 “All white. All white paper:” Warhol, in Dick Schaap, “In-dex to the World of Andy Warhol,” a December 10, 1967, clipping from an unidentified newspaper, box 720, Grove Press Records, Syracuse Uni-versity Librairies.

10. 508 “make a painting that floats”: Andy Warhol, interview by Alan R. Solomon, typed notes, c.1966, Alan R. Solomon papers, Archives of American Art, Smithsonian Institution.

11. 508 out the door: Irving Blum, in a June 19, 2018, e-mail to the author.

12. 508 fine Rauschenberg: Nat Finkelstein, Andy Warhol: The Fac-tory Years, 1964–1967 (New York: PowerHouse Books, 2000), np.

13. 508 “I think painting is old-fashioned”: Warhol, in Leticia Kent, “Andy Warhol, Movieman: ‘Its Hard to Be Your Own Script,’” Vogue (March 1, 1970): 204.

14. 508 “I really don’t believe in objects”: Warhol, in Leonard Shecter, “The Warhol Factory,” New York Post, February 23, 1966.

Utlra Violet claimed that one day in 1965 Salvador Dalí had shown Warhol a silver balloon that Dalí had bought at the great toy store F.A.O. Schwartz—see Ultra Violet, Famous for 15 Minutes: My Years with Andy


502 NOTES

Warhol (Open Road Media, 2015), loc. 1983, Kindle edition. Warhol had, however, already been working on his own Mylar balloons before then.

See also Torsten Otte, Salvador Dali & Andy Warhol (Zurich: Shei-degger and Spies, 2016), 180.

15. 509 two years before: Billy Klüver to David Bourdon, October 27, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

16. 509 floating light bulb: Billy Klüver, interview by David Bour-don, typed notes, September 2, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

17. 509 “That’s a silver cloud”: Billy Klüver, quoted by Julie Mar-tin, Billy Klüver’s widow, interview by author, October 26, 2017. Julie Martin is Billy Klüver’s widow.

18. 509 heat-sealer: Billy Klüver, “Andy’s Pillows,” typescript en-closed with Billy Klüver to David Bourdon, October 27, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

Klüver said that the “primitive” sealer he’d supplied was inadequate to giving a full seal to the Clouds—see Billy Klüver, interview by David Bourdon, typed notes, September 2, 1987, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution. The first Clouds did indeed deflate more quickly than desired.

19. 509 farmed out: National Transparent Manufacturing Co., March 5, 1966, invoice (document box 189, AWMA) for sealing 86 “foil sheets supplied by you.”

20. 509 “up to God, all the way up”: Warhol, as reported by Gen-evieve Charbon, in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 245.

21. 509 “the most exciting things that’s ever happened”: Warhol, in Andy Warhol From Tapes: Sounds of His Life and Work, CD (Pittsburgh: The Andy Warhol Museum, 1994).

22. 509 papal visit: “Papal Route,” New York Amsterdan News, Octo-ber 2, 1965.

23. 509 troops of police: “18,000 Policemen to Guard Route: City’s Largest Protection,” New York Times, September 29, 1965. See also Rob-ert Alden, “Thousands Guard Paul on Trip,” New York Times, October 5, 1965; Peter Kihss, “A Formidable Day for the Police,” New York Times, October 5, 1965.

24. 509 “endanger the life of the Pope”: Harold Stevenson, in Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.


NOTES 503

25. 509 “They seem to flow around and follow you”: Warhol, in Leonard Shecter, “The Warhol Factory,” New York Post, February 23, 1966.

26. 510 “social life”: Rudolf Zwirner, interview by author, July 27, 2018.

27. 510 coal sacks: Rudolf Zwirner, interview by author, July 27, 2018.

28. 510 “Up Art, a new secret art form”: Press release dated Oc-tober 19, 1965 (box M101, AWMA) for Warhol’s promotion of a John Schlesinger movie called Darling, loosely based on the life of the British Pop artist Pauline Boty, who got to some of Warhol’s ideas before he did.

29. 510 “floating sculpture”: Carolyn Bengston, “New York Re-port: About Andy Warhol, Pop Art and Underground Movies,” Austin American, January 16, 1966.

30. 510 helium-filled piece: Alfred Leslie, interview by author, De-cember 22, 2017.

31. 510 coverage in Newsweek: “For Movement’s Sake,” Newsweek (March 13, 1961): 92–93. The article also mentioned the involvement in the show of such Warhol idols as Jasper Johns and Robert Rauschenberg.

32. 510 consulted on Leslie’s inflatable: Alfred Leslie, interview by author, December 22, 2017.

33. 510 “Air Art”: Willoughby Sharp, handwritten notes on the his-tory of “Air Art,” estate of Willoughby Sharp, provided to the author by Pamela Seymour Smith Sharp. It took until 1968 for “Air Art” to find an exhibition venue, by which point it could and did include Warhol’s Silver Clouds.

34. 510 one critic recognized: Lucy R. Lippard, “New York Letter,” Art International (Summer 1966): 115.

35. 510 “a pleasant little show”: William Berkson, “Andy Warhol,” Arts Magazine ( June 1966): 45.

36. 510 “happiness or joy, even pleasure”: William S Wilson, “Prince of Boredom: The Repetititions and Passivities of Andy Warhol,” Art and Artists (March 1968): 12.

37. 511 sixty-five cents: National Transparent Manufacturing Co., March 5, 1966, invoice (document box 189, AWMA) for sealing 86 “foil sheets supplied by you.”

38. 511 $550 each: Carolyn Bengston, “New York Report: About Andy Warhol, Pop Art and Underground Movies,” Austin American, Janu-ary 16, 1966.

39. 511 of his Electric Chair canvases: In 1965, Richard Brown


504 NOTES

Baker had spent $468 buying an Electric Chair from Castelli—see Elise K. Kenney, “Chronology,” in Get There First, Decide Promptly: The Richard Brown Baker Collection of Postwar Art, ed. Jennifer Farrell and Thomas E. Crow (New Haven, CT: Yale University Press, 2011).

40. 511 “get away with something like this?”: Ted James Jr, “And Fine Living: Art,” Women’s Wear Daily, April 8, 1966, 20.

See also Warhol, in Carolyn Bengston, “New York Report: About Andy Warhol, Pop Art and Underground Movies,” Austin American, Janu-ary 16, 1966.

41. 511 “Pinkerton men”: William S Wilson, “Prince of Boredom: The Repetititions and Passivities of Andy Warhol,” Art and Artists (March 1968): 15.

42. 511 $1,300: Leo Castelli, “Statement of Account,” February 1, 1967, TC39, AWMA.

43. 511 barely more than they cost: Warhol’s 1966 accounting led-ger (AWMA) records a $1094.50 payment to Bill Miller’s Wallpaper.

44. 511 props in a fashion shoot: “Silver—in the Pink for Evening,” Vogue ( July 1, 1966): 92.

45. 512 “even approximates the real thing”: Lou Reed, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 286.

46. 512 Cale himself had doubts: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 271.

47. 512 “tacky” discount-store item: Warhol, in “The Painting on the Dress Said ‘Fragile,’” New York Times, November 11, 1966.

48. 512 “a Pow! Bam! commercial for Life Savers”: Peter Bench-ley, “The Story of Pop,” Newsweek (April 25, 1966): 56.

49. 512 “Andy would look up at the mushroom cloud”: Alan R. Solomon, “Introduction,” in Andy Warhol (Boston: Institute of Contem-porary Art, 1965), np.

50. 512 suburban clientele: Charlotte Curtis, “The Affluent Set In-vades the East Village: First Wave Is Lured by Atmosphere—and Cheap Drinks,” New York Times, November 29, 1964.

51. 512 “So what happened? We had Walter Cronkite”: John Cale, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 3905, Kindle edition.

52. 512 accepted the prize: Kay Bearman, of the Leo Castelli Gal-lery, to Mrs. Sheridan P. Harris of the Junior League of Cleveland, June 17, 1966, Leo Castelli Gallery Records, Archives of American Art, Smith-sonian Institution.


NOTES 505

53. 513 Boardwalk Art Show: Mark Soifer to Leo Castelli Gallery, April 4, 1967, Leo Castelli Gallery Records, Archives of American Art, Smithsonian Institution.

54. 513 roster of artists: Leroy F Aarons, “Works of 4 American Painters Chosen for Exhibition in Venice,” Washington Post, February 27, 1966.

55. 513 “Abstract art continues to offer”: Henry Geldzahler, type-script for a lecture delivered for the United States Information Agency (1965), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

56. 513 Pop to be old hat: Frances Fitzgerald, “What’s New Henry Geldzahler, What’s New,” New York Herald-Tribune, November 21, 1965.

57. 513 “The trustees were very edgy about me”: Henry Geldzahler, in Annie Cohen-Solal, Leo and His Circle: The Life of Leo Castelli (New York: Knopf, 2010), 350.

58. 513 deep freeze: Henry Geldzahler’s partner Christopher Scott in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pan-theon Books, 2003), 266: “Henry sensed that he was about to be thrown away, and he decided, ‘I’m going to beat him to the punch’”

Late in 1966, however, Warhol and Geldzahler were still happy to show up together at Truman Capote’s great Black and White Ball.

59. 513 Menotti: Jane Kramer, “The Man Who Is Happening Now,” The New Yorker (November 26, 1966): 119.

60. 514 “the house was off-limits”: Gerard Malanga, interview by author, December 14, 2016.

61. 514 “a truly rare privilege”: Susan Pile, “Andy Warhol U.”, un-published book proposal provided by Pile to the author, n.d.

62. 514 “My son Andy is at home very little”: Julia Warhol, in a De-cember 16, 1962 [rightly, 1966], Rusyn-language letter to “Anna,” repro-duced and translated in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslovakia (New York: Arbor Vitae, 2012), 127. Since Julia mentions how Warhol and his “band” had been playing in “Detroit and Michigan, at the College School,” she must almost certainly have misdated her let-ter, which must actually have been written in 1966 when Warhol had been on tour with the Velvet Underground.

63. 514 Gluck had done his last work: Nathan Gluck’s January 11, 1966, invoice to Warhol (TC25, AWMA)—possibly his last such invoice—documents “layout and finished art” for a Palizzio shoe ad and a sketch for a “bird” folder for Vanity Fair Mills that are just about the final ex-amples of traditional commercial illustration coming out of the Warhol


506 NOTES

studio.64. 514 in the hospital: Ruth Carey to Julia Warhola, December 21,

1964, TC540, AWMA.65. 514 visiting her there: Gerard Malanga, interview by author,

April 11, 2018.66. 514 “moderately advanced pulmonary tuberculosis”: Dr.

Denton Cox to Julia Warhola, November 3, 1965, AWMA.67. 515 Department of Health: January 14, 1982, entry in Andy

Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 18340, Kindle edition.

68. 515 blood pouring: Bernard Weinraub, “Andy Warhol’s Mother,” Esquire (November 1966): 101. There are a number of factual inaccuracies in the account—for instance, it has Julia living by herself on the day she fainted.

69. 515 when Pittsburgh relatives were in town: James Warhola, October 27, 2018, lecture at The Ukrainian Museum, New York.

Warhol was more likely to join his mother on visits to the nearby Ro-man Catholic church of Saint Thomas More—see Thomas Kiedrowski, Andy Warhol’s New York City: Four Walks, Uptown to Downtown (New York: Little Bookroom, 2011), 17.

70. 515 familiar food: James Warhola, October 27, 2018, lecture at The Ukrainian Museum, New York.

71. 515 she didn’t like to go further afield: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 2323, Kindle edition.

72. 515 “I’m not really that close to my mother”: Andy Warhol, interview by David Bourdon, typed notes, April 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

73. 515 “so-o-o interesting”: Warhol, John Perreault, typescript introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.

74. 515 business stationery: See Joseph Giordano to Julia Warhola, n.d., AWMA. His letter is written on his own stationery printed in War-hola’s script. Similar stationery is used in Fritzie Miller to Andy Warhol, February 7, 1964, TC21, AWMA.

75. 515 famous people’s mothers: Bernard Weinraub, “Andy War-hol’s Mother,” Esquire (November 1966): 158.

76. 516 “completely mentally deficient”: Warhol, quoted by John Warhola in Rudo Prekop and Michal Cihlar, Andy Warhol and Czechoslo-vakia (New York: Arbor Vitae, 2012), 48.


NOTES 507

77. 516 weeks after that profile: The film seems to have been shot on or around November 9, 1966, since Paul Morrissey refers to it as hav-ing been made “yesterday” in “The Painting on the Dress Said ‘Fragile,’” New York Times, November 11, 1966. Thanks to Claire Henry of the Whit-ney Museum for this citation.

Susan Pile records having been present for the filming on November 15, 1966—see Susan Pile, “Andy Warhol U.,” unpublished book proposal provided by Pile to the author, n.d. But the Times reference seems to trump that.

78. 516 never given a public screening: Greg Pierce of The Andy Warhol Museum, speaking to the author on April 26, 2018, said that the film only exists as a “camera original” and was never printed for theatri-cal play. It also does not appear in any of the ads or rental lists for War-hol films. Pierce said this is true of the other Warhol films featuring his boyfriend Richard Rheem and also of films starring Warhol’s still earlier boyfriend Philip Fagan.

79. 516 she knew what the score was: Gerard Malanga, in “Gerard Malanga: Andy’s Mother,” an extra track included on Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, docu-mentary, 2007.

80. 516 on a trip in May 1966: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 161.

81. 517 Richard Rheem was a looker: See the photos in Callie An-gell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Rai-sonné (New York: Abrams, 2006), 160.

82. 517 to arrange a visit: Richard Rheem to Andy Warhol, July 27, 1966, TC79, AWMA; Richard Rheem to Andy Warhol, August 18, 1966, TC -24, AWMA.

83. 517 “What a turn-on, talking to you on the fone”: Richard Rheem to Andy Warhol, September 4, 1966, TC79, AWMA.

84. 517 in New York: He arrived October 1, 1966—see Gerard Malanga’s diary entry for that day, in Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan, n.d.), Gerard Malanga Papers, Bei-necke Rare Book and Manuscript Library, Yale University.

85. 517 Rusyn diminutives: Elaine Rusinko, “Julia Warhola, Super-star,” a chapter from the draft of an untitled book supplied by Rusinko to the author.

86. 517 not around the Factory: Gerard Malanga, interview by au-thor, April 11, 2018.


508 NOTES

87. 517 The Andy Warhol Story: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 161.

88. 517 another Factory lad: The other young man was Randy Bourscheidt, who was 22 at the time. In a May 3, 2018, e-mail to the author he denied having had any involvement with Rheem, and in fact barely remembered him. Bourscheidt and Warhol remained friendly for many years thereafter, so the incident can’t have been all that notable.

89. 517 “Andy had the locks changed the next day”: Gerard Malanga, interview by author, April 11, 2018.

90. 517 “finally left Andy”: Malanga, diary entry for December 11, 1966, in Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manu-script Library, Yale University.

CHAPTER 30

1. 519 “Warhol’s success depends upon his failure”: David An-tin, “Warhol: The Silver Tenement,” Artnews ( July 1966): 59.

2. 519 seventy-three identical cow heads: David Antin, “Warhol: The Silver Tenement,” Artnews ( July 1966): 47.

3. 519 Her husband, a hair-product millionaire: See “Andy War-hol (1928–1987) , Holly Solomon,” accessed April 10, 2019, https://www.christies.com/lotfinder/lot_details.aspx?intObjectID=5315246. On the Solomon portrait in general, see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 258. See the same source for yet another repeat of that concept in the portrait series of Warhol’s patron Frances Lewis.

4. 519 $6,000: Leo Castelli, “Statement of Account,” February 1, 1967, TC39, AWMA.

5. 519 price of the earlier one: Warhol says he was paid $700 for the Scull project in the transcript included with Emile De Antonio, Emile De Antonio’s Painters Painting, ed. Ron Mann and Douglas Kellner (Irving-ton, NY: Voyager, 1996), CD-ROM.

6. 519 Richard Avedon: “Andy Warhol (1928–1987) , Holly Solo-mon,” accessed April 10, 2019, https://www.christies.com/lotfinder/lot_details.aspx?intObjectID=5315246.

7. 519 “meaningless work”: See statements by Walter de Maria and Dick Higgins in John Gruen, The New Bohemia: The Combine Genera-tion (New York: Shorecrest, 1966), 138.


NOTES 509

8. 520 travel the world: See Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 222. The Los Angeles show, at the Ferus Gallery, had only Clouds, without Cows.

There is mention of two galleries in Germany and one in Italy that were hoping to show the Silver Clouds in Ileana Sonnabend to Andy War-hol, July 26, 1966, TC -12, AWMA.

9. 520 Brillo Boxes were on a high shelf: Sue M. Thurman, di-rector of the ICA Boston, to Andy Warhol, September 14, 1966, TC85, AWMA.

10. 520 dirty tuxedo shirt: Kevin Kelly, “Wide, Wild Warhol,” Bos-ton Globe, October 4, 1966.

11. 520 Boston’s was less boisterous: Kevin Kelly, “Wide, Wild Warhol,” Boston Globe, October 4, 1966.

12. 520 hesitant praise: Jonathan D. Fineberg, “Warhol Paintings Revitalize the Aesthetic of the Everyday World,” Harvard Crim-son, October 18, 1966.

13. 520 “unquestionably without a future”: Gregory Mcdonald, “Built-in Obsolescence: Art by Andy Warhol,” Boston Sunday Globe, Octo-ber 23, 1966.

14. 520 a tour across Europe: Gerard Malanga, “Andy Warhol Opens Fall Season at the Institute” (press release from the Insti-tute of Contemporary Art, Boston, September 30, 1966), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

15. 520 “Everybody’s plastic—but I love plastic”: Kevin Thomas, “A Far-out Night with Andy Warhol,” Los Angeles Times, May 5, 1966.

16. 520 “part con man, part prophet”: Kevin Thomas, “A Far-out Night with Andy Warhol,” Los Angeles Times, May 5, 1966.

17. 521 hippie colors: Mary Woronov, in Kristine McKenna and Nathan Ihara, “Oral Histories,” L.A. Weekly, May 22, 2002, https://www.laweekly.com/news/oral-histories-2134839.

18. 521 shiny black leather pants: See Howard L. Bingham, “A Hap-pening,” KRLA Beat, May 28, 1966. The article is reproduced in Juliette Bouveresse, ed., Warhol Underground (Centre Pompidou Metz, 2015), 57.

19. 521 colorful poster for the Exploding Plastic Inevitable: “Poster for the Exploding Plastic Inevitable Playing at the Trip, L.A.,” accessed April 10, 2019, https://recordmecca.com/wp-content/up-loads/2015/11/L1996-1-4_tmp_01.jpg. The poster gives the show’s dates as May 3 to May 18.

20. 521 “an intense spatter of nihilism”: Paul Jay Robbins, “Andy


510 NOTES

Warhol and the Night on Fire,” Los Angeles Free Press, May 13, 1966.21. 521 rounded up by Dennis Hopper: David Bourdon, notes filed

to the Life magazine editor Dorothy Seiberling (May 17, 1966), David Bourdon papers, Archives of American Art, Smithsonian Institution.

The celebrities included Ryan O’Neil, Sonny Bono and rock musi-cians John Phillips, of the Mamas and the Papas, and David Crosby, of the Byrds—see Howard L. Bingham, “A Happening,” KRLA Beat, May 28, 1966. The article is reprinted in Juliette Bouveresse, ed., Warhol un-derground (Centre Pompidou Metz, 2015).

22. 521 club’s mob owners: “Strip’s Trip Hit by 3G Pay Claim as Club Shutters,” Daily Variety, May 17, 1966, 1, 13.On the club’s mob ties see Paul Morrissey, notes from an interview, March 30, 1975, box M88, AWMA.

23. 521 whip dance: John Cale and Victor Bockris, What’s Welsh for Zen: The Autobiography of John Cale (London: Bloomsbury, 1999), 96.

24. 521 “we each had a quart, which we both finished”: Mary Woronov, in Kristine McKenna and Nathan Ihara, “Oral Histories,” L.A. Weekly, May 22, 2002, https://www.laweekly.com/news/oral-histo-ries-2134839.

25. 521 tending to bunnies: Jim Paltridge, in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Ava-lon, 2004), 131, Kindle edition.

26. 521 earned from their Dom concerts: Sterling Morrison, in Nick Modern, “Reflections in a Lone Star Beer,” New York Rocker ( July 1980): 25.

27. 521 sent Brigid Berlin: Victor Bockris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus Press, 2002), 49.

28. 521 “Let’s hope it’s killed before it spreads”: Chicago Daily News, in Richie Unterberger, White Light/White Heat: The Velvet Under-ground Day-by-Day (London: Jawbone, 2009), 104.

29. 521 strips of tinfoil: Susan Pile, “Andy Warhol U.,” unpublished book proposal provided by Pile to the author, n.d.

30. 522 an absurdly skimpy bathing suit: Andy Warhol, notes from an interview, n.d., box M88, AWMA.

31. 522 “People were so unhip”: Maureen Tucker, in Legs McNeil, “Moe Tucker—Snapshots of the Velvet Underground,” Vice, January 21, 2014, https://www.vice.com/en_us/article/nnqneb/moe-tuckers-snap-shots-of-the-velvet-underground.

32. 522 purveyor of leather goods: Victor Bockris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus


NOTES 511

Press, 2002), 53.33. 522 “They got run out of Provincetown on a rail”: Ronnie

Cutrone, in Victor Bockris and Gerard Malanga, Up-Tight: The Velvet Un-derground Story (London: Omnibus Press, 2002), 54.

34. 522 “off to a rough but very good start”: Gerard Malanga, Sep-tember 4, 1966, diary entry in Victor Bockris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus Press, 2002), 53.

35. 523 at 2 A.M.: Gerard Malanga, October 16, 1966, diary entry in Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Li-brary, Yale University.

36. 523 a show of erotic art: Michael Thomas, “Enigma of a Head-line Maker,” Penthouse (April 1967): 18.

37. 523 bigger Silver Clouds: A November 27, 1967, invoice (TC39, AWMA) from the National Transparent Mfg Co.—the same firm that had sealed the Castelli Clouds—is for new Clouds that measure 10 by 15 feet. These were intended for the Warhol retrospective staged in Stockholm a few months later.

38. 523 “it was really very tedious”: Mary Woronov, in Planet Group Entertainment, “The Mary Woronov Interview from the Factory People Notebook,” accessed November 24, 2019, http://planetgroupen-tertainment.squarespace.com/the-mary-woronov-interview/.

39. 523 “He only worked, and he worked hard”: Mary Woronov, oral history, interview by Matt Wrbican, audiocassette, April 21, 1995, AWMA.

40. 523 “How many songs did you write today?”: Warhol, quoted by Lou Reed, Lou Reed on Andy Warhol, Web audio, 2012, https://sound-cloud.com/brainpicker/lou-reed-on-andy-warhol.

41. 524 $2,600: Rhode Island School of Design, “Statement of War-hol Show,” April 12, 1967, TC256, AWMA.

42. 524 “I just wouldn’t do business”: Andy Warhol, notes from an interview, n.d., box M88, AWMA.

43. 524 paint was dissolved: Joan Kron to David Bourdon, n.d., Da-vid Bourdon papers, Archives of American Art, Smithsonian Institution. Kron was the perfume project’s commissioner.

44. 524 a present to Warhol: Billy Name, in Planet Group Enter-tainment, “The Billy Name Interview from the Factory People Note-book,” accessed November 29, 2019, http://planetgroupentertainment.squarespace.com/the-billy-name-interview/.

The bottles can in fact already be seen in footage from Warhol’s 1964


512 NOTES

film Batman Dracula—see Georg Frei and Neil Printz, Paintings and Sculp-ture 1964–1969: Warhol 02B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 280.

45. 524 “in violation of Section 43A”: Coca-Cola Co. to Andy War-hol, May 18, 1967, TC10, AWMA.

46. 524 “toilet water”: Joan Kron appearance, recorded from broad-cast by Nam June Paik, The Tonight Show, 1967, Joan Kron papers, Ar-chives of American Art, Smithsonian Institution.

47. 525 offered “free”: Joan Kron to David Bourdon, n.d., David Bourdon papers, Archives of American Art, Smithsonian Institution.

48. 525 outsider cool cat: Carolyn Bengston, “New York Report: About Andy Warhol, Pop Art and Underground Movies,” Austin Ameri-can, January 16, 1966.

49. 525 “Warhol’s success depends upon his failure”: David An-tin, “Warhol: The Silver Tenement,” Artnews ( July 1966): 59.

50. 525 “It will replace nothing”: Cher, in “Unsafe at Any Speed,” Women’s Wear Daily, May 9, 1966, 8.

51. 525 “It’s just horrible”: Warhol, in David Bourdon, notes filed to the Life magazine editor Dorothy Seiberling (May 17, 1966), David Bourdon papers, Archives of American Art, Smithsonian Institution.

52. 525 young Catholic: Sally Kempton, “Notebook for Night Owls: Velvet Nineveh,” Village Voice, April 14, 1966.

53. 525 “you can never be out of rhythm”: Lou Reed, notes from an interview, n.d., box M88, AWMA.

54. 526 “We get thrown out of a lot of parties”: Leonard Shecter, “The Warhol Factory,” New York Post, February 23, 1966.

55. 526 “Jasper Johns—Live Tonight”: James Rosenquist and Da-vid Dalton, Painting below Zero: Notes on a Life in Art (New York: Knopf, 2009), 129. Jasper Johns has denied any knowledge of such a banner.

56. 526 The Yellow Rolls-Royce: See “Pictures: Film Plugs & Plug-gers,” Variety, October 28, 1964, 20. In that article, the announcement of Warhol’s Film Culture award is preceded by a lead item that discusses the arrival of the film’s Rolls Royce in New York, for a national tour that was covered in the gossip columns that Warhol read and that wrote about him.

57. 526 buy an old Ferrari: See Randy Cook, Bowtie Ferrari (RAC Motosports Publishing, 2015), 130. Cook specifies that the car was bought by Warhol for $3,600. (In a draft of the book the date for the sale was given as 1965.) Jack Deren was the mechanic who overhauled the race car for sale to Fufu Smith and who gave it its yellow paint job. At the time,


NOTES 513

he was told about the plans for the film, to be called The Yellow Ferrari, and remembered the car selling to Smith for $3,700—see Jack Deren, interview by author, June 27, 2019.

Jim Glickenhaus remembered almost buying the car from Phillip “Fufu” Van Scoy Smith, Warhol’s backer, in September 1966—James Glickenhaus, interview by author, December 12, 2016. He had answered the classified ad for the “Ferrari Super Monsa Competition Roadster,” New York Times, September 3, 1966.

See also “Gooding & Company, 2012 Pebble Beach Auction—Four Motorsport Legends Offered,” accessed April 10, 2019, http://theoldmo-tor.com/?p=54021; “Interview with Oscar Koveleski, Founder of Auto World Part I,” Slot Car Illustrated, June 4, 2003, http://www.slotcaril-lustrated.com/index.php?categoryid=41&p2_articleid=87.

58. 526 Jane Heir: The best discussion of Jane Heir is in Tony Scher-man and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 273. Since a lot of its evidence came from the al-ways-unreliable Chuck Wein, some details may not be accurate.

59. 526 $600,000: “Jane Eyre Folds with 600G Loss,” Variety, June 18, 1958, 54.

60. 526 “We are planning to make money from it”: Warhol, in Sterling McIlhenny and Peter Ray, “Inside Andy Warhol,” Cavalier Maga-zine (September 1966): 87. The diction in the interview doesn’t sound at all right for Warhol, so it’s possible that it was one of those cases where Warhol asked to have all his quotes made up by others.

61. 527 “Edie and a native cast are planned”: Lynn Sands, “High Time,” Newsday, September 23, 1965.

62. 527 a test shoot: John P. Corr, “Warhol Finds Local ‘Pop Set’ Dull,” Philadelphia Inquirer, November 8, 1965.

63. 527 “it will have a plot”: Phillip “Fufu” Smith, quoted (as Philip Smith) in John P. Corr, “Warhol Finds Local ‘Pop Set’ Dull,” Philadelphia Inquirer, November 8, 1965. Smith had appeared in the Warhol film Camp, and may even have helped fund it and The Bed—see “Fufu Says Warhol Took His Money Underground,” Newsday, August 29, 1968.

64. 527 “Are you crazy? This isn’t a script”: Joyce Selznick, quoted by Brigid Berlin in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 169.

65. 527 do a rewrite: Warhol, in Sterling McIlhenny and Peter Ray, “Inside Andy Warhol,” Cavalier Magazine (September 1966): 87.

66. 527 by a black man: Ronald Tavel, Andy Warhol’s Ridiculous Screenplays (Silverton, OR: Fast Books, 2015), 123.


514 NOTES

67. 527 shoot up the Factory ceiling: Ronald Tavel, in Victor Bock-ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4436, Kindle edition.

Two decades later Tavel changed the story to have Fufu Smith as the shooter, and he may have been equally flexible in other details he gave of events surrounding Jane Heir—see Ronald Tavel, Andy Warhol’s Ridicu-lous Screenplays (Silverton, OR: Fast Books, 2015), 123. Certainly some of his dates for the film contradict its published coverage.

68. 527 “the most fantastic man in the world”: Warhol, in Ster-ling McIlhenny and Peter Ray, “Inside Andy Warhol,” Cavalier Magazine (September 1966): 87. Despite the publication date of the article, internal evidence makes it clear that the interview it describes was done in the late summer of 1965, when Jane Heir was first getting underway.

69. 527 “unresolved struggle over entitlements”: Ronald Tavel, Andy Warhol’s Ridiculous Screenplays (Silverton, OR: Fast Books, 2015), 123.

70. 528 ruined the shoot by blowing: Gerard Malanga, “Secret Diaries” (typed drafts with corrections, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University. The illicit fellatio was performed by a young poet named René Ricard.

71. 528 key film of 1966: A June 14 date for the shoot is given in Geralyn Huxley and Greg Pierce, eds., Andy Warhol’s The Chelsea Girls (Pittsburgh: The Andy Warhol Museum, 2018), 214.

Gerard Malanga once mentioned the shoot as having happened on September 9, which would have left little time to prepare the ad that mentioned the footage in the September 15 Village Voice—see Gerard Malanga, “From the Secret Diaries,” in Out of This World: An Anthology of the St. Mark’s Poetry Project, 1966–1991, ed. Anne Waldman (New York: Crown, 1991), 283. Gerard Malanga, “From the Secret Diaries,” in Out of This World: An Anthology of the St. Mark’s Poetry Project, 1966–1991, ed. Anne Waldman (New York: Crown, 1991), 283.

72. 529 “Greetings, Dirty Imperialists”: “From Tokyo Rose To Hanoi Hannah,” Variety, July 14, 1965, 13.

73. 529 “created a void that people felt compelled to fill”: Mary Woronov, Eyewitness to Warhol: Essays (Los Angeles: Victoria Dailey, 2002), 14.

74. 529 “You wouldn’t hear a word from him”: Mary Woronov, in Steven Watson, Andy Enigma, Web video, 2008, www.youtube.com/watch?v=FHTn2_urb_s.

75. 529 “commercial idea”:Gerard Malanga, “From the Secret Dia-


NOTES 515

ries,” in Out of This World: An Anthology of the St. Mark’s Poetry Project, 1966–1991, ed. Anne Waldman (New York: Crown, 1991), 284.

76. 530 feature on the hotel: Elaine Dundy, “Crane, Masters, Wolfe, Etc. Slept Here,” Esquire (October 1964): 101.

77. 530 planning decision: “City Estimate Board Calls Chelsea Ho-tel a Landmark,” New York Times, June 11, 1966.

78. 530 wire-service feature: “Chelsea Hotel Same amid Hell’s Kitchen,” Austin Statesman, March 30, 1966. The article ran in newspa-pers across the country.

79. 530 “there exists in the very essence of bad taste”: Yves Klein, in Rotraut Klein-Moquay, Yves Klein USA (Paris: Dilecta, 2009), 188.

80. 530 launched his hotel movie: Geralyn Huxley and Greg Pierce, eds., Andy Warhol’s The Chelsea Girls (Pittsburgh: The Andy Warhol Mu-seum, 2018), 216.

81. 530 “throws her garments on the floor”: August 1, 1966, diary entry in Gerard Malanga, “Secret Diaries” (typed drafts with corrections, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Li-brary, Yale University.

82. 530 to the hotel to film some new scenes: The scenes with Brigid and Nico were filmed in their rooms at the Chelsea on September 22, 1966, exactly one week after the movie’s premiere—see Geralyn Hux-ley and Greg Pierce, eds., Andy Warhol’s The Chelsea Girls (Pittsburgh: The Andy Warhol Museum, 2018), 204, 212. Those scenes replaced a complex narrative about a serial killer and another segment filmed in July 1965 in Edie Sedgwick’s apartment.

For at least one screening Warhol inserted his earlier, freestanding, gay-themed film The Bed, which was not shot at the Chelsea but easily could have been—see “Warhol Show Opens Penn ‘Underground,’” Daily Pennsylvanian, No 1966.

83. 531 an idea of Billy Name’s: Billy Name, in Debra Miller, Billy Name: Stills from the Warhol Films (Munich: Prestel, 1994), 74n6.

84. 531 “what new combinations I could produce”: Bob Cowan, “My Life and Times with the Chelsea Girls,” Take One (October 1971): 13.

85. 531 Another projectionist: Jerome Hiler, in The Chelsea Girls: An Interview with Jerome Hiler, Web video, accessed April 30, 2019, https://vimeo.com/108790392.

86. 532 “boredom is the beginning of imagination”: Mary Woronov, Eyewitness to Warhol: Essays (Los Angeles: Victoria Dailey, 2002), 16.

87. 532 “radical change”: Alan R. Solomon, “Introduction,” in Andy


516 NOTES

Warhol (Boston: Institute of Contemporary Art, 1965), np.88. 532 realist painters: Warhol, in Bruce Torbet, Superartist, docu-

mentary, 1967.89. 532 “the terror and hardness”: Jonas Mekas, Movie Journal: The

Rise of New American Cinema, 1959–1971 (New York: Columbia University Press, 2016), 264. Mekas is reprinting his article from Village Voice, Sep-tember 29, 1966.

90. 532 the Iliad: Jack Kroll, “Movies: Underground in Hell,” News-week (November 14, 1966): 109.

91. 532 a grand total of $412: “Accounting of Amount Due for the Chelsea Girls 9/15/66 to 11/9/66,” box B17, AWMA.

92. 532 biggest moneymaker: Leonard Lyons, “Lyons Den,” Syra-cuse Post Standard, November 29, 1966.

93. 532 “I never want to be popularly accepted”: Ondine, in Ster-ling McIlhenny and Peter Ray, “Inside Andy Warhol,” Cavalier Magazine (September 1966): 88. Internal evidence makes clear that the interview was conducted in the early fall of 1965.

94. 533 “family-type flicks have premiered”: Andrew Sarris, “The Sub-New York Sensibility,” Cahiers Du Cinema (May 1967): 43. Sarris is quoted in Douglas Crimp, “Our Kind of Movie”: The Films of Andy Warhol (Cambridge, MA: MIT Press, 2012), 103.

95. 533 “If we reach a million”: Jonas Mekas, in “Up from the Un-derground,” Newsweek (April 25, 1966): 90. The venture was called the Film-Makers’ Distribution Center, and its Newsweek coverage occurred in the same issue that featured a big Pop Art package on its cover, with Warhol much on display inside.

96. 533 daily income: Film-Makers’ Distribution Center, December 15, 1966, financial statements, box B17, AWMA.

97. 533 “Like in a sewer”: “Cinema: Nuts from Underground,” Time (December 30, 1966): 37.

98. 533 “the lower level of degenerate”: Bosley Crowther, “The Underground Overflows,” New York Times, December 11, 1966.

99. 533 “Warhol stumbled into the terror”: David Ehrenstein, “Room Service (the Chelsea Girls),” Film Culture (September 1966): 8.

100. 533 “give up his 4,000 theaters”: Henry Geldzahler, in Bruce Torbet, Superartist, documentary, 1967. Most of the footage in Torbet’s film is from late 1965 and mid-1966.

In early 1966, Warhol was still making enough from his paintings to support his films, at least according to Leonard Shecter, “The Warhol Factory,” New York Post, February 23, 1966.


NOTES 517

101. 533 first-run theaters: Geralyn Huxley and Greg Pierce, eds., Andy Warhol’s The Chelsea Girls (Pittsburgh: The Andy Warhol Museum, 2018), 14.

102. 533 a million dollars: “Warhol’s 1st Heterosexual Film,” In New York: Guide to the Swinging Side of Single New York, 1967, 7.

103. 533 “you how boring and dirty life is”: “Warhol’s 1st Hetero-sexual Film,” In New York: Guide to the Swinging Side of Single New York, 1967, 24.

104. 534 “the violence of sadists”: Parker Tyler, “Dragtime and Drugtime,” Evergreen Review (April 1967): 88.

105. 534 banned in Boston: Geralyn Huxley and Greg Pierce, eds., Andy Warhol’s The Chelsea Girls (Pittsburgh: The Andy Warhol Museum, 2018), 21.

106. 534 perfect ad copy: See Alfredo García, “1967,” Andy Warhol Films: Newspaper Adverts 1964–1974 (blog), accessed April 11, 2019, https://warholfilmads.wordpress.com/1967-2/.

107. 534 assassination of John F. Kennedy: Leonard Lyons, “Lyons Den,” Syracuse Post Standard, November 29, 1966.

108. 534 warped pantomime: The film was called Since, shortened from Since the Assassination—see Susan Pile and Joel Klaperman, “Ev-erything Happens: A Discussion at Andy Warhol’s Factory,” King’s Crown Essays 15, no. 1 (1967): 32.

Shooting seems to have started, or to be about to begin, in a mention in an October 11, 1966, journal entry in Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan, n.d.), Gerard Malanga Papers, Bei-necke Rare Book and Manuscript Library, Yale University.

109. 534 fingers to lips: Ninette Lyon, “A Second Fame: Good Food: Robert Indiana, Andy Warhol,” Vogue (March 1, 1965): 185. See also Alan R. Solomon, “Introduction,” in Andy Warhol (Boston: Institute of Con-temporary Art, 1965), np.

110. 534 “characteristic gesture”: Leonard Shecter, “The Warhol Factory,” New York Post, February 23, 1966.

111. 535 “Why are you watching this film?”: Willard Maas, quoted by Jonas Mekas in a July 23, 2017, talk at the Swiss Institute, New York.

112. 535 suede hip-huggers: The Leather Man Inc., receipt, October 4, 1966, box B17, AWMA.

113. 535 pairs he already had: The Leather Man Inc., receipts, Au-gust 5 and August 8, 1966, TC39, AWMA.

114. 535 Hollywood Frenchman: See “Photo of Andy Warhol and Ultra Violet by Richard Lewis,” Warholstars (blog), accessed April 10,


518 NOTES

2019, https://warholstars.org/andywarhol_presidio.jpg.115. 535 vintage stores: See the December 9, 1966, photo of Warhol

in a used clothing store on St. Mark’s Place in New York, trying on the marching-band jacket he proceeded to buy and which survives among his things—Fred W. McDarrah, “Andy Warhol in Band Uniform,” Getty Images, accessed April 10, 2019, https://www.gettyimages.com/detail/news-photo/portrait-of-american-pop-artist-andy-warhol-as-he-tries-on-news-photo/105234558. See also the December 19, 1966, photo of Warhol in a double-breasted nautical jacket attending the premiere of Antonioni’s Blow Up—“Nico, Mary Woronov, Andy Warhol, and Susan Bottomly,” Getty Images, accessed April 10, 2019, https://www.gettyim-ages.com/detail/news-photo/andy-warhol-escorts-his-female-entourage-to-the-manhattan-news-photo/517726728.

116. 535 paid him $500: Abraham & Straus Co. to Andy Warhol, note confirming a November 9, 1966, publicity event, October 31, 1966, AWMA.

117. 535 the project’s goal: Abraham & Straus Co. to Andy Warhol, note confirming a November 9, 1966, publicity event, October 31, 1966, AWMA.

118. 535 a quarter page: “The Painting on the Dress Said ‘Fragile,’” New York Times, November 11, 1966.

119. 535 “Carnaby Street Fun Festival”: Van Sauter, “A Mod Pair Joined in Holy Matrimony,” Detroit Free Press, November 21, 1966.

120. 536 reporter bait: Al Abrams, Hype and Sou!: Behind the Scenes at Motown (Lilleshall: Templestreet Publishing, 2011), 238.

121. 536 festival’s musical entertainment: “Our Entertainment Week,” Detroit Free Press, November 13, 1966.

122. 536 the wedding’s planner: “Mod Wedding Is Way Out,” Tra-verse City Record-Eagle, November 21, 1966. (Other versions of this UPI story appeared in other newspapers.)

123. 536 $1,500: “Michigan Rock and Roll Legends—Al Abrams,” Michigan Rock and Roll Legends, accessed April 10, 2019, http://www.michiganrockandrolllegends.com/mrrl-hall-of-fame/142-al-abrams.

Paul Morrissey claimed the fee was $2,500—see Morrissey in Vic-tor Bockris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus Press, 2002), 68.

124. 536 “bearded motorcyclist”: “Mod Wedding Is Way Out,” Tra-verse City Record-Eagle, November 21, 1966.

The motorcyclist was in fact the Velvet’s road manager David Cé-


NOTES 519

zanne—see Maureen Tucker in Rob Jovanovic, Seeing the Light: Inside the Velvet Underground (New York: St. Martin’s Press, 2012), 91. (Jovanovic mistakenly edits her quote to read “[Paul] Cézanne.”)

125. 536 Destruction in Art: Al Hansen, “London: Destruction in Arts Symposium,” Arts Magazine (November 1966): 53. Warhol’s Dom events were covered in the same issue (p. 15) in a column by his friend Lil Picard, so he almost certainly read the Hansen.

126. 536 earlier couple bowed out: “Commercial, Corrupting (Photo Caption),” Detroit Free Press, November 1966. See also “Mod Wedding Is Way Out,” Traverse City Record-Eagle, November 21, 1966.

127. 536 a Rolls-Royce: Van Sauter, “A Mod Pair Joined in Holy Mat-rimony,” Detroit Free Press, November 21, 1966.

128. 536 Warhol declared: “Carnaby Street Fun Festival,” Detroit Free Press, November 13, 1966.

129. 536 three-thousand-seat theater: Dale Stevens, “Mary Martin Show May Do $242,000 with Two People,” Cincinnati Post, November 1966. This article survives in an undated clipping, TC85, AWMA.

130. 536 his usual sunglasses: On the lack of sunglasses, see “Capote: Tosses ‘In’ Fete,” Austin Statesman, November 29, 1966.(This Associated Press story was widely picked up.)

On his lack of mask see the only book-length study of the ball, Debo-rah Davis, Party of the Century: The Fabulous Story of Truman Capote and His Black and White Ball (Hoboken, NJ: John Wiley, 2006), 225. Davis writes: “Warhol outsmarted everyone with his ingenious solution to the mask problem: he simply didn’t wear one.” But the ghostwritten Popism had Warhol claiming that he started the evening in a cow mask—Andy War-hol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 247. Details on the mask are in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 312. None of the waiting journalists seemed to notice Warhol’s mask, or lack of such, even when they were making vast lists of the ball’s costumes—see for instance Warhol’s longtime friend Eugenia Sheppard, “The Mar-velous Masked Ball—There’ll Never Be Another like It,” Boston Globe, November 30, 1966.

131. 536 “We’re the only nobodies here”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 247.

132. 536 shout-outs: Gloria Steinem, “The Party: Truman Capote Receives 500 ‘People I Like,’” Vogue ( January 15, 1967): 50.


520 NOTES

CHAPTER 31

1. 539 “I think he is just like Satan”: Viva, in Barbara Goldsmith, “La Dolce Viva,” New York (April 29, 1968): 40.

2. 539 “this particular bunch of freaks”: Jason McCloskey, “I Re-member Max’s,” a clipping from an unnamed source (box B77, AWMA) that can be dated, from internal evidence, to the late fall of 1971.

3. 539 Max’s was founded: Jason McCloskey, “I Remember Max’s,” a clipping from an unnamed source (box B77, AWMA) that can be dated, from internal evidence, to the late fall of 1971. McCloskey dates the open-ing of Max’s to December 6, 1965. A full public opening happened the following January.

4. 540 restaurant had been named: The poet in question was Joel Oppenheimer. See Mickey Ruskin in Jason McCloskey, “I Remember Max’s,” a clipping from an unnamed source, box B77, AWMA.

5. 540 chick peas: Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 475, Kindle edition.

6. 540 projectiles: Glenn O’Brien, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Me-dia, 2016), loc. 1914, Kindle edition.

7. 540 happy-hour wings: Yvonne Sewall-Ruskin, High on Rebel-lion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 863, Kindle edition.

8. 540 “straight, respectable, anonymous people”: Danny Fields, “Max’s Habitué Danny Fields Remembers, Too,” a sidebar to Jason Mc-Closkey, “I Remember Max’s,” clipped from an unnamed source (box B77, AWMA) that can be dated, from internal evidence, to the late fall of 1971.

9. 540 “of course I wasn’t wearing a bra”: Ultra Violet, in Jason McCloskey, “I Remember Max’s,” a clipping from an unnamed source (box B77, AWMA) that can be dated, from internal evidence, to the late fall of 1971.

10. 540 to call Warhol “Drella”: Hilton Als, “Friends of Dorothy,” The New Yorker (April 24, 1995): 92.

11. 540 Dean would decide: Micheal Musto, “This Is a Place Un-like Any Other: A Look Back at Max’s Kansas City,” Paper, June 8, 2016, http://www.papermag.com/maxs-kansas-city-1847043328.html.

12. 540 “God forbid a man with a nine-to-five job”: Abigail Rosen McGrath, in Gary Comenas, “Abigail Rosen (McGrath) Interview,” War-holstars (blog), accessed April 10, 2019, https://warholstars.org/andy_warhol_tub_girls_abigail_rosen_interview.html.


NOTES 521

13. 540 “the nighttime desolation of Park Avenue South”: Jason McCloskey, “I Remember Max’s,” a clipping from an unnamed source (box B77, AWMA) that can be dated, from internal evidence, to the late fall of 1971.

14. 540 “location was a stroke of genius”: Donald Lyons, notes from an interview, 1979, AWMA.

15. 541 by cab or subway: Donald Lyons, notes from an interview, 1979, AWMA.

16. 541 the ’60s, as an era: Donald Lyons, notes from an interview, 1979, AWMA.

17. 541 crowd of photographers: Donald Lyons, notes from an in-terview, 1979, AWMA.

See also Jason McCloskey, “I Remember Max’s,” a clipping from an unnamed source (box B77, AWMA) that can be dated, from internal evi-dence, to the late fall of 1971.

18. 541 “heteroholics”: Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 756, Kindle edition.

19. 541 artists of every stripe: Anthony Haden-Guest, “Warhol’s Wild Times at Max’s Kansas City,” Daily Beast, June 13, 2015, https://www.thedailybeast.com/articles/2015/06/13/warhol-s-wild-times-at-max-s-kansas-city.

20. 541 windows got broken: Yvonne Sewall-Ruskin, High on Rebel-lion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 1117, Kindle edition.

21. 541 a striptease: Michael Childers, interview by author, Febru-ary 28, 2018.

22. 541 “This is Athens, truly”: Danny Fields, “Max’s Habitué Danny Fields Remembers, Too,” a sidebar to Jason McCloskey, “I Re-member Max’s,” a clipping from an unnamed source (box B77, AWMA) that can be dated, from internal evidence, to the late fall of 1971.

23. 541 club’s back room: Larry Zox, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 1906, Kindle edition.

24. 541 the most famous space at Max’s: Danny Fields, “Max’s Habitué Danny Fields Remembers, Too,” a sidebar to Jason McCloskey, “I Remember Max’s,” a clipping from an unnamed source (box B77, AWMA) that can be dated, from internal evidence, to the late fall of 1971.

25. 541 un-Warholian décor: For a photograph of Warhol at his table see Steven Bluttal, ed., Andy Warhol “Giant” Size (London: Phaidon,


522 NOTES

2006), 445.26. 542 “Andrea Feldman”: Donald Lyons, notes from an interview,

1979, AWMA.27. 542 standing up on a table: Justin Davis, in “E! True Hollywood

Story: Andy Warhol,” television broadcast, March 1998.28. 542 “back-room nymphets”: Frosty Myers, in Yvonne Sewall-

Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 2368, Kindle edition.

29. 542 “He was interested in my dick”: Corey Tippin, interview by author, August 19, 2018.

30. 542 “who was the best customer”: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

See also Mead, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), 2340, Kindle edition.

31. 542 plus-size Brigid Berlin: Jackie Curtis, notes from an inter-view, c.1975, box M88, AWMA.

32. 542 Jo Baer: Judith E. Stein, Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art (New York: Farrar, Straus & Giroux, 2016), 238.

33. 542 Ivy Nicholson: Andy Warhol, interview by Frederick Ted Castle, typed notes from a taped conversation in Castle’s taxi, June 1967, AWMA. For more information on this document see Frederick Ted Cas-tle, “Cab Ride with Andy Warhol,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 150, Kindle edition.

34. 542 a salad: Mary Woronov, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 264, Kindle edition.

35. 542 poured beer: Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

36. 543 “eyes were always dilated, and NO TIPS”: Alice Zimmer-man, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 2024, Kindle edition.

37. 543 one drug or another: Geraldine Smith, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), 2441, Kindle edition.


NOTES 523

38. 543 Michael Caine: John Ford, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Me-dia, 2016), loc. 328, Kindle edition.

39. 543 “more impressed with the freaks”: Ruby Lynn Reyner, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), 2172, Kindle edition.

40. 543 allowed to run tabs: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

41. 543 crushed metal: Judith E. Stein, Eye of the Sixties: Richard Bel-lamy and the Transformation of Modern Art (New York: Farrar, Straus & Giroux, 2016), 238.

42. 543 laser light: Danny Fields, “Max’s Habitué Danny Fields Re-members, Too,” a sidebar to Jason McCloskey, “I Remember Max’s,” a clipping from an unnamed source (box B77, AWMA) that can be dated, from internal evidence, to the late fall of 1971. The laser piece was by the sculptor Frosty Myers.

43. 543 “like following a star”: Oliviero Toscani, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), 1424, Kindle edition.

44. 543 several fires: Taylor Mead, “Son of Andy Warhol” (type-script draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

Warhols that survived include the canvas Most Wanted Men No. 11, John Joseph H., Jr., sold with a Ruskin provenance in a May 17, 2018, auc-tion at Christie’s New York. Another survivor was an artist’s proof of a Marilyn print, offered with a Ruskin provenance in a 2018 sale at Hutter Auction Galleries.

45. 543 to sign for meals: Billy Name, interview by author, July 24, 2014.

46. 543 $700: See for example the October 17, 1968, invoice from Max’s (box B12, AWMA), and many others like it.

A figure of $2,352.62 is cited as the annual total for 1967 and $4,061.64 as the invoice for the first ten months of 1968 in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 372.

47. 543 “New 400”: Ted Burke, “The New ‘400’: Man’s Society of Achievement,” Town & Country (May 1967).


524 NOTES

48. 544 “leave with her virtue intact”:Warhol, in “Andy Warhol’s Underground Confidential,” Downtown, September 30, 1967, trunk TC, AWMA. The column survived into 1969, but in a publication called Kiss, where it was more obviously ghostwritten. (Despite his byline Warhol is mentioned in it in the third person.)

49. 544 “VIVA!”: Barbara Goldsmith, “La Dolce Viva,” New York (April 29, 1968): 38.

50. 544 “display them with pride”: Jerry Parker, “Viva: Up from the Underground,” Newsday, December 5, 1970.

On Viva paper towels see “New Paper Towels Pretty to Look at, Practical to Use,” Philadelphia Inquirer, June 22, 1967.

51. 544 “sitting under a Dan Flavin”: Andy Warhol, interview by Emile De Antonio, typed transcript of footage for the documentary “Painters Painting,” c.1970, Mitch Tuchman papers related to the book Painters Painting, Archives of American Art, Smithsonian Institution.

For a slightly different version of the story see Danny Fields, “Max’s Habitué Danny Fields Remembers, Too,” a sidebar to Jason McCloskey, “I Remember Max’s,” a clipping from an unnamed source (box B77, AWMA) that can be dated, from internal evidence, to the late fall of 1971.

52. 544 “super self-involved”: Elenore Lester, “On the Eve of De-struction, What Was Andy Warhol’s Gang up To?” Eye (August 1968): 39.

53. 544 fancy upstate family: Barbara Goldsmith, “La Dolce Viva,” New York (April 29, 1968): 36.

54. 544 “Gerard, come off it”: Viva, in John Wilcock, The Autobiog-raphy and Sex Life of Andy Warhol (New York: Trela, 2010), 210.

55. 544 August of ’67: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 342.

56. 544 “her nose is an anteater’s”: Cecil Beaton, Beaton in the Six-ties: The Cecil Beaton Diaries as They Were Written, ed. Hugo Vickers (Lon-don: Weidenfeld & Nicolson, 2003), 401.

57. 544 convent education: Barbara Goldsmith, “La Dolce Viva,” New York (April 29, 1968): 36.

58. 544 no time for social niceties: Jerry Parker, “Viva: Up from the Underground,” Newsday, December 5, 1970.

59. 544 “I’ve converted them”: Viva, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

60. 545 “if only she would shut up”: Mary Woronov, Eyewitness to Warhol: Essays (Los Angeles: Victoria Dailey, 2002), 15.

61. 545 her nipples hidden: Viva, in Jean Stein and George Plimp-


NOTES 525

ton, Edie: American Girl (New York: Grove Press, 1982), loc. 3087, Kindle edition.

Viva told a similar story within six months of the meeting, when she was on a lecture tour with Warhol—see David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution. In that version she said that she offered to appear entirely nude and it was Warhol who told her that top-less would do. The movie in question was known as The Loves of Ondine.

Viva once specified that the Band-Aids were round ones but the film’s footage shows them as the standard strips. Similar issues of fact arise in many of her interviews.

62. 545 “she was a creditable actress”: Abigail Rosen McGrath, in Gary Comenas, “Abigail Rosen (McGrath) Interview,” Warholstars (blog), accessed April 10, 2019, https://warholstars.org/andy_warhol_tub_girls_abigail_rosen_interview.html.

63. 545 dubious movie theater: See Tony Scherman and David Dal-ton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 382.

64. 545 $4,000: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 336.

65. 545 “the sex was added later”: Paul Morrissey, in Neal Weaver, “The Warhol Phenomenon: Trying to Understand It,” After Dark ( Janu-ary 1969): 29.

66. 545 “seeing me nude sells tickets”: Viva, in Barbara Goldsmith, “La Dolce Viva,” New York (April 29, 1968): 40.

67. 545 “best-known anatomy”: Elenore Lester, “On the Eve of De-struction, What Was Andy Warhol’s Gang up To?” Eye (August 1968): 39.

68. 545 “because he was so dumb”: Viva, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

69. 545 Dope: Rosalyn Regelson, “Where Are the Chelsea Girls Tak-ing Us,” New York Times, September 24, 1967.

70. 545 stodgy magazines: Billy Name, interviewed alongside Andy Warhol in Phyllis Kronhausen and Eberhard Kronhausen, Erotic Art: A Survey of Erotic Fact and Fancy in the Fine Arts (New York: Grove Press, 1968), 47.

71. 545 a verbose black widow: Using her real name, Viva wangled an assignment to review her own film, displaying a chutzpah that not even the Factory’s other giant egos might have mustered. She declared a certain actress named Viva to be “the prize nut of all …. a haunting, humping, and downright hilarious combo of Greta Garbo, Myrna Loy


526 NOTES

and Carole Lombard.” As for the film’s director, “Mr. Warhol has again cast the dispassionate galactic eye of his camera upon the mosaic floor of the female psyche, and lingering, one might say, almost affectionately throughout its patterned subtleties”—Susan Hoffmann (a.k.a. Viva), “Bike Boy,” Downtown, October 30, 1967. This is the same publication that ran Warhol’s bylined gossip column.

72. 546 “can talk about Winston Churchill”: Warhol, quoted by Viva in “Breakfast with . . . Viva,” Pittsburgh Post-Gazette, May 22, 2000.

73. 546 “big prick, big dick”: Viva, in “Thirty Minutes of Fame: Viva and Maura Moynihan Remember Andy Warhol,” New York Woman (May 1987): 30.

74. 546 Warhol gazing at Viva: The photos were provided to the author by Steven Balkin, who has tentatively dated them to the fall of 1967.

75. 546 “most valuable found object”: Jerry Parker, “Viva: Up from the Underground,” Newsday, December 5, 1970.

76. 546 “just a little bitsy star”: Warhol, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

77. 546 “favorite person”: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 38.

78. 546 “I’m always fighting with people”: Viva, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 211.

79. 546 “to get into the royal enclave”: Henry Geldzahler, inter-view by Jean Stein, typescript interview for Jean Stein’s biography of Edie Sedgwick, January 6, 1973, Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

80. 546 “Andy likes to have her around”: Anonymous sources quoted in John Leonard, “The Return of Andy Warhol,” New York Times, November 10, 1968.

81. 547 “vying for attention”: Brigid Berlin, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 170.

82. 547 “Hurry up, get your makeup on”: Viva, quoting Warhol, in “Thirty Minutes of Fame: Viva and Maura Moynihan Remember Andy Warhol,” New York Woman (May 1987): 30. The film in question was the never-finished San Diego Surf.

83. 547 “report back to Andy”: Gerard Malanga in Winston Ley-land, “Interview with Gerard Malanga for Gay Sunshine” (typescript draft, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.


NOTES 527

84. 547 keep “the kids” busy: Warhol, in Leonard Shecter, “The Warhol Factory,” New York Post, February 23, 1966.

85. 547 “He has such a hold on all of us”: Viva, in Barbara Gold-smith, “La Dolce Viva,” New York (April 29, 1968): 40.

86. 548 “entered somebody’s house”: John Cale, in John Cale and Victor Bockris, What’s Welsh for Zen: The Autobiography of John Cale (Lon-don: Bloomsbury, 1999), 83.

87. 548 drug consumption: See for example Bart Mindszenthy, “Ex-clusive Interview: Andy Warhol,” Daily Collegian, April 13, 1967. See also Elenore Lester, “On the Eve of Destruction, What Was Andy Warhol’s Gang up To?” Eye (August 1968): 95.

88. 548 “really, really high”: Sepp Donahower, interview by au-thor, June 26, 2017.

See also Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Jour-nal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001. Also relevant is footage of Warhol in Chuck Workman, Superstar: The Life and Times of Andy Warhol, documentary, 1990.

89. 548 “a great big bag of pharmaceutical-type pills”: Michael Kalmen, in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 132, Kindle edition.

90. 548 “decay into whatever it became”: Billy Name, interview by author, July 24, 2014.

A journalist describes the silver foil as being almost entirely gone—see “Warhol’s 1st Heterosexual Film,” In New York: Guide to the Swinging Side of Single New York, 1967, 24.

91. 548 “It used to be so pretty”: Michael Thomas, “Enigma of a Headline Maker,” Penthouse (April 1967): 18.

92. 548 signs of breakdown: The elevator’s failure is recalled in Frederick Hughes to Andy Warhol, July 26, 1968, TC4, AWMA.

93. 549 “I am yours so say the stars up above”: Ivy Nicholson to Andy Warhol, c.1967, Gerard Malanga papers, The Harry Ransom Cen-ter at The University of Texas at Austin.

94. 549 (fictitious) “engagement”: Billy Name, in Planet Group En-tertainment, “The Billy Name Interview from the Factory People Note-book,” accessed November 29, 2019, http://planetgroupentertainment.squarespace.com/the-billy-name-interview/.

95. 549 so she could get a divorce: Andy Warhol, interview by Frederick Ted Castle, typed notes from a taped conversation in Castle’s taxi, June 1967, AWMA.


528 NOTES

96. 549 “I’ve decided to really be straight with Ivy”: Andy War-hol, interview by Frederick Ted Castle, typed notes from a taped conver-sation in Castle’s taxi, June 1967, AWMA.

97. 549 “part of her would remain”: Mary Woronov, in Planet Group Entertainment, “The Mary Woronov Interview from the Factory People Notebook,” accessed November 24, 2019, http://planetgroupen-tertainment.squarespace.com/the-mary-woronov-interview/.

98. 549 another turd: Mary Woronow, in Planet Group Entertain-ment, “The Mary Woronov Interview from the Factory People Note-book,” accessed November 24, 2019, http://planetgroupentertainment.squarespace.com/the-mary-woronov-interview/.

99. 549 “I can shit!”: Ivy Nicholson, interview by author, October 6, 2019. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4080, Kindle edition.

100. 549 “to remain a faggot”: Ivy Nicholson to Andy Warhol, Feb-ruary 25, 1969, TC9, AWMA.

101. 549 “Look at my legs!”: Ivy Nicholson, in “Ivy Nicholson: Warhol’s Superstar,” transcribed radio broadcast, Whore Church (San Francisco Liberation Radio, September 19, 2003), http://www.specious-species.net/nicholson.htm.

102. 549 “jangling nerves”: October 10, 1977, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 2432, Kindle edition.

103. 549 “truly masochistic”: Gerard Malanga, interview by author, April 11, 2018.

104. 549 “obnoxious”: Gerard Malanga, interview by author, April 11, 2018.

105. 549 getting into a fight: Viva, in John Wilcock, The Autobiogra-phy and Sex Life of Andy Warhol (New York: Trela, 2010), 211.

106. 549 “kid stuff”: Ronnie Cutrone, in Wayne Koestenbaum, Andy Warhol (New York: Viking Press, 2001), 136.

107. 550 to slap back: Warhol, in Michael Thomas, “Enigma of a Headline Maker,” Penthouse (April 1967): 18.

108. 550 ending up in tears: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 305.

109. 550 “They’d smash each other to ribbons”: Ondine, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4204, Kindle edition.

110. 550 more tenderness: Ondine, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4200, Kindle edi-


NOTES 529

tion.111. 550 Rodney W. Thomas: Rodney W. Thomas (a.k.a. Rod La

Rod) to Andy Warhol, December 19, 1970, TC65, AWMA.112. 550 a roadie for Tommy James: Fred Lawrence Guiles, Loner at

the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 304.Rare images of Rod la Rod are in Billy Name, Billy Name: The Sil-

ver Age (Reel Art Press, 2014), 391. See also the photo in Jean Stein and George Plimpton, Edie (New York: Knopf, 1982), 211. (The image is not included in the electronic edition of Edie.)

113. 550 worshipped two gods: Ultra Violet, Famous for 15 Minutes: My Years with Andy Warhol (Open Road Media, 2015), loc. 2469, Kindle edition.

114. 550 as sound man: René Ricard, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 287, Kindle edition.

115. 550 an autobiographical movie: A first screening of the René Ricard footage was planned for November 29, 1966, meaning that it had probably been shot within the previous week or so, several weeks af-ter the November 9, 1966, shoot of Julia Warhola, as mentioned by Paul Morrissey in “The Painting on the Dress Said ‘Fragile,’” New York Times, November 11, 1966.

116. 550 a chance to get revenge: The most detailed accounts of the film are in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 304. See also Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 286, Kindle edition.

117. 550 banned from the Factory: See Gerard Malanga, diary entry for September 24, 1966, reprinted in Gerard Malanga, “From the Secret Diaries,” in Out of This World: An Anthology of the St. Mark’s Poetry Project, 1966–1991, ed. Anne Waldman (New York: Crown, 1991), 287. On Paul America, see the diary entry for September 30, 1966, in Gerard Malanga, “Secret Diaries” (typed drafts with corrections, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

118. 550 “I have nightmares about what I did in that movie”: René Ricard, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 286, Kindle edition.

A few years after the film was made, a journalist was claiming that it had both Ricard and Sedgwick playing their own versions of Warhol—see Paul Carroll, “What’s a Warhol,” Playboy (September 1969): 140.

119. 550 a second reel: René Ricard, in Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 287, Kindle


530 NOTES

edition. But the footage itself is apparently not quite as extreme as in Ricard’s description—see Bill Horrigan, Bruce Jenkins, and Bruce Jen-kins, “Move: Andy Warhol’s Films,” in Andy Warhol—From A to B and Back Again, ed. Donna De Salvo (London and New York: Yale University Press and Whitney Museum, 2018), 59.

120. 550 played Malanga: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 161.

121. 550 “sullenness itself”: David Bourdon, typed notes from a telephone call (February 27, 1967), David Bourdon papers, Archives of American Art, Smithsonian Institution.

122. 551 Warhol’s “toy”: Rodney W. Thomas (a.k.a. Rod La Rod) to Andy Warhol, December 19, 1970, TC65, AWMA.

123. 551 “the police won’t listen to a faggot”: George Harris, quoted by Claudia Tedesco-Colmer, in Walter Michael Harris, ed., Flower Power Man (New York and Seattle: El Dorado, 2017), 35. Thanks to Robert Heide for this reference

124. 551 Sammy the Italian: Ronald Tavel, Andy Warhol’s Ridiculous Screenplays (Silverton, OR: Fast Books, 2015), 123.

125. 551 Dorothy Podber: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 358. Watson gives one of the more complete—but not necessarily accurate—versions of the as-sault.

126. 551 spontaneous audition: Taylor Mead, in Steven Watson, Fac-tory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 358.

127. 551 loose a round: Taylor Mead and Paul Morrissey, in Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Regi-nald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library. This is the main source for the account of the assault given here.

128. 551 “He had the gun”: Warhol, in John Leonard, “The Return of Andy Warhol,” New York Times, November 10, 1968.

More than two decades later, Paul Morrissey insisted there had been only two clicks, both aimed straight at his forehead—see Morrissey in Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

129. 552 gun’s keeper: Paul Morrissey, in Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.


NOTES 531

The “kid” in question was Patrick Tilden Close, who acted in War-hol’s film The Imitation of Christ.

130. 552 rain hat: Taylor Mead, in Steven Watson, Factory Made: War-hol and the Sixties (New York: Pantheon Books, 2003), 358. See also Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 305.

131. 552 on Mead’s: Taylor Mead, in Winston Leyland, “Taylor Mead: An Interview,” Gay Sunshine (Summer 1975): 29.

132. 552 “Who is this punk insulting a genius”: Taylor Mead, in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 358.

133. 552 “then he pulled out a knife”: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

134. 552 “I didn’t know how to do it, or something”: Paul Mor-rissey, in Taylor Mead, “Son of Andy Warhol” (typescript draft of a mem-oir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

CHAPTER 32

1. 553 “Come on Andy, give me some damn money”: Maureen Tucker, in Stephen Shore, The Velvet Years: Warhol’s Factory, 1965–67 (New York: Thunder’s Mouth Press, 1995), 71.

2. 553 American pavilion: On the pavilion and its art, see Dan-iela Sheinin, “Kookie Thoughts-Imagining the United States Pavilion at Expo 67 (or How I Learned to Stop Worrying and Love the Bubble),” Journal of Transnational American Studies 5, no. 1 (January 2013).

3. 553 “they should have left it empty”: Warhol, in Pearl Sheffy, “An Interview with Andy Warhol at Cannes: A Humourous Experience,” Montreal Gazette, May 29, 1967. Note that Warhol’s quote means that he had already seen the Expo installation, so the visit to Montreal he then made in July, with his new friend Frederick Hughes and their patrons Dominique and John de Menil, would have been a second one—for the July date see William Middleton, Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil (New York: Knopf, 2018), 454. Since a photo shows Hughes and Warhol together in Montreal, and the two are known to have had their first substantial contact on June 3, the de Menil visit can’t have happened before the May 29 article by Sheffy, and indeed seems to have been triggered by another world’s fair com-


532 NOTES

mission, for the never-finished movie called Sunset, that Warhol received from the de Menils in late June.

4. 554 twelve Castelli artists: Georg Frei and Neil Printz, Paint-ings and Sculpture 1964–1969: Warhol 02B—The Andy Warhol Catalogue Rai-sonné (New York: Phaidon, 2002), 289.

5. 554 Sidney Janis: On the Janis commission, see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02B—The Andy War-hol Catalogue Raisonné (New York: Phaidon, 2002), 323.

6. 554 without having seen it: Sidney Janis to Andy Warhol, De-cember 27, 1967, TC -2, AWMA.

7. 554 declined to buy or donate the mural: Sidney Janis to Andy Warhol, December 27, 1967, TC -2, AWMA. See also Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 02B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 324, 341. The mural was actually printed from two screens (one of its seven portraits showed Janis with a slight frown), and did get featured, a few years later, in a major touring retrospective of Warhol’s works.

8. 555 be destroyed: Arthur Stephen Penn to Leo Castelli Gallery, October 26, 1966, Leo Castelli Gallery Records, Archives of American Art, Smithsonian Institution.

9. 555 “Wouldn’t that be marvelous”: “Scenes,” Village Voice, No-vember 17, 1966.

10. 555 $6,000: See Leo Castelli Gallery, “Stipulation of Settlement” (March 6, 1967), Leo Castelli Gallery Records, Archives of American Art, Smithsonian Institution.

“You should give this immediate priority and complete the paintings without further delay,” wrote the lawyer who negotiated the settlement for Warhol, when there were only three weeks left to its deadline and the artist, an inveterate last-minute man, still hadn’t produced the goods—see Jerald Ordover to Andy Warhol, June 7, 1967, TC10, AWMA.

11. 555 took paintings: Edward Katz to Andy Warhol, February 16, 1967, TC10, AWMA.

12. 555 $500: Frances Lewis, “Statement of Value” (May 29, 1967), box M121, AWMA.

13. 555 Campbell Soup Company: W. L. White, Jr., counsel for the Campbell Soup Co., to Posters Originals, January 17, 1967, Leo Castelli Gallery Records, Archives of American Art, Smithsonian Institution. Posters Originals had been involved with producing the exhibition an-nouncement.

In his reply, Warhol’s lawyer pointed out that Campbell’s had always


NOTES 533

shown every sign of approval for Warhol’s use of their label, to the point of having commissioned one of his paintings for their retiring C.E.O.

14. 555 $250,000: For details on the Emerson lawsuits see Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 370.

15. 555 in New York State: Jack M. Perlman to Andy Warhol, at-torney’s letter, May 19, 1967, TC10, AWMA.

16. 555 her acting fee: Edward S. Katz, invoice for legal services rendered, July 5, 1967, TC39, AWMA. See also Planet Group Entertain-ment, “The Mary Woronov Interview from the Factory People Note-book,” accessed November 24, 2019, http://planetgroupentertainment.squarespace.com/the-mary-woronov-interview/.

17. 555 $2,500: Paul Johnson (a.k.a. Paul America) to Andy Warhol, November 10, 1967, TC39, AWMA.

18. 555 “get him to write checks”: Paul Johnson (a.k.a. Paul Amer-ica), in Guy Flatley, “How to Become a Superstar—and Get Paid, Too,” New York Times, December 31, 1967.

19. 556 “Oh no, just a minute, he would say”: Maureen Tucker, in Stephen Shore, The Velvet Years: Warhol’s Factory, 1965–67 (New York: Thunder’s Mouth Press, 1995), 71.

20. 556 “sometimes when we needed it”: Billy Name, in Billy Name and Collier Schorr, All Tomorrow’s Parties: Billy Name’s Photographs of Andy Warhol’s Factory (New York: D.A.P., 1997), 20.

21. 556 older paintings left to sell: On Castelli’s lack of stock and the new portrait commissions, see “Warhol’s 1st Heterosexual Film,” In New York: Guide to the Swinging Side of Single New York, 1967, 7.

22. 556 $10,000: Ileana Sonnabend to Andy Warhol, November 15, 1967, AWMA.

23. 556 editioned prints: Richard Feigen, “Art Boom,” Arts Maga-zine (November 1966): 24.

24. 556 left out of these deals: Ileana Sonnabend complained that she and Leo Castelli had been left in the dark about his new edition of Marilyn prints, even though they had already been advertised in Art-forum—see Ileana Sonnabend to Andy Warhol, November 15, 1967, AWMA.

25. 556 “a book dealing with President Kennedy”: July 1966 draft agreement with Alexander Racolin, AWMA.

26. 556 well along with work: The cover of the portfolio is the sub-ject of a June 14, 1967, invoice (box M121, AWMA) from Aetna Silkscreen Products, Inc.


534 NOTES

27. 556 any number of telegrams: The texts are actually simula-tions of telegraphs, based on the Associated Press wire copy that was mentioned in the July, 1967, draft agreement for the project. See also Richard H. Axsom, “Lament for a Dead President: Andy Warhol’s Flash-Nov 22, 1963,” in Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation (New York: D.A.P., 2016), 58.

Flash credits its texts to a certain Phillip Greer, about whom not a single fact has survived and who might therefore have been an invention of Warhol’s. Interestingly, Gerard Malanga complained that Marie Men-ken’s role in the project has been omitted from the colophon—see Gerard Malanga to Andy Warhol, January 28, 1970, TC62, AWMA. Although in 2017 Malanga had no memory of his complaint, perhaps she had a hand in the texts.

28. 557 Andy Warhol’s Tribute to John F. Kennedy: That preliminary title was suggested by the book’s publisher—see Alexander E. Racolin to Andy Warhol, August 19, 1968, TC9, AWMA.

29. 557 book about movies: David Thomson, Movie Man (New York: Stein and Day, 1967), 206. The Thomson book received coverage—including in Variety and the New York Times—beginning in the late sum-mer of 1967 and then throughout that fall and early winter. Thanks to Jay Reeg for this reference.

30. 557 Ben Shahn: Wendell Berry and Ben Shahn, November Twenty Six Nineteen Hundred Sixty Three (George Braziller, 1964).

31. 557 “grief and the sorrow millions felt”: Charlotte Willard, “In the Art Galleries,” New York Post, November 8, 1964.

32. 558 Dallas day: The Flash portfolio wasn’t actually released un-til two years after Warhol worked on it; it looks like there were issues with the contract and maybe the printing that delayed things well into 1969. Details of profit-sharing and distribution were still being worked out in Alexander E. Racolin to Andy Warhol, May 23, 1969, box B77, AWMA. Correspondence from the fall of 1969 shows Warhol still sign-ing at least some of the prints at that point.

33. 558 Sonnabend complained: Ileana Sonnabend to Andy War-hol, November 15, 1967, AWMA.

Warhol’s notes are in a 1968 datebook (TC61, AWMA), but he dates his annotations beginning December 22, 1967.

34. 558 color combinations: Sara Krajewski, “The Factory and Fac-tory Additions: 1962–1974,” in Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation (New York: D.A.P., 2016), 42. The colors were chosen by Warhol’s friend David Whitney, the young


NOTES 535

partner of Philip Johnson who seems to have acted as the “publisher” of the Marilyn portfolio, just as he had apparently facilitated Warhol’s work on the 13 Most Wanted Men mural commissioned by Johnson.

35. 558 “the hideous jarring note”: Terence Mullaly, “Images of Our Time,” Daily Telegraph, March 16, 1968.

36. 558 five years after: A silkscreened card announcing the series (TC -2, AWMA) was postmarked August 22, 1967, meaning that it must have been completed some little while before then. The same card an-nounces a formal publication date of October for the prints.

37. 558 “machine-made assembly-line stuff”: Barry Lord, editor of Arts Canada, in Ralph Thomas, “Today’s Upheaval in the Arts Dooms Galleries, Says Expert,” Toronto Daily Star, March 8, 1967. On the mul-tiples phenomenon, see Constance W. Glenn, The Great American Pop Art Store: Multiples of the Sixties (Los Angeles: Smart Art Press, 1997), 46.

38. 559 yet another commodity: On the relationship between rep-etition in Warhol’s art and in capitalist culture see Hal Foster, The First Pop Age (Princeton University Press, 2012), 110.

39. 559 “he eschews the original and creative”: John Raymond, “Pop-Ops and Pop Art from Andy Warhol,” Atlanta Journal-Constitution, December 4, 1967.

40. 559 “Why can’t I be non-original?”: Warhol, in David Bourdon, “Warhol Interviews Bourdon,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 7, Kindle edition.

41. 559 theater to theater right until June: The last Chelsea Girls ad from that initial run seems to be for the St. Mark’s Place Theater, Village Voice, May 31, 1967. The film opens again something like six weeks later at the New York Film-makers Cinematheque—see the ad in the Village Voice, July 13, 1967. Both ads are reproduced at Alfredo García, “1967,” Andy Warhol Films: Newspaper Adverts 1964–1974 (blog), accessed April 11, 2019, https://warholfilmads.wordpress.com/1967-2/.

42. 559 four hundred screenings: Greg Pierce, in a July 19, 2018, e-mail to the author.

43. 559 $25,000: Louis Brigante, of the Film-Makers Distribution Center, to Andy Warhol, enclosing a “Six-months Net Earnings State-ment” on The Chelsea Girls, July 14, 1967, TC39, AWMA.

44. 559 British rights: See the April 19, 1967, agreement between the Film-Makers Distribution Center and Sherpix Inc., for $10,000 (AWMA). The actual payment to Warhol from the Film-Makers Distribution Cen-ter was only for $9,000, indicating that that company must have taken a


536 NOTES

10% cut.45. 560 “million dollars”: “Warhol’s 1st Heterosexual Film,” In New

York: Guide to the Swinging Side of Single New York, 1967, 24. The article gives Time magazine as the source for that $1 million number, but no such reference seems to exist in Time.

Warhol’s distributor did once project a total U.S. gross of “as high as” one million dollars for The Chelsea Girls, but that might have taken years to achieve—see Byron Stuart, “Pictures: Film Underground’s Oddball Clicks Shaping a Commercial Potential,” Variety, May 31, 1967, 13.

46. 560 “Marlboro’s literary sweepstakes”: See the ad in the Jan-uary 19, 1967, Village Voice, reproduced at Alfredo García, “1967,” Andy Warhol Films: Newspaper Adverts 1964–1974 (blog), accessed April 11, 2019, https://warholfilmads.wordpress.com/1967-2/.

47. 560 “the first hippy chain”: Oliver Johnson, “An L.A. Weekend with Andy Warhol,” Los Angeles Free Press, March 24, 1967.

48. 560 “Genuine Ersatz”: For footage of the cinema and marquee see https://www.nbcnewsarchivesxpress.com/contentdetails/212199, ac-cessed December 9, 2019.

49. 560 Gene Autry Hotel: Oliver Johnson, “An L.A. Weekend with Andy Warhol,” Los Angeles Free Press, March 24, 1967.

50. 560 Liz Taylor: Oliver Johnson, “An L.A. Weekend with Andy Warhol,” Los Angeles Free Press, March 24, 1967.

51. 560 “a modern Purgatorio”: Richard Whitehall, “Warhol Has Important Vision,” Los Angeles Free Press, March 24, 1967.

52. 560 Dante’s Inferno: Kevin Thomas, “Chelsea Girls at Cinema,” Los Angeles Times, March 22, 1967.

53. 560 “the people are cleaner”: Warhol, in “Andy Warhol Inter-viewed by Gerard Malanga in the Sixties,” Little Caesar (October 1978): 13. Reference to work on a film about “the story of Christ” (eventually screened as The Imitation of Christ) indicates a 1967 date for the original interview.

54. 560 invited a reporter: Oliver Johnson, “An L.A. Weekend with Andy Warhol,” Los Angeles Free Press, March 24, 1967.

55. 560 Iron Butterfly: “In-A-Gadda-Da-Vida,” Wikipedia, ac-cessed December 9, 2019, https://en.wikipedia.org/wiki/In-A-Gadda-Da-Vida#cite_note-Galaxynote-8.

56. 561 New York premiere: See the December 19, 1966, photo at https://www.gettyimages.com/detail/news-photo/andy-warhol-escorts-his-female-entourage-to-the-manhattan-news-photo/517726728, ac-cessed July 21, 2018.


NOTES 537

57. 561 “painted her body with his own version”: Oliver Johnson, “An L.A. Weekend with Andy Warhol,” Los Angeles Free Press, March 24, 1967.

58. 561 “Twenty-six”: Rod la Rod, in “Andy Warhol’s Innocents Chat about Movies: Creator of Chelsea Girls in Town,” Washington Post, April 27, 1967.

59. 561 $16,000: “Picture Grosses: ‘Blank’ Boffo 24G, Frisco; ‘Girls’ 16G,” Variety, September 6, 1967, 18.

60. 561 “San Francisco and its love people”: Paul Morrissey, in Richard A. Ogar, “Warhol Mind Warp,” Berkeley Barb, September 1, 1967.

61. 561 “pandemonium”: Michael Kalmen, in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Ava-lon, 2004), 132, Kindle edition.

62. 561 New Director’s section: Vincent Canby, “Cannes Will See Warhol Picture: ‘Chelsea Girls’ a Hit Here Invited to Critic’s Week,” New York Times, April 25, 1967.

63. 561 Eric Emerson: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 265. Financial and administrative records of the trip also survive (TC39, AWMA).

64. 562 “I paid them with the trip”: Warhol, in Prue Vosper, “War-hol!,” International Times, June 10, 1967.

65. 562 sign releases: Gerard Malanga, December 4, 1967, letter to Mary Woronov, transcribed in Gerard Malanga, “Secret Diaries” (typed drafts with corrections, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

66. 562 Croisette in Cannes: Pearl Sheffy, “An Interview with Andy Warhol at Cannes: A Humourous Experience,” Montreal Gazette, May 29, 1967.

67. 562 not to screen The Chelsea Girls: “Chelsea Girls Draws Cannes Snub,” Variety, May 17, 1967. The article is cited in Callie Angell, The Films of Andy Warhol Part II (Whitney Museum of American Art, 1994), 10n3. The Variety digital archive is missing this page, but it can be found on microfilm.

68. 562 “character alienation”: Gene Moskowitz, “Callous Sex, Character Alienation Seen at Cannes Fest as World Tendency,” Variety, May 17, 1967.

69. 562 “trash . . . because life is trash”: Pearl Sheffy, “An Interview with Andy Warhol at Cannes: A Humourous Experience,” Montreal Ga-zette, May 29, 1967.

70. 562 Nico driving: David Croland, in “Andy Warhol’s Factory


538 NOTES

People,” Planet Group Entertainment, accessed December 9, 2019, http://planetgroupentertainment.squarespace.com/feature-doc-transcript/.

71. 562 “ball-bearing heir”: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 267.

72. 562 star of Sleep: “Chelsea Girls Draws Cannes Snub,” Variety, May 17, 1967.

73. 562 “very sweet, really sweet”: Andy Warhol, interview by Frederick Ted Castle, typed notes from a taped conversation in Castle’s taxi, June 1967, AWMA.

74. 562 “We’ll just project onto the wall”: Warhol, quoted by Bar-dot’s husband Gunter Sachs in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 64.

75. 562 two more times with Bardot: Warhol, in Prue Vosper, “Warhol!,” International Times, June 10, 1967.

76. 562 Charles de Gaulle: Andy Warhol, interview by Frederick Ted Castle, typed notes from a taped conversation in Castle’s taxi, June 1967, AWMA.

77. 563 “big buff and critic turnout”: “International Sound Track,” Variety, May 24, 1967, 13.

78. 563 twenty walkouts: “Underground Film by Warhol Debuts in Paris,” Chicago Tribune, May 22, 1967.

79. 563 to describe the film as “beautiful”: Henry Chapier, “The Avatars of New York’s ‘Pop Art’ in Paris,” Combat: Le Journal de Paris, May 20, 1967. This article was reprinted and translated in Warhol from the Son-nabend Collection (New York: Rizzoli, 2009), 178.

80. 563 accept Warhol’s invitation: Mead, quoted at https://brook-lynrail.org/2004/05/film/in-conversation-taylor-mead and at http://planetgroupentertainment.squarespace.com/feature-doc-transcript/, accessed July 24, 2018.

81. 563 “as much a master of Pop Art as of New York’s nightlife”: “Andy Warhol introduit dans l’art le ‘droit commun,’” Tribune de Laus-anne, May 7, 1967. (TC11, AWMA).

82. 563 “an activist filmmaker”: “Défense de pendre les gibiers de potence,” Le Nouveau Candide, January 30, 1967. (TC11, AWMA).

83. 563 “most insidious forms of violence”: Francois Pluchart, “The Young Turks of ‘Pop Art’ Face Off,” in Warhol from the Sonnabend Collection (New York: Rizzoli, 2009), 177.

84. 564 “an act of dissent”: Henry Chapier, “The Avatars of New York’s ‘Pop Art’ in Paris (1967),” in Warhol from the Sonnabend Collection


NOTES 539

(New York: Rizzoli, 2009), 178.85. 564 “tough exhibit”: Ileana Sonnabend to Andy Warhol, No-

vember 15, 1967, AWMA.86. 564 $1,000 a month: Ileana Sonnabend to Andy Warhol, No-

vember 15, 1967, AWMA.The stipend had gone up to $1,500 by May 1969—see Galerie Son-

nabend to Andy Warhol, May 6, 1969, Leo Castelli Gallery Records, Ar-chives of American Art, Smithsonian Institution.

87. 564 made out to Billy Name: Billy Name, in Larissa Harris and Media Farzin, eds., 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair (New York: Queens Museum of Art, 2015), 85.

88. 564 headed to London: While in London, Warhol looked up Stash de Rola, the young dandy and rocker befriended on that earlier trip—Stanislas Klossowski de Rola, interview by author, May 2, 2018. Warhol and his gang had been lugging the endless reels of The Chelsea Girls across Europe in their luggage, and De Rola came to their aid when they were invited to screen the film at the home of the art dealer Robert Fraser. An Old Etonian of fine breeding, Fraser was also a Mod pal of the Beatles and the Rolling Stones and had already shown Warhol’s fellow Pop-sters Jim Dine and Claes Oldenburg. (On Fraser, see Harriet Vyner, Groovy Bob: The Life and Times of Robert Fraser (London: Faber and Faber, 1999)). As it happened, Fraser didn’t own the second projector that The Chelsea Girls called for, but de Rola found an easy fix: He was staying in the home of his friend Paul McCartney, and he felt sure the Beatle wouldn’t mind contributing his own projector to the cause. Fraser’s screening was a mob scene, with bodies covering every inch of floor space, but when the police eventually came to close it down the upper-class dealer simply refused to let them through the door at all. “Robert basically threw them out,” de Rola recalled.

McCartney himself had been back in Liverpool that night, but at some point he crossed paths with the Warhol crowd; Nico seems to have actually stayed with him—see Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4230, Kindle edition. To Warhol’s amusement, the wild Rod la Rod leaped into the Beatle’s lap the second they met—Andy Warhol and Pat Hackett, POPism: The War-hol ’60s (New York: Harcourt Brace Jovanovich, 1980), 269. Apparently unfazed, McCartney went on to show them some 8mm footage of his own that he’d been working on.

“Home movies” and “snap, snap snap films” was the best that Mor-rissey could do to describe the rock star’s filmic efforts, when he and


540 NOTES

Warhol and the other travellers were filmed for a TV spot a bit later—see David Silver, “What’s Happening, Mr. Silver?” television broadcast (Bos-ton: WGBH, May 1967), www.youtube.com/watch?v=ESGrKwIdb8A.

89. 564 kicked out of their hotel: Warhol, in Prue Vosper, “War-hol!,” International Times, June 10, 1967.

90. 565 were often half empty: Chris Stein, in Victor Bockris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omni-bus Press, 2002), 70.

91. 565 “their backs to the audience”: Martha Morrison, in Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 153.

92. 565 official “party nights”: Gay Talese, “The Party’s Over,” Es-quire (December 1967): 168.

93. 565 “glamor of dirt”: “Eye,” Women’s Wear Daily, April 18, 1967, 24.

94. 565 gigs in Europe: John Cale and Victor Bockris, What’s Welsh for Zen: The Autobiography of John Cale (London: Bloomsbury, 1999), 105. On the Velvets’ possible European concerts, see Victor Bockris and Ge-rard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus Press, 2002), 58.

95. 565 Brian Epstein: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 4244, Kindle edition.

96. 565 “way down his list of priorities”: John Cale and Victor Bockris, What’s Welsh for Zen: The Autobiography of John Cale (London: Bloomsbury, 1999), 105.

97. 565 frankly bored: Gerard Malanga, in Winston Leyland, “In-terview with Gerard Malanga for Gay Sunshine” (typescript draft, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

98. 565 “cutting of the umbilical cord”: John Cale and Victor Bock-ris, What’s Welsh for Zen: The Autobiography of John Cale (London: Blooms-bury, 1999), 105.

99. 565 Performing at Johnson’s: “Cunningham Dancers Will Gain on Saturday,” New York Times, May 30, 1967.

100. 565 “balloons, windshield wipers, fan belts”: “The Country Happening,” Women’s Wear Daily, June 5, 1967, 42.

101. 565 wine from barrels: “Eye,” Women’s Wear Daily, April 18, 1967, 22.

102. 565 decision to break: Victor Bockris and Gerard Malanga, Up-Tight: The Story of the Velvet Underground (London: Omnibus Press, 1996),


NOTES 541

82.103. 566 “Drella” to his face: Brigid Berlin, in Howard Sounes, Notes

from the Velvet Underground: The Life of Lou Reed (London: Doubleday, 2015), 99.

104. 566 “Called me a rat”: Lou Reed, in David Fricke, “Lou Reed: The Rolling Stone Interview,” Rolling Stone (May 4, 1989).

105. 566 legal work: Edward Katz, August 1, 1967, invoice to Warhol for legal work on “amendment of management agreement” with the Vel-vet Underground, TC34, AWMA. Similar documents show negotiations taking place for much of the late summer of 1967.

106. 566 European gigs: Gerard Malanga to Andy Warhol, Decem-ber 7, 1967, Gerard Malanga papers, The Harry Ransom Center at The University of Texas at Austin.

107. 566 “a very good, honest person”: Lou Reed, in Victor Bock-ris and Gerard Malanga, Up-Tight: The Velvet Underground Story (London: Omnibus Press, 2002), 81.

CHAPTER 33

1. 567 “Somebody who was a little more talkative”: Paul Mor-rissey, in Don Bishoff, “The Real Andy Warhol Sits at Home,” Los Angeles Times, February 8, 1968.

2. 567 gilt curlicues: See the image at www.nycago.org/Organs/NYC/img/WurlitzerHall.jpg, accessed April 12, 2019. See also Bob Egan, “Lou Reed/The Velvet Underground Part 2,” PopSpots, accessed April 12, 2019, http://www.popspotsnyc.com/lou_reed_velvet_underground_2/.

On the theater’s capacity see “Greek Art Theatre Opens Here Fri-day,” New York Times, November 26, 1957.

3. 567 December 15, 1967: “New York Sound Track,” Variety, De-cember 13, 1967, 18.

4. 567 “what would end up in that movie?”: Susan Pile, interview by author, March 28, 2017.

5. 567 Vibrations: Leonard Lyons, “The Lyon’s Den,” New York Post, January 11, 1967. The film has the title Vibrations again, and is specified as 24-hours long (and about to be shown) in Carol Rubright, “Pop Art’s ‘Pop’ Pops Movie,” Rochester Times Union, March 8, 1967.

6. 567 Since: “Andy Warhol’s Innocents Chat about Movies: Cre-ator of Chelsea Girls in Town,” Washington Post, April 27, 1967.

7. 567 Sins: Bart Mindszenthy, “Exclusive Interview: Andy War-hol,” Daily Collegian, April 13, 1967.

8. 567 24 Hours: “Chelsea Girls Draws Cannes Snub,” Variety, May


542 NOTES

17, 1967. 9. 567 25 Hours Since: Prue Vosper, “Warhol!,” International Times,

June 10, 1967. 10. 568 a few months after: The first mention of the project seems

to be Leonard Lyons, “The Lyon’s Den,” New York Post, January 11, 1967. 11. 568 for an extra hour: Warhol, in a March 20, 1967, interview on

NBC TV—see www.nbcuniarchives.com, accessed August 4, 2018.12. 568 It would involve: Howard Thompson, “For Andy’s Hardi-

est: Warhol’s ****—All of 25 Hours—Shown at New Cinema Playhouse,” New York Times, December 17, 1967.

13. 568 “Wouldn’t it be great?”:John de Menil to Thomas Hoving, of the Metropolitan Museum of Art, November 20, 1967, TC59, AWMA.

14. 568 half asleep: George Abagnalo, interview by author, Decem-ber 14, 2016.

Viva liked to claim that she’d watched for ten hours, had then flown almost to Canada for her sister’s wedding and still managed to get back for the film’s last two hours: “There were five or ten people asleep in the lobby and another five or ten people eating food”—see Viva in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bour-don papers, Archives of American Art, Smithsonian Institution. Bourdon noted that this was her “standard story” about the film.

15. 568 barged into his booth: Jerome Hiler, in a September 9, 2014, interview at https://vimeo.com/108790392, accessed March 12, 2019. Hiler did not mention the presence of Warhol or Morrissey in the booth.

16. 568 “everything they said was just bizarre”: George Abagnalo, interview by author, December 14, 2016.

17. 568 “it looks like poltergeists over poltergeists”: Warhol, in the Village Voice, December 20, 1967, cited in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 382.

18. 568 “random compilation”: Neal Weaver, “The Warhol Phe-nomenon: Trying to Understand It,” After Dark ( January 1969): 28.

19. 568 one-hundred-minute reduction: “New York Sound Track,” Variety, December 13, 1967, 18.

20. 569 “footage with no narrative”: Byro, “Four Stars,” Variety, December 27, 1967, 6.

21. 569 “boring, etcetera?”: David Silver, “What’s Happening, Mr. Silver?” television broadcast (Boston: WGBH, May 1967), www.youtube.com/watch?v=ESGrKwIdb8A. On Silver and the program see Ryan Walsh, “Boston’s Most Radical TV Show Blew the Minds of a Stoned


NOTES 543

Generation in 1967,” Boston Globe, March 1, 2018.22. 569 “Snow White surrounded by A-heads”: Susan Pile, inter-

view by author, March 28, 2017.23. 569 thirty-one-day Life of Jesus: Warhol, in “Andy Warhol In-

terviewed by Gerard Malanga in the Sixties,” Little Caesar (October 1978): 13.

24. 569 Warhol’s lack of body hair: John Giorno, in Stephen Smith, “‘He Loved Weightlifting and Buying Jewels’: Andy Warhol’s Friends Re-veal All,” The Guardian, August 14, 2015, https://www.theguardian.com/artanddesign/2015/aug/14/andy-warhol-friends-reveal-all.

On the other hand Gerard Malanga, interviewed December 14, 2016, remembered Warhol having normal body hair, and a 1950s photograph by Edward Wallowitch (AWMA) shows him pantless and with plentiful hair on his legs.

25. 570 “people sit on the floor, smoke marijuana”: This and pre-vious descriptions of the film’s components are from The 1961–1970: Amer-ican Film Institute Catalog of Motion Pictures Produced in the United States, 1997, 370. These are reproduced at Gary Comenas, “Four Stars—Andy Warhol,” Warholstars (blog), accessed April 12, 2019, https://warholstars.org/four-stars.html.

26. 570 “Housemaids. Hoboes. Judges”: The 1961–1970: American Film Institute Catalog of Motion Pictures Produced in the United States, 1997, 370. Reproduced at Gary Comenas, “Four Stars—Andy Warhol,” Warhol-stars (blog), accessed April 12, 2019, https://warholstars.org/four-stars.html.

27. 570 “your yearbook up on screen”: Susan Pile, interview by author, March 28, 2017.

28. 570 started a distribution company: Warhol, in Prue Vosper, “Warhol!,” International Times, June 10, 1967.

29. 570 “into eight quickies”: Warhol, in Pearl Sheffy, “An Inter-view with Andy Warhol at Cannes: A Humourous Experience,” Montreal Gazette, May 29, 1967.

30. 570 funding from Bob and Ethel Scull: Carol Bjorkman, “Carol,” Women’s Wear Daily, January 16, 1967, 21.

31. 570 $30,000 profit: Warhol, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution. Paul Morrissey confirms the spending of those profits in Howard Smith, “The Smith Tapes: Lost In-terviews with Rock Stars & Icons 1969–1972—An Interview with Andy Warhol and Paul Morrissey,” Literary Hub (blog), November 3, 2015,


544 NOTES

https://lithub.com/the-smith-tapes-lost-interviews-with-rock-stars-icons-1969-1972/.

32. 570 “We have fun making it”: Warhol, in Sandy Leonard, “In-terview: Andy Warhol,” The Setonian, October 25, 1967.

33. 570 “like you would read a big novel”: Paul Morrissey, in Da-vid Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

34. 570 “just so much random footage”: Byro, “Film Reviews: The Loves of Ondine,” Variety, August 21, 1968.

35. 570 a country house: The house was in East Hampton—see “Andy Warhol: Superstars in East Hampton,” Hamptons Voice, July 14, 1967. It belonged to Waldo Díaz-Balart, a well-connected and wealthy Cuban émigré whose sister had once been married to Fidel Castro.

The Hamptons Voice article said that Warhol’s visit took place on July 8 (“last Saturday”) contradicting Díaz-Balart’s testimony in a lawsuit that the shoot had occurred on August 1, 1967—see “Fufu Says Warhol Took His Money Underground,” Newsday, August 29, 1968.

The Hamptons Voice article also contradicts Sepp Donahower, inter-view by author, June 26, 2017. Donahower said that the shoot, at which he was also present, happened just days before the start of his classes at the University of Southern California, whose term that year began on September 18, according to Claude Zachary, University of Southern Cali-fornia Libraries Special Collections, in a July 2, 2018, e-mail to the author.

36. 571 Banana Cuban Boys: Marcelo Montealegre, interview by author, February 15, 2016. The group has sometimes been referred to simply as The Bananas.

37. 571 “a coterie of silly people”: Simone Swan, interview by au-thor, April 17, 2017.

38. 571 “Two of the actors hid in bathrooms, terrified”: “Andy Warhol: Superstars in East Hampton,” Hamptons Voice, July 14, 1967.

39. 571 almost came to blows: Marcelo Montealegre, interview by author, February 15, 2016.

40. 571 trashing of the house: Undated photo of the destroyed main room, box B77, AWMA.

41. 571 tree being chopped down: See doublemphotos.com/pic-tures/slide12830.jpg, accessed August 4, 2018.

42. 571 very serious talk: Marcelo Montealegre, interview by au-thor, February 15, 2016.

43. 571 truly without feeling: Warhol, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Ar-


NOTES 545

chives of American Art, Smithsonian Institution.44. 571 Norelco had lent him: Gerard Malanga, in Patrick S. Smith,

Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 404.45. 571 “Fiction is dead”: Paul Morrissey, in John Leonard, “The

Return of Andy Warhol,” New York Times, November 10, 1968. 46. 571 24 Hours: Robert Olivo (a.k.a. Ondine) to Andy Warhol,

March 16, 1967, TC10, AWMA.47. 571 Cock: See John Heilpern, “The Fantasy World of Warhol,”

Observer, June 12, 1966.48. 571 My Epica: “Warhol’s 1st Heterosexual Film,” In New York:

Guide to the Swinging Side of Single New York, 1967, 24. 49. 571 24 Hours of Amphetamine: Arnold Leo, of Grove Press, to

Andy Warhol, January 30, 1968, box B564, AWMA.50. 571 Loves of Ondine: Elenore Lester, “On the Eve of Destruction,

What Was Andy Warhol’s Gang up To?” Eye (August 1968): 38.51. 571 against Warhol’s wishes: See jacket-copy documents, box

720, Grove Press Records, Syracuse University Librairies.52. 572 50 mg tabs of Obetrol: Helen Lane, a reader for Grove

Press, cited in Lucy Mulroney, “An Interview with Arnold Leo on Andy Warhol,” Believer Magazine (November 1, 2012), https://believermag.com/an-interview-with-arnold-leo-on-andy-warhol/.

53. 572 further books: Lucy Mulroney, “Vile, Disgusting, Dull, Filthy—the Voices Cry: Transmitting Andy Warhol,” November 25, 2014, https://www.tate.org.uk/context-comment/articles/vile-disgusting-dull-filthy-voices-cry.

54. 572 any grander claims: Warhol went on to use the definite ar-ticle The as the title of his book of “philosophy” published in 1975.

55. 572 generics had started to threaten: Anthony E. Grudin, War-hol’s Working Class: Pop Art and Egalitarianism (Chicago: University of Chi-cago Press, 2017).

56. 572 $250 plus 1 percent: Robert Olivo (a.k.a. Ondine) to Andy Warhol, March 16, 1967, TC10, AWMA.

57. 572 agreement with Grove Press: Edward Katz to Richard Gal-len, of Grove Press, May 31, 1967, TC39, AWMA.

On Grove’s reputation and history see Lucy Mulroney, “Andy War-hol, Publisher” (Ph.D., University of Rochester, 2013), 62.

58. 572 “this shockingly mechanical slice”: Helen Lane, in Lucy Mulroney, Andy Warhol, Publisher (Chicago: University of Chicago Press, 2018), 74.

59. 572 plus Factory regulars: Susan Pile, interview by author,


546 NOTES

March 28, 2017.On the other typists see Arnold Leo, as cited in Lucy Mulroney, “An

Interview with Arnold Leo on Andy Warhol,” Believer Magazine (Novem-ber 1, 2012), https://believermag.com/an-interview-with-arnold-leo-on-andy-warhol/.

60. 573 “blank spaces where all the dirty words were”: Maureen Tucker, in Stephen Shore, The Velvet Years: Warhol’s Factory, 1965–67 (New York: Thunder’s Mouth Press, 1995), 71.

61. 573 marks of censorship: Lucy Mulroney, “Andy Warhol, Pub-lisher” (Ph.D., University of Rochester, 2013), 86.

62. 574 “HOW TO BECOME A PROFESSIONAL HOMOSEX-UAL”: Andy Warhol, a: a novel (New York: Grove Press, 1998), 17, Kindle edition.

63. 574 less intelligible: Lucy Mulroney, “Andy Warhol, Publisher” (Ph.D., University of Rochester, 2013), 85.

64. 574 tapes made at various times: Victor Bockris, “A: A glos-sary,” in a: a novel, by Andy Warhol (New York: Grove Press, 1968), Kin-dle edition.

65. 574 first mention of the book: See David Antin, “Warhol: The Silver Tenement,” Artnews ( July 1966): 59. Antin writes about Warhol moving beyond painting into all kinds of cultural creation, from films to a discotheque to “a taped novel.”

66. 574 pretended to be transcribed: See for example Linda Rosen-krantz, Talk (New York: Putnam, 1968). On the prevalance of tape record-ing among Grove authors see Lucy Mulroney, “Andy Warhol, Publisher” (Ph.D., University of Rochester, 2013), 68.

67. 575 acquired by RCA: On the RCA acquisition see Lucy Mul-roney, Andy Warhol, Publisher (Chicago: University of Chicago Press, 2018), 58. Mulroney provides the most complete account of the Index (Book).

68. 575 “to do something as revolutionary”: Christopher Cert, of Random House, to Andy Warhol, May 31, 1967, TC39, AWMA.

69. 575 “I can’t say any more on it”: Jonathan Richman to Andy Warhol, December 1967, TC -2, AWMA.

70. 575 “child’s book for dark adults”: Joseph Freeman, interview by author, June 7, 2018.

71. 575 vast piles of photos: Lucy Mulroney, Andy Warhol, Publisher (Chicago: University of Chicago Press, 2018), 67.

72. 575 “there was a way to make money”: Joseph Freeman, inter-view by author, June 7, 2018.


NOTES 547

73. 575 initiated the project: Nat Finkelstein, Andy Warhol: The Fac-tory Years, 1964–1967 (New York: PowerHouse Books, 2000), np.

74. 576 pop-ups: Lucy Mulroney, Andy Warhol, Publisher (Chicago: University of Chicago Press, 2018), 59.

75. 576 Name delivered a title page: Billy Name, in I’ll Be Your Mir-ror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 118, Kindle edition.

See also Lucy Mulroney, Andy Warhol, Publisher (Chicago: University of Chicago Press, 2018), 66.

76. 576 public didn’t seem to agree: Branden Joseph, “White Light/White Noise,” in Andy Warhol—From A to B and Back Again, ed. Donna De Salvo (London and New York: Yale University Press and Whitney Mu-seum, 2018), 46.

77. 576 twelve thousand copies: Lucy Mulroney, Andy Warhol, Pub-lisher (Chicago: University of Chicago Press, 2018), 66.

78. 576 thirty or more lectures: Taylor Mead said that Warhol had given about 30 talks in his year of lecturing—see Mead in Winston Ley-land, “Taylor Mead: An Interview,” Gay Sunshine (Summer 1975): 14.

Warhol, a great exaggerator, gave the number as 50—see Joseph Gelmis, “Andy Warhol,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 160, Kindle edition.

The first evidence for Warhol’s 1967 lecture tour comes in Robert P. Walker, president of the American Program Bureau, to Andy Warhol, March 1, 1967, TC11, AWMA. Walker refers to Warhol giving a lecture on March 7. Partial records in Warhol’s archives provide firm evidence for another 23 lectures, with the last one given April 2, 1968.

79. 576 new market for talks: Natalie Gittelson, “No Business like Lecture Business,” New York Times Magazine ( June 9, 1968).

80. 576 anyone who “upsets the trustees”: Daniel Luria, in Natalie Gittelson, “No Business like Lecture Business,” New York Times Magazine ( June 9, 1968).

81. 577 “It was a piece of pop art in itself”: Carol Rubright, “Pop Art’s ‘Pop’ Pops Movie,” Rochester Times Union, March 8, 1967.

82. 577 “unprovocative performance”: Thomas McMullen, The Drew Acorn, October 13, 1967.

83. 577 “What were their aspirations?”: Viva and Paul Morrissey, in David Bourdon, notes from a Warhol lecture tour (February 1968), Da-vid Bourdon papers, Archives of American Art, Smithsonian Institution.

84. 577 “I could hum for three minutes”: Warhol, in David Bour-


548 NOTES

don, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

85. 577 “someplace else—Iowa I guess”: Warhol, in David Bour-don, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

86. 578 “bunch of hair dressers”: Taylor Mead, in Winston Ley-land, “Taylor Mead: An Interview,” Gay Sunshine (Summer 1975): 14.

87. 578 to raise money: Morrissey, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

88. 578 “We don’t like to lecture”: Warhol, in “Real Warhol Re-veals Tricks,” an undated clipping from an issue of the Oregon Journal for late February 1968, TC11, AWMA.

89. 578 “we didn’t get two words out of him”: “Students: Is ‘Silent’ Warhol Worth $750?” Des Moines Tribune, October 10, 1967.

See also the package of stories and photos in Thomas McMullen, The Drew Acorn, October 13, 1967. See as well, Sandy Leonard, “Interview: Andy Warhol,” The Setonian, October 25, 1967.

90. 578 a wire story: “Students: Is ‘Silent’ Warhol Worth $750?” Des Moines Tribune, October 10, 1967. The same story was published in many other newspapers.

91. 578 “come off with those answers”: Nick Snow, “Warhol Puts On,” Daily Utah Chronicle, October 4, 1967.

92. 578 “We do not understand”: Paul Morrissey to Paul Craycroft, of the University of Utah, November 3, 1967, TC11, AWMA.

93. 579 “We’ll flood the country with them”: See Elenore Lester, “On the Eve of Destruction, What Was Andy Warhol’s Gang up To?” Eye (August 1968): 42.

94. 579 “Hope we are not busted”: Paul Morrissey to Gerard Malanga, notecard addressed to Malanga in Rome, October 3, 1967, Ge-rard Malanga papers, The Harry Ransom Center at The University of Texas at Austin.

95. 579 silver hair spray: Paul Morrissey, in David Bourdon, typed notes for a lecture (1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

Allen Midgette, for his part, claimed that he’d made a deliberate choice not to get fully into costume—see Midgette in Sharon Nichols, “Being Andy Warhol,” Chronogram Magazine, accessed April 12, 2019, https://www.chronogram.com/hudsonvalley/being-andy-warhol/Content?oid=2193186.


NOTES 549

96. 579 did not show the Pop artist: Frederick Eberstadt, interview by author, May 20, 2016.

The full story of the Utah impersonation is given in Scottie Hill, “The Artist Is Not Present: Andy Warhol’s 1967 Utah ‘Hoax’ as Perfor-mance and Self-Portraiture” (MA, University of Utah, 2011).

See also Sloan Schrage, “Andy Warhol’s Lecture at the University of Utah: Performance Art or Hoax?” KSL.com, March 20, 2015, https://www.ksl.com/article/33908472.

97. 579 “The person who went had so much more to say”: War-hol, in Don Bishoff, “The Real Andy Warhol Sits at Home,” Los Angeles Times, February 8, 1968.

On the discovery of the hoax see also Sylvia Kronstadt, “Phony War-hol Suspected, Film Reveals Hoax on U,” Daily Utah Chronicle, January 31, 1968.

98. 579 swear before a judge: “Real Warhol Reveals Tricks,” an un-dated clipping from a late February, 1968, issue of the Oregon Journal, TC11, AWMA. Warhol can be seen taking the oath in a February 21, 1968, television clip at www.youtube.com/watch?v=zQuEptbAzB8, ac-cessed August 7, 2018.

99. 579 the imposter: The photo is in Jean Walrath, “Like, Like Nothing Else,” Rochester Democrat and Chronicle, March 8, 1967.

100. 579 “Mr. Warhol, are you gay?”: Allen Midgette, in Sharon Nichols, “Being Andy Warhol,” Chronogram Magazine, accessed April 12, 2019, https://www.chronogram.com/hudsonvalley/being-andy-warhol/Content?oid=2193186.

101. 579 “It was as bad as hearing God is dead”: Anonymous “girl” met in a diner, in David Bourdon, notes from a Warhol lecture tour (Feb-ruary 1968), David Bourdon papers, Archives of American Art, Smithso-nian Institution.

102. 579 “an experiment in mistaken identity”: Warhol, quoted by Frederick Eberstadt, interview by author, May 20, 2016.

103. 580 “invent another person in place of himself”: Paul Mor-rissey, in Don Bishoff, “The Real Andy Warhol Sits at Home,” Los Angeles Times, February 8, 1968.

104. 580 “to raise a lecture tour to the level of a work of art”: John Verd Cook to Andy Warhol, October 24, 1972, TC76, AWMA.

105. 580 “If they don’t know the difference”: Warhol, in David Bourdon, typed notes for a lecture (1968), David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

106. 580 Billy Name had done the canceling: Gerard Malanga


550 NOTES

claimed that, in a January 1992 conversation, Name had admitted to removing his name—see Malanga, Archiving Warhol: Writings & Photo-graphs (London: Creation Books, 2002), 130.

107. 580 Malanga had boasted: Gerard Malanga, “From the Secret Diaries,” in Out of This World: An Anthology of the St. Mark’s Poetry Project, 1966–1991, ed. Anne Waldman (New York: Crown, 1991), 285.

108. 580 “choreographic arrangements”: Diary entry for October 31, 1966, in Gerard Malanga, “Secret Diaries” (typed drafts with correc-tions, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

109. 580 “posing, not dancing”: Paul Morrissey, notes from an inter-view, March 30, 1975, box M88, AWMA.

110. 580 “a letter from a spoiled child”: Mike Silverton, in an un-dated letter to Malanga transcribed in Gerard Malanga, “Secret Diaries” (typed drafts with corrections, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

111. 580 “beautiful and gifted”: Elenore Lester, “On the Eve of De-struction, What Was Andy Warhol’s Gang up To?” Eye (August 1968): 43.

112. 580 absurdly in love: Gerard Malanga, diary entry for Novem-ber 8, 1966, in Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

113. 580 “100 Great Beauties in the World”: Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 34n21.

114. 581 “Benedetta has reached womanhood”: Diary entry for Oc-tober 30, 1966, in Gerard Malanga, “Secret Diaries” (typed drafts with corrections, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Man-uscript Library, Yale University. By the entry for November 15, 1966, it is clear that Barzini has left Malanga.

115. 581 working hard to sleep with other girls: Diary entries for September 27, 1966, and other nearby dates, in Gerard Malanga, “Secret Diaries” (typed drafts with corrections, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

116. 581 “wedding rings”: Diary entry for February 9, 1967, includ-ing a transcription of Gerard Malanga’s note to his mother, in Gerard Malanga, “Secret Diaries” (typed drafts with corrections, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale Uni-versity. The rings are also mentioned in the entry for January 1, 1967.

117. 581 “as at the time Andy’s lover”: Benedetta Barzini, in “An-


NOTES 551

tonio Marras Interviews Model Icon Benedetta Barzini,” NowFashion, accessed April 12, 2019, https://nowfashion.com/antonio-marras-inter-views-model-icon-benedetta-barzini-14305.

118. 581 left her nonplussed: Diary entry for February 9, 1967, in Gerard Malanga, “Secret Diaries” (typed drafts with corrections, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

119. 581 “He would have my head”: Diary entry for January 7, 1967, in Gerard Malanga, “Secret Diaries” (typed drafts with corrections, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

120. 581 a cooling-off with Warhol: Undated diary fragment in Ge-rard Malanga, “Secret Diaries” (partial drafts, n.d.), September 2006 ac-quisition, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

121. 581 “I break loose from under him”: Diary entry for Septem-ber 8, 1966, in Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

122. 581 “the international ladder of social trash”: Diary entry for October 7, 1966, in Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

123. 581 “I was stranded in Europe for six months”: Gerard Malanga, in Stephen Shore, Factory: Andy Warhol (London: Phaidon, 2016), 37.

124. 581 threatening letters: Gerard Malanga to Andy Warhol, De-cember 18, 1967, box B564, AWMA. See also Morgan Gibson’s December 27, 1967, letter to Malanga, transcribed in Gerard Malanga, “Selections from the Previously Unpublished Rome-New York Non-Stop Diaries” (n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Li-brary, Yale University.

125. 582 “My hair is long and always teased”: See the undated diary entry in Gerard Malanga, “Selections from the Previously Unpublished Rome-New York Non-Stop Diaries” (n.d.), Gerard Malanga Papers, Bei-necke Rare Book and Manuscript Library, Yale University.

Malanga’s Roman diaries include many references to his extensive use of hard drugs, including heroin.

126. 582 “You made me cry all night thinking of you”: Gerard Malanga’s mother in a September 11, 1967, letter to Malanga, transcribed


552 NOTES

in Gerard Malanga, “Selections from the Previously Unpublished Rome-New York Non-Stop Diaries” (n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

127. 582 “You just send me a stupid picture of yourself”: Gerard Malanga’s mother in a December 2, 1967, letter to Malanga, transcribed in Gerard Malanga, “Selections from the Previously Unpublished Rome-New York Non-Stop Diaries” (n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

128. 582 “You never sent me any money”: Gerard Malanga to Andy Warhol, December 7, 1967, Gerard Malanga papers, The Harry Ransom Center at The University of Texas at Austin.

129. 582 “I could go to jail for forgery”: Gerard Malanga to Andy Warhol, December 16, 1967, box B564, AWMA.

130. 582 avant-garde gallery: The gallery was called La Tartaruga.131. 582 fine sales: Undated clipping from an unnamed Italian pub-

lication, box B564, AWMA.132. 582 “in the best of taste and with love”: Gerard Malanga to

Andy Warhol, February 28, 1968, TC17, AWMA.133. 582 a “fairy tale”: Malanga, quoted from an unnamed source in

Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 398.

134. 582 $3,000: Gerard Malanga to Ronna, December 9, 1967, Ge-rard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

135. 583 left to sweat: Gerard Malanga, interview by David Bour-don, typed notes, June 17, 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

136. 583 “MALANGA NOT AUTHORIZED”: Andy Warhol to Gal-leria La Tartaruga, telegram, February 18, 1968, TC -2, AWMA. David Bourdon recorded that the telegram was actually written by Paul Mor-rissey—see David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

137. 583 “If you had decided”: Gerard Malanga, in a February 21, 1968, letter to Warhol, quoted in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of Ameri-can Art, Smithsonian Institution.

138. 583 Malanga “has flipped out”: Warhol and Viva, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bour-don papers, Archives of American Art, Smithsonian Institution.


NOTES 553

139. 583 summer of ’68: Gerard Malanga, July 29, 1968, diary entry published in Gerard Malanga, “From the Secret Diaries—Summer in the City,” Angel Hair (Spring 1969): np. The entry shows Malanga negotiating for a minimum-wage payment for clerical work on Warhol’s film distri-bution.

140. 583 “it’s the people we have”: Warhol, in Richard A. Ogar, “Warhol Mind Warp,” Berkeley Barb, September 1, 1967. The interview with Warhol is described as having taken place in San Francisco on Au-gust 28, 1967.

141. 583 “conversation with Warhol”: The conversation occurs in an interview by Gene Swenson, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

142. 584 threaten a lawsuit: Planet Group Entertainment, “The Mary Woronov Interview from the Factory People Notebook,” accessed November 24, 2019, http://planetgroupentertainment.squarespace.com/the-mary-woronov-interview/.

143. 584 the grand sum of one dollar: Brigid Berlin, “Complete Re-lease and Consent” (September 1, 1967), box B186, AWMA.

144. 584 “I stopped going to the Factory”: Planet Group Entertain-ment, “The Mary Woronov Interview from the Factory People Note-book,” accessed November 24, 2019, http://planetgroupentertainment.squarespace.com/the-mary-woronov-interview/.

145. 584 “There was a lot of competition”: Billy Name, in Billy Name and Collier Schorr, All Tomorrow’s Parties: Billy Name’s Photographs of Andy Warhol’s Factory (New York: D.A.P., 1997), 22.

146. 584 “business manager”: Walter E. Hurst to Andy Warhol, De-cember 12, 1967, AWMA. Hurst describes a telephone conversation with Paul Morrissey.

147. 584 profit-sharing: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 4324, Kindle edition.

148. 584 “He is my benefactor”: Billy Name, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4326, Kindle edition.

149. 584 ranked only eighth: Titia Hulst, “The Right Man at the Right Time: Leo Castelli and the American Market for Avant-Garde Art” (Ph.D., New York University, 2014), 216.

150. 584 a heart attack: “Leon Kraushar, Pop Art Collector,” News-day, September 13, 1967.


554 NOTES

151. 585 “terminate your month to month tenancy”: Realtan Inc. to Andy Warhol, September 27, 1967, box B12, AWMA.

152. 585 parking and a parkette: Franklin Whitehouse, “News of the Realty Trade: Work under Way at 2d Ave. Site,” New York Times, Au-gust 23, 1970.

CHAPTER 34

1. 587 “A mélange”: Barbara Goldsmith, “La Dolce Viva,” New York (April 29, 1968): 36.

2. 587 covered in glass: Within a few years, these had been re-placed by plain gray slate, or something that looked very like it. They can be seen in Lana Jokel, Andy Warhol, documentary, 1972. They are men-tioned in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1007, Kindle edition.

3. 587 “so we can see how much in debt we are”: Warhol, in Da-vid Bourdon, “Plastic Man Meets Plastic Man,” New York (February 10, 1969): 45.

4. 587 plexiglass cube: See the April 24, 1969, photos by Shunk-Kender at https://www.getty.edu/research/special_collections/notable/shunk_kender.html, accessed December 10, 2019.

5. 587 Rubber plants: Neal Weaver, “The Warhol Phenomenon: Trying to Understand It,” After Dark ( January 1969): 29.

6. 587 “Very clean studio; very swanky”: Al Hansen, “Fragments from a Time/Space Journal,” Fragments (Fall 1968): 48.

7. 587 “We’ve got a bigger place”: Warhol, in Neal Weaver, “The Warhol Phenomenon: Trying to Understand It,” After Dark ( January 1969): 29.

8. 587 ground-floor space: Billy Name, in Glenn O’Brien and Billy Name, “Factory Workers Warholites Remember: Billy Name,” Interview (November 30, 2008), https://www.interviewmagazine.com/culture/factory-workers-warholites-remember-billy-name.

9. 588 Academy of Music: Billy Name, interview by David Bour-don, typed notes, May 29, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

10. 588 lived nearby: See Charles Lisanby, interview by James Mad-ison University, video recording, March 2011.

On Ward’s address see Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 1501, Kindle edition.

11. 588 George Klauber: Philip Pearlstein, interview by author, Oc-tober 16, 2015.


NOTES 555

12. 588 building had now gone to seed: Richard Boeth, “Andy Warhol Trick, Treat, or Trash?” Cosmopolitan (May 1971): 179.

13. 588 Classic New York coffee shops: Information on the block’s businesses comes from period telephone directories. See also June 3, 1968, news footage in Ric Burns, Andy Warhol: A Documentary Film, docu-mentary (PBS and Steeplechase Films, 2006).

14. 588 “it will be so nice and bright”: Morrissey, quoted by Susan Pile, interview by author, March 28, 2017.

15. 588 “Paul was a force and Billy was just a silent weapon”: Susan Pile, interview by author, March 28, 2017.

16. 588 “He’s fantastic—and so full of shit”: Nelson Lyon to Andy Warhol, June 24, 1968, TC4, AWMA.

17. 588 $400: James Felt and Co. to Andy Warhol, with enclosed lease, December 27, 1967, TC39, AWMA.

18. 588 3,200 square feet: On the studio’s footprint see Richard F. Shepard, “Warhol Actress to Undergo Tests,” New York Times, June 5, 1968.

19. 588 final rent: Elk Realty, invoice for the December 1967 rent on the Forty-Seventh Street space, TC -2, AWMA.

20. 588 extra cachet: Warhol’s assistant Frederick Hughes is sup-posed to have noticed that the building was mentioned in “May Day,” an early short story by F. Scott Fitzgerald that was all about class con-flict and radical politics—see Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 331. Strangely, the building does not in fact appear in Fitzgerald’s story.

21. 588 rented to the illustrator: Saul Steinberg was supposed to have been in the building when Warhol first looked at it in late 1967, ac-cording to Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 331. Yet Steinberg is not in fact listed as a tenant in the Manhattan directory until its 1969–70 edition.

22. 589 a regular visitor: Adam Gopnik, interview by author, No-vember 7, 2019. Gopnik was reporting a conversation with Saul Stein-berg.

23. 589 lease on that sixth floor: Nelson James Felt and Co. to Andy Warhol, with enclosed lease, December 27, 1967, TC39, AWMA.

24. 589 stripping moldings: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 332.

25. 589 a mad refinisher: Susan Pile, interview by author, March 28, 2017.

26. 589 It took months: In a February 27, 1968, photo of Warhol by


556 NOTES

Barton Silverman, of the New York Times, work on the screening room has still not begun—see archive.reduxpictures.com, accessed August 15, 2018.

The space is described as still only “half-decorated” in Sally Kemp-ton, “Viva of the Visions: A Scar Is Born,” Village Voice, February 22, 1968. The decor was complete by the late fall of 1968, as shown by its descrip-tion in David Bourdon, “Plastic Man Meets Plastic Man,” New York (Feb-ruary 10, 1969): 46. Bourdon would have submitted his article several months before its publication.

27. 589 full plastic look: The space is clearly occupied by Warhol and his crew but not yet decorated much at all in the many photos in Billy Name and Collier Schorr, All Tomorrow’s Parties: Billy Name’s Photographs of Andy Warhol’s Factory (New York: D.A.P., 1997).

28. 589 By February 5: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 485n11.

29. 589 one of the Factory’s factory clocks: For the clock see the February 27, 1968, photo of Warhol by Barton Silverman, of the New York Times, at archive.reduxpictures.com, accessed August 15, 2018. For the file drawers see police photos of the space taken after Warhol’s shooting in the Municipal Archives of New York City.

30. 589 stolen off the curb: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 333.

31. 589 Love Child: Sally Chamberlain, in a March 8, 1968, journal entry e-mailed to the author on July 11, 2016. The entry, which records a visit to the Union Square studio, cannot have been written precisely as quoted by Chamberlain—or must have an error in its date—since Love Child was not released until several months after the entry’s purported date.

32. 589 “That gives this place some class”: Frederick Hughes to Andy Warhol, July 5, 1968, TC -8, AWMA.

33. 589 “answering the phone”: Glenn O’Brien, “I Remember the Factory,” accessed April 12, 2019, https://glennobrien.com/i-remember-the-factory/.

34. 589 the rule from then on: Vincent Fremont, oral history, in-terview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA. See also John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 77.

35. 589 “an office, or more like a funeral parlor”: Anton Perich, interview by author, December 3, 2014.


NOTES 557

36. 590 shoot lots of footage: “Andy in Arizona,” Other Scenes (March 1968): np.

37. 590 November 1967: Robert J. Sarti, “Pop Art’s Pop Is Pleased,” Arizona Republic, November 7, 1967.

38. 590 The Unwanted Cowboy: Robert J. Sarti, “Pop Art’s Pop Is Pleased,” Arizona Republic, November 7, 1967.

39. 590 started casting: “Scenes,” Village Voice, November 23, 1967.40. 590 skin flicks with plural names: Paul Morrissey, in David

Bourdon, notes from a Warhol lecture tour (February 1968), David Bour-don papers, Archives of American Art, Smithsonian Institution.

41. 590 Western gear: Robert J. Sarti, “Pop Art’s Pop Is Pleased,” Arizona Republic, November 7, 1967.

42. 590 twenty-gallon hat: See the photos taken on set by Bob Broder, reproduced in Eric Kroll, Warhol: Dylan to Duchamp (Tucson, AZ: Eric Firestone Gallery, 2010), np. Warhol’s absurdly huge hat is seen in a photo in Dan Pavillard, “Wherefore Art Thou, Script,” Tucson Citizen, January 27, 1968.

43. 590 stake in a Taos rug store: Bob Ashton, in Ralph T. Coe, “American Indian Art,” in Possession Obsession: Andy Warhol And Collecting (Pittsburgh: The Andy Warhol Museum, 2002), 118.

44. 590 got a new boyfriend: Paul Morrissey, in Tony Rayns, “Andy Warhol Films Inc: Communication in Action,” Cinema (UK) (August 1970): 45.

45. 590 Romeo and Juliet: Gary Comenas, “Interview with Andrew Dungan (a.k.a. Julian Burroughs),” Warholstars (blog), 2015, https://war-holstars.org/andrew-dungan-julian-burroughs.html.

46. 590 “And Romona has a male nurse”: Paul Morrissey, in Jason North, “Andy Warhol’s Supersex Movie,” Jaguar ( July 1968): 43.

47. 590 another title: Paul Morrissey, in Jason North, “Andy War-hol’s Supersex Movie,” Jaguar ( July 1968): 63.

48. 591 “makes him hard to work with”: Paul Morrissey, in Neal Weaver, “The Warhol Phenomenon: Trying to Understand It,” After Dark ( January 1969): 30.

49. 591 “too much plot”: Warhol, quoted by Taylor Mead, inter-view by Asako Kitaori, typescript, January 20, 1997, Gerard Malanga Pa-pers, Beinecke Rare Book and Manuscript Library, Yale University.

50. 591 “Our plan is to reproduce the glory”: Warhol, in Jason North, “Andy Warhol’s Supersex Movie,” Jaguar ( July 1968): 40. Note that Warhol’s quotes in this article sound entirely unlike his usual diction and precisely the same as Paul Morrissey’s quotes in any number of other


558 NOTES

publications.51. 591 in the rain: Bob Broder & Martin Holt on Shooting War-

hol in Tucson,1968, Web video, 2010, https://www.youtube.com/watch?v=GclWF8bh7gY.

52. 591 Old Tucson: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 407.

53. 591 “drag-queen extraordinaire”: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library. That cross-dresser went by Francis Fran-cine.

54. 591 real sheriff: Viva, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of Ameri-can Art, Smithsonian Institution.

55. 591 $500: Paul Morrissey, in Brian Chamberlain, Factory Days: Paul Morrissey Remembers the Sixties, documentary, 2006.

56. 591 Linda Vista: Charles Littler, “Warhol out West,” in Warhol: Dylan to Duchamp, by Eric Kroll (Tucson, AZ: Eric Firestone Gallery, 2010), np. Littler was the founder of Linda Vista.

57. 591 assault her: Viva, in Sally Kempton, “Viva of the Visions: A Scar Is Born,” Village Voice, February 22, 1968.

At a September 19, 2017, screening of Lonesome Cowboys in New York Viva specified that it was Eric Emerson who had raped her.

58. 592 ostracized at school: Charles Littler, “Warhol out West,” in Warhol: Dylan to Duchamp, by Eric Kroll (Tucson, AZ: Eric Firestone Gallery, 2010), np.

59. 592 “a perfect FBI man”: Billy Name, in an interview with Name and Andy Warhol in Phyllis Kronhausen and Eberhard Kronhau-sen, Erotic Art: A Survey of Erotic Fact and Fancy in the Fine Arts (New York: Grove Press, 1968), 47.

60. 592 any number of times: Margia Kramer, Andy Warhol et al.: The FBI File on Andy Warhol (UnSub Press, 1988).

61. 592 cabin action: Taylor Mead, in Steven Watson, “Interview with Taylor Mead ‘Mr. Sixties,’” Christopher Street (August 1978): 22.

62. 592 having shown up without ID: Viva, quoted by Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Regi-nald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

63. 592 “they’re, well, sleeping together, or whatever”: Paul Mor-rissey, in Neal Weaver, “The Warhol Phenomenon: Trying to Understand


NOTES 559

It,” After Dark ( January 1969).64. 592 “talk, talk, talk and an orgy”: Barbara Goldsmith, “La

Dolce Viva,” New York (April 29, 1968): 36.65. 593 “I wear boots now so I don’t get contact with the cac-

tus”: Eric Emerson, quoted from Lonesome Cowboys in “Andy in Arizona,” Other Scenes (March 1968): np.

66. 593 “We broke the ground”: Louis Waldon, interview by Asako Kitaori, typescript, n.d., Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

67. 593 “somnambulist superstars”: Andrew Sarris, “Films,” Vil-lage Voice, May 8, 1969.

68. 594 police photographed: “Audience Shot at Film Show,” pre-served in a clipping marked “Civil Liberties Paper, January, 1970,” TC72, AWMA.

69. 594 last day of January: FBI records suggest that Warhol left Arizona on the evening of January 30, 1968—see Margia Kramer, Andy Warhol et al.: The FBI File on Andy Warhol (UnSub Press, 1988), 20.

70. 594 “The new art is business”: Warhol, in Barbara Goldsmith, “La Dolce Viva,” New York (April 29, 1968): 36.

71. 594 “a more businesslike atmosphere”: Susan Pile, interview by author, March 28, 2017.

72. 594 “It looks so awful. I hate it so much”: Warhol, in Michael Thomas, “Enigma of a Headline Maker,” Penthouse (April 1967): 18.

73. 594 “Nobody can sit at the Factory”: Andy Warhol, interview by Frederick Ted Castle, typed notes from a taped conversation in Cas-tle’s taxi, June 1967, AWMA.

74. 594 “Drugs are old-hat now”: Paul Morrissey, in George Thomas, “Pitt Hears Warhol, or Lean-In,” Pittsburgh Press, March 27, 1968.

75. 594 “a kind of substitute Factory”: Corey Tippin, interview by author, August 19, 2018. Tippin’s first encounter with Warhol was in the Forty-Seventh Street space, and he then became a frequent presence at Max’s Kansas City and in the Union Square studios.

76. 595 “kind of cold, not very welcoming”: Corey Tippin, inter-view by author, August 19, 2018.

77. 595 “in as businesslike a way as possible”: Elenore Lester, “On the Eve of Destruction, What Was Andy Warhol’s Gang up To?” Eye (Au-gust 1968): 43.The article specifies that it was written in the spring.

78. 595 “we’re serious”: Warhol, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Archives of


560 NOTES

American Art, Smithsonian Institution.79. 595 “ordinary, conventional individual”: Robert Sarti to Shir-

ley Pasternak, November 15, 1967, AWMA. Pasternak had arranged for Warhol’s Arizona speaking date.

80. 595 “Andy goes to bed”: Elenore Lester, “On the Eve of De-struction, What Was Andy Warhol’s Gang up To?” Eye (August 1968): 95.

81. 595 Rod La Rod: Stubs for the two last checks made out by War-hol to Rod la Rod (TC10, AWMA) are dated December 21 and 25, 1967.

82. 595 a campaign to oust him: Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 307. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4242, Kindle edition.

83. 595 “What’s he doing here?”: Warhol, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

84. 595 Ondine joined them: Mary Woronov to Gerard Malanga, November 29, 1967, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

85. 595 shortage of amphetamines: Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 407.

86. 596 the chance to meet Ondine: Corey Tippin, interview by author, August 19, 2018.

87. 596 “I can no longer tolerate this”: Ondine, in David Bourdon and Robert Olivo (a.k.a. Ondine), typed notes from a telephone call (June 6, 1971), David Bourdon papers, Archives of American Art, Smithsonian Institution.

88. 596 “He never did any of it”: Taylor Mead, in Steven Watson, “Interview with Taylor Mead ‘Mr. Sixties,’” Christopher Street (August 1978): 23.

89. 596 “You’re crazy, Viva”: Warhol, in Barbara Goldsmith, “La Dolce Viva,” New York (April 29, 1968): 40.

90. 596 “I made you what you are today”: Warhol, quoted by Viva in David Bourdon and Viva, typed notes from a telephone call (Novem-ber 20, 1968), David Bourdon papers, Archives of American Art, Smith-sonian Institution.

91. 596 $700: Viva, in “Thirty Minutes of Fame: Viva and Maura Moynihan Remember Andy Warhol,” New York Woman (May 1987): 30.

Viva is mentioned as having just left Warhol’s circle in “Eye,” Wom-en’s Wear Daily, November 27, 1968. Subsequent correspondence with


NOTES 561

Warhol (AWMA) puts her in Paris.92. 596 “Oh no, Billy can’t stay there”: Billy Name, in Planet

Group Entertainment, “The Billy Name Interview from the Factory People Notebook,” accessed November 29, 2019, http://planetgroupen-tertainment.squarespace.com/the-billy-name-interview/.

93. 596 “I lost money with Andy”: Billy Name, in Peter Coutros, “The Strange World of Andy Warhol,” Daily News, June 5, 1968.

94. 596 “Andy didn’t need me anymore”: Billy Name, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), 319, Kindle edition.

95. 597 looking for sex: Corey Tippin, interview by author, August 19, 2018.

96. 597 “I just didn’t want to butt in”: Andy Warhol and Pat Hack-ett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 364.

97. 597 “He said the hairs were growing in, not out”: Lou Reed, in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 365.

98. 597 “having your first Saturn returns”: Billy Name, in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 397.

In 1968, astrology had led Name to record the precise place and date and hour of birth for each member of Warhol’s retinue, including the cor-rect information on Warhol himself, otherwise kept secret by the mas-ter—for Name’s notes see Warhol’s 1968 datebook, AWMA.

99. 597 “I cast a chart for her”: Billy Name, in Billy Name and Col-lier Schorr, All Tomorrow’s Parties: Billy Name’s Photographs of Andy Warhol’s Factory (New York: D.A.P., 1997), 28.

100. 597 “He decided to start going by the name ‘S’”: Billy Name, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 428.

101. 597 Campbell’s Soup: Billy Name, interview by author, July 24, 2014.

102. 597 yogurt containers: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5018, Kindle edition.

103. 597 takeout from Brownies: Billy Name, interview by author, July 24, 2014.

104. 597 the darkroom: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 397.

105. 597 “Billy was so loyal to that man”: Ondine, in Victor Bock-


562 NOTES

ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5017, Kindle edition.

106. 598 Friends of the Factory: See www.gettyimages.com/li-cense/141469610, accessed August 27, 2018. Although Getty Images dates the photo to March 6, that archive’s dates tend to be unreliable; Sally Chamberlain, in a November 7, 2016, e-mail to the author, said the date of the photo was March 8, as per a journal entry of hers—which was also noting the fact that she went into labor with her daughter, a date she was unlikely to get wrong.

The photo seems to have been taken for use on the cover of Silver Flower Coo, a Pop-inspired poetry book by Warhol’s old friend Charles Henri Ford—see Charles Henri Ford, Silver Flower Coo (Kulchur Press, 1968). In the end only individual heads from it were used, cut out and collaged into a larger image of Pop-y figures from the 1960s.

107. 598 to displace him: Winston Leyland, “Interview with Gerard Malanga for Gay Sunshine” (typescript draft, n.d.), Gerard Malanga Pa-pers, Beinecke Rare Book and Manuscript Library, Yale University.

108. 598 “the inevitability of Gerard”: Frederick Hughes to Andy Warhol, July 22, 1968, TC -8, AWMA.

109. 598 evening’s principal patrons: “The Country Happening,” Women’s Wear Daily, June 5, 1967.

See also William Middleton, Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil (New York: Knopf, 2018), 428.

The de Menils knew Warhol at least as early as 1965, when he did a Screen Test of their son Francois—see Callie Angell, Andy Warhol Screen Tests: The Films of Andy Warhol, Catalogue Raisonné (New York: Abrams, 2006), 129.

110. 598 “Cunningham company performed”: Karl Killian, in Wil-liam Middleton, Double Vision: The Unerring Eye of Art World Avatars Domi-nique and John de Menil (New York: Knopf, 2018), 429.

111. 599 René Magritte and Roberto Matta: William Middleton, Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil (New York: Knopf, 2018), 420.

112. 599 Alexander Iolas: William Middleton, Double Vision: The Un-erring Eye of Art World Avatars Dominique and John de Menil (New York: Knopf, 2018), 429.

113. 599 mostly Pop Art: Mixed Masters (Houston: University of St. Thomas, 1967). The show opened in May 1967.

114. 599 “an instinct for what was important, for quality”: Domi-nique de Menil, in Steven M. L. Aronson, “Andy’s Heir Apparent: The


NOTES 563

Fastidious Fred Hughes,” Vanity Fair ( July 1987): 81.115. 599 “stuffed hawks, human hair wreaths”: Tommy Hughes,

in an untitled memoir in The Collection of Frederick W. Hughes (New York: Sotheby’s, 2001), np.

116. 599 world’s best-dressed: “Got to Get My Old Tuxedo Pressed,” Sunday Times, January 7, 1973. See also Steven M. L. Aronson, “Andy’s Heir Apparent: The Fastidious Fred Hughes,” Vanity Fair ( July 1987): 130.

117. 599 “Oh, Uncle Howard”: Frederick Hughes, in Steven M. L. Aronson, interview by author, February 6, 2018.

See also Steven M. L. Aronson, “Andy’s Heir Apparent: The Fastidi-ous Fred Hughes,” Vanity Fair ( July 1987): 80.

118. 599 “Distinguished Name in Dinette Furniture”: Frederick Hughes, Sr., to Frederick Hughes, December 15, 1970, AWMA. The tag line is from the company stationery the letter is written on.

119. 599 “down the street”: William Middleton, Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil (New York: Knopf, 2018), 420.

120. 599 much more humble: Fredericka Hunter, interview by au-thor, July 8, 2018.

121. 599 “We’d all roll our eyes”: Fredericka Hunter, interview by author, July 8, 2018.

122. 599 “cosmopolite obsessed with social vanity”: Gerard Malanga, Archiving Warhol: Writings & Photographs (London: Creation Books, 2002), 133.

123. 599 British accent: Richard Gere, in Steven M. L. Aronson, “An-dy’s Heir Apparent: The Fastidious Fred Hughes,” Vanity Fair ( July 1987): 130.

124. 599 “shiny as a coat of molasses”: See “Got to Get My Old Tux-edo Pressed,” Sunday Times, January 7, 1973.

125. 599 “repioneered short hair”: Glenn O’Brien, The Style Guy (New York: Ballantine Books, 2000).

126. 600 a cape: Unnamed high-school acquaintance of Hughes’s, in Steven M. L. Aronson, “Andy’s Heir Apparent: The Fastidious Fred Hughes,” Vanity Fair ( July 1987): 80.

127. 600 purple velvet boots: John Richardson, in The Collection of Frederick W. Hughes (New York: Sotheby’s, 2001), np.

128. 600 green-satin shirt: See the photograph of Hughes (AWMA) date stamped “May 68.”

129. 600 in a single pair of pants: Frederick Hughes to Andy Warhol, July 5, 1968, TC -8, AWMA.


564 NOTES

130. 600 “dauphin”: Frank DiGiacomo, “A Farewell to Dapper Fred Hughes: He Oversaw Andy’s Factory Empire,” Observer, January 29, 2001, https://observer.com/2001/01/a-farewell-to-dapper-fred-hughes-he-oversaw-andys-factory-empire/.

131. 600 initial impetus: Frederick Hughes, oral history, typed notes, March 25, 1993, Andy Warhol Museum Institutional Oral Histo-ries, AWMA.

132. 600 “social climber from an Edith Wharton novel”: Fran Leb-owitz, in The Collection of Frederick W. Hughes (New York: Sotheby’s, 2001), np.

133. 600 “He’s so dizzy. Really dizzy”: Andy Warhol, notes from an interview conducted in Rome, 1973, TC88, AWMA.

134. 600 “very loving and very mentoring”: Corey Tippin, inter-view by author, August 19, 2018.

135. 600 “everything was charmed with Fred”: Sandra Brant, in Fred Hughes: 1943–2001, a 2001 supplement to Interview, provided to the author by Fredericka Hunter.

136. 600 sparkling young fiancées: On Frederick Hughes’s multiple engagements see Frank DiGiacomo, “A Farewell to Dapper Fred Hughes: He Oversaw Andy’s Factory Empire,” Observer, January 29, 2001, https://observer.com/2001/01/a-farewell-to-dapper-fred-hughes-he-oversaw-andys-factory-empire/.

On Hughe’s life as a gay man, see Duncan Roy, “Fred Hughes,” ac-cessed April 13, 2019, https://duncanroy.com/tag/fred-hughes/. Several examples of homosexual behaviors by Hughes were cited by Steven M. L. Aronson, interview by author, February 6, 2018.

137. 600 cruising: Fernanda Eberstadt, interview by author, Septem-ber 24, 2016.

138. 600 established boyfriends: Robert Dupont, in Michael Joseph Gross, “Factory Boys,” New York (October 2007): 58.

139. 600 “Pansexual”: Fredericka Hunter, interview by author, July 8, 2018.

140. 600 nasty fights: Warhol, unpublished diary entries, AWMA.141. 601 “just for business”: Paul Morrissey, quoted by Frederick

Hughes in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 85.

142. 601 sleek and snazzy: Frederick Hughes, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 85.

143. 601 Hughes got his way: Frederick Hughes in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 85.


NOTES 565

144. 601 filing cabinets: See Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 372. See also Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 343.

The filing cabinets’ partial mirroring can be seen in police photos taken after Warhol’s shooting that are now in the Municipal Archives of New York City.

145. 601 for House & Garden: Frederick Hughes, July 1968 note to Andy Warhol, AWMA.

146. 601 big-name living artists: John de Menil to Andy Warhol, June 26, 1967, Menil Archives, Menil Collection, Houston.

147. 601 private jet: Andy Warhol and Pat Hackett, POPism: The War-hol ’60s (New York: Harcourt Brace Jovanovich, 1980), 277.

148. 601 American Pavilion: See William Middleton, Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil (New York: Knopf, 2018), 454. Photos survive of the group at Expo ’67 in Mon-treal.

149. 601 “appropriate for a church”: John de Menil to Andy Warhol, June 26, 1967, Menil Archives, Menil Collection, Houston.

150. 601 “because it was just like a stripe painting”: Warhol, in Richard A. Ogar, “Warhol Mind Warp,” Berkeley Barb, September 1, 1967.

In Jacques Tourneur’s 1957 film Nightfall, that Hollywood thriller where a woman asks her artist companion whether he does “soup cans or sunsets?”—ie, commercial or fine art—“sunsets” had stood for all of traditional painting, giving another relevant context for what Warhol had proposed to the de Menils.

151. 602 Warhol realized: Callie Angell, in a 2000 lecture at Rice University, Houston, quoted at “Floating Cinema on Buffalo Bayou,” Aurora Picture Show, accessed April 13, 2019, http://aurorapictureshow.org/calendar.asp?pageid=83&calid=190.

152. 602 frankly financial: Warhol, in Richard A. Ogar, “Warhol Mind Warp,” Berkeley Barb, September 1, 1967.

153. 602 $15,000: A series of documents from the late summer and early fall (AWMA) show those amounts being paid, and specify them as “installments on the production cost” of Sunset. The de Menils had originally agreed to Warhol’s price of $20,000 for the completed project, by far the most he had charged for any work up to that date. See John de Menil to Andy Warhol, June 26, 1967, Menil Archives, Menil Collection, Houston.

154. 602 surplus ended up being siphoned off: Andy Warhol and Pat


566 NOTES

Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 273.

155. 602 Fifth Avenue: Simone Swan, interview by author, April 17, 2017.

156. 602 to screen excerpts: William Middleton, Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil (New York: Knopf, 2018), 454.

157. 602 “Andy is a wonderful person. Such substance”: Domi-nique de Menil, in William A. Camfield, “Two Museums and Two Uni-versities: Toward the de Menil Collection,” in Art and Activism: Projects of John and Dominique de Menil, ed. Josef Helfenstein and Laureen Schipsi (New Haven, CT: Yale University Press, 2010), 64.

158. 602 to break with the de Menils: William Middleton, Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil (New York: Knopf, 2018), 456.

159. 602 a few degrees: For the weather see bolin.su.se/data/stock-holm/files/stockholm-historical-weather-observations-2017/tempera-ture/daily/raw/stockholm_daily_temp_obs_1961_2012_t1t2t3txtntm.txt, accessed August 29, 2018.

The exhibition had originally been scheduled to open in 1967—see Paul Morrissey to Gerard Malanga, notecard addressed to Malanga in Rome, October 3, 1967, Gerard Malanga papers, The Harry Ransom Cen-ter at The University of Texas at Austin.

160. 602 pants so well worn: Warhol’s pants are described by the unknown adjective “narry” in David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

Hole-filled jeans, with purple tights showing through, are, however, described in an account of a May 1968 trip of Warhol’s to Dallas—see David Searcy, “My Day with Andy Warhol,” Literary Hub (blog), June 1, 2018, https://lithub.com/my-day-with-andy-warhol/.

On the peacoat see David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of Amer-ican Art, Smithsonian Institution. For an image of Warhol in it see www.nt.se/nyheter/andy-warhol-utmanar-fortfarande-3271621.aspx, accessed December 10, 2019.

161. 603 “I was going to send someone that looked like me”: Warhol, in David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.


NOTES 567

162. 603 the day before: Don Bishoff, “Andy Warhol or Someone Gives a Non-Lecture Tour,” New York Post, February 20, 1968.

163. 603 first surveys of Pop: Amerikansk Pop-Konst (Moderna Mu-seet Stockholm, 1964).

164. 603 “our policy to follow up on people”: Pontus Hulten, in Da-vid Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

165. 603 attending the launch: David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

166. 603 “penetrating and analyzing sensitivities”: Pontus Hulten, in David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

167. 603 presented as a one-off: A list of works sent to Stockholm is jotted down, in Warhol’s handwriting, on the January 20 page in his date-book for 1968 (AWMA). The list is confirmed by the detailed descriptions of the show in David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

168. 603 prints from Warhol’s new portfolio: See the photo at www.nt.se/nyheter/andy-warhol-utmanar-fortfarande-3271621.aspx, ac-cessed August 29, 2018.

169. 603 proper valves: See the November 27, 1967, confirmation of an order to the National Transparent Mfg Co. (TC39, AWMA) for ten 10’ by 15’ bags with valves, at $17.50 each.

170. 603 short on helium: David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

171. 604 plastic bags: Olle Granath, “With Andy Warhol 1968,” in Andy Warhol: Other Voices, Other Rooms: A Guide to 706 Items in 2 Hours 56 Minutes, ed. Eva Meyer-Hermann (Rotterdam: nai010 publishers, 2008), 12.

172. 604 specially silkscreened: Olle Granath, “With Andy Warhol 1968,” in Andy Warhol: Other Voices, Other Rooms: A Guide to 706 Items in 2 Hours 56 Minutes, ed. Eva Meyer-Hermann (Rotterdam: nai010 publish-ers, 2008), 12.

173. 604 first pitched the idea: Rudolf Zwirner, interview by author, July 27, 2018. Kasper Koenig had recently worked for Zwirner at the time


568 NOTES

of the Stockholm show.174. 604 Brillo Boxes: David Bourdon, notes filed to the editors of

Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

175. 604 direct from Brillo: Olle Granath, “With Andy Warhol 1968,” in Andy Warhol: Other Voices, Other Rooms: A Guide to 706 Items in 2 Hours 56 Minutes, ed. Eva Meyer-Hermann (Rotterdam: nai010 publish-ers, 2008), 12.

176. 604 “The real thing is just as functional”: Pontus Hulten, in David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

177. 604 Three projectors: David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

178. 604 Surplus lights: Olle Granath, “With Andy Warhol 1968,” in Andy Warhol: Other Voices, Other Rooms: A Guide to 706 Items in 2 Hours 56 Minutes, ed. Eva Meyer-Hermann (Rotterdam: nai010 publishers, 2008), 12.

179. 604 “inspired” innovation: David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

180. 604 “probably one of the most moral of artists”: Pontus Hulten, in David Bourdon, typed notes for a lecture (1968), David Bour-don papers, Archives of American Art, Smithsonian Institution.

181. 604 “ricocheting blasts”: David Bourdon, notes filed to the edi-tors of Time magazine (February 20, 1968), David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

182. 604 a rock opera: Rosalyn Regelson, “Where Are the Chelsea Girls Taking Us,” New York Times, September 24, 1967.

183. 605 “famous for fifteen minutes”: For a full discussion of the history of Warhol’s famous line see this author’s warholiana.com/post/81689862604/in-the-future-everyone-will-be-world-famous-for, ac-cessed August 29, 2018.

184. 605 “the most important international show in Europe”: Il-eana Sonnabend to Andy Warhol, April 2, 1968, AWMA.

185. 605 “the vacuum of modern existence”: Pontus Hulten, in Da-vid Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.


NOTES 569

186. 606 “apotheosis”: Mary Josephson, “Warhol: The Medium as Cultural Artifact,” Art in America ( June 1971): 44. Josephson is quoted in Michael Sanchez, “Andy Warhol Inside Out,” in Andy Warhol—From A to B and Back Again, ed. Donna De Salvo (London and New York: Yale University Press and Whitney Museum, 2018), 63.

187. 606 “We were coming out of the ashes”: Rudolf Zwirner, inter-view by author, July 27, 2018.

188. 606 “the hundred soup cans is an elevating vision”: Henry Geldzahler, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

189. 606 paid Warhol a visit: Rudolf Zwirner to Andy Warhol, De-cember 11, 1967, TC59, AWMA.

190. 606 “High and low didn’t exist anymore”: Rudolf Zwirner, in-terview by author, July 27, 2018.

191. 606 “excess” supply: Rudolf Zwirner, interview by author, July 27, 2018.

192. 606 sell his films: See Paolo Barozzi to Andy Warhol, June 17, 1967, Gerard Malanga papers, The Harry Ransom Center at The Uni-versity of Texas at Austin. Barozzi was a Venetian art dealer. See also the extensive 1971 correspondence (box B11, AWMA) sent to Warhol by German dealer Heiner Friedrich, who was eager to sell a large range of the films and even suggested they be marketed as editioned art works.

193. 606 “nothing to be surprised over”: A critic for Sweden’s Ex-pressen newspaper, in David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of Amer-ican Art, Smithsonian Institution.

194. 607 “and disturbs the unity of the show”: Ileana Sonnabend to Andy Warhol, April 2, 1968, AWMA. The date of the letter suggests that Warhol continued to use the instructional footage beyond the first few days of the show—or perhaps Sonnabend was only present for the open-ing, and assumed that that footage continued to be shown.

195. 607 “Brillo hair-do (crinkly and uncombed)”:David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

196. 607 “we were going to do a dirty movie here in Stockholm”: Warhol, in David Bourdon, notes filed to the editors of Time magazine (February 20, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

197. 607 fully commercial production: Pontus Hulten, in David Bourdon, notes filed to the editors of Time magazine (February 20, 1968),


570 NOTES

David Bourdon papers, Archives of American Art, Smithsonian Institu-tion.

CHAPTER 35

1. 609 “My life didn’t flash in front of me or anything”: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 36.

2. 609 “Valerie, I’m innocent!”: Mario Amaya, as quoted from the day of the shooting by Brian O’Doherty, interview by author, March 15, 2014.

3. 609 “She puts the gun next to his head”: Paul Morrissey, in Taylor Mead, “The Shooting of Andy: An Account by Paul Morrissey,” February 5, 1997, http://www.artnetweb.com/moobird/news/taylor.html.

4. 609 4:30 on June 3, 1968: Richard F. Shepard, “Warhol Gravely Wounded in Studio,” New York Times, June 4, 1968. See also “Andy War-hol Wounded by Actress,” New York Daily News, June 4, 1968.

5. 610 “The river,” she replied: Judy Michaelson, “Valerie: The Trouble Was Men,” Village Voice, June 5, 1968.

6. 610 no roof over her head: Mary Harron and Daniel Minahan, “Introduction,” in I Shot Andy Warhol (New York: Grove Press, 1996), xvii.

7. 610 Horn & Hardart: Judy Michaelson, “Valerie: The Trouble Was Men,” Village Voice, June 5, 1968. See also Al Hansen, “The Shooting of Andy Warhol,” typescript provided to the author by Bibbe Hansen.

8. 610 molested by her father: Judith Solanas Martinez, Valerie’s sister, in Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 297, Kindle edition.

9. 610 did very well in college: Judy Michaelson, “Valerie: The Trouble Was Men,” Village Voice, June 5, 1968.

10. 610 quitting grad school: Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 591, Kindle edition.

11. 610 begging or sex work: Mary Harron and Daniel Minahan, “Introduction,” in I Shot Andy Warhol (New York: Grove Press, 1996), xvii.

See also Paul Krassner, “Wonder Waif Meets Super Neuter,” in Scum Manifesto, by Valerie Solanas (New York: Olympia Press, 1968), 90.

12. 610 a complete female take-over: Poster enclosed with Valerie Solanas to Andy Warhol, August 1, 1967, AWMA.

13. 611 “In person she was gentle”: Howard Smith, “The Shot


NOTES 571

That Shattered the Velvet Underground,” Village Voice, June 6, 1968.14. 611 Gene Swenson: See Gary Comenas, “Gene Swenson, Andy

Warhol and the Personality of the Artist,” Warholstars (blog), 2016, https://warholstars.org/personality-of-artist-andy-warhol.html.

15. 611 “A literary dyke, butch, very typical”: Billy Name, in Ste-phen Shore, Factory: Andy Warhol (London: Phaidon, 2016), 30.

16. 611 “came around two or three different times”: Paul Mor-rissey, in Howard Smith, “The Smith Tapes: Lost Interviews with Rock Stars & Icons 1969–1972—An Interview with Andy Warhol and Paul Morrissey,” Literary Hub (blog), November 3, 2015, https://lithub.com/the-smith-tapes-lost-interviews-with-rock-stars-icons-1969-1972/.

17. 611 Up Your Ass: Warhol had received the script by February 1966, which is when Solanas asked for it back in a perfectly measured note—see Valerie Solanas to Andy Warhol, February 9, 1966, AWMA.

18. 611 sting operation: Warhol thought Solanas was “a lady cop”—see David Bourdon, typed notes from a telephone call (February 27, 1967), David Bourdon papers, Archives of American Art, Smithsonian Institution. Warhol then reiterates that idea in Gretchen Berg, “Nothing to Lose,” Cahiers Du Cinema (May 1967): 40. Although the passage on Up Your Ass does not appear in several earlier versions of the interview, published as early as November 1966. The passage about Solanas does not seem to be present in the Berg tapes or transcripts in the Warhol archives.

19. 611 called a friend: Rosalyn Drexler, interview by author, Sep-tember 26, 2017. The friend was Drexler’s husband, Sherman Drexler.

20. 611 asked for it back: Valerie Solanas to Andy Warhol, February 9, 1966, AWMA.

21. 611 “first film with a story”: Paul Morrissey, in Tony Rayns, “Andy Warhol Films Inc: Communication in Action,” Cinema (UK) (Au-gust 1970): 44.

22. 611 “Valerie Barge Cap”: Judy Michaelson, “Valerie: The Trou-ble Was Men,” Village Voice, June 5, 1968.

23. 612 paid $25: Paul Morrissey, “Pop Shots,” Vogue (May 1, 1966): 152.

24. 612 much-needed cash: See Leticia Kent, “Andy Warhol Is Alive and Well,” Village Voice, September 12, 1968.

25. 612 “very relaxed and friendly”: Maurice Girodias, “Publisher’s Preface,” in Scum Manifesto, by Valerie Solanas (London: Phoenix Press, 1991), 16.

26. 612 for her name to be spelled right: Valerie Solanas to Andy


572 NOTES

Warhol, August 25, 1967, AWMA.27. 612 changed words: Valerie Solanas to Andy Warhol, August

27, 1967, AWMA.28. 612 “Maybe you’d like to post it in your Factory”: Valerie So-

lanas to Andy Warhol, August 1, 1967, AWMA.29. 612 “a very, very brilliant girl”: Frederick Hughes, in a tran-

script provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

30. 612 had a long conversation: Taylor Mead seemed worried about the attention Warhol paid her—see Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

31. 612 “you are by no means on the Escape List”: Valerie Solanas, notes from a coversation with Warhol, n.d., document box 201, AWMA. References to the completion of Lonesome Cowboys suggests the conversa-tion happened very late in 1967.

32. 612 worthy of a mention: Elenore Lester, “On the Eve of De-struction, What Was Andy Warhol’s Gang up To?” Eye (August 1968): 94. Lester specifies that the article had been written before Solanas’s attempt on Warhol’s life, despite its later publication.

33. 612 room was bugged: Judy Michaelson, “Valerie: The Trouble Was Men,” Village Voice, June 5, 1968.

34. 612 “I’m going to get all of you men”: Barbara Hodes, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 2772, Kindle edition.

35. 612 known about for two years: Its return had already been requested in Valerie Solanas to Andy Warhol, February 9, 1966, AWMA.

Confusingly, there has been mention of a different, revised version of the play, from June 1967, that Solanas also gave to Warhol—see Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 1571, Kindle edition.

36. 612 other copies: Other typescript copies and versions of Up Your Ass have circulated in the rare-book market—see James Barron, “A Manuscript, a Confrontation, a Shooting,” City Room (blog), June 23, 2009, https://cityroom.blogs.nytimes.com/2009/06/23/a-manuscript-a-confrontation-a-shooting/. The director Gene Feist also received a copy from Solanas, in 1967—see Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 420.

37. 612 $500: Mary Harron and Daniel Minahan, “Introduction,”


NOTES 573

in I Shot Andy Warhol (New York: Grove Press, 1996), xxi. See also Paul Morrissey, “Pop Shots,” Vogue (May 1, 1966): 152.

For the text of the contract see Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 1713, Kindle edition.

38. 612 the Factory lawyer: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

39. 612 calling him at all hours: Warhol, in Leticia Kent, “Andy Warhol Is Alive and Well,” Village Voice, September 12, 1968.

40. 613 “Toad”: Valerie Solanas to Andy Warhol, February 7, 1968, AWMA.

41. 613 “a scene in one of your shit movies?”: Valerie Solanas to Andy Warhol, February 11, 1968, AWMA.

42. 613 “A. Warhol, Asshole”: Valerie Solanas to Andy Warhol, February 10, 1968, AWMA.

43. 613 “But she was a real nuisance”: Warhol, in Mario Amaya, “Reflections on the Day a Girl Shot Andy Warhol and Mario Amaya,” Nova (December 1969): 80.

44. 613 respect for female artists: Gillian Jagger, interview by au-thor, January 9, 2015.

45. 613 “women are the world’s major artists”: Warhol, in Rita Reif, “To Collectors, Navajo Design Is Irresistible,” New York Times, No-vember 28, 1972.

46. 613 favorite female artists: Warhol, in Glenn O’Brien, “Inter-view: Andy Warhol,” High Times (August 1977): 38.

47. 613 delusions in her head: See Catherine Lord, “Wonder Waif Meets Super Neuter,” October 132 (Spring 2010): 154.

48. 613 “It was only a matter of time”: James Stoller, “Beyond Cin-ema: Notes on Some Films by Andy Warhol,” Film Quarterly (Fall 1966): 35.

49. 614 returned from shooting: Warhol had arrived from Califor-nia only hours before the shooting according to Aaron Sloan, “Warhol Shoots the Surf,” Los Angeles Free Press, July 26, 1968. It should be noted that this timing is not mentioned in any other source.

50. 614 muggers: Andy Warhol and Pat Hackett, POPism: The War-hol ’60s (New York: Harcourt Brace Jovanovich, 1980), 339.

51. 614 chestnut-leather jacket: For Warhol’s outfit on the day of the shooting see the black-and-white photos taken by Jack Smith for the


574 NOTES

New York Daily News. The chestnut leather of the jacket—it is almost or-ange—can be seen in Billy Name and Collier Schorr, All Tomorrow’s Par-ties: Billy Name’s Photographs of Andy Warhol’s Factory (New York: D.A.P., 1997), 41, 45. The state of the studio’s decor in Name’s color photos in-dicate that they predate the shooting. A brown leather jacket is also mentioned in Donald Newlove, “Prothalmion for Wet Harmonica and Johnny Stompanato,” The Realist (August 1966): 17. Another mention of a brown leather jacket is in Gregory Mcdonald, “Built-in Obsolescence: Art by Andy Warhol,” Boston Sunday Globe, October 23, 1966.

52. 614 “he wore a brown leather jacket”: Billy Name, full inter-view transcript for the documentary “The Factory People: Interview Archive” (Planet Group Entertainment, 2011), provided to the author by producer Patrick Nagle, n.d.

53. 614 flight bag: The flight bag and tape deck can be seen sitting beside the spot where Warhol was shot in police photos in the Municipal Archives of New York City. Thanks to Thomas Kiedrowski for alerting me to the existence of these photos.

54. 614 Warhol walked: Morning calls, the lunch with Bert Stern, the walk to the studio and the chat with the janitor are all mentioned in cursory notes (TC65, AWMA) that Warhol made about the day of the shooting.

Popism has Warhol arriving at Union Square by cab, but that could easily be one of that book’s many errors, conjectures or embroideries—Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Har-court Brace Jovanovich, 1980), 340.

55. 614 “She wanted to dispose of all men”: “Actress Wounds Art-ist: Film Maker Warhol and Visitor Shot,” Chicago Tribune, June 4, 1968. This article provides the October date for Valerie Solanas’s eviction, but it is dated to “early summer 1967” in Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 1217, Kindle edition.

56. 614 and a dress: Warhol, in Leticia Kent, “Andy Warhol Is Alive and Well,” Village Voice, September 12, 1968. Paul Morrissey also men-tions a dress in Taylor Mead, “The Shooting of Andy: An Account by Paul Morrissey,” February 5, 1997, http://www.artnetweb.com/moo-bird/news/taylor.html. Valerie Solanas was arrested in different clothes several hours later, so must have found a time and place to change.

Solanas had appeared in a “magnificent red dress” to have dinner with Maurice Girodias some time before, so perhaps the dress she wore to the shooting was the same one—see Maurice Girodias, “Publisher’s


NOTES 575

Preface,” in Scum Manifesto, by Valerie Solanas (New York: Olympia Press, 1968).

57. 615 two weapons: “The Sweet Assassin,” Newsweek ( June 17, 1968): 86. See also Ellery Queen, “Those Magnificent Women and Their Perfect .38s,” Cincinnatti Enquirer, February 14, 1971; Natalie Layzell, “Warhol Given 50-50 Chance; Woman Charged in Shooting,” Interna-tional Herald Tribune, June 5, 1968.

For the makers of Valerie Solanas’s guns see the “Statement of Val-erie Jean Solanas Made to Roderick Lankler, Assistant District Attorney,” cited in Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 5511, Kindle edition.

58. 615 an art magazine: The account of Valerie Solanas’s visit to May Wilson is in William S. Wilson, “Prince of Boredom: The Repeti-tions and Passivities of Andy Warhol,” Warholstars (blog), 2004, https://warholstars.org/prince-boredom-warhol-william-wilson.html.

59. 615 Solanas traveled: Margo Feiden’s account is in Glenn O’Brien, “History Rewrite,” Interview (March 7, 2009), https://www.in-terviewmagazine.com/culture/history-rewrite.

60. 615 to give it a production: Yet another tale, told in 2011 by Sylvia Miles, an actress who was an old friend of Warhol’s, has Valerie So-lanas first promoting her play earlier that morning at the Actor’s Studio near Times Square, then moving on to Feiden after getting the brush-off there—see Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 2022, Kindle edition.

That would have made for a very crowded morning for Solanas, with a great deal of cross-city travel, and many years had elapsed between the shooting and Fahs’s interview with Miles, who was known as a free-wheeling raconteur.

61. 615 wear more clothing: Terence W. H. Chong and David J. Castle, “Layer upon Layer: Thermoregulation in Schizophrenia,” Schizo-phrenia Research 69, no. 2–3 (August 2004): 149.

62. 615 “You don’t want to do that; don’t go kill him”: Margo Feiden, in James Barron, “A Manuscript, a Confrontation, a Shoot-ing,” City Room (blog), June 23, 2009, https://cityroom.blogs.nytimes.com/2009/06/23/a-manuscript-a-confrontation-a-shooting/.

63. 615 her cousin: The cousin, Bob Feiden, was on the periphery of Warhol’s scene.

Margo Feiden’s contact with police does seem to have been noted


576 NOTES

by the District Attorney’s office—see Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), note 160 at loc. 5484, Kindle edition.

64. 615 publisher Girodias: See Steven Watson, Factory Made: War-hol and the Sixties (New York: Pantheon Books, 2003), 378.

Doubts about the visit to Maurice Girodias are expressed in Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 1667, Kindle edition. When he wrote about the shooting that same year, Girodias did not mention her visit, but did imply that Valerie Solanas had missed “her first man”—see Maurice Girodias, “Publisher’s Preface,” in Scum Manifesto, by Valerie So-lanas (London: Phoenix Press, 1991), 19.

Sources that believe in the visit often place it in Girodias’s suite at the Chelsea Hotel—see Ric Burns, Andy Warhol: A Documentary Film, us-ing information apparently provided by Paul Morrissey. But it looks as though Girodias and his Olympia Press had moved to 36 Gramercy Park by May 1968, since both the man and the firm are listed there in the 1968 telephone directory that was finalized then. See also Earl Kemp, “Me and Maurice,” October 2005, http://www.efanzines.com/EK/eI22/index.htm. Kemp says that he visited Girodias on Gramercy Park in the spring of 1968.

Six months after the shooting, a friend of Solanas’s implied that she had not tried to shoot Girodias because he was not famous enough—see Geoffrey Le Gear to Andy Warhol, December 3, 1968, AWMA. But Le Gear would not have had any first-hand knowledge of what happened the day of the shooting and any information he got from Valerie Solanas might have been confused or confusing.

65. 616 saw her on on the sidewalk: Frederick Hughes, in a tran-script provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

A close acquaintance of Valerie Solanas said that she asked if she could join him and his daughter when they were eating lunch at Brown-ie’s, around the corner from Warhol’s studio, at around 11:30 that day; he said no—see Paul Krassner, “Wonder Waif Meets Super Neuter,” in Scum Manifesto, by Valerie Solanas (New York: Olympia Press, 1968), 93. Krassner said (p. 92) that a few days earlier he had lent her $50, which might have helped fund the purchase of at least one of her handguns.

66. 616 returned several times: Paul Morrissey, in Taylor Mead, “The Shooting of Andy: An Account by Paul Morrissey,” February 5, 1997, http://www.artnetweb.com/moobird/news/taylor.html.


NOTES 577

67. 616 Jed Johnson: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 341.

68. 616 three of them: The very first reports had Solanas coming up alone. See Richard F. Shepard, “Warhol Gravely Wounded in Stu-dio,” New York Times, June 4, 1968. See also “Andy Warhol Wounded by Actress,” New York Daily News, June 4, 1968; “Actress Shoots Pop Artist—Warhol,” Pittsburgh Press, June 4, 1968; Natalie Layzell, “Warhol Given 50-50 Chance; Woman Charged in Shooting,” International Herald Tri-bune, June 5, 1968.

Within a day, however, reporters were saying that she came up in the elevator with Warhol, apparently based on new interviews with Mor-rissey. See Richard F. Shepard, “Warhol Actress to Undergo Tests,” New York Times, June 5, 1968. See also Howard Smith, “The Shot That Shat-tered the Velvet Underground,” Village Voice, June 6, 1968; “The Sweet Assassin,” Newsweek ( June 17, 1968).

69. 616 typing a letter: Frederick Hughes, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

70. 616 was sporting long hair: See the June 3, 1968, news footage excerpted in Ric Burns, Andy Warhol: A Documentary Film, documentary (PBS and Steeplechase Films, 2006).

71. 616 tidy suit and tie: Mario Amaya’s clothing can be seen in photos taken later as he climbed into the ambulance.

72. 616 U.K. exhibition: Brian O’Doherty and Barbara Novak, in-terview by author, May 12, 2016. O’Doherty, who was both an artist and a prominent writer, had himself been curated by Mario Amaya.

Amaya might also have been in discussions with Warhol about bringing his Stockholm survey to the Institute of Contemporary Art in London, where he had just organized a major group show that featured Warhol. On the Stockholm show going to the ICA in London see Ileana Sonnabend to Andy Warhol, April 2, 1968, AWMA. Amaya wrote “We’re going ahead with the exhibition” in Mario Amaya to Andy Warhol, June 14, 1968, TC4, AWMA. There’s no sign the ICA ever hosted it.

73. 616 Amaya’s pan: Mario Amaya, “Men and the Machine,” Finan-cial Times, March 26, 1968. (Clipped in TC -2, AWMA.)

74. 616 complimented Solanas: Paul Morrissey, in Taylor Mead, “The Shooting of Andy: An Account by Paul Morrissey,” February 5, 1997, http://www.artnetweb.com/moobird/news/taylor.html.

75. 616 “creepy and quiet”: Mario Amaya, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 24. On the day of the shooting, however, Amaya merely said that Solanas had


578 NOTES

“stood very quietly” as they were introduced—see “Actress Shoots Pop Artist—Warhol,” Pittsburgh Press, June 4, 1968.

76. 616 a snide question: Howard Smith, “The Shot That Shattered the Velvet Underground,” Village Voice, June 6, 1968.

77. 616 admitted to having lied: Paul Morrissey, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCol-lins, 2009), 422. Note that much of what Morrissey told Scherman about the shooting conflicts with earlier accounts from him and others.

78. 616 Everybody laughed: Frederick Hughes, in a transcript pro-vided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

79. 616 Viva, looking for Warhol: Paul Morrissey, in Taylor Mead, “The Shooting of Andy: An Account by Paul Morrissey,” February 5, 1997, http://www.artnetweb.com/moobird/news/taylor.html.

80. 617 fluorescent lights: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 341.

81. 617 office chair: On the chair see Richard F. Shepard, “Warhol Actress to Undergo Tests,” New York Times, June 5, 1968. The chair is vis-ible in crime-scene photos in the Municipal Archives of New York City.

82. 617 for a cigarette: Mario Amaya, in Natalie Layzell, “Warhol Given 50-50 Chance; Woman Charged in Shooting,” International Herald Tribune, June 5, 1968.

83. 617 Communist Party offices: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 351.

84. 617 Marxist bookstore: Martin Gansberg, “2 Seized in Plot to Bomb Union Square Bookstore,” New York Times, February 20, 1968.

85. 617 blown up: “Bomb Damages N.Y. Bookstore,” Pittsburgh Post-Gazette, July 22, 1968.

86. 617 “Hit the floor”: Mario Amaya, quoted by Frederick Hughes, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

87. 617 “Oh, Valerie, no, no”: Mario Amaya, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 24.

88. 617 with her Beretta: The .32 was the gun that had been fired when police arrested Solanas that evening—see Richard F. Shepard, “Warhol Gravely Wounded in Studio,” New York Times, June 4, 1968; Nat-alie Layzell, “Warhol Given 50-50 Chance; Woman Charged in Shoot-ing,” International Herald Tribune, June 5, 1968.

89. 617 “like one of those guns you see in Dick Tracy”: Mario


NOTES 579

Amaya, in “Pop Art’s Warhol Shot by Actress,” Atlanta Journal-Constitu-tion, June 4, 1968.

90. 617 missed Warhol: The police marked the bullet holes with ar-rows on the wall—see the crime-scene photo in David Behrens and Jack Mann, “Andy Warhol Is Shot by Actress,” Newsday, June 4, 1968. See also crime-scene photos in the Municipal Archives of New York City.

91. 617 dislodged his old Bolex: The Bolex can be seen sitting on the desk, above its displaced filing-cabinet base, in crime-scene photos in the Municipal Archives of New York City.

92. 617 smacking his head: Paul Morrissey, in Ric Burns, Andy Warhol: A Documentary Film, documentary (PBS and Steeplechase Films, 2006). Morrissey, never the most reliable witness, was not in the room at the moment of the shooting, but since he mentions a red mark on War-hol’s head he may have been recalling evidence of a blow that someone else mentioned to him, or whose effects he witnessed when he did come into the room.

93. 617 into the hardwood: The bullet hole in the floor can be seen, outlined in tape, in crime-scene photos in the Municipal Archives of New York City.

94. 617 “there’s not time to think”: Warhol, in John Leonard, “The Return of Andy Warhol,” New York Times, November 10, 1968.

95. 617 another few rounds: Mario Amaya, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 24.

96. 617 a distant baseboard: The bullet hole in the baseboard is in-dicated by an arrow made of tape in crime-scene photos in the Municipal Archives of New York City.

97. 617 holding the door closed: Mario Amaya, “Reflections on the Day a Girl Shot Andy Warhol and Mario Amaya,” Nova (December 1969): 79.

98. 617 tried the door: Mario Amaya, “Reflections on the Day a Girl Shot Andy Warhol and Mario Amaya,” Nova (December 1969): 79.

99. 617 made a noise: Frederick Hughes, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

100. 617 the call button: “The Sweet Assassin,” Newsweek ( June 17, 1968): 86.

101. 617 her automatic jammed: Victor Bockris, Warhol: The Biogra-phy (Cambridge, MA: Vintage Books, 2003), loc. 4699, Kindle edition.

102. 617 screaming in pain: Frederick Hughes, in a transcript pro-vided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).


580 NOTES

103. 617 “I can’t! I can’t!”: Warhol, in Howard Smith, “The Shot That Shattered the Velvet Underground,” Village Voice, June 6, 1968.

104. 617 mouth-to-mouth: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 334. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4702, Kindle edition.

105. 618 guaranteed agony: Dr. Andrew Levine, interview by au-thor, September 17, 2018. Levine is a trauma specialist.

106. 618 “It was too painful”: Warhol, in Glenn O’Brien, “Inter-view: Andy Warhol,” High Times (August 1977): 36.

107. 618 hadn’t heard the shots: “Andy Warhol Is Badly Wounded; Actress in His Movies Sought,” Washington Post, June 4, 1968. In this early account, Paul Morrissey told the police that he did not hear the shots and that he only discovered something was wrong when he came back into the front room and found both Warhol and Mario Amaya on the floor there—which is quite different from Amaya’s account of having fled be-hind the screening-room door.

Morrissey’s later accounts sometimes have him in the room at the time of the shooting, conflicting with his own first descriptions of events.

108. 618 bleeding Amaya: Paul Morrissey, in Taylor Mead, “The Shooting of Andy: An Account by Paul Morrissey,” February 5, 1997, http://www.artnetweb.com/moobird/news/taylor.html.

One story has Morrissey catching a glimpse of Solanas through a little window in the wall, which was there to allow a projector to sit outside the screening room, in the main space of the studio, so its noise would be less audible as movies were shown in the room on the other side of the glass—see Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 344.

109. 618 open the darkroom door: David Bourdon, Warhol (New York: Abrams, 1989), 284.

110. 618 “Oh Billy, don’t make me laugh”: Billy Name, in Sean O’Hagan, “I Shot Andy Warhol: Photographer Billy Name on Drugs and Shootings at the Factory,” The Guardian, September 27, 2015, https://www.theguardian.com/artanddesign/2015/sep/27/billy-name-andy-warhol-factory-photographer-pop-art.

111. 618 Paper towels: Al Hansen, “Fragments from a Time/Space Journal,” Fragments (Fall 1968): 48. The paper towels can also be seen in crime-scene photos in the Municipal Archives of New York City.

112. 618 called the cops: Al Hansen, “Fragments from a Time/Space Journal,” Fragments (Fall 1968): 48.


NOTES 581

113. 618 Gerard Malanga’s turn: Al Hansen, “Fragments from a Time/Space Journal,” Fragments (Fall 1968): 48.

114. 618 $50 toward a mailer: Gerard Malanga, in Charles Giuliano, “Gerard Malanga on Andy Warhol’s Mother Julia,” Berkshire Fine Arts, June 4, 2015, http://www.berkshirefinearts.com/06-04-2015_gerard-malanga-on-andy-warhol-s-mother-julia.htm.

115. 618 “The doors opened on madness”: Al Hansen, “Fragments from a Time/Space Journal,” Fragments (Fall 1968): 48.

Jed Johnson’s name has here been corrected from “Ted,” as it was printed in the Fragments piece. Either Hansen himself was unsure of the name, or an editor made an error in transcribing the notes from which Hanson’s piece was reconstructed.

116. 619 911 service: David Burnham, “Dial 911 for the Police in City Starting Monday,” New York Times, June 27, 1968.

117. 619 carrying him down: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 345. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4720, Kindle edition.

Gerard Malanga, in a March 31, 2019, e-mail to this author, said that he remembered the trip down the stairs as well.

The reason given in Bockris is that the ambulance arrived with a stretcher, and, since it could not fit into what is indeed a very small elevator in the building, the ambulance workers were forced to carry Warhol down the stairs, while still on the stretcher. But another, much earlier version of the story has the ambulance workers arriving without a stretcher and having to transport Warhol in a wheelchair instead—see Mario Amaya, “Reflections on the Day a Girl Shot Andy Warhol and Ma-rio Amaya,” Nova (December 1969): 79; Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 345. (It is likely that the detail in Popism is actually taken by that book’s ghostwriters from the Amaya text.) The handles of a wheelchair seem visible in photos of Warhol being loaded into the ambulance, published by the New York Daily News. It remains unclear why the ambulance work-ers would have taken the stairs if Warhol were in a wheelchair that must have fit in the elevator.

118. 619 lost consciousness: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4720, Kindle edition.This account is confirmed in black-and-white photos by Jack Smith for the New York Daily News, taken as Warhol was being loaded into the ambulance.

119. 619 wanted $15: Mario Amaya, “Reflections on the Day a Girl


582 NOTES

Shot Andy Warhol and Mario Amaya,” Nova (December 1969): 79.120. 619 Leo Castelli would pay: Victor Bockris, Warhol: The Biogra-

phy (Cambridge, MA: Vintage Books, 2003), loc. 4731, Kindle edition.121. 619 “anecdotal nonsense”: Dr. Maurizio Daliana, interview by

author, October 27, 2014. Daliana was chief surgical resident at Columbus Hospital when Warhol arrived there.

122. 619 vast crowd: See the black-and-white photos by Jack Smith for the New York Daily News, taken as Warhol was being loaded into the ambulance.

123. 619 “I kept the money”: “Gerard Malanga: Andy’s Mother,” an extra track included on Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

124. 619 Warhola opened the door: Gerard Malanga, in Charles Giuliano, “Gerard Malanga on Andy Warhol’s Mother Julia,” Berkshire Fine Arts, June 4, 2015, http://www.berkshirefinearts.com/06-04-2015_gerard-malanga-on-andy-warhol-s-mother-julia.htm.

125. 619 her part in the film: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 343.

126. 620 “I heard the shots”: Viva, in David Behrens and Jack Mann, “Andy Warhol Is Shot by Actress,” Newsday, June 4, 1968.

127. 620 took her a while: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), 4715, Kindle edition.

128. 620 “Look—it’s his wife”: Corey Tippin, interview by author, August 19, 2018.

129. 620 “that Jed and I had done it”: Frederick Hughes, in a tran-script provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

130. 620 the third degree: Frederick Hughes, in a transcript pro-vided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

131. 620 detained Paul Morrissey: Paul Morrissey, “Pop Shots,” Vogue (May 1, 1966): 45.

132. 620 Viva made her own appearance: Frederick Hughes, in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Har-court Brace Jovanovich, 1980), 350.

133. 620 “good, religious boy”: Julia Warhola, quoted by Ultra Vio-let in Raymond M. Herbenick, Andy Warhol’s Religious and Ethnic Roots: The Carpatho-Rusyn Influence on His Art (Lewiston, NY: Edwin Mellen Press, 1997), 30.

134. 620 Malanga was dressed in the latest: See the June 3, 1968,


NOTES 583

news footage excerpted in Ric Burns, Andy Warhol: A Documentary Film, documentary (PBS and Steeplechase Films, 2006).

135. 620 Other Warholians: See photos and descriptions in David Behrens and Jack Mann, “Andy Warhol Is Shot by Actress,” Newsday, June 4, 1968. Behrens and Mann specify that the man wearing the bathtub chain is named Steve Lawrence. He is said to be Billy Name in Ultra Violet, Famous for 15 Minutes: My Years with Andy Warhol (Open Road Me-dia, 2015), 172, Kindle edition. Ultra Violet’s memoir is so full of errors, however, that it is largely useless as a historical document.

136. 620 “beautiful, fluent art-shop talk”: Dianne Dorr Dorynek, “Lonesome Cowboy—Reel 606,” East Village Other, June 14, 1966.

137. 620 Ingrid Superstar: Dianne Dorr Dorynek, “Lonesome Cow-boy—Reel 606,” East Village Other, June 14, 1966.

138. 620 perfect breasts: Warhol, or a ghostwriter, mentions her “much talked about” chest in Andy Warhol, “Andy Warhol’s Under-ground Confidential,” Downtown, September 30, 1967, trunk TC, AWMA.

139. 620 Rod La Rod wept: Al Hansen, “Fragments from a Time/Space Journal,” Fragments (Fall 1968): 48.

140. 621 “How many tears, how many crocodiles?”: Dianne Dorr Dorynek, “Lonesome Cowboy—Reel 606,” East Village Other, June 14, 1966.

141. 621 Ultra Violet: See the photo and description in David Beh-rens and Jack Mann, “Andy Warhol Is Shot by Actress,” Newsday, June 4, 1968.

142. 621 “3 hours to get dressed & made up”: Viva to Andy Warhol, n.d., AWMA. This letter was sent to Warhol at Columbus Hospital.

143. 621 “She may have been in love with Andy”: Ultra Violet, in David Behrens and Jack Mann, “Andy Warhol Is Shot by Actress,” News-day, June 4, 1968.

144. 621 “Andy is the kind of guy”: John Wilcock, in Paul Morrissey, “Pop Shots,” Vogue (May 1, 1966): 45.

145. 621 “the second best intensive care unit”: Al Hansen, “Frag-ments from a Time/Space Journal,” Fragments (Fall 1968): 48.

146. 621 to dress down: Frank Faso and Henry Lee, “Actress Shouts at the Judge: Was Right in What I Did,” New York Daily News, June 5, 1968.

147. 621 “mannish”: Grace Glueck, “Warhol’s World: Life Imitates Art—Sometimes Violently,” New York Times, June 9, 1968.

148. 621 “mild butch”: Dianne Dorr Dorynek, “Lonesome Cow-boy—Reel 606,” East Village Other, June 14, 1966.

149. 621 “He had too much control over my life”: “Actress Wounds


584 NOTES

Artist: Film Maker Warhol and Visitor Shot,” Chicago Tribune, June 4, 1968. Valerie later denied having described herself as a flower child—see Paul Krassner, “Wonder Waif Meets Super Neuter,” in Scum Manifesto, by Valerie Solanas (New York: Olympia Press, 1968), 103.

150. 621 Julia Warhola was clutching: The tabloid is in her hands in photographs from that night.

151. 621 “Read my manifesto and it will tell you what I am”: Val-erie Solanas, in Howard Smith, “The Shot That Shattered the Velvet Un-derground,” Village Voice, June 6, 1968.

152. 622 a longer interview: Valerie Solanas, on The Year in Review, Web audio from a vinyl album of a December 29, 1968, radio broadcast of news segments (WNEW, 1968), https://youtu.be/UD6zJ7CiWrQ.

153. 622 Mario Amaya in silent attendance: Richard F. Shepard, “Warhol Actress to Undergo Tests,” New York Times, June 5, 1968.

154. 622 “I have nothing to regret”: Frank Faso and Henry Lee, “Ac-tress Shouts at the Judge: Was Right in What I Did,” New York Daily News, June 5, 1968.

155. 622 Solanas was charged: Frank Faso and Henry Lee, “Actress Shouts at the Judge: Was Right in What I Did,” New York Daily News, June 5, 1968.

156. 622 “very tense, like a rubber band stretched”: The lawyer, Jeffery Allen, is quoted in Joseph Mancini, “Andy Warhol Fights for Life,” New York Post, June 4, 1968.

157. 622 paranoid delusions: “Mental Tests Ordered in Warhol Case,” Newsday, June 6, 1968. Maurice Girodias’s lawyers saw Valerie Solanas two days after the arrest, causing the judge to have her spend further time in Bellevue.

158. 622 her competence checked: Frank Faso and Henry Lee, “Ac-tress Shouts at the Judge: Was Right in What I Did,” New York Daily News, June 5, 1968.

159. 622 “nasty-looking purple little hole”: Brian O’Doherty, inter-view by author, May 12, 2016. An old window-dressing friend of Warhol’s confirmed that Mario Amaya was displaying his wound the night of the shooting—Jac Venza, interview by author, August 1, 2018.

160. 622 found comfort: Gerard Malanga, interview by David Bour-don, typed notes, April 6, 1987, David Bourdon papers, Archives of Amer-ican Art, Smithsonian Institution.

But Brigid Berlin also claimed to have been at the townhouse that night of the shooting, and to have slept over there with Viva and Julia Warhola—see Berlin in Paul Carroll, “What’s a Warhol,” Playboy (Sep-


NOTES 585

tember 1969): 282.161. 622 “it does say something about his importance and his

charisma”: John Perreault, typescript introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.

162. 622 Warhol’s greatest work: David Bourdon, in John Perreault, typescript introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.

CHAPTER 36

1. 625 “some bigger things to hide behind”: Warhol, in “Warhol Gets New ‘Shield’ in His Studio,” Newsday, June 21, 1968.

2. 625 eight weeks: “Warhol Leaves Hospital,” an undated clip-ping annotated “Post 7/29/68,” David Bourdon papers, Archives of Amer-ican Art, Smithsonian Institution. Hospital invoices all list a discharge date of July 28.

3. 625 breathing tube: Giuseppe Rossi, in a September 1968 in-voice (TC19, AWMA) specifies that a tracheostomy was performed on June 4. The scar is mentioned as still noticeable in May 1969 by John Hal-lowell, “Mr. Warhol Comes to Hollywood,” Los Angeles Times, June 27, 1971. Later photos still show it.

4. 625 plentiful antibiotics: While Warhol was still in the O.R., Viva had heard from his regular doctor that Warhol was allergic to peni-cillin and the surgeons had used a different antibiotic when they got the news—see Viva, “Warhol Superstar Viva Remembers Andy, His Mother & The Artist’s Early Brush With Death,” Biography, March 23, 2015, https://www.biography.com/news/andy-warhol-superstar-viva. But the surgeons probably didn’t really have to make the switch: Warhol’s “allergy” had resulted in nothing more than a case of hives when he’d taken penicillin eight years before, in a mild and common reaction to the drug—see Dr. Denton Cox, “Historical and Diagnostic Summary,” December 7, 1960, AWMA.

5. 625 his acne cleared up: Truman Capote and Andy Warhol, notes from an interview, October 14, 1978, AWMA.

6. 625 serious sedatives: Glenn O’Brien, “Interview: Andy War-hol,” High Times (August 1977): 38.

7. 625 he was able to piece together: Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 38.

8. 625 “It’s only when you wake up it hurts”: Warhol, in Truman Capote and Andy Warhol, notes from an interview, late 1970s, TC578, AWMA.


586 NOTES

9. 625 “days before I realized I was actually still alive”: Warhol, in Mario Amaya, “Reflections on the Day a Girl Shot Andy Warhol and Mario Amaya,” Nova, December 1969, 80.

10. 626 “on the television right in front of me”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jova-novich, 1980), 346.

11. 626 signed his name: “We’re for Robert Kennedy,” New York Times, October 27, 1964.

12. 626 “That’s his dream”: Paul Morrissey, in Tony Scherman and David Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 426.

13. 626 “still critical, but showing improvement”: “Warhol Gain-ing,” New York Post, June 10, 1968.

14. 626 eighteen days: A June 28, 1968, invoice to Warhol from Co-lumbus Hospital (AWMA), shows 18 days billed at the higher rate of $61, followed by eight days at $50—the assumption being made here is that a bed in intensive care, with its aggressive demands, would be more ex-pensive than a normal private room on the wards.

15. 626 drug addict: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 4805, Kindle edition.

16. 626 excellent care: Dr. Giuseppe Rossi, interview by author, May 28, 2014.

17. 626 grotesquely swollen: Paul Warhola, in Julia Markus, “Two Years after His Death, the Curtain Rises on Andy Warhol,” Smithsonian Magazine (February 1989): 67.

Warhol’s severe edema was caused by the then-common practice of deliberate over-hydration of injured patients, according to Dr. Giuseppe Rossi, interview by author, May 28, 2014. Such edema, though unsightly and scary for relatives, is still a common and reversible effect of many surgeries.

18. 626 move out of the I.C.U.: “Warhol’s Condition Is Much Im-proved,” New York Times, June 11, 1968.

19. 626 looked after his mother: Victor Bockris, Warhol: The Biog-raphy (Cambridge, MA: Vintage Books, 2003), 4805, Kindle edition.

20. 627 crucifix over the bed: See the photos of Warhol in his room at Columbus Hospital in his archives.

21. 627 lived together: Gerard Malanga to Andy Warhol, June 23, 1968, TC4, AWMA.

22. 627 sneaking in: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), 4805, Kindle edition. While Bockris


NOTES 587

describes the visit as having been allowed by the hospital authorities, Malanga refers to how he and Viva had “sneaked in the back door”—see his recall of the visit in his July 29, 1968, diary entry reprinted in Gerard Malanga, “From the Secret Diaries—Summer in the City,” Angel Hair (Spring 1969).

Two different visits may be involved, since Malanga more recently referred to Warhol being well on his way to recovery on the occasion of the illicit visit—Gerard Malanga, interview by author, December 14, 2016.

23. 627 “Hope we didn’t overexcite you”: Viva to Andy Warhol, June 13, 1968, AWMA.

24. 627 refund the cash: Warhol, unpublished diary entry for July 7, 1972, AWMA.

25. 627 Kodak Instamatic: Viva to Andy Warhol, June 11, 1968, TC -8, AWMA.

The camera brand is specified in “Say Hello to the Dirty Half Dozen,” Esquire (May 1969): 144.

26. 627 Uher reel-to-reel: See the photos (AWMA) of Warhol in his room at Columbus Hospital.

27. 627 $60 to rent one: See the July 16, 1968, invoice for $63 from T.V. Rental Company to Warhol, TC -8, AWMA.

28. 627 “They probably think it’s a put-on”: Warhol, quoted from a July 24, 1968, telephone call in David Bourdon, Warhol (New York: Abrams, 1989), 288.

29. 627 “How sweet that he remembered”: Gerard Malanga, inter-view by author, December 14, 2016.

30. 627 food and candy: Nelson Lyon to Andy Warhol, June 24, 1968, TC4, AWMA.

31. 627 taste everything: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4818, Kindle edition.

32. 627 Best wishes: The get-well cards are in Time Capsule -8 in the Warhol archives.

33. 628 Warhol wouldn’t let her: Brigid Berlin, in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 386.

34. 628 Edie Sedgwick: A facsimile of the card is included in Gera-lyn Huxley and Matt Wrbican, Andy Warhol Treasures (London: Goodman Books, 2009). The late Warhol Museum archivist Matt Wrbican first iden-tified the return address.

35. 628 “one of the most gentle men I’ve ever met”: Ed Hood, in a


588 NOTES

June, 1968, television interview for WNAC channel 7, Boston. 36. 628 Warhol’s ex-lover: Richard Rheem to Julia Warhola, June 5,

1968, TC -8, AWMA.37. 628 from an ashram: Philip Norman Fagan to Andy Warhol,

July 3, 1968, TC4, AWMA.38. 628 “We love you more than anythin”: Frederick Hughes to

Andy Warhol, July 15, 1968, TC4, AWMA.39. 628 Warhol’s trouble eating: Frederick Hughes to Andy War-

hol, July 19, 1968, TC4, AWMA.40. 628 “Hey! I want that, you can’t have it!”: George Warhola, in


41. 628 passed the jacket: Richard Dupont, in a November 28, 2016, Facebook message to the author.

Another story has Warhol giving the jacket to an anonymous “young girl” who wore it all the time to Max’s Kansas City—see Ellen Gofen, in Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max’s Kansas City (Open Road Media, 2016), loc. 2772, Kindle edition.

42. 628 “bigger things to hide behind”: “Warhol Gets New ‘Shield’ in His Studio,” Newsday, June 21, 1968.

43. 628 head-high crumple: Papagayo was sold at Warhol’s estate auction in 1988 and can be seen in photos of Warhol’s Union Square office from early in 1968.

44. 628 “This is going to cost a bit (gates $60 a piece)”: Frederick Hughes to Andy Warhol, July 23, 1968, TC4, AWMA. The elevator door is mentioned in about July 1968 in Jed Johnson to Andy Warhol, n.d., TC4, AWMA. See also the July 9, 1968, invoice to Warhol from Bands Contracting Co., box B11, AWMA.

45. 629 “This business is strictly a failure without you”: Frederick Hughes to Andy Warhol, July 22, 1968, TC -8, AWMA. Hughes mentions a July 15, 1968, letter from the Film-Maker’s Cooperative (AWMA), that asks Warhol to confirm that he’s cancelling their distribution of his films.

46. 629 “Send me a check if you can just for eating”: Billy Name to Andy Warhol, July 1968, TC13, AWMA.

47. 629 “who is going to come out YOUR favorite”: Gerard Malanga to Andy Warhol, June 19, 1968, TC4, AWMA.

48. 629 up in Harlem: Joshua White, interview by author, March 9, 2017.

White worked on the production of Midnight Cowboy, and said that footage was originally supposed to be shot at “the Factory,” but when he


NOTES 589

couldn’t get reliable responses from the people in charge there he decided to fake the Warhol studio scenes on a set.

49. 629 $3 million: Kevin Thomas, “Movies: John Schlesinger—English Film Director Looks at U.S. Director Looks at U.S.,” Los Angeles Times, June 29, 1969.

50. 629 intended for Warhol: Michael Childers, interview by author, February 28, 2018. Childers, the partner of producer John Schlesinger, said that Warhol had accepted the part before passing it on. Other sources suggest that Warhol had never imagined playing the part himself.

51. 629 $100 a day: Michael Childers, interview by author, February 28, 2018.

52. 629 fifty-seven roles: Cast list quoted in Callie Angell, The Films of Andy Warhol Part II (Whitney Museum of American Art, 1994), 35.

53. 629 original Warhols: Frederick Hughes to Andy Warhol, June 1968, TC4, AWMA. It is hard to think quite which Warhols MoMA would have had to rent out, however.

54. 629 “Schlesinger set every morning at 8:00 AM”: Gerard Malanga to Andy Warhol, June 23, 1968, TC4, AWMA.

55. 630 renamed in his honor: “Theater Is Named for Andy War-hol,” New York Times, July 16, 1968.

56. 630 “The Garrick was such an unbelievable dump”: George Abagnalo, interview by author, December 14, 2016.

57. 630 suspending all dancing: Gerard Malanga mentions the ban in a June 19, 1968, letter to Warhol (TC4, AWMA). Corey Tippin remem-bered objecting to it—Corey Tippin, interview by author, August 19, 2018.

58. 630 competition in Warsaw: Gerhard Drechsler, of the United States Information Agency, to Leo Castelli Gallery, forwarded to Warhol at Columbus Hospital, July 10, 1968, TC -8, AWMA.

59. 630 suspect at the State Department: See the June 12, 1968, State Department cable reproduced in “Conspiracy Charges,” Red Bass, no. 15 (1991): np.

60. 630 “Warhol was shot because”: Gregory Battcock, “Is Bob Dylan Next?” a circa July, 1968, clipping from an unidentified newsprint publication, TC4, AWMA.

61. 630 “photographing depravity and calling it truth”: “New York: Felled by Scum,” Time ( June 14, 1968): 25.

62. 631 VALERIE LIVES: Anonymous text of a leaflet distributed by the anarchist group Up Against the Wall, Motherfucker, David Bour-don papers, Archives of American Art, Smithsonian Institution. The


590 NOTES

spelling errors—even in Solanas’s name—are in the original.63. 631 “Valerie’s is a voice in the wilderness”: Roxanne Dunbar-

Ortiz, in a July 5, 1968, letter quoted in Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 2686, Kindle edition.

64. 632 “DESIST IMMEDIATELY”: Betty Friedan, in Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), 2745, Kindle edition.

65. 632 “the most important feminist statement”: Ti-Grace Atkin-son, in Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 2683, Kindle edition.

66. 632 a major rift: For a full treatment of the issue see Breanne Fahs, Valerie Solanas: The Defiant Life of the Woman Who Wrote SCUM (New York: Feminist Press at CUNY, 2014), loc. 2683, Kindle edition.

67. 632 “when you are well you won’t want to hear me out”: Ge-rard Malanga to Andy Warhol, June 19, 1968, TC4, AWMA.

68. 632 “but within a story that I told the actors to follow”: Paul Morrissey, interview by Bockris-Wiley [Victor Bockris and Andrew Wy-lie], typed notes, December 24, 1973, Victor Bockris and Andrew Wylie Collection, The Harry Ransom Center at The University of Texas at Aus-tin.

69. 632 “Stan Footage”: Glenn O’Brien, “I Remember the Factory,” accessed April 12, 2019, https://glennobrien.com/i-remember-the-fac-tory/.

70. 632 was a putsch: On the resistance to Paul Morrissey see Louis Waldon, interview by Asako Kitaori, typescript, n.d., Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

71. 632 “We have to keep the cameras running”: Paul Morrissey, in Village Voice, September 26, 1968, the day of the opening of Morrissey’s first mature film as director—see https://warholfilmads.files.wordpress.com/2012/11/vv-sept-26–68-on-morrissey-flesh.jpg, accessed September 14, 2018.

72. 633 “six or seven weekends”: Paul Morrissey, in Tony Rayns, “Andy Warhol Films Inc: Communication in Action,” Cinema (UK) (Au-gust 1970): 46.

73. 633 porn theater: Paul Morrissey, in Tony Rayns, “Andy Warhol Films Inc: Communication in Action,” Cinema (UK) (August 1970): 44.

74. 633 “it didn’t seem that realistic”: Paul Morrissey, interview by Bockris-Wiley [Victor Bockris and Andrew Wylie], typed notes, Decem-


NOTES 591

ber 24, 1973, Victor Bockris and Andrew Wylie Collection, The Harry Ransom Center at The University of Texas at Austin.

75. 633 “stories the public will identify with”: Paul Morrissey, in Tony Rayns, “Andy Warhol Films Inc: Communication in Action,” Cin-ema (UK) (August 1970): 46.

76. 633 naughty prose: Jonas Mekas, “Movie Journal,” Village Voice, January 9, 1969.

77. 634 “Well, I guess I don’t have a job”: Michael Ferguson, “Lit-tle Joe, Superstar” (typescript, 1996), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

78. 635 “Flesh was going to be successful”: Joe Dallesandro, in Tony Rayns, “Andy Warhol Films Inc: Communication in Action,” Cin-ema (UK) (August 1970): 46.

79. 635 “that people would actually go and see this stuff”: Michael Ferguson, “Little Joe, Superstar” (typescript, 1996), Gerard Malanga Pa-pers, Beinecke Rare Book and Manuscript Library, Yale University.

80. 635 “to have a show business career beyond Warhol”: Byro, “Film Reviews: The Loves of Ondine,” Variety, August 21, 1968, 26.

81. 635 reliance on conversation: Michael Ferguson, “Little Joe, Superstar” (typescript, 1996), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

82. 635 as Warhol’s driver: See the request for reimbursement for parking tickets in Robert Dallesandro to Andy Warhol, October 10, 1975, TC119, AWMA.

83. 635 foster parents: Michael Ferguson, “Little Joe, Superstar” (typescript, 1996), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

84. 635 “I was lucky I didn’t waste all that time going to school”: Joe Dallesandro, in Tony Rayns, “Andy Warhol Films Inc: Communica-tion in Action,” Cinema (UK) (August 1970): 47.

85. 635 posing nude: Michael Ferguson, “Little Joe, Superstar” (typescript, 1996), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

86. 635 film acting: Joe Dallesandro, in Tony Rayns, “Andy Warhol Films Inc: Communication in Action,” Cinema (UK) (August 1970): 46.

87. 636 “So they set me at the front door with a stuffed dog”: Michael Ferguson, “Little Joe, Superstar” (typescript, 1996), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale Uni-versity.

88. 636 canine was Cecil: See Matt Wrbican, A Is for Archive: War-


592 NOTES

hol’s World from A to Z, ed. Abigail Franzen-Sheehan (New Haven, CT: Yale University Press, 2019), 40.

89. 636 “drag queens still weren’t accepted”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 281.

90. 636 “trying to be complete girls”: Andy Warhol, THE Philoso-phy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 54, Kindle edition.

91. 636 play with drag: See Nina Schleif, Drag & Draw: Andy War-hol, the Unknown Fifties (Munich: Hirmer, 2018).

92. 636 “Cindy Warhol”: Richard C. Higgins to Andy Warhol, en-velope with enclosure, March 29, 1963, TC83, AWMA.

93. 636 “important hallmarks”: Mario Amaya, Pop Art . . . and After (New York: Viking Press, 1966), 20.

94. 637 a drag contest: Frank Simon, The Queen, documentary, 1968. The transgender beauty contest, with Warhol in attendance if not as a judge, was held February 20, 1967—see Lorraine Glennby, “Miss Camp America,” East Village Other, March 1, 1967.

95. 637 “people who think they are really girls”: Warhol, in a tran-script provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

96. 637 “because I wanted to look like Edie”: Andy Warhol, inter-view by Old Owl [Robert Reilly], typescript of an unpublished interview intended for the Yale Record (Spring 1966), TC14, AWMA.

97. 637 “Christine Jorgensen”: Warhol, in John Hallowell, The Truth Game (New York: Simon & Schuster, 1969), 251.

98. 637 nix his purchase: Andy Warhol and David Bourdon, typed notes from a telephone call (November 23, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York. See also David Bour-don, Warhol (New York: Abrams, 1989), 316.

99. 637 “They were walking around oblivious”: Taylor Mead, in-terview by Asako Kitaori, typescript, January 20, 1997, Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

100. 637 an entire editorial lambasting: Ralph Graves, “Editor’s Note: A Questionn of Values and Vulgarity,” Life ( July 4, 1970): 1.

101. 637 home of Christine Jorgensen: James Rasin, “Introduction,” in Candy Darling: Memoirs of an Andy Warhol Superstar, by Candy Darling, ed. James Rasin (Open Road Media, 2015), loc. 14, Kindle edition.

102. 637 law against men in drag: Louis Waldon, interview by Asako Kitaori, typescript, n.d., Gerard Malanga Papers, Beinecke Rare


NOTES 593

Book and Manuscript Library, Yale University. Waldon said that his first meeting with Darling, and her subsequent introduction to Warhol, hap-pened in the evening of the day that Warhol shot his Nude Restaurant, in which Waldon had appeared.

Another story has Warhol first meeting Darling on a Greenwich Village street—see Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 282. (But that book is rarely a reliable source.) Other sources give conflicting dates for that first encounter, and some say that Taylor Mead was responsible for the introduction—see Jeremiah Newton, “Introduction,” in Candy Darling: Memoirs of an Andy Warhol Superstar, by Candy Darling, ed. James Rasin (Open Road Media, 2015), loc. 812, Kindle edition.

103. 637 Scavullo once tried: Francesco Scavullo, audio guide track for “The Warhol Look” (Antenna Audio for the Art Gallery of Ontario and The Andy Warhol Museum, 1998), provided to the author by pro-ducer David Tarnow.

104. 637 most glamorous woman: Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

105. 638 got up to dance: “Eye,” Women’s Wear Daily, May 26, 1969, 8. The curator was Warhol’s old friend Samuel Adams Green.

106. 638 Warhol once complained: Andy Warhol and Samuel Ad-ams Green, recorded telephone conversation, n.d., Samuel Adams Green papers, Beinecke Rare Book and Manuscript Library, Yale University.

107. 638 “women on the screen”: Candy Darling and Jackie Cur-tis, notes from an interview, c.1975, box M88, AWMA. This interview is the source for the same quote, slightly altered, in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 284.

108. 638 “terrible emergency”: Warhol, in Tony Scherman and Da-vid Dalton, Pop: The Genius of Andy Warhol (New York: HarperCollins, 2009), 286.

109. 638 right over left: Candy Darling, Candy Darling: Memoirs of an Andy Warhol Superstar, ed. James Rasin (Open Road Media, 2015), loc. 253.

110. 638 “rich and married by 1971”: Candy Darling, Candy Darling: Memoirs of an Andy Warhol Superstar, ed. James Rasin (Open Road Media, 2015), loc. 205, 271.

111. 638 “female impersonation of a female impersonator”: Dan Sullivan, “Cloudland Revisited in Off Off Broadway Play: Playwrites Workshop Club Is Presenting a Sardonic Hooray for Hollywood,” New


594 NOTES

York Times, October 4, 1967.112. 638 greatest-ever superstar: “Eye,” Women’s Wear Daily, May

26, 1969, 8.113. 638 signed himself “Candy”: See Warhol’s illustrations for

““Asthma, Hives, and You,” Seventeen (August 1950): 188. Thanks to Paul Maréchal for this reference.

114. 638 “perpetually be beautiful and elegant”: Jeremiah Newton, “An Interview with Donald Lyons” (typescript, 1979), AWMA.

115. 638 died of leukemia: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 4408, Kindle edition.

116. 638 outfitted in women’s clothes: Francesco Scavullo, audio guide track for “The Warhol Look” (Antenna Audio for the Art Gallery of Ontario and The Andy Warhol Museum, 1998), provided to the author by producer David Tarnow.

117. 638 referred to as “him”: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 282.

118. 638 “just decided to get myself in film”: Jackie Curtis, in Pat-rick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 239, 242.

119. 638 took hormones: Jackie Curtis, notes from an interview, c.1975, box M88, AWMA.

120. 639 “the anti-transvestite transvestite”: John Perreault, type-script introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.

121. 639 sent flowers: Craig B. Highberger, “Timeline of Jackie Cur-tis’s Life,” in Superstar in a Housedress: The Life and Legend of Jackie Curtis, by Craig B. Highberger (New York and London: Chamberlain, 2005).

Note that Penny Arcade, interviewed in the same volume (p. 216), said that Warhol neither came to the funeral nor sent flowers.

122. 639 Ondine brought her: Holly Woodlawn and Jeffrey Cope-land, A Low Life in High Heels: The Holly Woodlawn Story (New York: Peren-nial, 1992), 116.

123. 639 “Jackie Mason impersonating Carmen Miranda”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 2023, Kindle edition.

124. 639 “Holly was a tramp”: Francesco Scavullo, audio guide track for “The Warhol Look” (Antenna Audio for the Art Gallery of On-tario and The Andy Warhol Museum, 1998), provided to the author by producer David Tarnow.

125. 639 refusing stable, approved roles: Jackie Curtis, notes from


NOTES 595

an interview, c.1975, box M88, AWMA. Curtis argues strongly against all stable gender roles and identities.

CHAPTER 37

126. 641 “if I will ever be well again”: Warhol, in Leticia Kent, “Andy Warhol: I Thought Everyone Was Kidding,” Village Voice, Septem-ber 12, 1968.

127. 641 July 28, 1968: “Warhol Leaves Hospital,” an undated clip-ping annotated “Post 7/29/68,” David Bourdon papers, Archives of Amer-ican Art, Smithsonian Institution.

128. 641 “very weak and frail-looking”: Paul Warhola, Jr., to David Bourdon, December 1, 1988, David Bourdon papers, Archives of Ameri-can Art, Smithsonian Institution.

129. 641 take a breath: Paul Warhola, Jr., to David Bourdon, Decem-ber 1, 1988, David Bourdon papers, Archives of American Art, Smithson-ian Institution.

130. 641 shifting Warhol: Paul Warhola, Jr., to David Bourdon, De-cember 1, 1988, David Bourdon papers, Archives of American Art, Smith-sonian Institution.

131. 641 graduate work: Paul Warhola, Jr., to David Bourdon, De-cember 1, 1988, David Bourdon papers, Archives of American Art, Smith-sonian Institution.

132. 641 financed by Warhol: Elaine Rusinko, “We Are All Warhol’s Children: Andy and the Rusyns,” The Carl Beck Papers in Russian and East European Studies, 2012, 43, http://carlbeckpapers.pitt.edu/ojs/in-dex.php/cbp/article/view/190.

133. 641 the Last Rites: Paul Warhola, in Elaine Rusinko, “We Are All Warhol’s Children: Andy and the Rusyns,” The Carl Beck Papers in Russian and East European Studies, 2012, 43, http://carlbeckpapers.pitt.edu/ojs/index.php/cbp/article/view/190.

The Rites are said to have been organized by Julia—which seems un-likely, given the state she was in—in Jerry Jumba, “In Memorium: Andy Warhol (1928–1987),” Carpatho-Rusyn American, 1987, 4.

134. 641 visited the sick man: Paul Warhola, Jr., to David Bourdon, December 1, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

135. 641 “Shall I try my hand”: Viva to Andy Warhol, June 13, 1968, AWMA.

136. 641 was delighted: Warhol, in Mario Amaya, “Reflections on the Day a Girl Shot Andy Warhol and Mario Amaya,” Nova (December


596 NOTES

1969): 80.137. 642 “the ones causing so much trouble”: Warhol, unpublished

diary entry for October 25, 1972, AWMA. 138. 642 how bad things had looked: Paul Warhola, Jr., to David

Bourdon, December 1, 1988, David Bourdon papers, Archives of Ameri-can Art, Smithsonian Institution.

139. 642 a nurse, Nancy: Donald and Jeffrey Warhola, interviewed March 31, 2015. See also David Bourdon, Warhol (New York: Abrams, 1989), 290.

Paul Warhola, Jr., identified Nancy as a distant member of the War-hola family—see Paul Warhola, Jr., interview by David Bourdon, typed notes, November 20, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

140. 642 change his dressings: Paul Warhola, Jr., to David Bourdon, December 1, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

141. 642 back in surgery: Giuseppe Rossi, in a September 1968 in-voice (TC19, AWMA) specified that a “rib resection and drainage of sub-phrenic abscess” was performed on August 14, 1968.

In a May 5, 2019, e-mail, Dr. John Ryan described the illness and oper-ation as follows, according to the results of his own research: “Chest x-ray showed fluid in the left chest and an elevated left diaphragm. Rossi or-dered antibiotics, but Warhol’s fevers continued. On August 13th, Rossi stuck a needle though the low left back aspirating pus and confirming a left abdominal abscess below the diaphragm in the area where the spleen had been removed and where the connection of the colon had not healed properly. The next day Rossi drained the abscess by removing the 11th rib through the back.”

142. 642 “light gossipy level”: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 359.

143. 642 “enjoy being home in bed”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 360.

144. 642 nightly dose of Seconal: Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution. Evidence for Warhol’s Seconal consumption survives in the prescription bottles in his archives.

145. 642 spanned his fortieth birthday: Andy Warhol and Pat Hack-ett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 355.


NOTES 597

146. 642 “dirty, exciting stuff”: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 371.

147. 642 promised God: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1784, Kindle edition.

148. 642 new fear of God: Leticia Kent, “Andy Warhol: I Thought Everyone Was Kidding,” Village Voice, September 12, 1968.

149. 642 more visits to church: Brigid Berlin, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1778, Kindle edition.

150. 642 an editing suite: David Bourdon, Warhol (New York: Abrams, 1989), 292.

151. 643 making “conventional movies”: Warhol, in David Silver, “What’s Happening, Mr. Silver?” television broadcast (Boston: WGBH, May 1967), www.youtube.com/watch?v=ESGrKwIdb8A.

152. 643 their highest aspiration: Viva and Paul Morrissey, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bour-don papers, Archives of American Art, Smithsonian Institution.

153. 643 one hundred portraits: The Happy Rockefeller portrait se-ries is described as a commissioned pendant to her husband’s portrait by Warhol in Paul Carroll, “What’s a Warhol,” Playboy (September 1969): 178. The Happy portraits were still in Warhol’s studio at the time of Car-roll’s visit—presumably in the early spring of 1969, given magazine lead times and internal evidence in the story.

154. 643 little pink paintings: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4870, Kindle edition.

155. 643 a presidential run: Robert D. McFadden, “Happy Rock-efeller, 88, Dies; Marriage to Governor Scandalized Voters,” New York Times, May 19, 2015.

156. 644 two geriatric Sams: Jed Johnson, interview by David Bour-don, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

157. 644 in bed in her basement: Jed Johnson, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4874, Kindle edition.

158. 644 her chronic tuberculosis: Dr. Denton Cox to Julia Warhola, May 3, 1968, TC9, AWMA. Cox lists Warhola’s prescriptions and men-tions her failure to stay on her medications.

159. 644 a trip to the hospital: See the January 16, 1969, bill from New York Hospital to Julia Warhola (TC104, AWMA) and the January 27, 1969, invoice to her from the cardiologist Dr. Thomas Killip (TC93,


598 NOTES

AWMA). The huge range of tests billed by the hospital indicates that her problems may have involved more than her heart.

160. 644 Dexamyl: See the September 21, 1969, prescription written by Dr. Denton Cox for Julia Warhola, TC35, AWMA.

161. 644 signs of dementia: Jed Johnson, interview by David Bour-don, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

162. 644 “sort of batty”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 347.

163. 644 she began the wandering: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 347. See also Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

164. 644 her body was “like a magnet”: Julia Warhola, quoted in Viva to Andy Warhol, n.d., AWMA.

165. 644 Viva and Warhol tied the knot: Viva, in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 386.

166. 645 “I have to go out to the store again”: Warhol and Samuel Adams Green, excerpt from a 1971 recording in the Wesleyan University Archives, released on Andy Warhol From Tapes: Sounds of His Life and Work, CD (Pittsburgh: The Andy Warhol Museum, 1994).

167. 645 fetch some groceries: Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

168. 645 editing of Lonesome Cowboys: Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

169. 645 “Painfully, painfully shy”: Alan Wanzenberg, Jed John-son’s later business partner and spouse, interview by author, January 5, 2019.

170. 645 he had moved in: Jed Johnson, interview by David Bour-don, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

171. 645 in “such bad shape”: Jed Johnson, interview by David Bour-don, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

172. 645 “I just stayed”: Donald Warhola, interviewed by author April 1, 2015, said that he doesn’t believe that Jed was around the house


NOTES 599

on the family’s first post-shooting visits, unless Warhol hid him when relatives were around—something that doesn’t seem that far-fetched. By December 1969, Jed was dealing with domestic business from the home phone: See where he is listed as the contact, at Warhol’s home phone number, in the December 20, 1968, agreement (TC540, AWMA) for the installation of an alarm system by Holmes Electric Protective Company.

173. 645 “Jed was very helpful”: Gerard Malanga, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), 317, Kindle edition.

174. 646 an uncanny resemblance: Peter Brant, interview by author, December 11, 2017.

175. 646 walkabout with Jay: Jay Johnson and Paul Goldberger, “Early Years,” in Jed Johnson: Opulent Restraint, ed. Tom Cashin and Temo Callahan (New York: Rizzoli, 2005), 202.

176. 646 they got mugged: Jay Johnson and Paul Goldberger, “Early Years,” in Jed Johnson: Opulent Restraint, ed. Tom Cashin and Temo Cal-lahan (New York: Rizzoli, 2005), 202. See also Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

177. 646 as telegraph boys: Jed Johnson, interview by David Bour-don, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

178. 646 “in these bell-boy outfits”: Billy Name, full interview tran-script for the documentary “The Factory People: Interview Archive” (Planet Group Entertainment, 2011), provided to the author by producer Patrick Nagle, n.d.

Jay Johnson recently corrected this story, saying that only his brother Jed was present at that first encounter with Warhol and his people—Jay Johnson, interview by author, July 23, 2018.

179. 646 “rather be working inside”: Paul Morrissey, quoted by Jay Johnson, interview by author, July 23, 2018.

180. 646 expanse of wood trim: Andy Warhol and Pat Hackett, POP-ism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 332.

181. 646 eager to see Jed Johnson hired: Jed Johnson, in notes to a November 30, 1988, interview with David Bourdon, Bourdon Papers, AAA.

182. 646 sweeping the floors: When one studio helper first began work, he saw Jed Johnson sweeping the floors there—George Abagnalo, interview by author, November 10, 2016.

183. 646 Fred Hughes had begun: Frank DiGiacomo, “A Farewell to


600 NOTES

Dapper Fred Hughes: He Oversaw Andy’s Factory Empire,” Observer, January 29, 2001, https://observer.com/2001/01/a-farewell-to-dapper-fred-hughes-he-oversaw-andys-factory-empire/.

Both Billy Name and later Vincent Fremont also swept up before they did anything else for Warhol. On Fremont, see “An Interview with Vincent Fremont,” in Andy Warhol: Love, by Robert Lococo (Saint Louis: Lococo Fine Art, 2008), np.

184. 646 Johnson’s help in shooting and editing Flesh: Jay Johnson, interview by author, July 23, 2018.

185. 646 Johnson always collected a salary: Jay Johnson, interview by author, July 23, 2018.

186. 646 “They’re so pretty”: Andy Warhol, interview by David Bourdon, typed notes, April 1968, David Bourdon papers, Archives of American Art, Smithsonian Institution.

187. 646 early years in rural Minnesota: Jay Johnson, interview by author, July 23, 2018.

188. 646 slender, hairless bodies: See the Cecil Beaton photograph of the Johnson brothers, standing shirtless with Warhol, in Arthur Danto, “Who Was Andy Warhol,” Artnews (May 1987): 130.

189. 646 apartment on Sixteenth Street: Jay Johnson and Paul Gold-berger, “Early Years,” in Jed Johnson: Opulent Restraint, ed. Tom Cashin and Temo Callahan (New York: Rizzoli, 2005), 205.

190. 646 same point on the block: Corey Tippin, interview by au-thor, August 19, 2018.

191. 646 “flower children from San Francisco”: Jed Johnson, inter-view by David Bourdon, typed notes, November 30, 1988, David Bour-don papers, Archives of American Art, Smithsonian Institution.

192. 647 “appealing about Jed’s shyness”: Bob Colacello, “Jed John-son Remembered,” in Jed Johnson: Opulent Restraint, ed. Tom Cashin and Temo Callahan (New York: Rizzoli, 2005), 212.

193. 647 had wept tears at the hospital: Jay Johnson and Paul Gold-berger, “Early Years,” in Jed Johnson: Opulent Restraint, ed. Tom Cashin and Temo Callahan (New York: Rizzoli, 2005), 205.

194. 647 “Today, I stripped the paint off a board”: Jed Johnson to Andy Warhol, June 26, 1968, TC4, AWMA.

195. 647 “only enjoyable times I’ve had in New York”: Jed Johnson to Andy Warhol, n.d., TC -8, AWMA.

Jed Johnson had apparently had a brief crush on Billy Name, but find-ing him locked away in the studio darkroom had transferred his affec-tions to their injured boss—Corey Tippin, interview by author, August


NOTES 601

19, 2018.196. 647 not yet recognized that they were gay: Jay Johnson, inter-

view by author, July 23, 2018.197. 647 a high school friend of Malanga’s: Gerard Malanga, Velvet

New York (Paris: Éditions Mirafev, 2016), 36.The letters from Jed Johnson to Warhol were sent during the sum-

mer of 1968, after Warhol was shot, and are all in the Warhol archives.198. 647 Jed’s very first boyfriend: Jay Johnson, interview by author,

July 23, 2018.199. 647 trying to poison her: Jed Johnson, interview by David

Bourdon, typed notes, May 2, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution.

200. 647 she could smell babies: Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

201. 647 Fertility Institute of New York: Marjorie Cohen, “The Rhinelander District,” Brick Underground, January 27, 2016, https://www.brickunderground.com/.

202. 647 “It was Clutter City”: Jed Johnson, in Steven M. L. Aron-son, “Posession Obsession,” International Buffalo Zine Catalog, Fall 2016, 110.

203. 647 some kind of coherent décor: Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

204. 648 sharing a bed: Jay Johnson, interview by author, July 23, 2018.

205. 648 “believe me, they were lovers”: Steven M. L. Aronson, in-terview by author, February 6, 2018.

206. 648 “at a schoolboy level”: Alan Wanzenberg, Jed Johnson’s later business partner and spouse, interview by author, January 5, 2019.

207. 648 sausage dog Archie: The new dog is mentioned as “Poopsy” in Warhol’s unpublished diary entries from early November in 1972 (AWMA), and is finally named “Archie” in an entry for November 11. Ar-chie is mentioned, as “Andy’s new puppy,” in “Eye,” Women’s Wear Daily, January 18, 1973.

208. 648 for Archie Bunker: Johna Blinn, “Andy’s Entree: Ghoul-ish Goulash,” Oakland Tribune, October 27, 1974. See also Warhol, in “Ritorno al Conservatorismo?” L’Uomo Vogue (February 1974): 122–27, TC48, AWMA.

209. 648 man named Archie: Corey Tippin, interview by author, Au-


602 NOTES

gust 19, 2018.210. 648 “no lovey-dovey”: Michael Childers, interview by author,

February 28, 2018. This was confirmed by George Abagnalo, interview by author, November 10, 2016.

211. 648 “Take some of my curry”: Paul Carroll, “What’s a Warhol,” Playboy (September 1969): 282.

212. 648 “asexual,” rather than gay: George Abagnalo, interview by author, December 14, 2016.

213. 648 “trying to get his attention”: Jay Johnson, interview by au-thor, July 23, 2018.

214. 648 a jealous and controlling partner: Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon pa-pers, Archives of American Art, Smithsonian Institution.

215. 648 a fear of theft, of fire: Jay Johnson, interview by author, July 23, 2018.

216. 648 a major alarm system: See the December 25, 1968, plan of work for Warhol’s house from Holmes Electric Protective Co. (TC540, AWMA), with Jed Johnson listed as on-site contact.

217. 648 hating to shake hands: Glenn O’Brien, “I Remember the Factory,” accessed April 12, 2019, https://glennobrien.com/i-remember-the-factory/.

218. 649 “I can’t go to sleep if I know there’s dust”: Andy Warhol, “Warhol: On My Mind,” Vogue (February 1973): 164.

219. 649 mentions depression: Jed Johnson to Andy Warhol, n.d., TC -8, AWMA.

220. 649 suicide attempts: Jay Johnson, interview by author, July 23, 2018. See also the prescription bottle of the antidepressant Tofranil (TC248, AWMA) addressed to Jed Johnson.

221. 649 “I don’t know why Jed would do that”: Jay Johnson, in-terview by author, July 23, 2018. Documentation of Jed Johnson’s 1978 hospitalization survives, including a March 15, 1978, bill from Blue Cross (TC376, AWMA).

222. 649 flying lessons: See the September 25, 1971, bill to Jed John-son from McIntyre Aviation Inc., box B66, AWMA.

223. 649 the suicide attempt ruled him out as a pilot: Jay Johnson, interview by author, July 23, 2018.

224. 649 “I can’t do the things I want to do”: Warhol, in Leticia Kent, “Andy Warhol: I Thought Everyone Was Kidding,” Village Voice, September 12, 1968.

225. 649 “football-size” hernia: The hernia was finally repaired in


NOTES 603

1987, during Warhol’s final, fatal operation—Dr. Bjorn Thorbjarnarson, interview by author, May 27, 2014.

226. 649 dyed pastel colors: December 16, 1981, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11150, Kindle edition.

227. 649 pleasure of boyfriends: Piles of these trusses are preserved in the archives of The Andy Warhol Museum in Pittsburgh.

228. 649 “I look like a Dior dress”: Warhol, in Leticia Kent, “Andy Warhol: I Thought Everyone Was Kidding,” Village Voice, September 12, 1968.

229. 650 happy to reveal his mutilated torso: He revealed his scars on his first meeting with Liz Taylor, in a fairly public context five years after the shooting—see Bob Colacello, “When Andy Met Liz,” in Warhol Liz (New York: Gagosian and Rizzoli, 2012), 11.

Before that, an art critic described Warhol offering her a Doubting Thomas feel of his torso—Barbara Rose, “In Andy Warhol’s Aluminum Foil, We Have All Been Reflected,” New York (May 31, 1971): 55.

230. 650 “Why don’t you paint me with my scars”: Alice Neel, in Patrick S. Smith, “Art in Extremis: Andy Warhol and His Art” (Ph.D., Northwestern University, 1982), 788.

231. 650 “I’m still sick”:Warhol, in Leticia Kent, “Andy Warhol: I Thought Everyone Was Kidding,” Village Voice, September 12, 1968.

232. 650 bloody fluids would still sometimes leak: Pat Hackett, “Introduction,” in The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 99, Kindle edition.

233. 650 “constant pain”: Warhol, in Joyce Haber, “What Andy War-hol Is All About,” Los Angeles Times, October 29, 1972.

234. 650 unable to eat quite properly: Karen Burke, interview by author, October 20, 2015.

See also Stephen Bruce, in Christian Holzfuss and Nikolaus Sonne, eds., Andy Warhol: Play Book of You S. Bruce (Frankfurt: Edition Achen-bach, 1989), 29.

235. 650 “it hurt him to touch him”: Billy Name, in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 411.

236. 650 “Andy died when Valerie Solanas shot him”: Jean Stein and George Plimpton, Edie: American Girl (New York: Grove Press, 1982), 294, Kindle edition.

237. 650 a “walking ghost” and “the angel of death”: Victor Bock-ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), 324,


604 NOTES

Kindle edition.238. 650 “a zombie”: Cecil Beaton, Beaton in the Sixties: The Cecil Bea-

ton Diaries as They Were Written, ed. Hugo Vickers (London: Weidenfeld & Nicolson, 2003), 337.

239. 650 “more relaxed and sweeter”: Leo Castelli, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Net-work, 2006).

240. 650 “more beautiful now”: Ingrid Superstar, in “Pop Artist Warhol Party Host Again,” Pittsburgh Post-Gazette, September 21, 1968.

241. 650 “kind of as an angel”: Jane Holzer, in Jamie Schutz, Andy Warhol: 15 Minutes Eternal, documentary (Ogilvy Entertainment, 2014).

242. 650 “lovable”: Richard Bernstein, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

243. 650 “it’s fun to be alive”: “Pop Artist Warhol Party Host Again,” Pittsburgh Post-Gazette, September 21, 1968.

244. 650 caused no change in him at all: Warhol, in a transcript pro-vided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

245. 651 “Then people would think I’m doing it real”: Warhol, in Leticia Kent, “Andy Warhol: I Thought Everyone Was Kidding,” Village Voice, September 12, 1968.

246. 651 picked his poor fingernails: See Warhol in David Silver, “What’s Happening, Mr. Silver?” television broadcast (Boston: WGBH, May 1967), www.youtube.com/watch?v=ESGrKwIdb8A.

247. 651 “He is a person scared to death”: An unnamed writer for Sweden’s Svenska Dagbladet newspaper, quoted in English in David Bour-don, notes filed to the editors of Time magazine (February 21, 1968), Da-vid Bourdon papers, Archives of American Art, Smithsonian Institution.

248. 651 “protect him—but you couldn’t”: Bob Colacello, interview by author, December 20, 2012.

249. 651 sound of a car backfiring: Corey Tippin, interview by au-thor, August 19, 2018.

250. 651 Johnson built Sheetrock walls: Pat Hackett, in Glenn O’Brien, “Pat Hackett,” Interview ( July 2008): np.

The new walls were in place by June, 1969, when they were described in Joseph Gelmis, “Above Ground with Andy,” Newsday, June 14, 1969.

251. 651 mostly kept unlocked: Horst Weber von Beeren, interview by author, June 12, 2018. Von Beeren later became part of the team that silkscreened for Warhol.

252. 652 Random flower children: Mario Amaya, “Reflections on


NOTES 605

the Day a Girl Shot Andy Warhol and Mario Amaya,” Nova (December 1969): 40.

253. 652 “wouldn’t stop anyone”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 358.

254. 652 “petrified”: Andy Warhol, Factory Diary: Brigid Showing Po-laroids of Andy, Oct. 25, 1971, videotape, 1971.

255. 652 a couple of armed junkies: Bob Colacello dates the inci-dent to “one friday afternoon” (in 1971)—Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1820, Kindle edi-tion.

256. 652 a sign that read “Knock and Announce Yourself”: Stephen Koch, Stargazer: The Life, World and Films of Andy Warhol (New York: Mar-ion Boyers, 1991), 4. The new metal door with its sign had been installed by the middle of 1972, since it is mentioned by Holly Woodlawn in an interview from around then clipped by Warhol or an employee from an unidentified source (AWMA).

On the armed thieves see Glenn O’Brien, “History Rewrite,” Inter-view (March 7, 2009), https://www.interviewmagazine.com/culture/history-rewrite.

257. 652 a security camera: The camera is visible in Andy Warhol, Factory Diary: Factory Moving, videotape, 1974.

258. 652 ride the elevator down by himself: David Bourdon, Warhol (New York: Abrams, 1989), 296.

259. 652 “Are the lights on or off?”: Andy Warhol, “Warhol: On My Mind,” Vogue (February 1973): 165.

260. 652 “he was spotted”: Earl Wilson, “The NY Mood: Forgiving, Forgetting,” Detroit Free Press, September 19, 1968.

261. 652 a movie about a Mod crime caper: Ann Guarino, “Duffy: A Mod Comedy Done in High Style,” New York Daily News, September 17, 1968. The movie had held its launch the previous day—see “Booster for Duffy,” New York Daily News, September 13, 1968.

262. 652 guest list was a vast A to Z: “Guest List for Nico Party,” n.d., TC11, AWMA.

263. 652 “velvet suits and dirty blue jeans”: Kay Bartlett, “Super-stars Pop out at Warhol’s Party,” New York Post, September 20, 1968. The party is described as having happened “last night.”

264. 653 “slit our wrists”: Frazier Mohawk, in Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jaw-bone, 2009), 200.


606 NOTES

265. 653 “sung like an IBM computer”: An unnamed critic from Eye magazine, quoted in Richie Unterberger, White Light/White Heat: The Vel-vet Underground Day-by-Day (London: Jawbone, 2009), 201.

266. 653 “existential world of absurdities”: Lenny Kaye, in Richie Unterberger, White Light/White Heat: The Velvet Underground Day-by-Day (London: Jawbone, 2009), 200.

267. 653 “writing it in the bathtub”: Warhol, in Kay Bartlett, “Su-perstars Pop out at Warhol’s Party,” New York Post, September 20, 1968.

268. 653 “passé now—even in Pgh”: Imilda Vaughan (later Tuttle) to Andy Warhol, April 12, 1968, AWMA.

269. 653 in velvet and hippie frills: “Status Shirt,” Look (November 1968): 81.

270. 653 seventy-five cents left in his pocket: July 19, 1968, diary en-try in Gerard Malanga, “From the Secret Diaries—Summer in the City,” Angel Hair (Spring 1969): np.

271. 653 dining on care packages: August 5, 1968, diary entry in Gerard Malanga, “From the Secret Diaries—Summer in the City,” Angel Hair (Spring 1969): np.

272. 653 managing the rental of Warhol’s art films: Leslie Trum-bull, of the Film-Makers’ Cooperative, to Andy Warhol, July 15, 1968, AWMA.

273. 653 “I go to the factory to pick up the typewriter”: August 5, 1968, diary entry in Gerard Malanga, “From the Secret Diaries—Sum-mer in the City,” Angel Hair (Spring 1969): np.

274. 654 “glamour into my college years”: Pat Hackett, “Introduc-tion,” in The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 74, Kindle edition.

275. 654 “my hospital bills took all of that”: Warhol, in Leticia Kent, “Andy Warhol: I Thought Everyone Was Kidding,” Village Voice, September 12, 1968.

276. 654 to contest a claim against him for $80,000: See “Fufu’s Wily Ancestor Never Faced a Warhol,” Newsday, August 28, 1968.

The twists and turns in the case can be followed in Newsday stories on August 29, September 28, October 16, October 30, November 7 and November 14, 1968. Smith’s funding is said to have been either for Jane Heir or for The Bed and Camp (which Smith appeared in). No explanation is ever given for the varying accounts, but the figure of $80,000 seems to be Smith’s estimate for what his original $2,000 investment would have been worth once it had been transformed into a finished work of filmic art by Warhol.


NOTES 607

277. 654 to crawl out from under the threat: Paul Morrissey later made clear that he and Warhol had in fact received the summons at Max’s, but thinking it was a joke had torn it up on the spot—see his discussion of the affair in Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related mate-rials, *T-Mss, Billy Rose Theatre Division, The New York Public Library. This is confirmed in Gerard Malanga, interview by author, April 11, 2018. Malanga mistakenly remembered the events as having taken place on April Fools Day.

Fufu Smith said that the summons was served on Warhol in a New York restaurant on August 1—see “Fufu Says Warhol Took His Money Underground,” Newsday, August 29, 1968. And Waldo Díaz-Balart gave evidence that Warhol was instead a visitor at his house in the Hamptons on that day, but that visit is clearly shown to have taken place on July 8 (“last Saturday”), in “Andy Warhol: Superstars in East Hampton,” Hamp-tons Voice, July 14, 1967.

278. 654 Fufu was so nutty: For the final resolution of the case see the invoice to Warhol from the law firm of Olitt, Friedberg and Kagel, February 23, 1971, box B12, AWMA. Other related bills survive across the Warhol archives.

279. 655 His actors were also demanding pay: “Eye,” Women’s Wear Daily, November 27, 1968.

280. 655 his tab had mounted to $3,000: Max’s Kansas City, state-ment to Warhol, October 17, 1968, box B12, AWMA.

281. 655 film lab was sending invoices for $6,000: Frederick Hughes to Andy Warhol, July 26, 1968, TC4, AWMA. See also Frederick Hughes to Andy Warhol, June 28, 1968, TC4, AWMA.

282. 655 three months in arrears on his rent: James Felt and Co., invoice to Warhol, July 30, 1968, box B13, AWMA.

Another Felt invoice, from March 13, 1968 (AWMA) shows Warhol already in arrears by one month.

283. 655 “pay for it all myself”: Warhol, in Emile De Antonio and Andy Warhol, typed notes from a group interview, September 26, 1976, new miscelaneous box 9, AWMA. The notes actually read “60 thousand dollars,” but that is almost certainly a typist’s mistake for “sixteen thou-sand dollars,” the number revealed in the relevant medical bills.

284. 655 $500 for blood alone: Columbus Hospital, invoice to War-hol, June 28, 1968, AWMA.

285. 655 pocket his premiums: John Warhola, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4911,


608 NOTES

Kindle edition.286. 655 Hughes hoping to get the de Menils: Frederick Hughes to

Andy Warhol, June 1968, TC4, AWMA.Hughes resolved to get the de Menils to cover at least the bill (TC19,

AWMA) for a visit to Warhol from Dr. George Wantz, an elite young sur-geon from New York Hospital who the de Menils had hoped would over-see Warhol’s care, but who decided the artist was already in fine hands at Columbus. The de Menils’ connection to Dr. Wantz was described by Warhol’s friend Simone Swan in a February 21, 2017, e-mail to the author.

287. 655 “PAY UP YOU BLOWHARD”: Dr. Giuseppe Rossi to Andy Warhol, January 3, 1969, TC -8, AWMA.

288. 655 mailed him a check for $1,000: The September 1, 1968, check was from Factory Additions, Warhol’s publishing arm, and was viewed on May 28, 2014, at the home of the late Dr. Giuseppe Rossi.

289. 655 ten Soup Can prints: Dr. Giuseppe Rossi, interview by au-thor, May 28, 2014.

290. 655 “the values of the paintings”: Henry Geldzahler, in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 383.

291. 656 “like holding onto IBM stock”: Anonymous art dealer, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), 314, Kindle edition.

292. 656 framing and selling his printing screens: David Bourdon, “Plastic Man Meets Plastic Man,” New York (February 10, 1969): 45. To be published in the February issue the story would have been researched in the fall.

293. 656 a screen, made from a still of the rape scene: Phyllis Kro-nhausen and Eberhard Kronhausen, Erotic Art: A Survey of Erotic Fact and Fancy in the Fine Arts (New York: Grove Press, 1968), 45 and fig. 176.

294. 656 a handful of rentals each month: There were “two or three rentals every couple of weeks” according to Gerard Malanga, interview by author, April 11, 2018.

295. 656 lecture bureau still owed Warhol: Frederick Hughes to Andy Warhol, June 29, 1968, TC4, AWMA.

296. 656 $1,200 copy of the footage for that same rape: Elayne Var-ian to Andy Warhol, June 7, 1968, Exhibition records of the Contempo-rary Wing of the Finch College Museum of Art, Archives of American Art, Smithsonian Institution.

The transaction can be traced back through a correspondence that begins the previous December.


NOTES 609

297. 656 $5,000 for a big Flower painting: Frederick Hughes to Andy Warhol, July 1, 1968, TC4, AWMA.

298. 656 Pop tapestry projects: See Elizabeth Gilliland, of Charles E. Slatkin Galleries, to Andy Warhol, September 19, 1968, TC30, AWMA. See also Sonny Sloan, of Multiples Inc., to Andy Warhol, June 25, 1968, TC4, AWMA.

299. 656 he could raise some extra funds: Donavan, Leisure, New-ton and Irvine to Andy Warhol, February 25, 1969, TC540, AWMA. Ward’s lawyers were writing to reject all of Warhol’s demands as “devoid of merit as well as stale.”

300. 656 its pay phone removed: Frederick Hughes to Andy Warhol, July 1968, TC4, AWMA.

301. 657 “do a portrait once in a while”: Warhol, in Paul Carroll, “What’s a Warhol,” Playboy (September 1969): 278. Internal evidence in the article points to a spring date for its interviews.

The 1968 corporate tax return for Andy Warhol Films (AWMA) shows a gross of $143,731—a bit more than Andy Warhol Enterprises was contributing to the total take that year—but also shows expenses that reduced the taxable income to zero. Warhol’s personal tax return for 1968 (AWMA) shows an income of $80,789. The following year’s return, without time spent in hospital, gives his income as $95,887.

302. 657 commissions from his longtime patrons: Frederick Hughes to Andy Warhol, June 1968, TC4, AWMA.

303. 657 a new space on the tenth floor: Union Square Building Corp., October 9, 1968, lease on room 1005 (TC540, AWMA) for $95.

304. 657 added space on the eighth floor: Vincent Fremont, full un-published transcript for the video documentary “Andy Warhol: 15 Min-utes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

305. 657 dapper Hughes could get press-ganged: Warhol, unpub-lished diary entry for September 18, 1972, AWMA.

306. 657 “Portrait of Society”: Bob Collacello, in Ric Burns, Andy Warhol: A Documentary Film, documentary (PBS and Steeplechase Films, 2006).

307. 658 “a skin-deep treatment of surfaces”: David Bourdon, “Andy Warhol and the Society Icon,” Art in America ( January 1975): 43.

For the view that none of Warhol’s portraits ever conveyed “the in-ner psychic tensions of the persons portrayed” see John Coplans, “Early Warhol: The Systematic Evolution of the Impersonal Style,” Artforum


610 NOTES

(March 1970): 59.308. 658 “is out of his mind”: Antonio Homem, interview by author,

October 16, 2017. 309. 658 a version of the “social register”: Andy Warhol, interview

by Emile De Antonio, handwritten transcript of footage for the docu-mentary “Painters Painting,” c.1970, Mitch Tuchman papers related to the book Painters Painting, Archives of American Art, Smithsonian In-stitution.

310. 658 celebrated Date Paintings: Walter Steding, interview by author, January 13, 2015.

311. 659 making extravagantly dressed doyennes strip: Gigi Wil-liams, oral history, audiocassette, n.d., AWMA.

312. 659 “bitterest challengers”: Barbara Rose, “In Andy Warhol’s Aluminum Foil, We Have All Been Reflected,” New York (May 31, 1971): 55. On Warhol and Goya see also Peter-Klaus Schuster, “Warhol and Goya,” in Andy Warhol: Retrospective, ed. Heiner Bastian (London: Tate Publishing, 2002), 52.

313. 659 “not anything but gay”: Gerard Malanga, in Winston Le-yland, “Interview with Gerard Malanga for Gay Sunshine” (typescript draft, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

314. 659 “pioneering work is serious”: The quote, provided to the author in a September 17, 2018, e-mail from historian William Middle-ton, is from John de Menil’s November 12, 1968, letter to Nathan Fain in the De Menil Family Archives, Menil Collection, Houston.

315. 659 “really wanted to show at MoMA”: Rudolf Zwirner, inter-view by author, July 27, 2018.

316. 660 to show “calendar paintings”: Marcel Duchamp, interview by William C. Seitz, typed notes, December 6, 1962, William C. Seitz Papers, III.1, Museum of Modern Art Archives, New York.

317. 660 “taken the people that are the most vain”: Boris Bally, oral history, May 26, 2009, Archives of American Art, Smithsonian Institu-tion.

318. 660 “DELIGHTED WITH IDEA TO DO PORTRAITS”: War-hol, telegram to Peter Brown at Apple C.O.R.E., London, October 21, 1969, box B7, AWMA.

CHAPTER 38

1. 663 “intuitive about leaving”: August 4, 1966, diary entry in Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan,


NOTES 611

n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Li-brary, Yale University.

2. 663 “pure fucking, nothing else”: Andy Warhol and Pat Hack-ett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 371.

3. 663 Morrissey tried to get his own back: Louis Waldon, in-terview by Asako Kitaori, typescript, n.d., Gerard Malanga Papers, Bei-necke Rare Book and Manuscript Library, Yale University.

4. 663 tripping on acid: For the dating see Viva, “Viva and God,” Village Voice, May 5, 1987.

For Viva’s much later account of the film’s history see her Facebook post, reposted March 26, 2016, at www.warholstars.org/index5.html, ac-cessed October 5, 2018.

5. 663 had a small roll in Flesh: Louis Waldon, interview by Asako Kitaori, typescript, n.d., Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

6. 663 in a Central Park café: Victor Bockris, Warhol: The Biog-raphy (Cambridge, MA: Vintage Books, 2003), 314, Kindle edition. See also Louis Waldon, interview by Asako Kitaori, typescript, n.d., Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale Uni-versity.

7. 663 “it was going to be sensitive”: Louis Waldon, in Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 393.

8. 664 “fuck every man”: Jane Holzer, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

9. 664 the hard-core Deep Throat: Warhol, unpublished diary entry for September 20, 1972, AWMA.

10. 664 “adult film producer”: “Pittsburgh,” Box Office, December 11, 1972, E6.

11. 664 “ sensual pas de deux”: Viva, in “Thirty Minutes of Fame: Viva and Maura Moynihan Remember Andy Warhol,” New York Woman (May 1987): 30.

12. 664 “so I can show it once at the Whitney”: Viva, in “Thirty Minutes of Fame: Viva and Maura Moynihan Remember Andy Warhol,” New York Woman (May 1987): 30.

13. 664 shot for $2,000: Warhol, in Leticia Kent, “Andy Warhol, Movieman: ‘Its Hard to Be Your Own Script,’” Vogue (March 1, 1970): 204.

14. 664 sunny Saturday in September: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 393. See


612 NOTES

also Louis Waldon, interview by Asako Kitaori, typescript, n.d., Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale Uni-versity.

15. 664 “help me get on my feet”: Warhol, in Steven Watson, Fac-tory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 393.

16. 664 “My own idea about Blue Movie”: Viva, in Victor Bock-ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), 315, Kindle edition.

17. 664 Morrissey walked off the set: Viva, “The Superstar and the Heady Years,” New York Woman (May 1987).

18. 664 managed to clean up Warhol’s act: That reading of events is attributed to Gerard Malanga in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4933, Kindle edition.

On the other hand, Louis Waldon said that Paul Morrissey had been kicked off the set by Viva for giggling during the sex scenes—see Louis Waldon, interview by Asako Kitaori, typescript, n.d., Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

19. 664 “so it could be an art movie”: Andy Warhol, in an interview in Phyllis Kronhausen and Eberhard Kronhausen, Erotic Art: A Survey of Erotic Fact and Fancy in the Fine Arts (New York: Grove Press, 1968), 46. The interview was conducted after Warhol had “ just finished” shooting Fuck.

20. 664 a revised title: One ad did promote the movie as “Andy Warhol’s Fuck,” but that was in one of the most radical alternative week-lies—see Rat: Subterranean News, August 1969, advertisement. Thanks to Jay Reeg for this reference.

21. 665 a famous deep-blue movie: On Warhol’s likely knowledge of Joseph Cornell’s film see Amy Taubin, “My Time Is Not Your Time,” Sight and Sound ( June 1994): 21. Warhol would have been exposed to Cor-nell at Outlines gallery, in the 1940s, and in the 1950s via Warhol’s friends at the Picture Collection of the New York Public Library, where Cornell was a favored patron.

22. 665 “two people having their last fuck”: Louis Waldon, in Ste-ven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 393.

23. 665 “a beautiful, beautiful love story”: Louis Waldon, in Wil-liam Hall, “What Lou’s Blue Movie Is All About,” Evening News (London), October 7, 1969.

24. 665 “‘normal people’ acted with each other”: Viva, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003),


NOTES 613

loc. 4937, Kindle edition.25. 665 “beautiful”: Warhol, in Victor Bockris, Warhol: The Biogra-

phy (Cambridge, MA: Vintage Books, 2003), loc. 4936, Kindle edition.26. 665 "documentary genuineness”: Dennis J. Cipnic, “Warhol

and Camera Reality,” Infinity Magazine (September 1969): 5.27. 665 “typical sexploitationer”: Frankie Larkin to Andy Warhol,

August 19, 1969, TC26, AWMA.28. 665 replaced Lonesome Cowboys: “Blue Movie (1969) Trivia,”

www.imdb.com/title/tt0062745/trivia, n.d., accessed April 15, 2019.29. 665 first movie to show explicit sex: Leticia Kent, “Blue Movie,

or F**K,” Variety, June 25, 1969, 18. 30. 665 Lovemaking: Parker Tyler, Underground Film: A Critical His-

tory (New York: Grove Press, 1970), 223.31. 665 caused such a commotion: Jerry White, Stan Brakhage in

Rolling Stock, 1980–1990 (Waterloo, ON: Wilfred Laurier University Press, 2018).

32. 666 Timothy Leary told Viva: Viva, “The Superstar and the Heady Years,” New York Woman (May 1987): 30.

33. 666 “a deeply ingrained sadness”: Paul Carroll, “What’s a War-hol,” Playboy (September 1969): 280.

34. 666 arrested three theater employees: “Blue Movie Too Pur-ple,” New York Post, August 2, 1969.

35. 666 fined the Garrick manager $250: Michael Pearl and Ted Poston, “Swoboda, Warhol and a Flicker of Flam,” New York Post, Septem-ber 17, 1969.

36. 666 Waldon took off to Italy: William Hall, “What Lou’s Blue Movie Is All About,” Evening News (London), October 7, 1969.

37. 666 Judy’s Box and Tina’s Tongue: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 371.

38. 666 said that Blue Movie was porn: “People,” Newsday, Decem-ber 2, 1972. This author was unable to find evidence of the subsequent Supreme Court reversal mentioned in Callie Angell, The Films of Andy Warhol Part II (Whitney Museum of American Art, 1994), 32.

39. 666 “movies should arouse you”: Warhol, in Leticia Kent, “Andy Warhol, Movieman: ‘Its Hard to Be Your Own Script,’” Vogue (March 1, 1970): 204.

40. 666 “movies should arouse you”: Warhol, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bourdon pa-pers, Archives of American Art, Smithsonian Institution.


614 NOTES

41. 667 “now become conventions”: John Chamberlain, in Eliza-beth Baker, “The Secret Life of John Chamberlain,” Artnews (April 1969): 49. Warhol preserved the article in his Time Capsule 81.

42. 667 “Warhol was just a trend”: Rex Reed, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5126, Kindle edition. Bockris gives no source for Reed’s quote.

43. 667 Warhol was at the launch party: George Abagnalo, inter-view by author, December 14, 2016.

44. 667 painted one of his ’50s-style butterflies: For a photo see www.gettyimages.com/detail/news-photo/american-pop-artist-andy-warhol-draws-a-flower-on-the-thigh-news-photo/3225563, accessed No-vember 1, 2018.

45. 667 “they split the screen about thirty-two times”: Toklas screenwriters were apparently riffing on a discussion of Billy Name’s dental work in Warhol’s Lupe plus the twin screens of The Chelsea Girls and the 32 flavors of Warhol’s Campbell’s Soup series.

Weirdly, in the 1980s Warhol did come to buy a huge collection of old dental molds—perhaps even under the inspiration of the Toklas script.

46. 668 “they’re too beautiful, too planned”: Warhol, in David Bourdon, notes from a Warhol lecture tour (February 1968), David Bour-don papers, Archives of American Art, Smithsonian Institution.

47. 668 “aren’t going in the right direction”: August 4, 1966, diary entry in Gerard Malanga, “Secret Diaries” (typed drafts edited by Aram Saroyan, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manu-script Library, Yale University.

48. 668 “films or not, it’ll catch on”: Deevy Jane Greitzer to Andy Warhol, July 17, 1968, TC4, AWMA.

49. 668 “move closer and closer to pure idea”: Howard Junker, “The New Art: It’s Way, Way Out,” Newsweek ( July 7, 1968): 56.

50. 668 “the object’s becoming wholly obsolete”: Lucy Lippard, in Howard Junker, “The New Art: It’s Way, Way Out,” Newsweek ( July 7, 1968): 56.

51. 668 “I like empty walls”: Warhol, in the UPI wire story by H. D. Quigg, “Warhol Is Full Speed Ahead,” Cedar Rapids Gazette, November 17, 1968.

52. 668 as completely cerebral and unvisual: See Arthur Danto, “The Artworld,” The Journal of Philosophy 61, no. 19 (October 1964).

53. 668 “use the least means to carry out the idea”: Tom Dempsey to Andy Warhol, holograph letter with enclosure of notes by Warhol, January 27, 1970, TC62, AWMA.


NOTES 615

54. 668 “ideas rather than art”: See the discussion between John Wilcock and Frederick Hughes in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 87. Although published in 1971, an extract from the book was published in the March 1, 1970, issue of Wilcock’s weekly called Other Scenes, indicating that the interviews for it would probably have been done in late 1969, very near the era under discussion in this chapter.

55. 669 works he showed in Butler’s gallery: Alexander Alberro, Conceptual Art and the Politics of Publicity (Cambridge, MA: MIT Press, 2003), 32. On the origins of the “fifteen-minutes” line see this author’s http://warholiana.com/post/81689862604/in-the-future-everyone-will-be-world-famous-for, accessed January 18, 2015. See also Joseph Kosuth in “The 1st at Moderna: Joseph Kosuth,” Moderna Museet i Stockholm, accessed April 15, 2019, https://www.modernamuseet.se/stockholm/en/exhibitions/the-1st-at-moderna-joseph-kosuth/.

Warhol and Kossuth seem to have known each other at least since the spring of 1965, when Kossuth had been present at a poetry reading Gerard Malanga gave during the launch of Warhol’s exhibition at the Sonnabend gallery in Paris—see Gerard Malanga, interview by author, April 11, 2018.

Some 15 years later, Warhol-the-sponge riffed on Kossuth’s famous 1965 piece called One and Three Chairs in an illustration, titled This Is A Chair, for his 1960s clients Teddy and Arthur Edelman—see “Arthur and Teddy Edelman: Fine Hides and An Old Barn,” Old Ridgefield (blog), Au-gust 9, 2018, http://www.naturegeezer.com/2018/08/p_9.html.

56. 669 a portrait of Kosuth by Warhol: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 04—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 206.

57. 669 “danger-oriented” conceptualists: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 34.

58. 669 “create a new situation”: Max Protetch and Harold Rivkin to Andy Warhol, September 29, 1971, AWMA. Max Protetch has said that the project was never realized.

59. 669 material art would soon be disappearing: Warhol, in “How We Will Live,” Philadelphia Inquirer, July 4, 1976. Warhol also pre-dicts, correctly, that projected video will be a major art form of the fu-ture.

60. 669 as essentially “posthumous”: John Perreault, “Andy War-hola, This Is Your Life,” Artnews (May 1969): 53.

61. 669 opposed to art objects of all kinds: Warhol, in John Per-


616 NOTES

reault, typescript introduction to lost unpublished monograph on War-hol (c.1971), TC246, AWMA.

See also Warhol in Lane Slate, “USA Artists: Andy Warhol and Roy Lichtenstein,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 80, Kindle edition. The text is a transcript of Slate’s film by the same name.

62. 669 “Oh, we’re out of art”: Warhol, in David Bourdon, notes on a studio visit with Warhol (February 26, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

63. 669 as more than props: Warhol, in Phyllis Tuchman, “Pop!,” Artnews (May 1974): 26.

64. 669 the new Conceptualism that “we are stuck with”: Leo Castelli, in a transcript provided with David Bailey, Bailey on Andy War-hol, DVD (London: Network, 2006).

65. 669 let himself be masturbated: Victor Bockris, Warhol: The Bi-ography (Cambridge, MA: Vintage Books, 2003), loc. 5033, Kindle edition. Jasper Johns denied any memory of Warhol’s proposal in a February 21, 2016, e-mail to the author.

66. 669 a penile drawing: Brigid Berlin, in Bob Colacello, Brigid Berlin & Vincent Fremont on Andy Warhol, Web video (Strand Bookstore, New York, 2014), https://www.youtube.com/watch?v=i17g3wPDfa4.

67. 670 renting out his superstars: “Work in Progress,” Esquire (De-cember 1969): 212.

68. 670 vacuuming an exhibition space: The work was for a show called “Art in Process V,” at the Finch College Museum of Art in February 1972. See Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 46. See also Charles F. Stuckey, “Andy Warhol’s Painted Faces,” Art in America (May 1980): 102. Stuckey’s article is reprinted in Alan R. Pratt, ed., The Critical Response to Andy Warhol, Critical Responses in Arts and Letters, no. 25 (Westport, CT: Greenwood Press, 1997).

69. 670 looking for the perfect vacuum: Warhol, unpublished di-ary entries for January 31, February 4, February 5 and February 8, 1972, AWMA.

70. 670 live people in windows: Warhol, in Andy Warhol and Da-vid Bourdon, typed notes from a telephone call (June 5, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

71. 670 trip to Paris that he funded: See Gregory Battcock, in “University Roundtable Series: Interview with Gregory Battcock,” radio broadcast (WFUV, December 11, 1969), WFUV radio interviews relating


NOTES 617

to art, Archives of American Art, Smithsonian Institution. Battcock’s fel-low traveler was David Bourdon.

72. 670 sponged the idea: See William Middleton, Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil (New York: Knopf, 2018), 484.

73. 670 February 1969: Daniel Robbins, “Confessions of a Museum Director,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 8.

Several sources give Dominique de Menil as the originator of the idea—e.g. Christopher Andreae, “An Exhibition—‘Just Like That’,” Christian Science Monitor, September 15, 1969.

74. 670 forty-five thousand artworks: Daniel Robbins, “Confes-sions of a Museum Director,” in Raid the Icebox 1 with Andy Warhol (Provi-dence: Rhode Island School of Design, 1969), 8.

75. 671 agony of an ingrown toenail: David Bourdon, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 24.

76. 671 someone else would do the choosing: David Bourdon, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 24.

77. 671 “let it be known by a slight nod”: David Bourdon, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 24.

78. 671 crammed storage racks: David Bourdon, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 20.

79. 671 piles of them stacked haphazardly: David Bourdon, “An-dy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Is-land School of Design, 1969), 18.

80. 671 flower-papered wardrobes: David Bourdon, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 17, 66.

81. 671 “Spectator participation”: Warhol, in David Bourdon, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 17.

82. 671 “If that’s real, we won’t take it”: Warhol, in David Bour-don, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 24.

83. 671 “Oh, I like that one”: Warhol, in David Bourdon, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island


618 NOTES

School of Design, 1969), 24.84. 671 “liked funny things”: Catherine Lampert, in Lampert,

Catherine (4 of 27). National Life Stories: Artists’ Lives, Web audio (British Library, 2003), https://sounds.bl.uk/Arts-literature-and-performance/Art/021M-C0466X0174XX-0004V0.

85. 672 porcelain figurines: Daniel Robbins, “Confessions of a Mu-seum Director,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 14.

86. 672 “‘storage’ rather than works of art”: Daniel Robbins, “Confessions of a Museum Director,” in Raid the Icebox 1 with Andy War-hol (Providence: Rhode Island School of Design, 1969), 14.

87. 672 “into a junk shop”: Daniel Robbins, “Confessions of a Mu-seum Director,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 12.

88. 672 “some duplication”: See David Bourdon, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 20.

89. 672 “Tree to the right of the bust”: Daniel Robbins, in David Bourdon, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Provi-dence: Rhode Island School of Design, 1969), 20.

90. 672 “What is beautiful to the artist”: Dominique de Menil, “Foreward,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 5.

91. 672 choosing some truly lame object: David Bourdon, “Andy’s Dish,” in Raid the Icebox 1 with Andy Warhol (Providence: Rhode Island School of Design, 1969), 20.

92. 672 “sufficient to define it as art”: Daniel Robbins, “Confes-sions of a Museum Director,” in Raid the Icebox 1 with Andy Warhol (Provi-dence: Rhode Island School of Design, 1969), 12.

93. 672 “an invention of critics and curators”: Christopher An-dreae, “Warhol’s ‘Raid the Icebox’ in Texas,” Christian Science Monitor, November 14, 1969.

94. 673 “he not saying a single word”: See Thomas McEvilley, “Dream of Black Mountain,” in Art and Activism: Projects of John and Dom-inique de Menil, ed. Josef Helfenstein and Laureen Schipsi (New Haven, CT: Yale University Press, 2010), 266.

95. 673 art museum in New Orleans: The account of Warhol in New Orleans is based on curator Bill Fagaly’s draft memoir, forwarded to the author by Fagaly in a November 19, 2018, e-mail.

96. 673 “high heels and bare feet”: Allan Katz, “Andy Warhol Art


NOTES 619

Exhibit Is Big Hit at Delgado,” New Orleans States-Item, January 17, 1970.97. 673 retreated to his hotel room: Curator William Fagaly, inter-

view by author, November 19, 2018.98. 673 “50 Ejaculations”: Andy Warhol, “Foot Fetishes” (note-

book, c.1970), TC21, AWMA.99. 674 “floating chair”: Charles Hope Provost, of Provost Dis-

plays, to Andy Warhol, October 14, 1968, TC -12, AWMA.100. 674 a robotic trash can: Warhol mentioned the robotic trashcan

in Andy Warhol and Samuel Adams Green, recorded telephone conversa-tion, n.d., Samuel Adams Green papers, Beinecke Rare Book and Manu-script Library, Yale University.

The engineer Billy Klüver was involved in the aborted trash-can project—Julie Martin, Billy Klüver’s widow, interview by author, Octo-ber 26, 2017.

101. 674 exotic Swedish phone booths: Marta Sahlberg, of the Mod-erna Museet, to Andy Warhol, July 26, 1968, TC15, AWMA.

102. 674 to counterfeit wind, rain and snow: See the December 23, 1968, note (box B17, AWMA) from Provost Displays with quotes for the production of a “snow machine” for $1200 and a “rain machine” for $900. The snow machine is mentioned as in operation in Joseph Gelmis, “Above Ground with Andy,” Newsday, June 14, 1969.

103. 674 1970 World’s Fair in Tokyo: See A Report on the Art and Tech-nology Program of the Los Angeles County Museum of Art, 1967–1971 (Los An-geles: Los Angeles County Museum of Art, 1971), 330.

Plans survive (TC65, AWMA) for both the snow and rain machines.104. 674 Duchamp had made a rain machine: See Matt Wrbican,

A Is for Archive: Warhol’s World from A to Z, ed. Abigail Franzen-Sheehan (New Haven, CT: Yale University Press, 2019), 56.

105. 674 stainless-steel pudendum: Chauncey Howell, “Art, et Ce-tera,” Women’s Wear Daily, January 17, 1969, 38.

106. 674 “latest self-protection device”: John Perreault, “Andy War-hol Disguised Here as Andy Warhol,” Vogue (March 1, 1970): 166.

107. 674 “I’d provoke any kind of hysteria”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 367.

108. 674 “wait for somebody else to drop by”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 366.

109. 674 TC-40 Action-Corder: Warhol’s surviving recorder (AWMA) is referred to as a “brand new” model in Sony Corp., Philadel-


620 NOTES

phia Inquirer, June 7, 1970, advertisement. The full ad copy is recorded in a magazine page at www.magazine-advertisements.com/sony-electronics.html, accessed October 12, 2018.

110. 674 “my wife, Sony”: Warhol, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 451, Kindle edition.

See also Sterling McIlhenny and Peter Ray, “Inside Andy Warhol,” Cavalier Magazine (September 1966). They report: “Before we could get our tape recorder warmed up, Andy Warhol produced his own transisto-rised set and placed the microphone before us.” Warhol also tells them, “We should make a video tape of this interview at the same time so we could look at it.”

111. 674 hospital room where he died: See the personal effects (AWMA) in the box labeled “Fr. NY Hospital AW Personal 1987.”

112. 675 “party noise is wonderful”: Warhol, in Sally Kempton, “Viva of the Visions: A Scar Is Born,” Village Voice, February 22, 1968.

113. 675 “they’re like ants”: Warhol, in David Bourdon, notes on a studio visit with Warhol (February 26, 1968), David Bourdon papers, Archives of American Art, Smithsonian Institution.

114. 675 a symbol of his arrival: See John Hallowell, “Mr. Warhol Comes to Hollywood,” Los Angeles Times, June 27, 1971.

115. 675 “I’m just taking the pictures”: Warhol, in Mario Amaya, “Reflections on the Day a Girl Shot Andy Warhol and Mario Amaya,” Nova (December 1969): 76.

116. 675 “people walking past the camera”: Warhol, in Paul Car-roll, “What’s a Warhol,” Playboy (September 1969): 140. The interview for this Playboy story was clearly conducted early in 1969 before the cancel-lation of the Nothing Special project, a cancellation that had already been documented in Warhol interviews that appeared before Carroll’s.

117. 675 “wait for something to happen”: Warhol, in Joseph Gel-mis, “Above Ground with Andy,” Newsday, June 14, 1969.

118. 675 “where you don’t have to watch it”: Paul Morrissey, in Howard Smith, “The Smith Tapes: Lost Interviews with Rock Stars & Icons 1969–1972—An Interview with Andy Warhol and Paul Morrissey,” Literary Hub (blog), November 3, 2015, https://lithub.com/the-smith-tapes-lost-interviews-with-rock-stars-icons-1969-1972/.

119. 675 “just one whole big thing”: Warhol, in Joseph Gelmis, “Above Ground with Andy,” Newsday, June 14, 1969.

120. 676 “working towards TV”: Warhol, in John S. Margolies, “TV: The next Medium,” Art in America (September 1969): 49.


NOTES 621

121. 676 “They wanted us to do it for nothing”: Warhol, in Joseph Gelmis, “Above Ground with Andy,” Newsday, June 14, 1969.

122. 676 reviving the project: Warhol, in Barry Blinderman, “Mod-ern ‘Myths’: An Interview with Andy Warhol,” Arts Magazine (October 1981): 147. Warhol had earlier mentioned a revival of the project, as an interview show, in Ilene Barth, “Andy Warhol: I’m Not Attracted to Re-bellion,” Newsday, December 26, 1976.

123. 676 “another thing for him to hoard”: Michael Netter, inter-view by author, March 15, 2016.

124. 676 a water-themed show: See Grace Glueck, “Art by Yoko Ono Shown at Museum in Syracuse,” New York Times, October 11, 1971.

125. 676 considered showing his rain machine: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (Septem-ber 26, 1971), David Bourdon Papers, II.3, Museum of Modern Art Ar-chives, New York.

126. 676 the tape immersed in water: See The Andy Warhol Mu-seum, Andy Warhol, 365 Takes: The Andy Warhol Museum Collection (New York: Abrams, 2004), 36. Note that this source refers to Ono wanting to immerse a video “cassette,” but at that date the tape would almost cer-tainly have been reel-to-reel.

127. 676 released it in December 1968: The release date is given as December 13 in “Literati: Chatter,” Variety, November 27, 1968, 70.

128. 677 the headline “ZZZZZZZZ”: “ZZZZZZZZ,” Time (De-cember 27, 1968): 63.

129. 677 an avant-garde “sonnet”: Ron Padgett, “Sonnet/Homage to Andy Warhol,” Film Culture (Spring 1964): 13.

130. 677 “death knell of American literature”: Robert Mazzocco, “Aaaaaa . . . ,” New York Review of Books (April 24, 1969), https://www.nybooks.com/articles/1969/04/24/a-a-a-a-a-a/.

131. 677 “just watching something happening”: Leticia Kent, “Andy Warhol, Movieman: ‘Its Hard to Be Your Own Script,’” Vogue (March 1, 1970): 168, 204.

132. 677 the remainders bin: Leticia Kent, “Andy Warhol, Movie-man: ‘Its Hard to Be Your Own Script,’” Vogue (March 1, 1970): 167.

133. 677 “the avant-garde has been dead since the 1920s”: Jonathan Richman to Andy Warhol, December 1967, TC -2, AWMA.

134. 678 “infiltration of the middlebrow”: Clement Greenberg, “Where Is the Avant Garde?” Vogue ( June 1967): 113.

135. 678 countercultural ideas had become watered down: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt


622 NOTES

Brace Jovanovich, 1980), 353.136. 678 Esquire cover story: Elenore Lester, “The Final Decline and

Total Collapse of the American Avant-Garde,” Esquire (May 1969), https://classic.esquire.com/article/1969/5/1/the-final-decline-and-total-collapse-of-the-american-avant-garde.

137. 678 call for the cover shoot: George Lois, the cover’s designer, in Peter Rosen, Who Gets To Call It Art?, documentary, 2006.

138. 679 “when you do something exactly wrong”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 362.

139. 679 “turn up”: Andy Warhol and Pat Hackett, POPism: The War-hol ’60s (New York: Harcourt Brace Jovanovich, 1980), 362.

140. 679 “Andy’s sort of beyond sophistication”: Billy Name, in Phyllis Kronhausen and Eberhard Kronhausen, Erotic Art: A Survey of Erotic Fact and Fancy in the Fine Arts (New York: Grove Press, 1968), 47. The Kronhausen interview with Name and Warhol was conducted in the early fall of 1968.

141. 679 “for girls with beautiful thoughts”: Warhol, in Earl Wil-son, “It Happened Last Night,” Pittsburgh Post-Gazette, September 19, 1968, 60.

142. 679 a longtime favorite of Warhol’s: See a “tent card” that sur-vives (TC472, AWMA) from a birthday party that Warhol created for a certain “Cornelia,” in about 1960, with Schrafft’s credited for “Ice Cream and Cake.” There are also any number of receipts for meals at Schrafft’s attached in his 1961 and 1962 datebooks (AWMA).

143. 679 blue-rinse clientele: Dennis Duggan, “Old Ladies at Schrafft’s,” Newsday, October 30, 1968.

There were other new Warhol-themed sundaes as well: “The Super-Star,” “The Electronic,” and the “Do-Your-Own-Thing.” A menu from the restaurant with a list of them was provided to the author by Richard Frank.

144. 679 “cucumber sandwiches with no crusts”: Joseph Freeman, interview by author, June 7, 2018.

145. 679 hottest new ad agencies: Phillip H. Dougherty, “A Bur-geoning Agency Reverses the Shop,” New York Times, January 12, 1969.

146. 679 “that’s where the action is”: Frank G. Shattuck II, in Den-nis Duggan, “Old Ladies at Schrafft’s,” Newsday, October 30, 1968.

147. 679 fee of $7,000: See the October 9, 1968, invoice (TC540, AWMA) to the ad agency F. William Free and Co. from Warhol’s agent Fritzie Miller.


NOTES 623

148. 679 “widely discussed”: Paul Carroll, “What’s a Warhol,” Play-boy (September 1969): 133.

The ad also got coverage in Time and Newsweek.149. 679 various display items: A tent-card, to go on tables, and a

sign for the Schrafft’s window survive (TC7, AWMA). The tent-card bears the text, “The Underground Sundae / Did you see the Andy War-hol Sundae on TV? Try the Original at Schrafft’s.”

150. 679 “in love with TV commercial”: Warhol, in A. H. Weiler, “The Postman Rings Thrice,” New York Times, July 23, 1972.

151. 680 “It only took half an hour”: Warhol, in Lazarus [James Ta-pley], “Andy Warhol,” Oz (February 1969): np.

152. 680 leather jacket and shades: A photo of the session survives in the Warhol archives, and also in Dennis Duggan, “Old Ladies at Schrafft’s,” Newsday, October 30, 1968.

153. 680 “The camera can do this”: Joe Dallesandro, at http://www.joedallesandro.com/html/underground_sundae.htm, accessed Decem-ber 17, 2012.

154. 680 a badly tuned color TV: Warhol, in John S. Margolies, “TV: The next Medium,” Art in America (September 1969): 49.

155. 680 primitive and “corny”: Warhol, in David Bourdon, “Plastic Man Meets Plastic Man,” New York (February 10, 1969): 44.

156. 680 “We haven’t got just a commercial”: “Advertising: Schrafft’s Gets with It,” Time (October 25, 1968): 98.

157. 680 The ad even earned pride of place: John S. Margolies, “TV: The next Medium,” Art in America (September 1969): 49.

158. 681 earned a Certificate of Excellence: It survives in Time Cap-sule 7 in the Warhol archives.

159. 681 “hilarious extreme”: Richard Goldstein, “Teevee: And Now a Word from Our Sensors,” New York ( June 23, 1969): 55.

160. 681 “a household word like Ringo”: John Perreault, “Andy Warhol Disguised Here as Andy Warhol,” Vogue (March 1, 1970): 164.

161. 681 spoken too quietly: George Lois to Andy Warhol, dubbing agreement, February 5, 1969, box B12, AWMA. The dubbing is discussed by Warhol himself in “People,” Sports Illustrated (March 10, 1969): 52, https://www.si.com/vault/1969/03/10/559664/people.

162. 682 editors of Sports Illustrated: “People,” Sports Illustrated (March 10, 1969): 52, https://www.si.com/vault/1969/03/10/559664/peo-ple.

163. 682 “was the last sixteen months”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 365.


624 NOTES

CHAPTER 39

1. 685 “I have old scars”: Warhol, in Howard Smith, “The Smith Tapes: Lost Interviews with Rock Stars & Icons 1969–1972—An Interview with Andy Warhol and Paul Morrissey,” Literary Hub (blog), November 3, 2015, https://lithub.com/the-smith-tapes-lost-interviews-with-rock-stars-icons-1969-1972/.

2. 686 “Stop calling!”: Paul Morrissey, in Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collec-tion of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

3. 686 conversation was with the police: Paul Morrissey, in Tay-lor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library. See also Ste-ven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 395.

4. 686 $10,000 for her bail: “Record of Cases, 1967–1975,” Office of the District Attorney, New York County, Municipal Archives, New York.

5. 686 “Valerie was out”: Andy Warhol and Pat Hackett, POPism: The Warhol 60s (New York: Harcourt Brace Jovanovich, 1980), 360.

6. 686 he wouldn’t press charges: Warhol first made the state-ment that he wouldn’t press charges at the launch of the movie Duffy, according to Earl Wilson, “It Happened Last Night,” Pittsburgh Post-Gazette, September 19, 1968. Wilson’s column ran in newspapers across the country. Warhol repeated the statement at the party he held for Nico’s Marble Index album, according to the Associated Press wire story “Pop Artist Warhol Party Host Again,” Pittsburgh Post-Gazette, Septem-ber 21, 1968.

7. 686 “I’d like to work with you”: Valerie Solanas to Andy War-hol, September 20, 1968, AWMA. In his September interviews Warhol had said or implied that Solanas had been released, but she continued to send him letters from the hospital well into the fall.

8. 686 “you’ve had a taste of honey”:Valerie Solanas to Andy War-hol, October 4, 1968, AWMA.

9. 686 Morrissey appeared in court: “Actress Jailed after Threats to Pop Artist,” Globe and Mail, January 18, 1969. See also “Suspect in War-hol Shooting Jailed Here in Lieu of Bail,” New York Times, January 18, 1969.

10. 686 “Who gave this woman bail”: Paul Morrissey, in Taylor


NOTES 625

Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Regi-nald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

11. 686 let her plead to first-degree assault: “Actress Pleads Guilty Here in Shooting of Andy Warhol,” New York Times, February 26, 1969.

12. 686 “She tried to kill”: Paul Morrissey, in Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay col-lection of Taylor Mead and related materials, *T-Mss, Billy Rose Theatre Division, The New York Public Library.

13. 686 “I didn’t intend to kill him”: Valerie Solanas, in Paul Meskil, “Warhol Gun Gal Gets 3 Yrs.,” New York Daily News, June 10, 1969.

14. 686 “You get more for stealing a car”: Lou Reed, in John Wil-cock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 185.

15. 687 another eleven days in the hospital: Columbus Hospital, invoice to Warhol, April 1, 1969, TC11, AWMA. See also Dr. Giuseppe Rossi, interview by author, May 28, 2014.

In a May 5, 2019, e-mail to the author, Dr. John Ryan described the operation as follows, according to the results of his own research: “Sur-geons Giuseppe Rossi and Maurizio Daliana made a diagonal left upper abdominal incision, in order to avoid Warhol’s hernia. They removed some infected, braided, polyester, non-absorbable sutures next to the colon that had been used to close the bullet hole in the left diaphragm. These infected sutures had prevented the colon injury from healing. Us-ing absorbable sutures, they closed the part of the colon with the leak. They made a small left thoracotomy in order to remove chronic inflam-matory fluid and scar tissue around the lung that was hampering expan-sion (decortication of the lung).”

16. 687 “which one hurts more”: Warhol, in Howard Smith, “The Smith Tapes: Lost Interviews with Rock Stars & Icons 1969–1972—An Interview with Andy Warhol and Paul Morrissey,” Literary Hub (blog), November 3, 2015, https://lithub.com/the-smith-tapes-lost-interviews-with-rock-stars-icons-1969-1972/.

17. 687 still suffered drainage: Dr. Denton Cox, medical report on Andy Warhol, January 5, 1970, AWMA.

18. 687 filling lots of prescriptions: Piles of pharmacy receipts are preserved in box B17 of the Warhol archives. Some of the prescriptions might have been for Julia Warhola or Jed Johnson, since Warhol was billed for doctors’ appointments for both that year.

19. 687 “you know, you have to pretend”: Warhol, in John Per-


626 NOTES

reault, typescript introduction to lost unpublished monograph on War-hol (c.1971), TC246, AWMA.

20. 687 “tanking”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 358.

21. 688 one hundred thousand tons of trash: “Trash Strike Settled in New York,” Washington Post, February 11, 1968.

22. 688 “$75 a gram”: Leon Roseblatt, “Andy’s Place in New York, in Art History, in Your Life, and Mine,” Tropic, September 7, 1980, 9. Rosen-blatt is describing conditions a decade after Warhol’s shooting, but the park had already become a drug market in the late ’60s—although drug prices must have changed in the interim.

23. 688 any number of burglaries: M. Hogman, of Terrag Realty, to Andy Warhol, notice to tenants, June 8, 1970, TC72, AWMA.

24. 688 Ray Johnson was fetching a paper: See Elizabeth Zuba and William S. Wilson, Ray Johnson’s Art World, ed. Frances F. L. Beatty and Diana Bowers (New York: Richard L. Feigen & Co, 2014), 26.

25. 688 “a professional attacker”: Viva, in Leticia Kent, “Andy Warhol: I Thought Everyone Was Kidding,” Village Voice, September 12, 1968.

26. 688 he stayed home for a week: Glenn O’Brien, “History Re-write,” Interview (March 7, 2009), https://www.interviewmagazine.com/culture/history-rewrite.

27. 688 “it’s too scary”: Warhol, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1267, Kindle edi-tion.

28. 688 hide cash in his boot: Andy Warhol, “Warhol: On My Mind,” Vogue (February 1973): 164.

Warhol was confirmed to have kept cash in his boot, usually in $100 bills, by Bob Colacello, interview by author, December 20, 2012.

29. 688 New York’s murder rate: “Fewest Annual Murders and Shooting Incidents Ever Recorded in the Modern Era,” NYPD News (blog), January 5, 2018, http://nypdnews.com/2018/01/fewest-annual-murders-shooting-incidents-ever-recorded-modern-era/.

30. 688 “all that going on now”: Warhol, in William Wilson, “War-hol on L.A. ‘Everyone’s Crazy,’” Los Angeles Times, May 11, 1970.

31. 688 “Don’t you think New York is scary?”: Warhol, in Joyce Haber, “What Andy Warhol Is All About,” Los Angeles Times, October 29, 1972.

32. 688 delighted that his great tabloid painting: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace


NOTES 627

Jovanovich, 1980), 349.33. 689 “your capable hands”: “Letters of Note: Mick Jagger’s

Letter to Andy Warhol,” accessed April 16, 2019, http://archive.org/details/803816-mick-jaggers-letter-to-andy-warhol. Jagger’s letter does not seem to relate to the commission for the Sticky Fingers album by the Stones, as is often suggested, but for an earlier Greatest Hits album—see Matt Wrbican, “Ladies and Gentlemen, Mick Jagger,” in Warhol Live: Music and Dance in Andy Warhol’s Work, ed. Emma Lavigne et al. (Munich: Prestel, 2008), 192. See also “How Jagger Briefed Warhol,” Phaidon, accessed July 26, 2019, https://www.phaidon.com/agenda/art/articles/2013/april/11/how-jagger-briefed-warhol/.

34. 689 Warhol had known the Stones: See Jane Holzer in David McCabe and David Dalton, A Year in the Life of Andy Warhol (London: Phaidon, 2003), 36. The Flower paintings visible in the photos of the party date the encounter to the Rolling Stones’ second U.S. visit, in No-vember 1964.

35. 689 to involve the band in Vinyl: See David Bailey cited in Matt Wrbican, A Is for Archive: Warhol’s World from A to Z, ed. Abigail Franzen-Sheehan (New Haven, CT: Yale University Press, 2019), 156.

36. 689 “fucked-up”: John Perreault, “Andy Warhol Disguised Here as Andy Warhol,” Vogue (March 1, 1970).

37. 690 “With Real Zipper”: Philadelphia Inquirer, May 9, 1971.38. 690 a packaging disaster: Nathan Jolly, “The Rolling Stones,

and When Novelty Packaging Goes Very Badly,” The Industry Observer (blog), June 15, 2018, https://theindustryobserver.thebrag.com/the-roll-ing-stones-and-when-novelty-packaging-goes-very-badly/.

39. 690 “if it’s you or not”: Corey Tippin, in Laird Borrelli-Persson, “Meet Corey Grant Tippin—The Notorious ’70s Model, Warhol Makeup Artist, and Sticky Fingers Cover Muse,” Vogue ( June 16, 2016), https://www.vogue.com/article/corey-grant-tippin-interview-antonio-lopez-andy-warhol-sticky-fingers.

40. 690 “supremely self-confident”: Don Heckman, “Are the Stones Ready for the Seventies?” New York Times, May 2, 1971.

41. 690 $4,000 for his work on Sticky Fingers: ABKCO Industries to Andy Warhol, May 16, 1969, box B12, AWMA.

42. 690 “a penny on every album sold”: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (June 5, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

43. 691 “No art please”: Paul Morrissey, in Parker Tyler, Under-ground Film: A Critical History (New York: Grove Press, 1970), 225.


628 NOTES

44. 691 “should’ve expanded into entertainment”: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (November 12, 1971), David Bourdon Papers, II.1, Museum of Modern Art Archives, New York.

45. 691 “Aiming for Wider Playoff”: Kent E. Carroll, “More Struc-tured, Less Scandalized Warhol Aiming for Wider Playoff,” Variety, May 7, 1969, 260.

46. 691 “give us a million dollars”: Warhol, in Victor Bockris, War-hol: The Biography (Cambridge, MA: Vintage Books, 2003), 322, Kindle edition.

47. 691 take his superstars on location: Paul Carroll, “What’s a Warhol,” Playboy (September 1969).

48. 691 “terrific abstract cuts”: Warhol, in Paul Carroll, “What’s a Warhol,” Playboy (September 1969).

49. 691 “using straighter people”: Warhol, in Paul Carroll, “What’s a Warhol,” Playboy (September 1969).

50. 691 in the market for a new Warhol movie: Jason North, “Andy Warhol’s Supersex Movie,” Jaguar ( July 1968): 64.

51. 691 “properties I’m looking for—not atrocities”: Lester Per-sky, in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 362.

52. 692 “a very interesting rock score”: See Rex Reed, in Jane Boy-land, “So Now There’s a New Sexy Rexy,” New York Times, November 23, 1969.

53. 692 “incredible as it may seem”: A. H. Weiler, “He Wants Peo-ple to Stop Laughing: No Laughs,” New York Times, December 22, 1968.

54. 692 majors really did come looking: A. H. Weiler, “He Wants People to Stop Laughing: No Laughs,” New York Times, December 22, 1968.

55. 692 the $100,000 project: Kent E. Carroll, “More Structured, Less Scandalized Warhol Aiming for Wider Playoff,” Variety, May 7, 1969, 260.

56. 692 “finally about to acknowledge”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 372.

57. 692 Warhol, a recognized master of radical film: Paul Mor-rissey said that their films were starting to be “approved by quite a lot of people” and so were just about ready for attention from L.A.—see Mor-rissey in A. H. Weiler, “He Wants People to Stop Laughing: No Laughs,” New York Times, December 22, 1968.


NOTES 629

58. 692 “‘we want to make films like him’”: Jane Holzer quoting established film directors, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

On the fusion of underground and Hollywood see Axel Madsen, “Fission-Fusion-Fission,” Sight and Sound, Summer 1968, 125.

59. 692 “the most super star of all”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 373.

60. 692 Warhol got blackballed: John Hallowell to Andy Warhol, February 19, 1971, trunk TC, AWMA.

61. 692 arranged for Columbia Pictures: Warhol (or a ghostwriter) mentions Columbia in Andy Warhol and Pat Hackett, POPism: The War-hol ’60s (New York: Harcourt Brace Jovanovich, 1980), 373. But there’s one report that negotiations had originally been underway with Twentieth-Century Fox—see.A. H. Weiler, “He Wants People to Stop Laughing: No Laughs,” New York Times, December 22, 1968.

62. 692 a September release date: Joyce Haber, “Warhol Making 1st Hollywood Movie,” Los Angeles Times, April 8, 1969.

63. 693 feted at a discotheque called the Factory: John Hallowell, The Truth Game (New York: Simon & Schuster, 1969), 246.

64. 693 hobnobbing with celebrities: Jed Johnson, in Victor Bock-ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5071, Kindle edition.

65. 693 meetings with the studio: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 373.

66. 693 sex scene with a Great Dane: Andy Warhol and Pat Hack-ett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 374.

67. 693 “moral as Attila the Hun”: John Hallowell, quoted in Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 374. As always in Popism, it’s hard to know if Hallowell actually said that to Warhol, or to Hackett or to some other interviewee, but either way one has to take the quote as (more-or-less) authentic. Although Warhol claimed the project died on that June visit, elsewhere he said “the yes-no-maybe/it’s on-it’s offs from L.A. lasted the entire year.”

68. 693 Executives weren’t convinced: John Hallowell, The Truth Game (New York: Simon & Schuster, 1969), 245.

69. 693 “Andy wanted to be”: Bob Colacello, interview by author,


630 NOTES

December 20, 2012.70. 693 for all of four days: John Hallowell, in Victor Bockris, War-


71. 693 “flown out to be put down”: Vincent Fremont, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5071, Kindle edition.

72. 693 “rock god”: John Hallowell, “Mr. Warhol Comes to Hol-lywood,” Los Angeles Times, June 27, 1971.

73. 694 Warner Brothers: The studio is named in March 9 and March 25, 1971, telegrams (TC57, AWMA) sent by John Hallowell to Warhol.

74. 694 first-class tickets for all and a Carey limousine: John Hal-lowell, “Mr. Warhol Comes to Hollywood,” Los Angeles Times, June 27, 1971.

75. 694 “SUPER STARS sprinkled in between”: John Hallowell, “Mr. Warhol Comes to Hollywood,” Los Angeles Times, June 27, 1971.

76. 694 endless, manic shopping: John Hallowell, “Mr. Warhol Comes to Hollywood,” Los Angeles Times, June 27, 1971.

77. 695 “my admiration for a talent so vast as Bunuel”: Warhol, unpublished diary entry for November 1, 1972, AWMA.

78. 695 first anniversary of Warhol’s deliverance from death: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), 325, Kindle edition.

79. 695 toyed with healthy eating: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), Kindle edition.

80. 695 “Isn’t the art scene today revolting?”: Warhol, in Cecil Beaton, Beaton in the Sixties: The Cecil Beaton Diaries as They Were Written, ed. Hugo Vickers (London: Weidenfeld & Nicolson, 2003), 349.

81. 695 “Gerard Malanga’s Male Parade”: See the ads that ran in the July 2, July 23 and July 30, 1969, issues of the East Village Other. The July 30 ad is in aid of the “final incredible program” in the series.

82. 695 “embarking into business”: Warhol, “Underground Confi-dential,” in a July 1969 clipping from an unidentified source, David Bour-don papers, Archives of American Art, Smithsonian Institution. (The clipping is marked “Kiss (I/9) 69?” but that date, at least, is contradicted by its contents.)

83. 695 “genuine anti-art statements”: See the ads that ran in the July 2, July 23 and July 30, 1969, issues of the East Village Other.

84. 696 “all masturbation program”: Jonas Mekas, “Movie Jour-


NOTES 631

nal,” Village Voice, August 14, 1969, https://warholstars.org/andy-warhol-porn-cinema-jonas-mekas.jpg.

85. 696 genteel, allegorical ladies: See Kevin Walsh, “DMAC Arts Center,” Forgotten New York (blog), May 11, 2012, https://forgotten-ny.com/2012/05/dmac-arts-center/. See also Matt Lambros, “The Duo Mul-ticultural Arts Center: A Turn of the Century Theater,” Untapped New York (blog), May 16, 2012, https://untappedcities.com/2012/05/16/the-duo-multicultural-arts-center-a-turn-of-the-century-theater/.

86. 696 a side business in “services rendered”: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5108, Kindle edition.

87. 696 closed it down after six weeks: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5115, Kindle edi-tion.

88. 696 “we decided to start a magazine”: Gerard Malanga, in Ste-ven Rea, “Poet Looks Back to Time with Warhol,” Philadelphia Inquirer, September 28, 1995.

89. 696 “something to do”: Warhol, quoted by Malanga in Den-nis Cooper, “An Interview with Gerard Malanga,” Little Caesar (October 1977): 47.

Warhol is supposed to have said the same thing about Brigid Ber-lin—see Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vin-tage Books, 1990), loc. 424, Kindle edition.

90. 696 origins of Interview: Planet Group Entertainment, “The Ge-rard Malanga Interview from the Factory People Notebook,” accessed April 16, 2019, http://planetgroupentertainment.squarespace.com/plan-etgroupentertainment/.

91. 696 ended up getting his pass: See the press pass to the Seventh New York Film Festival (TC -10, AWMA) which took place in September 1969.

92. 696 first issue of Interview by July: Gerard Malanga to Parker Tyler, July 31, 1969, TC523, AWMA.

93. 697 “I want it to look like Rolling Stone”: John Wilcock and Martin Gardner, Manhattan Memories: An Autobiography (Amazon Digi-tal Services, 2009), 4012, Kindle edition. Gerard Malanga mentions this conversation as having taken place in the spring of 1969—see Planet Group Entertainment, “The Gerard Malanga Interview from the Factory People Notebook,” accessed April 16, 2019, http://planetgroupentertain-ment.squarespace.com/planetgroupentertainment/.

94. 697 fifty-fifty partnership: Oscar Collier, literary agent for John


632 NOTES

Wilcock, to Andy Warhol, December 8, 1969, TC10, AWMA. Collier’s letter provides Wilcock’s understanding of the original oral agreement.

95. 697 “It was really Andy and me”: Gerard Malanga, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 404.

96. 697 “wanted to do the dirty work”: Gerard Malanga, in Den-nis Cooper, “An Interview with Gerard Malanga,” Little Caesar (October 1977): 47.

97. 697 came out in September: Bob Colacello, who wasn’t there at the magazine’s start, dates the launch to November—see Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 424, Kindle edition.

98. 697 “Andy Warhol’s Movie Magazine”: It appears with that subtitle for the first time in March 1972, after having been “Andy War-hol’s Film Magazine” from something like July 1971.

99. 697 tension between high and low: See Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 465, Kindle edition.

100. 697 “it was inclusive”: Gerard Malanga, interview by author, April 11, 2018.

101. 697 “an intellectual film trying to be commercial”: Bob Cola-cello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 438, Kindle edition.

102. 697 topless actress: The actress is Lynn Swan, in Coming Apart (1969).

103. 697 many bare breasts: Gerard Malanga, interview by author, April 11, 2018.

104. 698 “art in the service of pleasure, fun, titillation”: Liza Wil-liams, “Andy Warhol, Viva!, Ultra Violet, Lita Eliscu—All in Interview,” Los Angeles Free Press, December 19, 1969.

105. 698 “both a vehicle and advertisement for Warhol”: Bob Colacello, in Henry Geldzahler, “Andy Warhol’s Interview Magazine” (typescript, c.1990), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

106. 698 “tape recording because it was cheap”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 457, Kindle edition.

107. 698 “I will never call him a drag queen again”: Paul Morrissey, in Pat Hackett, “Introduction,” in The Andy Warhol Diaries, ed. Pat Hack-ett (New York: Hachette, 1989), loc. 174, Kindle edition.


NOTES 633

108. 698 $10 or $20 per article: See the January 1970 typed list of pay-ments (box B7, AWMA) titled “Inter/VIEW writer’s fees Vol. I, #11.”

109. 698 Taylor Mead had a hard time collecting: Taylor Mead, “Son of Andy Warhol” (typescript draft of a memoir, n.d.), Reginald Gay collection of Taylor Mead and related materials, *T-Mss, Billy Rose The-atre Division, The New York Public Library.

110. 698 “painting studio”: The change had been made at the latest by 1970—see Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1001, Kindle edition.

111. 698 a star at Max’s: Gerard Malanga, in Dennis Cooper, “An Interview with Gerard Malanga,” Little Caesar (October 1977): 47.

112. 698 “here I am at the head of a magazine”: Gerard Malanga, in Planet Group Entertainment, “The Gerard Malanga Interview from the Factory People Notebook,” accessed April 16, 2019, http://planetgrou-pentertainment.squarespace.com/planetgroupentertainment/.

113. 698 You’re fired!”: Warhol, quoted by Gerard Malanga, inter-view by author, April 11, 2018.

114. 699 “dress up again”: Warhol, in Karen Hardy Bystedt, Not Just Another Pretty Face: An Intimate Look at America’s Top Male Models (New American Library, 1983), 103.

115. 699 “The Monthly Glamour Gazette”: Lucy Mulroney, “Andy Warhol, Publisher” (Ph.D., University of Rochester, 2013), 96.

116. 699 closing the magazine: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (September 12, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

117. 699 five thousand copies: See Montreal Offset Printing, Inc., invoice to Inter/view, August 24, 1971, box B12, AWMA.

118. 699 under two thousand copies: See the typed document (box B7, AWMA) titled “Proposal for Expansion of Interview,” in a folder marked “1971.”

119. 699 “wasn’t exceptionally practical”: Frederick Hughes, in George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 59.

120. 699 “it could pay for itself”: Warhol, in Glenn O’Brien, “Inter-view: Andy Warhol,” High Times (August 1977): 36.

121. 699 $56 in profits: See the June 30, 1977, document (TC523, AWMA) prepared by accountant Joseph M. Gottfried, titled “Interview Enterprises, Inc.: Statement of Income and Expenses.”

The magazine is said to have finally begun to turn a profit in 1984, under editor Gayle Love—see Glenn O’Brien, “Fashioning ‘Interview,’” in The Warhol Look, ed. Mark Francis and Margery King (Pittsburgh: The


634 NOTES

Andy Warhol Museum, 1997), 252. 122. 699 “people who look at magazines”: Warhol, in Glenn

O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 36.123. 699 “new people”: Warhol, in Ilene Barth, “Andy Warhol: I’m

Not Attracted to Rebellion,” Newsday, December 26, 1976.124. 699 “concessions to commerciality”: Jan Wenner to Andy War-

hol, April 16, 1973, TC88, AWMA. Wenner, founder of Rolling Stone, is suggesting options for partnering on Interview.

125. 699 “spend so much time proofreading?”: Warhol, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 3312, Kindle edition.

126. 699 “redacted”: Glenn O’Brien, “Fashioning ‘Interview,’” in The Warhol Look, ed. Mark Francis and Margery King (Pittsburgh: The Andy Warhol Museum, 1997), 248.

127. 699 “international trend followers”: “The Warhol Tapes,” Newsweek (April 22, 1974): 73.

128. 700 “Andy was the magazine”: Daniela Morera, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 126.

129. 700 “Paul and Fred taking care of business”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jova-novich, 1980), 366.

130. 700 “what the work would come to”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 366.

131. 700 “Business Art”: Andy Warhol, THE Philosophy of Andy War-hol: From A to B and Back Again (New York: Houghton Mifflin, 1975), loc. 914, Kindle edition.

132. 700 “you’re a killer of beauty”: Willem de Kooning, quoted by Tom Headley, Esquire editor, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5024, Kindle edition.

133. 700 “We want to sell shares”: Warhol, in Paul Carroll, “What’s a Warhol,” Playboy (September 1969).

134. 700 “I’ve gotta bring home the bacon”: Warhol, in Lana Jokel, Andy Warhol, documentary, 1972.

135. 700 “If we could just make a living”: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 22.

136. 701 “people pay three dollars”: Warhol, in Lazarus [James Ta-pley], “Andy Warhol,” Oz (February 1969).

137. 701 Warhol never even read an issue: Glenn O’Brien, in Matt


NOTES 635

Wrbican, “‘His Ear Was His Eye’ Interview with Glenn O’Brien,” in War-hol Live: Music and Dance in Andy Warhol’s Work, ed. Emma Lavigne et al. (Munich: Prestel, 2008), 186.

138. 701 “good business is the best art”: Andy Warhol, THE Phi-losophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), loc. 916, Kindle edition.

139. 702 “deals for sheets and pillowcases”: March 14, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12821, Kindle edition.

A mention of Warhol-branded sheets occurs in Warhol’s unpublished diary entry for August 12, 1972, AWMA.

140. 702 “so sick”: Warhol, unpublished diary entry for November 1, 1972, AWMA.

141. 702 “we were wrong”: Irving Blum, interview by author, No-vember 5, 2014.

142. 702 “empty metaphysical vessels”: Thomas B. Hess, “Andy Warhol,” Artnews ( January 1965).

143. 702 “he reaped the financial take”: Gerard Malanga, in Win-ston Leyland, “Interview with Gerard Malanga for Gay Sunshine” (type-script draft, n.d.), Gerard Malanga Papers, Beinecke Rare Book and Manuscript Library, Yale University.

144. 702 “he made a lot of money”: Warhol, in Ilene Barth, “Andy Warhol: I’m Not Attracted to Rebellion,” Newsday, December 26, 1976.

145. 703 “I’ll endorse with my name”: Village Voice, February 10, 1966.

146. 703 aiming to make profits: Warhol, in Pearl Sheffy, “An Inter-view with Andy Warhol at Cannes: A Humourous Experience,” Montreal Gazette, May 29, 1967.

147. 703 “the new Art is Business”: Warhol, in Barbara Goldsmith, “La Dolce Viva,” New York (April 29, 1968): 36.

148. 703 “if you were not represented”: Richard Goldberg, of Mono-cle magazine, to Andy Warhol, addressed to Warhol at his home, Febru-ary 14, 1968, AWMA.

149. 703 tally of artists’ press coverage: George Rush, “Andy War-hol, Inc.,” Manhattan Inc. (October 1984): 56.

150. 703 “that’s where I relate to him”: Joseph Beuys, quoted in a partial translation of “Ein Gesprach,” Wolkenkratzer Art Journal, no. 12 (February 1986): 36.

151. 703 “playing with corporate models”: John Giorno, at a June 21, 2017, press preview for the New York exhibition “Ugo Rondinone:


636 NOTES

I ♥ John Giorno.”152. 703 exposure to Iain and Ingrid Baxter: See David L. Shirey

and Thomas M. Messer, “Impossible Art,” Art in America ( June 1969). The N.E. Thing Co. got the cover of the magazine, a copy of which is in War-hol’s archives.

153. 703 opened and run a restaurant: Les Levine, interview by au-thor, April 26, 2016. Mickey Ruskin, of Max’s Kansas City, was a partner in the restaurant, or maybe a patron of it as a work of Levine’s art.

154. 703 bought five hundred shares: “Art You Can Bank On,” Life (September 19, 1969): 58.

155. 704 a $100,000 loan: “Art You Can Bank On,” Life (September 19, 1969): 58.

156. 704 “the art system itself can be an art medium”: John Per-reault, typescript introduction to lost unpublished monograph on War-hol (c.1971), TC246, AWMA.

157. 704 “Andy is the Zeitgeist incarnate”: Barbara Rose, “In Andy Warhol’s Aluminum Foil, We Have All Been Reflected,” New York (May 31, 1971): 54.

158. 704 “basic concepts of a deal”: Vincent Fremont, in Henry Geldzahler, “Andy Warhol’s Interview Magazine” (typescript, c.1990), Henry Geldzahler papers, Beinecke Rare Book and Manuscript Library, Yale University.

159. 704 rent his superstars for $5,000: Beverly Russell, “Andy War-hol on Food, from Ketchup to Caviar,” House & Garden ( July 1974): 70.

160. 704 German TV to pay him $600: Thomas Ayck, of Norddeut-che Rundfunk, to Andy Warhol, July 21, 1970, TC22, AWMA.

161. 704 editioned multiples: J. G. Studholme, of Editions Electo, to Andy Warhol, December 18, 1970, TC13, AWMA.

162. 704 aspics and jellies: Johna Blinn, “Andy’s Entree: Ghoulish Goulash,” Oakland Tribune, October 27, 1974.

163. 705 private filmmaker for $150,000: Betsy Parish, of Sakowitz department stores, to Andy Warhol, October 8, 1976, TC129, AWMA.

164. 705 “for free”: Neiman-Marcus Christmas catalog for 1986. A copy of the relevant page was provided to the author by Jay Reeg.

165. 705 “for people who eat alone”: Warhol, in Beverly Russell, “Andy Warhol on Food, from Ketchup to Caviar,” House & Garden (July 1974).

166. 705 “its pre-frozen perfection”: “Andy-Mat,” prospectus for a “private offering of securities,” April 13, 1977, TC161, AWMA.

167. 705 “pusher”: Joan Kron, “Andy’s Automat: No Campbell’s on


NOTES 637

the Menu at Andy Warhol’s Automat,” New York Times, May 12, 1977.168. 705 to five American cities and Paris: “Borel s’en va, Warhol

Arrive,” L’ Express, June 6, 1977. 169. 705 some kind of real estate trouble: “Notes on People,” New

York Times, November 3, 1977.170. 705 sold goods of one color: Mark Lancaster, “Andy Warhol Re-

membered,” Burlington Magazine (March 1989): 199.171. 705 neckties made from his paintings: Robert Dupont, inter-

view by author, March 8, 2018.172. 705 “he has merely marketed it”: Robert Scholes, Newsweek

(December 1968). Scholes is quoted in Lucy Mulroney, “Andy Warhol, Publisher” (Ph.D., University of Rochester, 2013), 67.

173. 706 “the only thing he can talk about is money”: Brigid Berlin, in Andy Warhol, Factory Diary: Brigid Showing Polaroids of Andy, Oct. 25, 1971, videotape, 1971.

174. 706 “debased every shred of meaning”: Gregory Battcock, “The Andy Warhol Generation,” Other Scenes (November 1970): np.

175. 706 “art business can become an efficient comment”: John Perreault, typescript introduction to lost unpublished monograph on Warhol (c.1971), TC246, AWMA.

176. 706 “small, medium and large, on T-shirts”: Trevor Fairbrother, “Warhol Meets Sargent at the Whitney,” Arts (February 1987): 64.

CHAPTER 40

1. 709 “We were all dropped”: Taylor Mead, in Steven Watson, “Interview with Taylor Mead ‘Mr. Sixties,’” Christopher Street (August 1978): 23.

2. 709 “wallpaper with the cows’ heads”: Warhol, in William Wilson, “Warhol on L.A. ‘Everyone’s Crazy,’” Los Angeles Times, May 11, 1970.

3. 709 yearned to skip the opening: Warhol, in William Wilson, “Warhol on L.A. ‘Everyone’s Crazy,’” Los Angeles Times, May 11, 1970.

4. 709 most important artists had not: Marvene Jones, “The So-cial Butterfly,” a circa May 1970 clipping (box B77, AWMA) from an un-named source.

5. 710 “you have to show all those old things”: Warhol, in John Perreault, “Andy Warhola, This Is Your Life,” Artnews (May 1969): 53.

6. 710 hoped to avoid the opening: Peter Brant, interview by au-thor, December 11, 2017.


638 NOTES

7. 710 out of his own pocket: For Warhol’s discussion of paying for the wallpaper see Andy Warhol and David Bourdon, typed notes from a telephone call (July 1971), David Bourdon papers, Archives of American Art, Smithsonian Institution.

8. 710 “garish and assertive surface”: Robert Hughes, “Man for the Machine,” Time (May 17, 1971): 80.

9. 710 “catch the show in a minute and leave”: Warhol, in Grace Glueck, “Or, Has Andy Warhol Spoiled Sucess,” New York Times, May 9, 1971.

10. 710 “It’s show business”: John Perreault, “Andy Warhola, This Is Your Life,” Artnews (May 1969): 80.

11. 710 “decadent princes presiding”: Winston Leyland, “John Giorno: The Poet in New York,” Gay Sunshine (Spring 1975).

12. 710 cover of an Archie comic: The World of Jughead (February 1971): cover. Thanks to Jay Reeg for the reference.

13. 710 “probably the most famous artist”: Barbara Rose, “In Andy Warhol’s Aluminum Foil, We Have All Been Reflected,” New York (May 31, 1971).

14. 710 “generating nostalgia”: Grace Glueck, “Or, Has Andy War-hol Spoiled Sucess,” New York Times, May 9, 1971.

15. 710 “hippie finery”: William Wilson, “Warhol on L.A. ‘Every-one’s Crazy,’” Los Angeles Times, May 11, 1970.

16. 710 “blow your mind over”: Marvene Jones, “The Social But-terfly,” a circa May 1970 clipping (box B77, AWMA) from an unnamed source.

17. 711 “was looking to move on”: Don Heckman, “Are the Stones Ready for the Seventies?” New York Times, May 2, 1971.

For the claim that Warhol had actually made the legal name change see Barbara Rose, “In Andy Warhol’s Aluminum Foil, We Have All Been Reflected,” New York (May 31, 1971). The claim is almost certainly false.

18. 711 “Things had changed”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 375.

19. 711 killed off his creativity: November 16, 1978, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 5045, Kindle edition.

20. 711 “business lunch”: Mickey Ruskin, in Jason McCloskey, “I Remember Max’s,” a clipping from an unnamed source (box B77, AWMA) that can be dated, from internal evidence, to the late fall of 1971.

21. 712 “attracted to people who talked”: Ilene Barth, “Andy War-


NOTES 639

hol: I’m Not Attracted to Rebellion,” Newsday, December 26, 1976.22. 712 “It’s only suits and ties around him now”: Taylor Mead, in

Steven Watson, “Interview with Taylor Mead ‘Mr. Sixties,’” Christopher Street (August 1978): 23.

23. 712 “The ’70s are just dreary”: David Bourdon, in David Bour-don and Ondine, typed notes from a telephone call (June 6, 1971), David Bourdon Papers, II.2, Museum of Modern Art Archives, New York.

24. 712 “blow your mind”: Andy Warhol and David Bourdon, typed notes from a telephone call (August 24, 1971), David Bourdon Pa-pers, II.3, Museum of Modern Art Archives, New York.

25. 712 wearing a tie to work: Frederick Hughes to Andy Warhol, July 1968, TC4, AWMA.

26. 712 “cravateur”: See Calvin Curtis, cravateur, to Andy Warhol, February 2, 1973, TC93, AWMA.

27. 712 floppy silk bow tie: See the Hickey-Robertson photo from 1969, Menil Archives, The Menil Collection, Houston.

28. 712 “That’s the ’70s”: Andy Warhol and David Bourdon, typed notes from a telephone call (August 24, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

29. 712 “we are trying to clean up”: Warhol, unpublished diary entry for September 28, 1972, AWMA.

30. 712 “very Scott FitzG.!!”: Mary Russell, “Venice . . . Sept. 72,” Vogue (November 15, 1972): 124.

31. 712 “return to conservatism”: “Ritorno al Conservatorismo?” L’Uomo Vogue (February 1974): 122–27, TC48, AWMA.

32. 713 wearing jeans with a tie: Bart Mills, “Bart Mills Encounters Andy Warhol,” Guardian, November 10, 1975.

33. 713 “discover the white shirt”: Eugenia Sheppard, “Going Square Again,” Washington Post, May 4, 1971.

34. 713 a Mayfair wardrobe: Frank DiGiacomo, “A Farewell to Dapper Fred Hughes: He Oversaw Andy’s Factory Empire,” Observer, January 29, 2001, https://observer.com/2001/01/a-farewell-to-dapper-fred-hughes-he-oversaw-andys-factory-empire/.

35. 713 “all really so phony”: Brigid Berlin, in Andy Warhol, Fac-tory Diary: Brigid Showing Polaroids of Andy, Oct. 25, 1971, videotape, 1971.

36. 713 covered with big sheets of mirror: The windows had been covered by early fall of 1969, when the mirroring is mentioned in Mario Amaya, “Reflections on the Day a Girl Shot Andy Warhol and Mario Amaya,” Nova (December 1969): 76.

37. 713 “secure” vestibule: The entrance-wall mirror was in place


640 NOTES

by June, 1969, when it was mentioned in Joseph Gelmis, “Above Ground with Andy,” Newsday, June 14, 1969.

38. 713 color headshots of classic talents: See the description in Jay Acton, Mug Shots: Who’s Who in the New Earth (New York: World Publish-ing, 1972), 229. Thanks to Jay Reeg for this reference. Many photographs survive of this incarnation of the Union Square studio.

39. 713 “nobody gets hurt”: Warhol, in William Wilson, “Warhol on L.A. ‘Everyone’s Crazy,’” Los Angeles Times, May 11, 1970.

40. 714 “you don’t see that any more in women”: Candy Darling, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

41. 714 “nostalgia was perceived as new”: Bob Colacello, Holy Ter-ror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1231, Kindle edition.

42. 714 “eating pasta”: Bob Colacello, in Andy Warhol, notes from an interview conducted in Rome, 1973, TC88, AWMA.

43. 714 sold evening dresses: David Bourdon, Warhol (New York: Abrams, 1989), 326.

44. 714 visits to Radio City Music Hall: Bob Colacello, full unpub-lished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

45. 714 Georgetown University: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 394, Kindle edi-tion.

46. 714 dealing and smoking pot: Confirmed by Bob Colacello in an August 7, 2019, e-mail to the author.

47. 714 “very Republican”: Bob Colacello, full unpublished tran-script for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

48. 714 “work for that crazy person”: Bob Colacello, in Jean-Mi-chel Vecchiet, Vie et morts d’Andy Warhol, documentary (Eva Productions, 2005).

49. 715 accepted the invitation: Bob Colacello, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.


NOTES 641

50. 715 “Paul Morrissey likes your things”: Warhol, quoted by Bob Colacello, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

51. 715 got his students to take on: Bob Colacello, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 80.

52. 715 assigned to cover Morrissey’s latest movie: Bob Colacello, writing as Robert Colaciello, “Film: Trash,” Village Voice, October 8, 1970.

53. 715 Interview had just lost its editor: Bob Colacello, on a No-vember 16, 2018, panel at the Whitney Museum of American Art in New York, said that Paul Morrissey had informed him that the previous editor had been altering and cashing checks meant to pay freelancers.

54. 715 a fine replacement: Colacello’s accounts of his first encoun-ter with Warhol, and then of his later hiring, vary in their details with almost each telling, often collapsing the two encounters. They are kept separate in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), Kindle edition.

55. 715 mocking the weed fiends: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1126, Kindle edi-tion.

56. 715 smoking up on the Lonesome Cowboys set: Victor Bock-ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 4527, Kindle edition.

57. 715 “someone lit up and he just falls apart”: Jane Holzer, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (Lon-don: Network, 2006).

58. 715 “company man to the core”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 8282, Kindle edition.

59. 715 “we had ideas, we were conceptual”: Vincent Fremont, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 73.

60. 716 Beach Boys entourage: Vincent Fremont, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

61. 716 check out Warhol’s scene: Vincent Fremont, full unpub-


642 NOTES

lished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

62. 716 floor sweeping: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1858, Kindle edition.

63. 716 late nights at Max’s: Vincent Fremont, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eter-nal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

64. 716 “University of Andy Warhol”: Vincent Fremont, full un-published transcript for the video documentary “Andy Warhol: 15 Min-utes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

65. 716 early in 1971: Vincent Fremont, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Mu-seum, 2014), provided to the author by director Jamie Schutz, n.d.

66. 716 “penny loafers, linen suits”: Fernanda Eberstadt, in a June 16, 2016, e-mail to the author.

67. 716 “model yuppie accountant”: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5074, Kindle edi-tion.

68. 716 “begrudgingly writing checks”: Vincent Fremont, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 76.

69. 716 title of vice president: Vincent Fremont, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 76.

70. 716 “handcuffed to the desk”: Vincent Fremont, full unpub-lished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

71. 716 weird A/V cart: John Hanhardt, Andy Warhol’s Video & Tele-vision (Whitney Museum of American Art, 1991), 3.

72. 716 “it was chronicling, a diary”: Michael Netter, interview by author, March 15, 2016.


NOTES 643

73. 716 Television was becoming: See Jerry Parker, “From This Medium, a Different Message,” Newsday, June 23, 1970.

74. 716 “I didn’t think of it as a job”: Michael Netter, interview by author, March 15, 2016.

75. 717 flowing locks and yellow Mary Janes: See “A Polaroid of David Bowie,” Gold FM, accessed July 28, 2019, http://goldfm.lk/life/other/2077/polaroid-david-bowie-taken-by-andy-warhol-in-1971.

76. 717 “Andy Warhol, Mr. Irony”: Michael Netter, in a June 22, 2016, talk at ACA Galleries, New York.

77. 717 “reverse striptease”: Michael Netter, interview by author, March 15, 2016.

78. 717 paintbrush held in his rectum: Bob Colacello, writing as Robert Colaciello, “He Who Laughs Last Laughs Loudest,” Village Voice, October 19, 1972.The portrait session is mentioned in Warhol’s unpub-lished diary entry for September 26, 1972, AWMA.

79. 717 Fight (friends fighting): See Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 3306, Kindle edition. See also Vincent Fremont, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 73.

80. 717 “develop ideas”: Vincent Fremont, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 73.

81. 717 save the stamps: Frederick Hughes to Andy Warhol, July 1968, TC4, AWMA.

82. 718 began to shop: Jed Johnson, “Inconspicuous Consumption,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jen-sen, vol. 5 (New York: Sotheby’s, 1988), np.

83. 718 more time in stores than at the studio: David Bourdon, “Andy Warhol as Art Deco Collector (or, How to Assemble a Citizen Kane, Jr. Collection on a Runaway Budget)” (typescript, c.1974), TC537, AWMA.

84. 718 biggest concentrations of antiques dealers: George Holmes, interview by author, June 9, 2019.

85. 718 “somebody else’s dreary paintings”: John Perreault, “Andy Warhol Disguised Here as Andy Warhol,” Vogue (March 1, 1970): 166.

86. 718 dealers would come running: David Bourdon, “Andy War-hol as Art Deco Collector (or, How to Assemble a Citizen Kane, Jr. Col-lection on a Runaway Budget)” (typescript, c.1974), TC537, AWMA.

87. 718 “Buying just anything”: Warhol, in Andy Warhol and Da-vid Bourdon, typed notes from a telephone call (June 5, 1971), David Bourdon papers, Archives of American Art, Smithsonian Institution.


644 NOTES

88. 718 unusually repaired objects: Michael Malce, in David Bour-don, “Andy Warhol as Art Deco Collector (or, How to Assemble a Citizen Kane, Jr. Collection on a Runaway Budget)” (typescript, c.1974), TC537, AWMA.

89. 718 works by new Old Masters: See Leo Castelli to Andy War-hol, “Statement of Account,” February 1, 1970, box B17, AWMA.

90. 718 land artist Michael Heizer: Michael Heizer to Andy War-hol, March 1977, AWMA.

91. 718 performances of Chris Burden: Ronald Feldman to Andy Warhol, September 24, 1976, document box 114, AWMA.

92. 718 “all in one gulp”: Vito Giallo, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6513, Kindle edition.

93. 719 “I tried to learn how to be Jewish”: Andy Warhol and Sam-uel Adams Green, recorded telephone conversation, n.d., Samuel Adams Green papers, Beinecke Rare Book and Manuscript Library, Yale Univer-sity.

94. 719 $5,000 at a single antiques store: Steps Gallery to Andy Warhol, receipt, May 6, 1970, box B17, AWMA.

95. 719 opening an antiques store: Stuart Pivar, “Shopping with Andy,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np.

96. 719 National Museum of the American Indian: Frederick Hughes, “Preface,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np.

97. 719 Indian artifacts: Jed Johnson, “Inconspicuous Consump-tion,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np.

98. 719 notable connoisseurs of Native crafts: Rita Reif, “To Col-lectors, Navajo Design Is Irresistible,” New York Times, November 28, 1972.

99. 719 “without a Navajo rug in his SoHo loft”: Barbara Rose, “From Cigar Store to Museum,” New York ( January 10, 1972): 61.

100. 719 geometries of prewar Art Deco: Michael Malce, in David Bourdon, “Andy Warhol as Art Deco Collector (or, How to Assemble a Citizen Kane, Jr. Collection on a Runaway Budget)” (typescript, c.1974), TC537, AWMA.

101. 719 Pop artists as pioneering fans: Lil Picard, “What Is Art Deco,” Collage (November 1970): 11.

102. 720 “The shapes are really modern”: Warhol, in David Bour-


NOTES 645

don, “Andy Warhol as Art Deco Collector (or, How to Assemble a Citizen Kane, Jr. Collection on a Runaway Budget)” (typescript, c.1974), TC537, AWMA.

103. 720 “I can’t put it in terms of money”: Warhol, in David Bour-don, “Andy Warhol as Art Deco Collector (or, How to Assemble a Citizen Kane, Jr. Collection on a Runaway Budget)” (typescript, c.1974), TC537, AWMA.

104. 720 movie props: Warhol, in David Bourdon, “Andy Warhol as Art Deco Collector (or, How to Assemble a Citizen Kane, Jr. Collection on a Runaway Budget)” (typescript, c.1974), TC537, AWMA.

105. 720 out-of-tune upright piano: Vincent Fremont, in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), appendix 2, 526.

106. 720 sources for designs: David Bourdon, “Stacking the Deco,” New York (November 11, 1974): 64.

107. 720 luxurious Deco creations: David Bourdon, “Andy Warhol as Art Deco Collector (or, How to Assemble a Citizen Kane, Jr. Collection on a Runaway Budget)” (typescript, c.1974), TC537, AWMA.

108. 720 recite those shows’ titles: Warhol, in David Bourdon, “Andy Warhol as Art Deco Collector (or, How to Assemble a Citizen Kane, Jr. Collection on a Runaway Budget)” (typescript, c.1974), TC537, AWMA.

109. 720 “little more than scrap value”: Frederick Hughes, “Pref-ace,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np. Although Hughes dates these events to 1969, that is impossible since the Brants were only mar-ried at the very end of that year. The events almost certainly happened on the trip to Paris in the fall of 1970.

110. 720 preppy, twenty-three-year-old: Peter Brant, in Tony Shafrazi, “An Interview with Peter Brant,” in Warhol (Rome: Antique Collectors Club, 2014), np.

On Brant’s Jewish origins see “Who Bought the Pinned Pope?” New York Post, May 22, 2001.

111. 721 $400,000 worth: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 64, 520n42.

112. 721 tracking down the finest Warhols: Peter Brant, in Tony Shafrazi, “An Interview with Peter Brant,” in Warhol (Rome: Antique Collectors Club, 2014), np.

113. 721 visiting Union Square: Peter Brant, interview by author,


646 NOTES

December 11, 2017.114. 721 “anything Andy did was art”: Peter Brant, interview by

author, December 11, 2017. 115. 721 to Paris in November 1970: “Warhol Wraps 16mm ‘Beau-

ties’ in Paris,” Variety, November 18, 1970, 65. This article suggests that the Paris shoot began at the beginning of the month.

116. 721 “a young girl in Paris looking for a husband”: See the Sep-tember 1, 1970, document titled “Limited Partnership Agreement of The Schoolgirl Company” (box B11, AWMA). This early document mentions the yet-untitled L’Amour as the first of three projects to be undertaken. It also mentions a third funding partner who is not named, but appears in later contracts as Bruno Bischofberger.

See also the October 7, 1970, agreement between Peter Brant, Bruno Bischofberger and Warhol (box B66, AWMA)—it specified that Warhol would assume all expenses above $100,000 and that principal photogra-phy was to begin shortly.

117. 721 vastly more: Trash, the film Morrissey had recently com-pleted, had a budget of $25,000, which was far more than his previous films had cost.

118. 721 their Deco shopping: Frederick Hughes, in David Bourdon, “Stacking the Deco,” New York (November 11, 1974): 66.

119. 721 as much under Warhol’s direction: Posters for the film gave Warhol and Paul Morrissey an unusual joint credit.

120. 721 Jed Johnson was alongside him: Sally Beauman, “But the People Are Beautiful,” Daily Telegraph, February 5, 1971, 42, 44.

121. 721 “like taking a paid vacation”: Warhol, in Sally Beauman, “But the People Are Beautiful,” Daily Telegraph, February 5, 1971, 41.

122. 721 taught Warhol to crochet: Paul Morrissey, commentary track on Women in Revolt, DVD (Image Entertainment, 2005).

123. 721 learned to do needlepoint: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), loc. 150, Kindle edition.

124. 721 released (and flopped): For details on the release and the film’s run see Gary Comenas, “Andy Warhol’s L’Amour,” Warholstars (blog), 2015, https://warholstars.org/amour.html.

125. 721 a van with the camera mounted in back: Sally Beauman, “But the People Are Beautiful,” Daily Telegraph, February 5, 1971, 41.

126. 722 Jane Forth, a new Warhol protégée: See the October 21, 1970, agreement and model release (box B66, AWMA) between Jane Forth and Andy Warhol Films Inc. Principal photography must have be-


NOTES 647

gun after that date. Forth was to be paid $100 per day on set. 127. 722 Jay Johnson, Jed’s twin brother, who she was dating: Jane

Forth, in Olivia Aylmer, “Jane Forth, One of New York’s Most Notable Renaissance Women,” AnOther, accessed May 4, 2019, https://www.an-othermag.com/fashion-beauty/9271/jane-forth-one-of-new-yorks-most-notable-renaissance-women.

128. 722 the sixteen-year-old: Her date of birth was March 4, 1953—see Jane Forth in Indira Cesarine, “Andy Warhol Superstar Jane Forth on the Factory Days—Exclusive Interview,” Untitled Magazine, November 3, 2014, http://untitled-magazine.com/andy-warhol-superstar-jane-forth-on-the-factory-days-exclusive-interview/.

Another actress had bagged out on Paul Morrissey and someone hap-pened to mention Forth as a possible replacement.

129. 722 new movie of his called Trash: Michael Ferguson, Joe Dallesandro: Warhol Superstar, Underground Film Icon, Actor (Open Road Media, 2015), loc. 3468, Kindle edition.

130. 722 her face was “bizarre”: “Just Plain Jane,” Life ( July 4, 1970): 54.

See also Judy Klemesrud, “An Actress-Model Who ‘Has the Face of Now,’” New York Times, May 11, 1970. Klemesrud says that Forth was too peculiar looking to be signed by any of the major modeling agencies.

131. 722 “all the curves of a broomstick”: “People/II: Another Twiggy,” Newsday, August 11, 1970.

132. 722 Warhol’s preferred arm candy: See the Hickey-Robertson photo of Warhol with Forth and Dominique de Menil at Rice University in late October, 1969, Menil Archives, Menil Collection, Houston.

133. 722 Pasadena: William Wilson, “Warhol on L.A. ‘Everyone’s Crazy,’” Los Angeles Times, May 11, 1970.

134. 722 late-night phone buddies: Jane Forth, in Indira Cesarine, “Andy Warhol Superstar Jane Forth on the Factory Days—Exclusive Interview,” Untitled Magazine, November 3, 2014, http://untitled-mag-azine.com/andy-warhol-superstar-jane-forth-on-the-factory-days-exclu-sive-interview/.

Forth left Warhol’s world in 1971, after she got pregnant at 17 and Warhol balled her out for wasting a fine career. “What Jane wants in life,” said her profile in Life, “is simply a ‘rich husband’”—“Just Plain Jane,” Life ( July 4, 1970). She eventually found one.

135. 722 a misbehaving Jay Johnson: Corey Tippin, interview by au-thor, August 19, 2018.

136. 722 news of their ditzy antics: Jane Forth to Andy Warhol, June


648 NOTES

17, 1970, TC65, AWMA.137. 722 “really naughty”: Corey Tippin, interview by author, Au-

gust 19, 2018. Antonio Lopez, an illustrator friend of Warhol’s, was also part of their scene, which is described in James Crump, Antonio Lopez 1970: Sex, Fashion & Disco, documentary, 2018.

138. 722 thrown out of three hotels: Corey Tippin, interview by au-thor, August 19, 2018.

139. 722 “let’s play games”: Michael Sklar, in Rosemary Kent, “Eye View: L’Amour No More,” Women’s Wear Daily, May 23, 1973, 18.

140. 722 “late-night talk shows”: Vincent Canby, “The Screen: L’Amour,” New York Times, May 11, 1973.

141. 723 “the ordinary people”: Warhol, in Andy Warhol and Sam-uel Adams Green, recorded telephone conversation, n.d., Samuel Adams Green papers, Beinecke Rare Book and Manuscript Library, Yale Univer-sity.

142. 723 “Is their hair set just right?”: Sally Beauman, “But the Peo-ple Are Beautiful,” Daily Telegraph, February 5, 1971, 44.

143. 723 Forth, posing topless: After Dark (April 1970): cover. 144. 723 Donna Jordan landed the cover: Vogue Paris (November

1971): cover.145. 723 “exercise in sartorial camp”: Sally Beauman, “But the Peo-

ple Are Beautiful,” Daily Telegraph, February 5, 1971, 42.146. 724 “like a Jean Harlow set”: Sally Beauman, “But the People

Are Beautiful,” Daily Telegraph, February 5, 1971, 42.147. 724 a rented country place: James Trees, lease for Warhol’s Au-

gust and September rental, for $3,300, of a house on Apaquogue Road in East Hampton, July 17, 1971, box B66, AWMA.

148. 724 to the sounds of Gershwin’s Rhapsody in Blue: Jane Forth, in Indira Cesarine, “Andy Warhol Superstar Jane Forth on the Factory Days—Exclusive Interview,” Untitled Magazine, November 3, 2014, http://untitled-magazine.com/andy-warhol-superstar-jane-forth-on-the-factory-days-exclusive-interview/.

149. 724 “Andy’s entrée”: Corey Tippin, interview by author, August 19, 2018.

150. 724 stars like Omar Sharif and Marisa Berenson: Corey Tip-pin, interview by author, August 19, 2018.

151. 724 Maxim’s: See the January 31, 1973, receipt from Maxim in Paris (AWMA), possibly for a meal ordered by Frederick Hughes. Other receipts from the same trip are for the famous Brasserie Lipp, Maison Prunier and Hotel Pont Royal.


NOTES 649

152. 724 La Grenouille: Brigid Berlin, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

153. 724 “chicest looking young couples”: Rosemary Kent, “Eye View: Camping Out,” Women’s Wear Daily, November 13, 1972, 12.

154. 724 blue-blooded interest in horse breeding: Cathy Canu, “Hoofbeats from a Glorious Past,” Newsday, September 18, 1977.

155. 724 stables of his own: Ed Comerford, “A Rare Breed of Horse Owner,” Newsday, September 12, 1984.

156. 724 “pleasure business, a lot of fun”: Ed Comerford, “A Rare Breed of Horse Owner,” Newsday, September 12, 1984.

157. 724 producing facsimile pieces: See Peter Brant and Andy War-hol, as Art-Deco Editions, Ltd., draft contract with Puiforcat Orfèvre, October 12, 1970, document box 113, AWMA. It doesn’t look as though the project ever bore fruit.

158. 724 “you wanted to protect this man”: Peter Brant, interview by author, December 11, 2017.

159. 725 put up $55,000: Peter Brant, Bruno Bischofberger and Andy Warhol, draft of a contract, July 11, 1972, box B550, AWMA.

160. 725 splashed in the artist’s own handwriting: The new title, and script, had begun to appear as of the May 1972 issue of Interview.

161. 725 Berlin had sold him the tapes: Vincent Fremont and Shelly Dunn Fremont, Pie in the Sky: The Brigid Berlin Story, documentary (Vin-cent Fremont Enterprises, 2000).

162. 725 taping the tapes when Berlin played them: See Gary Co-menas, “Andy Warhol’s Pork,” Warholstars (blog), 2016, https://warhol-stars.org/pork.html.

163. 725 he’d already decided to call “Pork”: Pat Hackett, in a De-cember 12, 2018, e-mail to the author.

See also Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 1717, Kindle edition.

164. 725 “another creative ambition of his”: Pat Hackett, in a De-cember 12, 2018, e-mail to the author.

165. 725 “would have lasted 200 hours”: Anthony Ingrassia, in Si-mon Field, “You Know I’m Really Tired Now,” Art and Artists (October 1971): 46.

Pat Hackett, in a December 12, 2018, e-mail to the author, said her draft script was only in three or four acts.

166. 725 “boiled down”: Grace Glueck, “‘Pork’ Is Not the Kosher-Est in Town,” New York Times, May 23, 1971.

167. 726 “his own play than Andy’s”: Pat Hackett, December 12,


650 NOTES

2018, e-mail to the author.168. 726 “real people doing real things on stage”: Grace Glueck,

“‘Pork’ Is Not the Kosher-Est in Town,” New York Times, May 23, 1971. 169. 726 he split his sides laughing: Jayne County, Man Enough to

Be a Woman: The Autobiography of Jayne County (London: Serpent’s Tail, 1996), 74.

170. 726 “as good, dirty fun”: Grace Glueck, “‘Pork’ Is Not the Ko-sher-Est in Town,” New York Times, May 23, 1971.

171. 726 “mind-numbing farrago”: Critics for the Daily Mirror, Daily Telegraph and London Times, all quoted in Raymond R. Coffey, “Critics Murder Andy Warhol’s ‘Pork,’” Detroit Free Press, August 6, 1971.

172. 726 “any hint of beauty”: “Andy Warhol’s Pork,” Penthouse (No-vember 1971): 55. The Penthouse article is reproduced in Gary Comenas, “Andy Warhol’s Pork,” Warholstars (blog), 2016, https://warholstars.org/pork.html.

173. 726 the show disappeared: See Gary Comenas, “Andy Warhol’s Pork,” Warholstars (blog), 2016, https://warholstars.org/pork.html.

A German translation was also in the works, early on, but doesn’t seem to have panned out—see R. Neven Du Mont to Andy Warhol, May 14, 1971, box B66, AWMA.

174. 726 a theatrical he called “Party”: Andy Warhol and Samuel Adams Green, recorded telephone conversation, n.d., Samuel Adams Green papers, Beinecke Rare Book and Manuscript Library, Yale Univer-sity.

175. 727 “I’m not a theater person, really”: Paul Morrissey, in Jerry Parker, “Sky-High Hopes for a Lunar Musical,” Newsday, January 26, 1975.

176. 727 disastrously chaotic previews: Richard Turley, interview by author, November 9, 2018. Turley was co-producer of Man on the Moon.

177. 727 “for connoisseurs of the truly bad”: Clive Barnes, “‘Man on the Moon,’ Warhol Musical,” New York Times, January 30, 1975.

178. 727 closed after five days: “The Arts,” Boston Globe, February 10, 1975.

179. 727 he knew all the people it skewered: David Bourdon, in John Lennon and David Bourdon, typed notes from a telephone call (August 13, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

180. 727 “profitable company”: David Bourdon, in Simon Field, “You Know I’m Really Tired Now,” Art and Artists (October 1971): 47.


NOTES 651

CHAPTER 41

181. 729 “It’s gonna be Internal Revenue that gets him”: Brigid Berlin, in Michel Auder, Chelsea Girls with Andy Warhol, experimental film, 1976.

182. 729 phone service shut off: Warhol, in Lazarus [James Tapley], “Andy Warhol,” Oz, February 1969.

183. 729 liens for $15,000 in taxes: Internal Revenue Service to Andy Warhol, March 13, 1970, box B17, AWMA.

184. 729 eviction proceedings: The eviction note, dated September 18, 1970 (box B17, AWMA) complained of only $416.67 in unpaid rent and came just three weeks after that rent was due, so it must have rep-resented the latest in a string of missed payments. Futher documents (AWMA) show that they had already resorted to a lawsuit once that year, in March.

185. 729 “He makes $100,000 and spends $125,000”: Julia Warhola, quoted by Paul Warhola in Donald Miller, “Andy’s Roots,” Pittsburgh Post-Gazette, March 9, 1985.

186. 729 $86,000 in personal income: See Warhol’s 1969 tax return (box B17, AWMA). The following year, Warhol was listing “wages” of $127,700, with a total tax payable of $35,243.

187. 729 $30,000 in sales: Leo Castelli Gallery, statement, Febru-ary 1, 1970 box B17, AWMA. It could be that the disparity is due to an accountant’s error: Castelli lists just under $9,000 in sales of art to Warhol on the statement.

188. 729 $60,000 at auction: “Warhol’s Soup Cans Sells for $60,000,” New York Times, May 16, 1970.

See also Peter Brant in Tony Shafrazi, “An Interview with Peter Brant,” in Warhol (Rome: Antique Collectors Club, 2014), 24, 26.

189. 730 Electric Chair could go for something like $30,000: Leo Castelli, in a transcript provided with David Bailey, Bailey on Andy War-hol, DVD (London: Network, 2006).

In about 1972, Warhol said that Castelli had just sold an Electric Chair painting to Aldo Brandolini for $36,000—see Andy Warhol and Samuel Adams Green, recorded telephone conversation, n.d., Samuel Adams Green papers, Beinecke Rare Book and Manuscript Library, Yale University.

190. 730 good cop, bad cop: James Mayor, interview by author, Oc-tober 20, 2014.

191. 730 finally released late in ’69: Details of profit-sharing and dis-tribution are still being worked out in Alexander E. Racolin to Andy


652 NOTES

Warhol, May 23, 1969, box B77, AWMA. Correspondence from the fall of 1969 shows Warhol still signing at least some of the prints at that point.

192. 730 two hundred copies sold quickly: The portfolio is already referred to as sold out in Gerard Malanga to Rainer Crone, July 1, 1970, Gerard Malanga papers, The Harry Ransom Center at The University of Texas at Austin.

193. 730 $20,000 for eleven portfolios: See the June 13, 1970, check from Castelli Graphics to Warhol (AWMA) for $20,000 for Flower prints No.130 to 141, out of 250.

194. 730 “box office power”:“Explicit Sex-Themed Movies Thrive on B’way: ‘Cowboys’ 1st Week 400,” Box Office, May 19, 1969.

See also Kent E. Carroll, “More Structured, Less Scandalized Warhol Aiming for Wider Playoff,” Variety, May 7, 1969, 260.

195. 730 first-week take of $16,000: “Sex Act Film Cost 3G; Recoups Pronto; ‘Times Never Detailed It,’” Variety, July 30, 1969.

196. 730 more money than any other Warhol release: Steven Wat-son, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 405.

197. 730 gross of $400,000: Paul Morrissey, in Richard Boeth, “Andy Warhol Trick, Treat, or Trash?” Cosmopolitan (May 1971): 176.

198. 730 Trash only yielded a profit of some $300: Paul Morrissey, in Howell Raines, “‘Sex Most Inexpensive’ Story to Tell—Says Warhol Director,” Atlanta Constitution, October 13, 1972.

199. 730 $600 in profit on revenue of $75,000: See Lonesome Cow-boys, Inc., “U.S. Corporation Income Tax Return 1969,” AWMA. Other 1969 returns and financial documents exist (AWMA) for Factory Films (gross income $27,000, loss of $2,000), Score Movies (gross income $60,000, taxable income $0), and Andy Warhol Films (gross income $80,000, loss of $100; its 1970 net income was declared as $642).

200. 730 gross income of $160,000: Andy Warhol Enterprises, Inc., “U.S. Corporation Income Tax Return 1969,” AWMA.

In 1970 the company reported a gross of $338,671 and taxable income of $15,518, while in 1972 the gross was $593,804 with a loss of $235—while paying out $78,000 to the company’s officers, an amount that would mostly have gone to Warhol and (or through) his mother.

201. 730 “get all the bread”: Warhol, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006). In 1971, the probable year of that interview, Warhol reported a taxable in-come of $120,000.

202. 731 random receipts: Brigid Berlin, in a transcript provided


NOTES 653

with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).203. 731 “It’s gonna be Internal Revenue that gets him”: Brigid

Berlin, in Michel Auder, Chelsea Girls with Andy Warhol, experimental film, 1976.

204. 731 “propping”: Warhol, in unpublished diary entries for Sep-tember 20 and 28 and November 2, 1972, AWMA.

205. 731 IRS agent wasn’t happy: Fred Hurwitz, Chartered Public Accountant, to Andy Warhol, May 14, 1980, AWMA. Hurwitz discusses IRS audits for the 1975, 1976 and 1977 tax years.

206. 731 going to jail for similar trickery: Alessandra Stanley, “From Polo Set to Cell Block: Magnate Jailed,” New York Times, June 8, 1990.

207. 731 “Because We’re Friends”: Four checks to Julia Warhola, dated February 6, 1969, TC540, AWMA.

208. 731 hatred for the IRS: Vincent Fremont, in George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 60.

209. 731 one hundred Brillo Boxes: Andy Warhol to John Coplans, November 15, 1969, box B17, AWMA.

210. 731 $200,000 donation: Leo Castelli to Andy Warhol, Novem-ber 15, 1969, AWMA.

211. 731 a hundred Corn Flakes boxes: Kenneth Donahue, of the Los Angeles County Museum of Art, to Andy Warhol, December 15, 1969, box B17, AWMA.

212. 731 caustic fund-raising poster: On the poster see this author’s May 7, 2015, post at www.warholiana.com/post/118384935325.

213. 731 tax man was on the case: See for example Warhol, “I’m constantly attacked by the Internal Revenue Service,” in a transcript pro-vided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006). The interviews for the documentary, first published in 1972, were conducted some time before that year’s election. The IRS audit of War-hol’s taxes for 1972 took place late in the fall of 1975, well after Nixon was out of office—see Kenneth Gottfried, Chartered Public Accountant, to Andy Warhol, December 5, 1975, TC95, AWMA.

The most extended account of Warhol’s post-poster tax troubles is in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 3783, Kindle edition. Almost every one of the details in this account is, however, contradicted by documents in the Warhol archives or by period sources. Among other things, Warhol never did appear on Richard Nixon’s so-called “enemies lists.”

214. 731 Volkswagen station wagon: See the Ambassador Insurance


654 NOTES

Company’s April 15, 1969, policy document (TC540, AWMA) insuring Factory Films, Inc., for a 1969 Volkswagen station wagon.

215. 732 eight-track tape player: The eight-tracks are documented in Glenn O’Brien, “Warhol Memorabiliaphilia,” Interview ( July 2008): np.

216. 732 extra rear speaker: Mercedes-Benz Manhattan, invoice, June 8, 1970, box B17, AWMA.

217. 732 Dallesandro’s brother Robert: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 3712, Kindle edition.

218. 732 paid $65,000 for a little studio complex: See Cook Realty, “Statement of Closing Title” for 342 Bowery and 57 Great Jones Street, April 15, 1970, box B17, AWMA. Cook Realty provided Warhol with a cash mortgage for $47,000 on the properties, which were adjoining.

The Bowery property had four floors whereas the one on Great Jones had only two, the upper story being a perfect studio space lit by won-derful north-facing arched windows. In the later 1970s, Warhol installed equipment for editing video on that second floor—see Walter Steding, oral history, interview by Matt Wrbican, audiocassette, June 27, 2000, AWMA.

219. 732 “It’s a cultural crime”: Clark Whelton, “Warhol: Dire Landlord,” Village Voice, July 2, 1970.

220. 732 “make way for the great man”: Clark Whelton, “Warhol: Dire Landlord,” Village Voice, July 2, 1970.

221. 732 building a theater: See the architect Max Wechsler’s invoice to Warhol, April 1, 1970, TC61, AWMA. See also the August 31, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13632, Kindle edition.

222. 732 lent studio space: Walter Steding, interview by author, Jan-uary 13, 2015. Steding, an artist and musician, lived rent-free on Great Jones for about three years in the early 1980s. He worked for a while as Warhol’s assistant.

223. 732 to Jean-Michel Basquiat: Andy Warhol Enterprises, Inc., lease with Jean-Michel Basquiat, August 30, 1983, TC342, AWMA.

224. 732 “greatest investment”: Walter Steding, interview by au-thor, January 13, 2015.

225. 732 “you can stay in my house if you like”: John Lennon, in John Lennon and David Bourdon, typed notes from a telephone call (Au-gust 13, 1971), David Bourdon Papers, II.3, Museum of Modern Art Ar-chives, New York.

226. 732 went on to buy property together: The reference to the


NOTES 655

real estate project, given without any details, is in Andy Warhol and Da-vid Bourdon, typed notes from a telephone call (July 1971), David Bour-don Papers, II.2, Museum of Modern Art Archives, New York.

227. 732 adamantly denying to Brigid Berlin: Andy Warhol, Factory Diary: Brigid Showing Polaroids of Andy, Oct. 25, 1971, videotape, 1971.

228. 732 “upholstered rusticity”: David Gelman, “Ah, Wilderness: No-Chic Chic,” Newsday, July 16, 1973.

229. 733 Western baking-soda millionaire: Miss Rosen, “The Humble Fishing Town That Became a Hideaway for Warhol’s Gang,” AnotherMan, February 27, 2018, https://www.anothermanmag.com/life-culture/10203/the-humble-fishing-town-that-became-a-hideaway-for-warhols-gang.

230. 733 a Long Island house-hunting tour: Isabel Carmichael, “The Star Talks to Tina Fredericks: Designing, Selling, Building,” East Hampton Star, November 5, 2009.

231. 733 $1,650 go down the drain: James Trees, lease for Warhol’s August and September rental of a house on Apaquogue Road in East Hampton, July 17, 1971, box B66, AWMA.

232. 733 “buying it—boom, like that”: Tina Fredericks, in Valerie Cotsalas, “The Unsold Warhol,” New York Times, September 8, 2006.

233. 733 co-owner Paul Morrissey: Although the vast majority of sources describe joint ownership between the two men—and the settle-ment of Warhol’s estate assumed that—several early articles have Mor-rissey claiming sole ownership. There is at least one case where he makes that claim in Warhol’s presence—see Joyce Haber, “What Andy Warhol Is All About,” Los Angeles Times, October 29, 1972. But Morrissey makes clear that he only has a half-stake in the property, and that even that is a stretch for him financially, in Samuel Adams Green and Paul Morrissey, recorded telephone conversation, c.1972, Samuel Adams Green papers, Beinecke Rare Book and Manuscript Library, Yale University.

234. 733 neighbors had stopped him from buying: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (Novem-ber 23, 1971), David Bourdon papers, Archives of American Art, Smith-sonian Institution. Also, Warhol had hoped to trade art for the Johnson house—see David Bourdon, Warhol (New York: Abrams, 1989), 316.

235. 733 designed by Warhol’s patron Philip Johnson: Cleveland Amory, “Fashions in Living: Philip Johnson,” Vogue (May 1, 1964): 190.

236. 733 “overdose of elite snobbism”: Bill Cunningham, “Fashions for Him: Nostalgia with Subtle Updating,” Los Angeles Times, April 27, 1972.


656 NOTES

237. 734 “too many baths in the country”: Andy Warhol, “Warhol: On My Mind,” Vogue (February 1973): 165.

238. 734 “there’s a lot of rocks there, too”: Warhol, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Net-work, 2006).

239. 734 faux-snob pith helmet: Richard Turley, interview by au-thor, November 9, 2018.

240. 734 the Big House: Warhol, unpublished diary entry for July 1, 1972, AWMA.

241. 734 to Princess Lee Radziwill: The arrangements had already been made by early May—see Earl Wilson, “Hughes Said to Me, I Said to Him . . . ,” Hartford Courant, May 15, 1972. Lee Radziwill was installed by July—see Earl Wilson, “It Happened Last Night,” Pittsburgh Post-Gazette, September 19, 1968.

242. 734 dating the recently divorced Peter Beard: Liz Smith, “What Liz Knows Liz Tellz,” Ladies Home Journal (September 1972): 32.

243. 734 “cedar and sea”: Lee Radziwill, Happy Times (New York: Assouline, 2001), 32.

244. 734 stay inside whenever Jackie visited: Richard Turley, inter-view by author, November 9, 2018.

245. 735 “something of a pied piper”: Lee Radziwill, Happy Times (New York: Assouline, 2001), 34.

246. 735 movies he might cast her in: Warhol, unpublished diary entries for the summer of 1972, AWMA.

247. 735 still owned it when he died: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 161.

248. 735 “off-beat or a bit kinky”: Lee Radziwill, in Liz Smith, “What Liz Knows Liz Tellz,” Ladies Home Journal (September 1972): 32.

249. 735 “We’re their new toys”: Warhol, in Andy Warhol and Da-vid Bourdon, typed notes from a telephone call (April 27, 1972), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

250. 735 summer-house scrapbook: See Matt Wrbican, “A Is for Autograph,” in A Is for Archive: Warhol’s World from A to Z, ed. Abigail Franzen-Sheehan (New Haven, CT: Yale University Press, 2019), 11.

251. 735 “Jackie slept here”: Warhol, in Joyce Haber, “What Andy Warhol Is All About,” Los Angeles Times, October 29, 1972.

252. 735 became properly close: Vincent Fremont, in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy War-hol Catalogue Raisonné (New York: Phaidon, 2002), 71.


NOTES 657

253. 736 politely noted in the social columns: “Eye,” Women’s Wear Daily, August 11, 1972, 7.

254. 736 the rumor that Warhol was the co-respondent: Robin Ad-ams Sloan, “Personalities, Etc.,” Philadelphia Inquirer, September 23, 1973.

255. 736 British cook complained: Frank Conroy, “Hip Vaudeville: On Tour with Mick the Tease and His Rolling Stones,” New York Times, June 22, 1975.

256. 736 “Sensationally loud music”: Unnamed article quoted in Messy Nessy, “Summer in the Seventies with Andy Warhol,” Messy Nessy Chic (blog), August 13, 2015, https://www.messynessychic.com/2015/08/13/summer-in-the-seventies-with-andy-warhol/.

257. 736 dive bars filled up with Stones fans: Messy Nessy, “Sum-mer in the Seventies with Andy Warhol,” Messy Nessy Chic (blog), August 13, 2015, https://www.messynessychic.com/2015/08/13/summer-in-the-seventies-with-andy-warhol/.

258. 736 listened to the band with quiet attention: Warhol, unpub-lished diary entry for July 7, 1972, AWMA.

259. 736 arrived at his property in a Bentley: Frank Conroy, “Hip Vaudeville: On Tour with Mick the Tease and His Rolling Stones,” New York Times, June 22, 1975.

260. 736 Mick Jagger and his wife Bianca: See the photo in Messy Nessy, “Summer in the Seventies with Andy Warhol,” Messy Nessy Chic (blog), August 13, 2015, https://www.messynessychic.com/2015/08/13/summer-in-the-seventies-with-andy-warhol/.

CHAPTER 42

1. 739 “my bird that died”: Andy Warhol, “Warhol: On My Mind,” Vogue (February 1973): 165.

2. 739 “because my breath gets stuck”: Julia Warhola, in Andy Warhol, Factory Diary: Julia in Bed Talking, videotape, c.1970. The video was transcribed and translated July 30, 2015, by Darina Protivnak and Elaine Rusinko.

3. 740 a week in the hospital: U.S. Department of Health, Educa-tion and Welfare, “Medicare Hospital Insurance Benefits,” March 5, 1970, box B17, AWMA. The statement is for Julia Warhola’s treatment at Doc-tor’s Hospital, New York, from January 22, 1970, to January 29, 1970.

4. 740 for a stroke: Victor Bockris, Warhol: The Biography (Cam-bridge, MA: Vintage Books, 2003), loc. 5504, Kindle edition.

5. 740 visits from a nurse: Visiting Nurse Service of New York, invoice to Julia Warhola, June 11, 1970, TC10, AWMA.


658 NOTES

6. 740 constant doctor’s appointments: Dr. Denton Cox, invoices to Warhol for treatment of Julia Warhola in 1970, document box 185, AWMA.

7. 740 cops had been traipsing: Marge Warhola, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5504, Kindle edition.

8. 740 better in a nursing home: Jed Johnson, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5525, Kindle edition.

9. 740 exhausted from cooking for her: Warhol, in Samuel Ad-ams Green and Andy Warhol, notes from a conversation, c.1971, box M88, AWMA.

10. 740 “kept taking care of my mother”: May 11, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 13047, Kindle edition.

11. 740 her mynah bird: See the April 29, 1970, recording (cas-sette tape no. 25, AWMA) on which Warhol tells Brigid Berlin that his mother’s bird has died. (Its contents are recorded in an AWMA inventory document.) This contradicts the story that the bird died because Warhol neglected it after his mother’s death—see Victor Bockris, Warhol: The Bi-ography (Cambridge, MA: Vintage Books, 2003), loc. 5700, Kindle edition.

Jed Johnson recalled that both cats had died in about 1969—see Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institu-tion. But one cat at least is recorded as alive in an October 25, 1969, vet-erinarian’s bill (TC62, AWMA).

12. 740 skip New Year’s Eve: Samuel Adams Green to Cecil Beaton, January 8, 1971, Papers of Sir Cecil Beaton, St John’s College Library, Cambridge.

13. 740 “so she won’t have to feel lonely”: Eva Warhola to Andy Warhol, May 14, 1971, TC17, AWMA.

14. 741 stealing her shoes: James Warhola, interview by author, April 25, 2014.

15. 741 a second stroke: Paul Warhola, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5537, Kindle edition.

16. 741 in the hospital for more than a month: Mercy Hospital, August 3, 1971, invoice (box B66, AWMA) to Warhol for Julia Warhola’s care and private room, covering June 16 to July 27, 1971. See also Tri-Rivers Ambulance, invoice for transfer of Julia Warhola to Wightman


NOTES 659

Manor nursing home, July 27, 1971, box B66, AWMA.17. 741 incontinent: Wightman Manor, October 31, 1971 invoice to

Warhol (box B66, AWMA) for Julia Warhola’s care, including diaper ser-vice, beginning July 27, 1971.

18. 741 Warhol’s objections: Paul Warhola, in Victor Bockris, War-hol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5542, Kin-dle edition.

19. 741 called daily: Anna Warhola, in Maggie Carlin, “Andy War-hol . . . Is He for Real?” The Pittsburgh Press Roto, October 22, 1972.

20. 741 “The Warhola”: Warhol, in Andy Warhol and David Bour-don, typed notes from a telephone call (November 22, 1971), David Bourdon papers, Archives of American Art, Smithsonian Institution. The notes don’t specify the location of the theater but we know he was considering one for Great Jones Street.

21. 741 “your mother’s last wish on earth”: Sally Mary Zymboly (nee Zavacky) to Andy Warhol, September 15, 1972, TC67, AWMA.

22. 741 eighty-one: Elaine Rusinko, “Andy Warhol’s Ancestry: Facts, Myths, and Mysteries,” accessed April 4, 2019, www.academia.edu/38098098/Andy_Warhols_Ancestry_Facts_Myths_and_Mysteries.

23. 741 November 28, 1972: Commonwealth of Pennsylvania De-partment of Health, death certificate for Julia Warhola issued January 17, 1991, confirmed by a funeral card (AWMA) sent out by her family. An incorrect death date of November 22, 1972, is given in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5687, Kindle edition.

24. 741 John called him: Tape of a November 28, 1972, telephone call with John Warhola (AWMA). Warhol recorded the conversation on a tape labeled “Mama Died Dec 2/72,” with that date referring to the last of several calls recorded on that reel.

25. 741 “I just couldn’t get myself to go to lunch”: Warhol, unpub-lished diary entry for November 26, 1973 (AWMA) incorrectly labeled November 27, 1973.

The recording of Warhol’s November 28, 1972, conversation with John Warhola (AWMA) implies that Warhol had had recent news of his mother’s increasing weakness.

26. 742 servings of lasagna: Warhol, unpublished diary entry for November 28, 1973, AWMA.

27. 742 “the cheapest funeral”: Warhol, quoted from a phone con-versation overheard by Robert Schwartz, interview by author, July 9, 2014.


660 NOTES

28. 742 discovered Julia Warhola’s passing: Jed Johnson heard the news from John Warhola—see Bob Colacello, in “E! True Hollywood Story: Andy Warhol,” television broadcast, March 1998.

29. 742 shopping at Bloomingdale’s: Brigid Polk, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5696, Kindle edition.

30. 742 “If it went to bird heaven”: Andy Warhol, “Warhol: On My Mind,” Vogue (February 1973): 165. Given magazine lead times, the actual text of Warhol’s article would have been contributed not long before or very soon after his mother’s death.

31. 742 “they don’t believe in people being creative”: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (September 5, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

32. 742 “Chinese is in fashion”: Warhol, in Andy Warhol and Da-vid Bourdon, typed notes from a telephone call (November 21, 1971), Da-vid Bourdon papers, Archives of American Art, Smithsonian Institution.

33. 742 “You’ve got to get Andy to work”: Peter Brant, interview by author, December 11, 2017.

34. 743 as a huge print edition: Peter Brant, in Tony Shafrazi, “An Interview with Peter Brant,” in Warhol (Rome: Antique Collectors Club, 2014), 29.

Correspondence from Frederick Hughes dated March 1972 indicates that the print project was already conceived by then, with some work beginning in April and then the final printing of the portfolio probably done in the fall—see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 171.

Bruno Bischofberger said that he initiated the Maos after Warhol said he preferred to paint Mao over Bischofberger’s own suggestion of Einstein as the subject of “a series of portraits of a well-known person in a larger size”—see Bruno Bischofberger, Andy Warhol’s Visual Memory (Zurich: Galerie Bruno Bischofberger, 2001), 6. But the dealer’s recollec-tion of other Warholian moments is sometimes incorrect, so that could also be the case here.

35. 743 $550 each or $4,500 for all ten: Thomas Albright, “Market-ing Chairman Mao: Warhol’s ‘Limited’ Edition,” San Francisco Chronicle, January 12, 1973.

36. 743 skipped the opening: Rosemary Kent, “Eye View: Camping Out,” Women’s Wear Daily, November 13, 1972, 12.


NOTES 661

37. 743 “remarkably resemble painting”: Thomas Albright, “Mar-keting Chairman Mao: Warhol’s ‘Limited’ Edition,” San Francisco Chron-icle, January 12, 1973.

38. 743 Multiples brochure: “Multiples: Warhol, Rosenquist, Rus-cha, Goode,” undated brochure included with Marian Goodman, of Mul-tiples, to Andy Warhol, March 26, 1973, TC90, AWMA.

39. 744 “I’m more interested in what Mao is doing”: Emile de An-tonio, in Bernard Weiner, “Radical Scavenging: An Interview with Emile de Antonio,” Film Quarterly (Fall 1971): 14.

40. 744 “Satan in New York to replace the Statue of Liberty”: Let-ter to the Editor, Richard Jaung, “The Slayings of Chairman Mao,” News-day, April 20, 1986.

41. 744 “transformed into a commercial object”: Thomas Al-bright, “Marketing Chairman Mao: Warhol’s ‘Limited’ Edition,” San Francisco Chronicle, January 12, 1973.

42. 744 “they can hang it on their walls”: Peter Schjeldahl, “War-hol And Class Content,” Art In America (May 1980): 116. The article is reprinted in José Lebrero Stals et al., eds., Andy Warhol: The Mechanical Art (Málaga: Museo Picasso Málaga, 2018).

43. 744 “Those were the only colors I had”: “Eye,” Women’s Wear Daily, September 1, 1972, 8.

44. 745 “not drinking and painting up a storm”: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (May 2, 1972), David Bourdon papers, Archives of American Art, Smithsonian Institution.

Warhol’s boast may have been empty: He spoke to Bourdon of “twelve eight-foot paintings,” but there are only four of his biggest Maos, and they are all almost 15 foot by 12.

45. 745 “just drip all over the place”: Warhol, in Lana Jokel, Andy Warhol, documentary, 1972.

46. 746 fussy alignment: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 68.

47. 746 laying down paint: The December 7, 1972, video is pre-served at The Andy Warhol Museum; an account of it is in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 172.

The printer, born in Vienna but trained in Switzerland, was Alexan-der Heinrici, interview by author, October 26, 2017. He had taken over Aetna, the maker of the screens Warhol had been using since 1962, but


662 NOTES

had added actual screenprinting to the company’s offerings. The com-pany’s name was soon changed to Heinrici Studio.

48. 746 calling them “prints”: Alexander Heinrici, in an undated video recording he provided to the author.

49. 746 the exhaustion of all art: Joyce Haber, “What Andy Warhol Is All About,” Los Angeles Times, October 29, 1972.

50. 747 “people expect just a little bit more”: Warhol, in Barry Blinderman, “Modern Myths: An Interview with Andy Warhol,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 294, Kindle edition.

51. 747 “hand jobs”: Benjamin Liu, a late assistant of Warhol’s, in Corinna Thierolf, “All the Catholic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 52n114.

52. 747 “more intellectual”: Warhol, in Bob Colacello, “Andy War-hol, Abstraction and the Camouflage Paintings,” in Andy Warhol—Cam-ouflage (New York: Gagosian Gallery, 1998), 7.

53. 747 latest art-world fashion: Warhol and Leo Castelli, in Bockris-Wiley [Victor Bockris and Andrew Wylie], “Painting: The New Surge” (typescript, n.d.), Victor Bockris and Andrew Wylie Collection, The Harry Ransom Center at The University of Texas at Austin.

54. 747 preferred the Polaroids of his sitters: Peter Lewis, “Chas-ing Warhol through His Wonderland,” Daily Mail, November 11, 1975.

55. 747 Kosuth knew to choose the “straight” portrait: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 04—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 239.

56. 747 “juicy brush strokes”: Warhol, in Henry Geldzahler, “Andy Warhol, Virginal Voyeur,” in Making It New: Essays, Interviews, and Talks, by Henry Geldzahler (New York: Turtle Point Press, 1994), 368.

57. 747 “hand-painted look”: Warhol, in Bockris-Wiley [Victor Bockris and Andrew Wylie], “A Long Story about a Renaissance Man,” The Drummer, December 25, 1973, 6.

58. 747 They chose the brushwork: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 57. The portrait in question was of Dennis Hopper.

59. 747 mopping paint onto a huge expanse of canvas: Walter Ste-ding, oral history, interview by Matt Wrbican, audiocassette, June 27, 2000, AWMA.

60. 748 anti-authorial “we”: Andy Warhol, “Warhol: On My Mind,” Vogue (February 1973): 164.


NOTES 663

61. 748 versions of his signature: Undated notebook, c.1972, AWMA.

62. 748 130 Mao paintings: On the joint venture, see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 177.

Peter Brant, interviewed December 11, 2017, said that he had a finan-cial stake in the project, although that is not mentioned in the contract documents in the Warhol archives.

63. 748 major early Warhol: Leo Castelli, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

64. 748 $2 million: Prices for the Maos, at various sizes, are listed in Castelli Gallery financial documents in the Archives of American Art.

65. 748 selling on to collectors: Peter Brant, interview by author, December 11, 2017.

66. 748 Musée Galliera: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 179.

67. 748 two thousand Chinese chairmen: See Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), appendix 6, 529.

68. 748 spring of 1971: An invoice for the screen for the Rothschild portrait is dated April 15, 1971—see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 58.

69. 748 atelier of silkscreener Alexander Heinrici: Warhol’s first use of an outside printer for his canvases is dated to late 1972 in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 55, 69. But Heinrici’s narrative, coupled with the April 1971 screen for the Roths-child portrait, indicates an earlier date. The Rothschild episode may have taken place while Heinrici was still working for Aetna Silkscreen, and getting it to do actual screen printing, before he put his own name on the company.

70. 749 “The idea is so good”: Warhol, in “Andy and Sam Green Discuss a Commissioned Portrait,” a track on Andy Warhol From Tapes: Sounds of His Life and Work, CD (Pittsburgh: The Andy Warhol Museum, 1994).

71. 749 “He’s got a nice Jewish dick”: Andy Warhol and Samuel Adams Green, recorded telephone conversation, n.d., Samuel Adams Green papers, Beinecke Rare Book and Manuscript Library, Yale Univer-


664 NOTES

sity. 72. 749 celebration of Marcel Proust’s centenary: Patricia McColl,

“The Rothschilds: Ball of Balls,” Women’s Wear Daily, December 6, 1971, 4. See also Alexis Baron de Redé, Alexis: The Memoirs of the Baron de Redé (Estate of the late Baron de Redé, 2005), 144.

73. 749 $3 million in jewels: Reuters, “Glittering Ball for Proust,” Globe and Mail, December 2, 1971.

Warhol mentioned the jewels in Andy Warhol and David Bourdon, typed notes from a telephone call (December 7, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

74. 749 “Audrey Hepburn behind me”: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (December 7, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

75. 749 “horror-film gentleman”: Richard Burton, in Melvyn Bragg, Richard Burton: A Life (Boston: Little, Brown, 1988), 389.

76. 749 “especially enjoys knowing well”: G. Y. Dryansky, “The Grapes of Rothschild,” Women’s Wear Daily, November 3, 1972, 4.

77. 749 “We’re going to buy big bottles”: Warhol, in undated notes from a visit to the Rothschild vineyards (box B186, AWMA). The visit is dated to “late 1972” in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 58.

78. 749 notes from his Lafite visit: The papers were inventoried as having come from that bedroom desk.

79. 750 banish silkscreening solvents: Jay Shriver, oral history, au-diocassette, March 19, 1992, AWMA.

80. 750 minions carrying photos and canvases: Warhol never once visited the silkscreening studio after that first time, according to Alexan-der Heinrici, interview by author, October 26, 2017. But Warhol’s unpub-lished diaries (including the entry for September 14, 1972) do show him making the trip occasionally.

81. 750 no one else should be involved: Walter Steding, interview by author, January 13, 2015.

82. 750 a pretense that they’d been freshly produced: Horst We-ber von Beeren, a later printer of Warhol’s, in a November 28, 2018, e-mail to the author.

83. 750 “or people won’t think it’s a Warhol”: Warhol, quoted by Alexander Heinrici, interview by author, October 26, 2017.

84. 750 Polaroid premiered a weird new camera: “See the New


NOTES 665

Polaroid Bigshot,” New York Times, May 10, 1971, advertisement.85. 750 vast majority of his portraits: Once Polaroid introduced

the motorized SX-70 camera, just months after the Big Shot, Warhol used both cameras during the same portrait shoots. See Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 371.

86. 750 friendly Polaroid staff: Georg Frei and Neil Printz, Paint-ings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Rai-sonné (New York: Phaidon, 2002), 60.

87. 750 “This is the cheapest model”: Warhol, in Joyce Haber, “What Andy Warhol Is All About,” Los Angeles Times, October 29, 1972.

88. 750 “Pictures are almost all face”: “It Takes Beautiful Close-up Color Portraits Because That’s All It Takes,” Ladies Home Journal (Novem-ber 1971): advertisement.

89. 751 headshot from far enough away: Shooting full-face por-traits with the Polaroid SX-70, or with the portrait adapters available for Warhol’s older Polaroid cameras, required you to come so close to your sitters that their faces ended up looking distorted.

90. 751 “dissolves the wrinkles”: Warhol, in Barry Blinderman, “Modern ‘Myths’: An Interview with Andy Warhol,” Arts Magazine (Oc-tober 1981). The quote is from the article as reprinted in I’ll Be Your Mir-ror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), loc. 2867, Kindle edition.

91. 751 “I had to take out the wattles”: Alexander Heinrici, inter-view by author, October 26, 2017.

92. 751 “Bruno is one of the best persons”: Warhol, in Andy War-hol and David Bourdon, typed notes from a telephone call (December 7, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

93. 751 went up to $15,000: George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 56.

94. 751 a self-portrait with scars: Andy Warhol, “Say Hello to the Dirty Half Dozen,” Esquire (May 1969): 144.

95. 752 eminent art worlders: In the fall of 1972, another show, in Corpus Christi, Texas, had also shown Warhol portraits, again mostly of acceptable art-world figures. And even then the actual human subjects of his canvases got downplayed. The paintings were presented instead as examples of the way certain 1960s art-stars liked to work in series, as though Warhol’s people-pictures were closer to abstraction than portrai-ture. (Although he can only have been overjoyed at being paired with


666 NOTES

his longtime heroes Jasper Johns and Frank Stella.) See David Whitney, Johns, Stella, Warhol: Works in Series (Corpus Christi: Art Museum of South Texas, 1972).

96. 752 “if someone asks us to do one”: Warhol, in Maggie Carlin, “Andy Warhol . . . Is He for Real?” The Pittsburgh Press Roto, October 22, 1972.

97. 752 only two portraits a year: Joyce Haber, “What Andy War-hol Is All About,” Los Angeles Times, October 29, 1972.

98. 752 forty-five portrait canvases: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 67.

99. 752 distinctly unattractive: On the “unattractive” portraits showing the dealer Alexander Iolas and the collector Marcia Weisman, which Warhol later agreed to repeat in a more flattering mode, see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 55, 69.

100. 752 “you give me the global rights”: Warhol, quoted by Sir Jackie Stewart, “Sports Stars’ Worst Financial Mistakes,” Telegraph, ac-cessed April 17, 2019, https://www.telegraph.co.uk/finance/personal-finance/fameandfortune/8611100/Sports-stars-worst-financial-mistakes.html.

101. 752 portrait commissions as business ventures: See Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 57, 61.

102. 752 public spread of his recent portraits: In May 1973, Irving Blum’s Ferus gallery had presented a much smaller show of portraits of three Los Angeles notables, all commissioned by Blum and including himself among those notables—see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), appendix 6, 528.

103. 753 called them cruel: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 182.

104. 753 “the head waiters”: Nelson Lyon, in Glenn O’Brien, “Fash-ioning ‘Interview,’” in The Warhol Look, ed. Mark Francis and Margery King (Pittsburgh: The Andy Warhol Museum, 1997), 236.

105. 753 “Andy was writhing in pain”: Diana Vreeland, in Bob Cola-cello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 3835, Kindle edition.

106. 753 reluctant to operate: Bob Colacello, Holy Terror: Andy War-


NOTES 667

hol Close Up (New York: Vintage Books, 1990), loc. 3831, Kindle edition.107. 754 “it’s so bad you don’t have to eat it”: Warhol, in Madeleine

Conway, Nancy Kirk, and Blaine Waller, eds., Museum of Modern Art Art-ists’ Cookbook: 155 Recipes, Conversations with Thirty Contemporary Painters and Sculptors (New York: Museum of Modern Art, 1977), 147.

108. 754 liver with kiwis: Warhol, in William Burroughs and Andy Warhol, notes from a conversation, January 28, 1980, TC578, AWMA.

109. 754 figs, hold the prosciutto: Andy Warhol and Anna Karina, notes from an interview, October 1973, box M88, AWMA.

110. 755 “million dollars”: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 322, Kindle edition.

111. 755 “musical horror film”: Jane Boyland, “So Now There’s a New Sexy Rexy,” New York Times, November 23, 1969.

112. 755 “a case of inbreeding”: Paul Morrissey, 1972 typescripts titled “Blood for Dracula” and “The Frankenstein Family,” box B11, AWMA.

113. 755 “abject lethargy”: Gene Siskel, “Frankenstein,” Chicago Tri-bune, June 17, 1974.

114. 756 “that will entertain millions”: Paul Morrissey, in Richard Boeth, “Andy Warhol Trick, Treat, or Trash?” Cosmopolitan (May 1971): 116.

115. 756 $10 million gross for Frankenstein: Paul Gardner, “War-hol—from Kinky Sex to Creepy Gothic,” New York Times, July 14, 1974.

116. 756 their share of the profits: The ongoing conflicts with Ponti are a regular subject in Warhol’s published diaries.

See also George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 59.

117. 756 complained to Warhol: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 3392, Kindle edi-tion.

118. 756 “the worst in the world”: Bob Collacello, in Andy War-hol and Anna Karina, notes from an interview, October 1973, box M88, AWMA.

119. 756 Warhol would sometimes garden: Warhol, unpublished di-ary entry for May 7, 1973, AWMA.

120. 756 Milan Correspondent: Masthead, Interview (December 1973).

121. 756 “I thought they were really intime”: Daniela Morera, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5777, Kindle edition.


668 NOTES

122. 757 reconciliation between Dallesandro and Morrissey: War-hol, unpublished diary entry for April 30, 1973, AWMA.

123. 757 “Then it doesn’t mean anything”: Warhol, unpublished di-ary entry for May 4, 1973, AWMA.

124. 757 “upper crust of Rome society”: Roman Polanksi, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5756, Kindle edition.

125. 757 Vittorio De Sica: Warhol, unpublished diary entry for May 4, 1973, AWMA.

126. 757 “Back to Villa. Worked”: Warhol, unpublished diary entry for May 3, 1973, AWMA.

127. 758 “a rich creep of undisclosed nationality”: Bob Colacello, “The Liz and Andy Show,” Vogue ( January 1, 1974): 102.

128. 758 would not have any lines to say: Andy Warhol and Anna Karina, notes from an interview, October 1973, box M88, AWMA.

129. 758 the stress of learning them: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 3500, Kindle edition.

130. 758 “uh, I could give you one”: Warhol, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 3587, Kindle edition. Colacello’s account, including its dialogue, is different in Bob Colacello, “The Liz and Andy Show,” Vogue ( January 1, 1974): 102.

131. 758 blamed his tape recorder: Bockris-Wiley [Victor Bockris and Andrew Wylie], “A Long Story about a Renaissance Man,” The Drum-mer, December 25, 1973, 6.

132. 758 never got to do that second portrait: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), 7229, Kin-dle edition.

133. 758 Taylor did wangle a copy: Liz Taylor, “Dearest Andy,” Letters of Note (blog), accessed April 17, 2019, http://www.lettersofnote.com/2011/10/dearest-andy.html.

CHAPTER 43

1. 761 “Oh, but why does it bother me so much?”: March 16, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11419, Kindle edition.

2. 761 One lunchtime in February 1974: Unless otherwise indi-cated, the account of this lunch is based on Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5022, Kindle edition. See also Alexis Baron de Redé, Alexis: The Memoirs of the Baron de


NOTES 669

Redé (Estate of the late Baron de Redé, 2005), 118.3. 761 the “von” and the title were fake: Stephen Birmingham,

“Baron Alexis de Rede: The Last Cavalier,” Town & Country (April 1974): 97.

4. 761 Warhol, underdressed in jeans: Alexis Baron de Redé, Alexis: The Memoirs of the Baron de Redé (Estate of the late Baron de Redé, 2005), 120.

5. 761 Madame de Rothschild: Alexis Baron de Redé, Alexis: The Memoirs of the Baron de Redé (Estate of the late Baron de Redé, 2005), 120.

6. 762 “Andy really liked Paris”: Jed Johnson, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5320, Kindle edition.

7. 762 apartment on the Seine’s Left Bank: The apartment is de-scribed as being jointly owned by Warhol and Frederick Hughes, and a recent acquisition in February 1974, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 4614, Kindle edi-tion. But Hughes himself insisted the apartment had only ever belonged to him—see Steven M. L. Aronson, “Andy’s Heir Apparent: The Fastidi-ous Fred Hughes,” Vanity Fair ( July 1987): 131. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5320, Kindle edition.

8. 762 “Make it a magazine for people like us”: Frederick Hughes, in George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 59. Rush seems to be quoting a statement by Hughes from around 1973.

9. 762 “more and more about Andy’s social life”: Bob Colacello, “Bob Colacello: Interview’s Editor Remembers the ‘Boss,’” in Unseen Warhol, ed. John T. O’Connor and Benjamin Liu (New York: Rizzoli, 1996), 84.

10. 762 “celebrity life in the seventies”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 3274, Kindle edition.

11. 762 “immediate intimacy with the celebrities”: Maura Moyni-han, in “Thirty Minutes of Fame: Viva and Maura Moynihan Remember Andy Warhol,” New York Woman (May 1987).

12. 762 they heard that Nelson Rockefeller: Bob Colacello, full un-published transcript for the video documentary “Andy Warhol: 15 Min-utes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

13. 763 “the offspring of wealthy families”: Benjamin Stein,


670 NOTES

“What Bianca Wore at Diana’s Party,” Wall Street Journal, January 31, 1975.

14. 763 “Out”: The first appearance of “Out” comes in the October 1974 Interview.

15. 763 “sometimes endearingly tacky”: Glenn O’Brien, “Fashion-ing ‘Interview,’” in The Warhol Look, ed. Mark Francis and Margery King (Pittsburgh: The Andy Warhol Museum, 1997), 242.

16. 763 “self-indulgence and we encourage that”: Bob Colacello, in George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 59. Rush seems to be quoting a statement by Colacello from around 1973.

17. 763 “having his nose up in the air”: Andy Warhol, notes from an interview conducted in Rome, 1973, TC88, AWMA.

18. 763 “The ‘social climbing’ thing just isn’t true”: March 16, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11419, Kindle edition.

19. 763 made the cover of New York magazine: “Social Climbing: How to Do It in the 80s,” New York (December 29, 1980): cover.

20. 764 “The bathroom was huge”: Warhol, unpublished diary en-try for May 12, 1973, AWMA.

21. 764 he remained an outsider: Jonas Mekas, A Dance with Fred Astaire (New York: Anthology Editions, 2017), 385.

22. 764 “Maura, it’s work”: Warhol, quoted by Maura Moynihan, in “Thirty Minutes of Fame: Viva and Maura Moynihan Remember Andy Warhol,” New York Woman (May 1987).

23. 764 friends and staffers asked the same question: See for ex-ample Warhol in Andy Warhol and David Bourdon, typed notes from a telephone call (August 13, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York. See also the actress Sylvia Miles in “Seeing Warhol: 14 Friends Remember Andy Warhol,” Interview (No-vember 2008), https://www.interviewmagazine.com/art/seeing-warhol.

“I realized from Andy that all the parties and all the going out was strictly for business,” said Miles.

24. 764 “you do something exactly wrong”: Andy Warhol and Pat Hackett, POPism: The Warhol ’60s (New York: Harcourt Brace Jovanovich, 1980), 362.

25. 764 “It was very successful”: Unpublished diary entry for May12, 1973, AWMA.

26. 765 “I made the mistake of saying”: Unpublished diary entries for July 24 through 26, 1972, AWMA.

27. 765 a friendly denial of his disability: Earl Wilson, “Would


NOTES 671

You Turn It Down Please,” Hartford Courant, October 11, 1972.28. 765 “new-rich”: Warhol, in “Artist-Huckster Sketches Custom-

ers and Wins Prize,” Pittsburgh Press, November 24, 1946. 29. 765 use the servants’ entrance: Teddy Edelman, in Catherine

Johnson, ed., Thank You Andy Warhol (New York: Glitterati, 2012), 33.30. 765 “people won’t let that go on”: Unpublished diary entries for

May 12 and 13, 1973, AWMA.31. 765 “I hate them”: Warhol, quoted by Walter Steding, interview

by author, January 13, 2015. 32. 765 “wonderful job of keeping the toilets clean”: Andy War-

hol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 100, Kindle edition.

33. 765 “People climbed him”: Henry Geldzahler, in Julia Markus, “Two Years after His Death, the Curtain Rises on Andy Warhol,” Smith-sonian Magazine (February 1989): 70.

34. 766 “At least I’m sure I’m really wrong”: Andy Warhol, “War-hol: On My Mind,” Vogue (February 1973): 165.

35. 766 “When you see these people with money”: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (December 7, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

36. 766 marketed by various art profiteers: See Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 04—The Andy War-hol Catalogue Raisonné (New York: Phaidon, 2002), 227, 291.

37. 766 “with a lot of white powder involved”: Alexander Heinrici, interview by author, October 26, 2017.

38. 767 “a nice image for his painting”: Yoko Ono and David Bour-don, typed notes from a telephone call (August 20, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

39. 767 “we don’t need anybody’s favors”: Yoko Ono and David Bourdon, typed notes from a telephone call (August 20, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

40. 767 “a million dollars a day”: Warhol, in Andy Warhol and Da-vid Bourdon, typed notes from a telephone call (June 5, 1971), David Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

41. 767 a measly $50,000: Warhol, in Andy Warhol and David Bour-don, typed notes from a telephone call (July 1971), David Bourdon Pa-pers, II.2, Museum of Modern Art Archives, New York.

42. 767 “At least you still have John”: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (July 1971), David


672 NOTES

Bourdon Papers, II.2, Museum of Modern Art Archives, New York.43. 767 “they’re really up there with you”: David Bourdon, in

Andy Warhol and David Bourdon, typed notes from a telephone call (July 1971), David Bourdon Papers, II.2, Museum of Modern Art Ar-chives, New York.

44. 768 “this boy, Halston”: Warhol, in Andy Warhol and David Bourdon, typed notes from a telephone call (November 23, 1971), David Bourdon papers, Archives of American Art, Smithsonian Institution.

45. 768 described as “friends”: Rubye Graham, “The Coty Award,” Philadelphia Inquirer, October 22, 1972.

46. 768 asked to cook breakfast onstage: Abigail Franzen-Shee-han, ed., Halston & Warhol: Silver & Suede (The Andy Warhol Museum, 2014), 119.

47. 768 Pat Ast, who jumped out of a cake: Rubye Graham, “The Coty Award,” Philadelphia Inquirer, October 22, 1972.

48. 768 “It’s trying to say what’s what”: Andy Warhol and Samuel Adams Green, recorded telephone conversation, n.d., Samuel Adams Green papers, Beinecke Rare Book and Manuscript Library, Yale Univer-sity.

49. 768 “produced shudders”: Bernadine Morris, “Capes Went over Big, but the Hoopla Fell Flat,” New York Times, October 21, 1972.

50. 768 managed not to be there: Warhol was attending the West Coast premiere of Paul Morrissey’s Heat—see Rubye Graham, “The Coty Award,” Philadelphia Inquirer, October 22, 1972.

51. 768 frankly conservative: Rubye Graham, “The Coty Award,” Philadelphia Inquirer, October 22, 1972.

52. 769 “a magazine for people like us”: George Rush, “Andy War-hol, Inc.,” Manhattan Inc. (October 1984): 59.

53. 769 “the new art now is the fashion shows”: Warhol, in Lana Jokel, Andy Warhol, documentary, 1972.

54. 769 Francesco Scavullo: See Glenn O’Brien, “Fashioning ‘Inter-view,’” in The Warhol Look, ed. Mark Francis and Margery King (Pitts-burgh: The Andy Warhol Museum, 1997), 238.

55. 769 “fashion editor”: Interview (September 1973): masthead.56. 769 Advertising space doubled: Bob Colacello, Holy Terror:

Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5841, Kindle edition.

57. 769 $1,000: Peter Brant to Andy Warhol, September 5, 1975, mis-celaneous box 60, AWMA.

58. 769 “The Beautiful People”: Benjamin Stein, “What Bianca


NOTES 673

Wore at Diana’s Party,” Wall Street Journal, January 31, 1975. 59. 769 offer the magazine’s cover: Glenn O’Brien, “Fashioning ‘In-

terview,’” in The Warhol Look, ed. Mark Francis and Margery King (Pitts-burgh: The Andy Warhol Museum, 1997), 248.

60. 769 “gave away at least ten covers”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 8650, Kindle edition.

61. 770 “I introduced him to so many uptown people”: Halston, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 392.

62. 770 “sleep in any bed”: Warhol, quoted in Richard Turley, inter-view by author, November 9, 2018.

63. 770 “I talked Liza into having her portrait done”: Halston, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 393.

In fact, Warhol’s unpublished diaries (AWMA) show him attending a party for Liza Minelli in February 1972 and then dining with her again later that month, well before he and Halston had become close.

64. 770 “It’s just all so faggy”: Brigid Berlin, in Andy Warhol, Fac-tory Diary: Brigid Showing Polaroids of Andy, Oct. 25, 1971, videotape, 1971.

65. 770 made to wear black so as not to distract him: Lesley Fro-wick, “Memories of Uncle Halston,” in Halston & Warhol: Silver & Suede, ed. Abigail Franzen-Sheehan (Pittsburgh: The Andy Warhol Museum, 2014), 14.

66. 770 “deviation from the norm enraged him”: Corinne La-balme, “Victor Hugo and Halston: Fashion under Glass . . . Venezuelan Style,” in Halston & Warhol: Silver & Suede, ed. Abigail Franzen-Sheehan (Pittsburgh: The Andy Warhol Museum, 2014), 30.

67. 771 “homo films”: Bruce Normale, “Coming: Homosexual Ac-tion Movies,” Confidential (February 1968): 51.

68. 771 “very flamboyant, very funny”: Bob Colacello, on a No-vember 16, 2018, panel at the Whitney Museum of American Art, New York.

69. 771 “a dish of vulgarity”: Alan Browne, “Gasp! It’s the Grape,” Philadelphia Gay News, January 1977, 21.

70. 771 Polaroid and Sony stolen: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5010, Kindle edi-tion.

71. 771 run by the mob: Selwyn Raab and Nathaniel Sheppard Jr., “Crime Group Leader Said to Rule Many Bar Businesses in Mid Town,”


674 NOTES

New York Times, August 1, 1977.72. 771 once brought Anselmino: Bob Colacello, in John T.

O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 92.

73. 772 “Andy’s spirit of research”: Luciano Anselmino to Freder-ick Hughes, April 22, 1974, quoted in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 04—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 24.

74. 772 “we’ve been using real ones a lot again”: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 55, Kindle edition.

75. 772 “We can put a wig on Bob”: Warhol, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 4995, Kindle edition.

76. 772 payment for the Man Ray portraits: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 372.

77. 773 almost a million dollars: Luciano Anselmino for Galeria il Fauno, agreement with Warhol, October 23, 1974, AWMA.

Despite the October date of the agreement, evidence shows that Warhol has already begun working on the paintings—see Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 04—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 30.

78. 773 to find transvestites to model: Some trangendered people were recruited for Warhol in a single-room occupancy hotel where many lived, according to Corey Tippin, interview by author, August 19, 2018. Others were recruited on the far western streets of Greenwich Vil-lage—see Ronnie Cutrone in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 68.

79. 773 high-toned drag clubs: Georg Frei and Neil Printz, Paint-ings and Sculpture 1964–1969: Warhol 04—The Andy Warhol Catalogue Rai-sonné (New York: Phaidon, 2002), 26.

80. 773 twenty-five times what an artist’s model might get: “The State,” Los Angeles Times, October 1, 1976.

81. 773 “I do a lot more for fifty bucks”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5146, Kindle edition.

82. 773 268 canvases: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 04—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 23.


NOTES 675

83. 774 Ted Carey trying on a dress: Emile De Antonio, notes from an interview, September 27, 1976, box M88, AWMA.

84. 774 individuals whose full stories he wanted to tell: See Glenn Ligon, “Pay It No Mind,” in Andy Warhol—From A to B and Back Again, ed. Donna De Salvo (London and New York: Yale University Press and Whit-ney Museum, 2018), 78.

85. 774 gesture of solidarity: Jonathan Flatley, “Just Alike,” lecture delivered March 2, 2019, on the panel “Andy Warhol After Pop,” for the Whitney Museum of American Art.

86. 775 portraits as Abstract Expressionist paintings: “Andy War-hol’s Interview,” Unmuzzled Ox 4, no. 2 (1976): 44.

87. 775 since leaving Pittsburgh: Gerald Stern, a Pittsburgh ac-quaintance, said that Warhol, on his way to boarding the train for New York in 1949, gave him a portrait he was carrying of an older woman who seemed to be Julia Warhola. It has since been lost. See Gerald Stern, What I Can’t Bear Losing (New York: Norton, 2004), 159.

88. 775 “Yeah—Yeah, I did”: Warhol, in Charles Ruas, “Andy War-hol & Bob Colacello: The Lost Fashion Interview,” Web archive (WBAI, 1979), http://clocktower.org/show/andy-warhol-bob-colacello-the-lost-fashion-interview.

89. 776 “He reads books that closely?”: Steven M. L. Aronson, June 20, 2018, e-mail to the author.

90. 776 “a piece of social history”: John Lahr, “It’s Delimit, It’s De-luxe, It’s de-Lovely,” New York Times, December 19, 1971.

91. 776 “the beauty of the dollar”: “THE Philosophy of Andy War-hol” (typescript, n.d.), box B186, AWMA. This was another document inventoried as having been in Warhol’s bedroom desk when he died.

92. 776 contract with Bob Colacello: “The Philosophies of Andy Warhol,” agreement between Andy Warhol and Bob Colacello, May 20, 1974, TC77, AWMA.

93. 776 Pat Hackett, who ended up producing two-thirds of the text: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vin-tage Books, 1990), loc. 6859, Kindle edition.

In a March 1, 2019, lecture for the “Andy Warhol after Pop” panel for the Whitney Museum of American Art in New York, the scholar Me-lissa Ragona presented results from her study of Warhol’s audiotapes that show examples of notable passages in THE Philosophy that originated in statements made by Hackett, not Warhol.

94. 777 “with amazing clarity of vision sometimes”: Bob Cola-cello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990),


676 NOTES

loc. 4793, Kindle edition.95. 777 as many easy laughs as a Neil Simon play: “Andy Warhol’s

Interview,” Unmuzzled Ox 4, no. 2 (1976): 43.96. 777 origins in tapes of Warhol talking: Pat Hackett, “Introduc-

tion,” in The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 183, Kindle edition.

97. 777 “Pat would take it and embroider it”: Steven M. L. Aron-son, in Lucy Mulroney, Andy Warhol, Publisher (Chicago: University of Chicago Press, 2018), 125.

98. 777 called simply The: The title is given as THE in Steven M. L. Aronson to Andy Warhol, November 10, 1974, AWMA. The book is still being referred to by the definite article alone in William Jovanovich to Andy Warhol, February 26, 1975, TC113, AWMA.

99. 777 “But, commercially, I can’t seem to make it”: Warhol, in “Andy Warhol’s Interview,” Unmuzzled Ox 4, no. 2 (1976): 43.

100. 778 “publicity—promotion—selling campaign”: William Jo-vanovich to Andy Warhol, February 26, 1975, TC113, AWMA.

101. 778 to sign everything from a woman’s crotch: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 6872, Kindle edition.

102. 778 “a world-famous figure, but you couldn’t use him”: Steven M. L. Aronson, interview by author, February 6, 2018.

103. 778 visit to the Anvil: Steven M. L. Aronson, interview by au-thor, February 6, 2018.

104. 778 “He just wasn’t commercial”: Steven M. L. Aronson, inter-view by author, February 6, 2018.

105. 778 “books were very, very important to him”: Steven M. L. Aronson, interview by author, February 6, 2018.

106. 779 “I never had an author who was that obsessive”: Steven M. L. Aronson, interview by author, February 6, 2018.

107. 779 not one trace of worthwhile narrative: Steven M. L. Aron-son, interview by author, February 6, 2018.

108. 779 “I had the distressing distinction”: Steven M. L. Aronson, June 20, 2018, e-mail to the author.

109. 779 Warhol was always a fine fresser: Steven M. L. Aronson, interview by author, February 6, 2018.

110. 779 “write some wild biography”: Warhol, quoted in Steven M. L. Aronson, June 20, 2018, e-mail to the author.

111. 779 “I never wrote it, never read it”: Ultra Violet, Famous for 15 Minutes: My Years with Andy Warhol (Open Road Media, 2015), 242, Kindle


NOTES 677

edition. 112. 779 major edits by Aronson: Steven M. L. Aronson to Bob Cola-

cello, October 12, 1977, TC407, AWMA. See also Steven M. L. Aronson to Andy Warhol, August 28, 1978, TC246, AWMA.

113. 780 “my words in your mouth”: Emile De Antonio to Andy Warhol, July 20, 1979, TC236, AWMA.

114. 780 passages depended, sometimes verbatim, on the boxes of clippings: Pat Hackett, July 31, 2016, e-mail to the author.

Several narratives and facts in the book closely echo published sources from the era.

115. 780 no payoff, in terms of either sales or elite appeal: Steven M. L. Aronson, interview by author, February 6, 2018.

CHAPTER 44

1. 783 I don’t see how anybody could live with Andy Warhol!”: Suzie Frankfurt, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6195, Kindle edition.

2. 783 twenty feet wide: Andy Warhol to Richard J. Purcell, Janu-ary 25, 1974, box B13, AWMA.

3. 783 Built in 1902: For details on the house and its history see Tom Miller, “The J. A. Murray House—No. 57 E. 66th Street,” Dayto-nian in Manhattan (blog), January 31, 2013, http://daytoninmanhattan.blogspot.com/2013/01/the-j-murray-house-no-57-e-66th-street.html.

The house is sometimes described as having six stories, but that’s counting basement and dormer levels.

4. 783 $50,000 had been actually lodged in the house: Joseph F. Driscoll, “Hauptmann Cries Liar at Ransom Bill Witness,” New York Her-ald Tribune, January 19, 1935.

5. 783 “alliance between two leading families”: “Earl of Moray’s Son Is to Marry Barbara Murray: J. Archibald Murray’s Daughter En-gaged in Paris to Lord Doune: Special Cable to New York Herald Tri-bune,” New York Herald Tribune, May 20, 1924.

The Murrays were already living in the house in 1902, the year it was built—see “Died,” New York Times, October 19, 1902.

6. 783 “somebody’s WASP granny”: Warhol, in John Richardson, “Warhol the Collector,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np.

7. 783 deluxe modern home: Kandy Stroud, “Eye,” Women’s Wear Daily, March 29, 1974. Stroud specifies that Halston had moved into his new Paul Rudolph house by early March 1974, after Warhol had bought


678 NOTES

his house on Sixty-Sixth Street but before he’d moved in. 8. 784 a bigger canvas to work on: Jay Johnson, interview by au-

thor, July 23, 2018.9. 784 touring dozens of properties: Jed Johnson, folder of anno-

tated real-estate listings from October 1973, box B564, AWMA. 10. 784 plumbing was leaking: Charles J. Hassel and Son, Inc.,

Plumbing and Heating, invoice to Warhol, January 21, 1975, document box 184, AWMA.

11. 784 $310,000 to close the deal: Andy Warhol to Richard J. Pur-cell, January 25, 1974, box B13, AWMA.

12. 784 a bargain price: Frederick Hughes, interview by David Bourdon, typed notes, July 14, 1987, David Bourdon papers, Archives of American Art, Smithsonian Institution. Hughes incorrectly gives the price as $280,000, which is contradicted by several other sources and re-cords.

13. 784 $70,000 worth of renovations: Extensive documentation survives in the Warhol archives for the renovation of the Sixty-Sixth Street house and Warhol and Johnson’s move into it.

14. 784 “he’d only just begun to shop”: Jed Johnson, “Inconspicu-ous Consumption,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np.

15. 784 straight to the top of the new house: Jed Johnson, “Incon-spicuous Consumption,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np.

16. 784 “only time I ever saw him throw anything away”: Jed Johnson, “Inconspicuous Consumption,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np.

17. 785 “antiques made him feel rich”: Jed Johnson, in Victor Bock-ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6187, Kindle edition.

18. 785 “Andy was very active”: Vincent Fremont, in Victor Bock-ris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6177, Kindle edition.

19. 785 “Nothing modern”: Leo Sans, in Chris King, “In This Mark Twain Adventure, a Contractor Crafts the Script,” New York Times, March 18, 2001.

20. 785 old four-poster: Margaret M. Jensen, ed., The Andy Warhol Collection, April 23–May 3, 1988, vol. 1–6 (New York: Sotheby’s, 1988), lot #3193.


NOTES 679

21. 785 art by Lichtenstein, Johns, Twombly: See Jay Johnson and Paul Goldberger, Jed Johnson: Opulent Restraint, ed. Tom Cashin and Temo Callahan (New York: Rizzoli, 2005), 26.

22. 785 New York apartment owned by Pierre Bergé: Jay Johnson and Paul Goldberger, Jed Johnson: Opulent Restraint, ed. Tom Cashin and Temo Callahan (New York: Rizzoli, 2005), 32.

23. 786 some links to a nascent Postmodernism: Alan Wanzen-berg, Jed Johnson’s later business partner and spouse, interview by au-thor, January 5, 2019.

24. 786 “He was hard to please”: Jed Johnson, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6371, 6187, Kindle edition.

25. 786 one place where he could be alone: Jed Johnson, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6192, Kindle edition.

26. 787 “Andy was completely difficult”: Suzie Frankfurt, in Vic-tor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6195, Kindle edition.

27. 787 “lock up, and go to bed”: Jed Johnson, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6200, Kindle edition.

28. 787 an ancient porcelain sink: Peter P. Marino, architect, to Louis E. Lee Co., construction, letter with plans, April 25, 1974, AWMA.

29. 787 he would entertain there: Alan Wanzenberg, Jed Johnson’s later business partner and spouse, interview by author, January 5, 2019.

30. 787 would cook marmalade: Fernanda Eberstadt, June 16, 2016, e-mail to the author.

31. 787 finished moving house, in August of ’74: Andy Warhol, Factory Diary: Factory Moving, videotape, August 21, 1974.

32. 787 rent increase: David Bourdon, Warhol (New York: Abrams, 1989), 324.

33. 787 “We needed more space”: Ronnie Cutrone, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 289.

34. 787 buy the entire Union Building: Vincent Fremont, inter-view by author, December 18, 2018. See also Warhol, unpublished diary entry for May 17, 1973, AWMA.

35. 787 12,500 square feet of space on offer: Vincent Fremont, in-terview by author, December 18, 2018.

An area of 12,000 square feet is given by Ronnie Cutrone in Patrick


680 NOTES

S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 289.

36. 787 not thrilled at the thought of Warhol: Vincent Fremont, interview by author, December 18, 2018.

Fremont said the property was controlled by a rising real-estate bro-ker named Edward S. Gordon, who as it happened was the brother-in-law of Warhol’s painter-friend Larry Rivers. When Hughes and Fremont went to his office to try to overcome his resistance, they noticed a Rivers on Gordon’s wall and that broke the ice and led to an agreement.

37. 788 carry some of their boxes: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5275, Kindle edi-tion.

38. 788 “They charge by the hour”:Warhol, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5293, Kindle edition.

39. 788 wood-paneled boardroom: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5313, Kindle edi-tion.

S&H had not owned the building since 1944, and for many years be-fore that had been renting it to the clothing firm of Butler Brothers, who might have been responsible for the boardroom paneling—see “Real Es-tate Notes,” New York Times, December 23, 1944.

40. 788 $25,000 cost of a substantial renovation: An August 20, 1974, estimate for the renovation (Frederick Hughes papers, AWMA) came to more than $25,000.

41. 788 new surveillance camera: Sperry-Vision Corp., invoice to Warhol, December 10, 1974, TC162, AWMA.

42. 788 the way it was installed: Fernanda Eberstadt, June 16, 2016, e-mail to the author.

43. 788 “surveillance camera”: Keith Sonnier, interview by author, February 17, 2013. Sonnier’s 1975 piece, titled Quad Scan, survives in the collection of The Andy Warhol Museum. Warhol received the piece in exchange for painting a posthumous portrait of Sonnier’s friend Nor-man Fisher, a work completed some years after Sonnier’s Quad Scan. The Sonnier is assumed to have arrived at Warhol’s studio in the mid-1970s in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 331.

For more on the Sonnier piece see www.galeriemagazine.com/keith-sonnier-us-exhibition, accessed November 6, 2018.

Colacello remembered the Sonnier as having been installed in the


NOTES 681

first Union Square studio—see Bob Colacello, Holy Terror: Andy War-hol Close Up (New York: Vintage Books, 1990), loc. 1816, Kindle edition. But Vincent Fremont, speaking on a November 16, 2018, panel at the Whitney Museum of American Art, asserted that it was definitely at 860 Broadway, which is confirmed by the work’s 1975 date.

44. 788 refused to pay for the armed guard: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5248, Kindle edition.

45. 788 “start a spontaneous combustion”: October 15, 1977, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 2457, Kindle edition.

46. 789 one last check: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 6024, Kindle edition. See also Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 5973, Kindle edition.

47. 789 “in case the elevator doors stick”: August 31, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13570, Kindle edition.

48. 789 “grumpy, penny-pinching and suspicious”: Fernanda Eb-erstadt, June 16, 2016, e-mail to the author.

49. 789 “no hot water, just cold water”: Paige Powell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

50. 789 new workplace: The account that follows of the studio at 860 Broadway is based on Vincent Fremont, interview by author, De-cember 18, 2018. Also consulted were surviving plans and videos of the space (AWMA), as well as Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), Kindle edition.

51. 789 mostly worked at home: Pat Hackett, interview by author, December 28, 2018.

52. 789 his helpers’ spaces: Vincent Fremont, interview by author, December 18, 2018. See also Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5326, Kindle edition.

53. 789 drywall’s spackled joints: Joseph Freeman, interview by author, June 7, 2018.

54. 789 “plaster on the nails”: Warhol, in a transcript provided with David Bailey, Bailey on Andy Warhol, DVD (London: Network, 2006).

55. 789 two big books: Walter Steding, oral history, interview by Matt Wrbican, audiocassette, June 27, 2000, AWMA.

56. 789 in one of the room’s big windows: Bob Colacello, Holy Ter-ror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5271,


682 NOTES

Kindle edition.57. 790 “because of his gallbladder”: Vincent Fremont and Brigid

Berlin, “Factory Workers Warholites Remember: Brigid Berlin,” Inter-view (November 30, 2008), https://www.interviewmagazine.com/cul-ture/factory-workers-warholites-remember-brigid-berlin.

58. 790 Fried chicken: Warhol, unpublished diary entry for July 13, 1973, AWMA.

59. 790 a gesture of generosity to fans: Walter Steding, oral his-tory, interview by Matt Wrbican, audiocassette, June 27, 2000, AWMA.

60. 790 Vincent Fremont had an office: Vincent Fremont, inter-view by author, December 18, 2018.

61. 790 “Andy just liked sharing”: Vincent Fremont, interview by author, December 18, 2018.

62. 790 “the whole ‘Factory Films’ thing just stopped”: Pat Hack-ett, December 19, 2018, e-mail to the author.

63. 790 “There were two Andys”: Walter Steding, oral history, in-terview by Matt Wrbican, audiocassette, June 27, 2000, AWMA.

64. 791 stretched the storage: Vincent Fremont, interview by au-thor, December 18, 2018.

65. 791 “the same thing”: Andy Warhol and Michael Kurcfeld, in-terview for publication in New West magazine, audiocassette, 1978, Mi-chael Kurcfeld collection, planned gift to the Archives of American Art, Smithsonian Institution.

66. 791 “they’d most like to meet”: Brigid Berlin, in Pat Hackett, December 19, 2018, e-mail to the author.

67. 791 Berlin, now receiving a salary: Brigid Berlin said that she began working for Warhol in 1975—see Berlin, quoted from Andy Warhol’s Interview, November, 2001, in Brigid Berlin, “Interview, Inter-view,” Brigid Berlin (blog), February 5, 2009, http://brigidberlin.blogspot.com/2009/02/interview-interview.html.

68. 791 “If a tank had rolled by”:Vincent Fremont, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 77.

69. 791 some transcribing and typing: Brigid Berlin, quoted from Andy Warhol’s Interview, November, 2001, in Brigid Berlin, “Interview, Interview,” Brigid Berlin (blog), February 5, 2009, http://brigidberlin.blogspot.com/2009/02/interview-interview.html.

70. 791 “She acted like his wife”: Vincent Fremont, oral history, interview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.


NOTES 683

71. 792 “And every year I left five minutes earlier”: Brigid Ber-lin, “Interview, Interview,” Brigid Berlin (blog), February 5, 2009, http://brigidberlin.blogspot.com/2009/02/interview-interview.html.

72. 792 Warhol kept hidden in an old cookie tin: Matt Wrbican, “Fabulous Moolah: Andy Warhol and Money,” in Andy Warhol Enterprises, ed. Allison Unruh (Ostfildern: Hatje Cantz, 2010), 120.

73. 792 arrived to unlock at 8:55: Vincent Fremont and Brigid Ber-lin, “Factory Workers Warholites Remember: Brigid Berlin,” Interview (November 30, 2008), https://www.interviewmagazine.com/culture/factory-workers-warholites-remember-brigid-berlin.

74. 792 “God help us if we threw out a coffee can”: Brigid Berlin, in Vincent Fremont and Brigid Berlin, “Factory Workers Warholites Re-member: Brigid Berlin,” Interview (November 30, 2008), https://www.interviewmagazine.com/culture/factory-workers-warholites-remem-ber-brigid-berlin.

75. 792 “These could be time capsules”: Vincent Fremont, inter-view by author, December 18, 2018.

See also Jed Johnson, interview by David Bourdon, typed notes, November 30, 1988, David Bourdon papers, Archives of American Art, Smithsonian Institution.

76. 792 storage racks in the new offices: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5331, Kindle edition.

The shelving diagram, prepared circa 1978, is listed in some archives inventories but as of 2017 had not recently been seen.


78. 793 a McDonald’s had opened: The restaurant is mentioned in “McDonald’s Workers Discuss Union Hopes,” Daily World, October 4, 1974. It appears for the first time in the New York telephone directory in the 1975–1976 edition.

79. 793 “robberies on pay day”: Warhol, unpublished diary entry for August 13, 1973, AWMA.

80. 793 “little plastic stirrers for the coffee”: Brigid Berlin, in Sharmila Venkatasubban, “Bosom Buddies,” CarnegieMuseums.org (Spring 2009), https://carnegiemuseums.org/magazine-archive/2009/spring/article-137.html.

81. 794 “the late Andy Warhol”: Chuck Klein, of the Design Insti-tute of America, to Frederick Hughes, n.d., TC84, AWMA.

82. 794 “this goes here, this goes there”: Benjamin Liu, in Simon


684 NOTES

Elmes, “The Secrets of Andy Warhol’s Time Capsules,” BBC News, Sep-tember 10, 2014, https://www.bbc.com/news/magazine-29125003.

83. 794 signed Shirley Temple photo: The Shirley Temple photo is in Time Capsule 61. The photographic prints of the images that had ap-peared in The Daily Mail the day after Warhol was shot are in Time Capsule 21.

84. 794 “you really don’t want to give up”: September 30, 1986, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 19657, Kindle edition. See also the entry for May 24, 1984.

85. 794 an original Warhol drawing: Ronnie Cutrone, in Patrick S. Smith, Andy Warhol’s Art and Films (Ann Arbor: UMI Research Press, 1986), 288.

86. 794 a Godiva chocolate: Jennifer Chaitman, in Ann Curran, “CMU’s Other Andy,” Carnegie-Mellon Magazine (Spring 1985): 13.

87. 794 “something great in each one”: February 15, 1978, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 3220, Kindle edition.

88. 795 a compulsive archivist: John Giorno, speaking at a June 21, 2017, press conference for the exhibition “Ugo Rondinone: I ♥ John Giorno.”

89. 796 a Parisian lad, a Venetian lady: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5275, Kindle edition.

90. 796 “detachment that appealed to him”: Fernanda Eberstadt, June 16, 2016, e-mail to the author.

91. 796 “Old families, old money”: Fernanda Eberstadt, June 16, 2016, e-mail to the author.

92. 796 fund-raiser for a Democratic politician: The photographs, from a fundraiser for gubernatorial candidate Hugh Carey, were adver-tised for sale at ebay.com on March 9, 2018.

93. 796 “A very courtly relationship”: Anne Lambton, in Frank Di-Giacomo, “A Farewell to Dapper Fred Hughes: He Oversaw Andy’s Factory Empire,” Observer, January 29, 2001, https://observer.com/2001/01/a-farewell-to-dapper-fred-hughes-he-oversaw-andys-factory-empire/.

94. 797 “semi-romance”: Fernanda Eberstadt, June 16, 2016, e-mail to the author.

95. 797 “having this hold over him”: Fernanda Eberstadt, June 16, 2016, e-mail to the author.

96. 797 moved into the old town house: Hughes was still a tenant


NOTES 685

in October 1984—see George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 59. He later acquired the building from Warhol’s estate.

97. 797 $60,000 mortgage: First Federal Savings Bank to Andy War-hol Enterprises, August 1974, TC77, AWMA.

98. 797 extensive alterations: Peter Marino, plans for alterations to 1342 Lexington Avenue, October 7, 1974, AWMA.

99. 797 “daily guest log”: Fred Hurwitz, Chartered Public Accoun-tant, to Andy Warhol, March 1, 1976, AWMA.

100. 797 New York crash pad: Vincent Fremont, in an audio track included in Fifteen Minutes: Homage to Andy Warhol, CD (Wu-Shan Inc./Sony Music Entertainment, 2011).

101. 797 “that’s no way to treat anybody”: Diana Vreeland and Andy Warhol, notes from a conversation, September 1976, TC78, AWMA.

102. 798 “He’s still a great person”: See Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 11032, Kindle edition.

103. 798 “conventional or grand”: Frederick Hughes, “Preface,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np.

104. 798 almost $30,000: Peter M. Ginsburg & Levy, Inc., to Andy Warhol, December 15, 1975, TC112, AWMA.

105. 798 the Street of Dreams: Bob Colacello, Holy Terror: Andy War-hol Close Up (New York: Vintage Books, 1990), loc. 5484, Kindle edition.

106. 798 “secret little dealers on the inside”: Joan Agajanian Quinn, interview by author, July 31, 2018.

107. 798 “bothered to buy twenty little things”: Jed Johnson, “In-conspicuous Consumption,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np.

108. 799 shopping had and has a different meaning: See Jonathan Flatley, “Like: Collecting and Collectivity,” October, no. 132 (Spring 2010): 71–98.

109. 799 “it’s hard to do anything”: Warhol, in Fiona Russell Pow-ell, “The Face Interview Interview,” The Face (March 1985): 51.

110. 799 a handful of loose diamonds: Nick Rhodes, in “Seeing War-hol: 14 Friends Remember Andy Warhol,” Interview (November 2008), https://www.interviewmagazine.com/art/seeing-warhol.

111. 799 “Oh it’s not, it’s nothing”: Warhol, in Jed Johnson, “Incon-spicuous Consumption,” in The Andy Warhol Collection, April 23–May 3, 1988, ed. Margaret M. Jensen, vol. 5 (New York: Sotheby’s, 1988), np.

112. 799 “creepy”: Henry Geldzahler, in Michel Auder, Chelsea Girls


686 NOTES

with Andy Warhol, experimental film, 1976. 113. 799 hide jewelry under their bed: Jed Johnson, cited by Joan

Agajanian Quinn, interview by author, July 31, 2018.114. 799 getting him to buy: Bob Colacello, Holy Terror: Andy Warhol

Close Up (New York: Vintage Books, 1990), loc. 8903, Kindle edition. See also the June 25, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13236, Kindle edition.

115. 799 “First I’ll take a picture—a still life”: Paige Powell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

116. 800 keep old batteries: Bob Colacello, in “E! True Hollywood Story: Andy Warhol,” television broadcast, March 1998.

117. 800 “go back to that store and buy the basket”: Andy Warhol, “Warhol: On My Mind,” Vogue (February 1973): 164.

118. 800 three or four in one week: Vincent Fremont, oral history, interview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

119. 800 “Eurotrash princelings”: Fernanda Eberstadt, June 16, 2016, e-mail to the author.

120. 800 hungry creatives: Tom Cashin and Jay Johnson, interview by author, July 23, 2018. Cashin and Johnson said they would swing by to cadge lunch when they could.

121. 800 “giddy tangle of work and play”: Bob Colacello, Holy Ter-ror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5795, Kindle edition.

122. 800 Paloma Picasso and Georgia O’Keeffe: Vincent Fremont, oral history, interview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

123. 800 might hide for most of a lunch: Fernanda Eberstadt, June 16, 2016, e-mail to the author.

124. 800 popping into the boardroom: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 8173, Kindle edition.

125. 801 “international status symbol”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 5801, Kindle edition.

126. 801 became serious drinkers: Victor Bockris, Warhol: The Biog-raphy (Cambridge, MA: Vintage Books, 2003), loc. 6671, Kindle edition.

127. 801 “drink vodka and do coke”: Suzie Frankfurt, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6687, Kindle edition.


NOTES 687

CHAPTER 45

1. 803 “I wanted to just rush home and paint”: May 25, 1977, en-try in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 1523, Kindle edition.

2. 803 five-pound tins: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 6372, Kindle edition.

3. 803 his official residence: “Postings: Iran’s U.N. Mission; an Up-dating,” New York Times, December 23, 1990.

4. 804 Francois Truffaut: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 6372, Kindle edition.

5. 804 a three-hour movie: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 6179, Kindle edition.

6. 804 followed the Watergate scandal: Records of any number of Warhol’s interviews and conversations from the early 1970s show him discussing Watergate.

7. 804 president’s 121 guests: “Guests at the Dinner,” Washington Post, May 16, 1975.

8. 804 Iranian students protesting: Martha M. Hamilton, “Presi-dent Greets Shah as 300 Picket in Park,” Washington Post, May 16, 1975.

9. 805 “before something happens”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 6378, Kindle edition.

10. 805 “dozen schoolgirls singing songs”: Bob Colacello, inter-view by Marco Werman, radio broadcast on Public Radio International, November 4, 2013.

11. 805 caviar at $20 a pound: Bob Colacello, Holy Terror: Andy War-hol Close Up (New York: Vintage Books, 1990), loc. 7398, Kindle edition.

12. 805 “Persian carpets by their pools”: Dan Washburn, “Inter-view: What It Was Like to Travel to Iran With Andy Warhol in 1976,” Asia Society, accessed April 18, 2019, https://asiasociety.org/blog/asia/interview-what-it-was-travel-iran-andy-warhol-1976.

13. 805 “All the writing is great, even the signs”: Warhol, in Glenn O’Brien, “Interview: Andy Warhol,” High Times (August 1977): 22.

14. 805 squinting in the glare: Dan Washburn, “Interview: What It Was Like to Travel to Iran With Andy Warhol in 1976,” Asia Society, accessed April 18, 2019, https://asiasociety.org/blog/asia/interview-what-it-was-travel-iran-andy-warhol-1976.

15. 805 “afraid his hotel room was bugged”: Bob Colacello, inter-view by Marco Werman, radio broadcast on Public Radio International, November 4, 2013.


688 NOTES

16. 805 “source of contamination”: Fereydoun Hoveyda, The Fall of the Shah (New York: Wyndham Books, 1980), 64.

17. 806 “lipstick trick”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 8040, Kindle edition.

18. 806 face of Chairman Mao: The Andy Warhol Museum does own a test image in which Warhol printed the face of the Shah’s wife onto an image of the Shah’s own face. Thanks to Eric Shiner for this information.

19. 806 $200,000 for a dozen portraits: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 7451, Kindle edition.

20. 806 eight portraits of the Shah and his sister: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05A—The Andy War-hol Catalogue Raisonné (New York: Phaidon, 2002), 274.

21. 806 “Caviar and Torture”: Alexander Cockburn, James Ridge-way, and Jan Albert, “Beautiful Butchers: The Shah Serves up Caviar and Torture,” Village Voice, November 14, 1977.

22. 806 Warhol got “pied”: “Shah Buys Congress,” Yipster Times (October 1978): 2.

23. 806 never even got paid: Bob Colacello, Holy Terror: Andy War-hol Close Up (New York: Vintage Books, 1990), loc. 9437, Kindle edition.

24. 806 “he manipulated Andy into those situations”: David Bour-don, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6446, Kindle edition.

25. 806 sent Warhol to Jimmy Carter’s hometown: “Jimmy Carter,” New York Times Magazine (September 26, 1976): cover. See also Linda Charlton, “Carter Pays Debt and Keeps Profile Low,” New York Times, August 20, 1976.

26. 807 “I took some Polaroids of Jimmy”: Andy Warhol, Andy Warhol’s Exposures, ed. Bob Colacello (London: Arrow Books, 1980), 96. On the ghostwriting of Exposures, see Bob Colacello in Bob Colacello, Brigid Berlin & Vincent Fremont on Andy Warhol, Web video (Strand Bookstore, New York, 2014), https://www.youtube.com/watch?v=i17g3wPDfa4.

27. 807 paid $15,000 each: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05A—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 289.

28. 808 “the blink of a shrewd eye”: Brian Wallworth, “Under-tones at an Opening,” Arts Review ( July 7, 1978): 341.

29. 808 named James Mayor: James Mayor’s gallery, founded by his


NOTES 689

father, had given Warhol’s hero Ben Shahn his first commercial survey, back in 1947—see “Ben Shahn,” Museum of Modern Art Bulletin, Summer 1947, 5.

30. 808 “It was cash and carry”: James Mayor, interview by author, October 20, 2014.

31. 808 “to pick up some cash”: James Mayor, interview by author, October 20, 2014.

32. 808 “People who liked Jack Nicklaus”: Vincent Fremont, at a May 6, 2016, book launch in New York for Gilda Williams and Andy Warhol, ON & BY Andy Warhol (London; Cambridge, MA: Whitechapel Gallery and The MIT Press, 2016).

33. 808 didn’t manage to sell a single one: Fredericka Hunter, in-terview by author, July 8, 2018. See also “Warhol Snaps $25,000 Portraits of 10 Superjocks, but so Far like Hotcakes, They Ain’t,” People ( January 9, 1978): 14.

34. 808 $190,000 for fully eighteen paintings: Sid R. Bass to Andy Warhol, August 5, 1981, TC552, AWMA.

35. 809 “stop doing society portraits”: May 25, 1977, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 1523, Kindle edition.

36. 809 “not really any ideas”: Warhol, in Glenn O’Brien, “Inter-view: Andy Warhol,” High Times (August 1977): 22.

37. 809 a new sitter every other week: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 13.

38. 809 “her favorite colors are pink-red”: Hete [Hünermann?], of Galerie Denise René Hans Meyer, to Andy Warhol, February 23, 1982, TC566, AWMA.

39. 809 “more than one primary color”: John C. Kobal to Andy Warhol, April 27, 1986, TC531, AWMA. Kobal, a dealer in vintage pho-tographs, had received his portrait in exchange for some of his vintage photos.

40. 809 “all that spiritual junk”: Andy Warhol and Samuel Adams Green, recorded telephone conversation, n.d., Samuel Adams Green pa-pers, Beinecke Rare Book and Manuscript Library, Yale University.

41. 809 “Oh, if you’d only talk, Archie”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 6062, Kindle edition.

42. 809 “People with their damn’d Faces”: Thomas Gainsborough,


690 NOTES

in John T. Hayes, Thomas Gainsborough (London: Tate Gallery, 1980), 24.43. 809 “this curs’d Face Business”: Thomas Gainsborough, in

John T. Hayes, Thomas Gainsborough (London: Tate Gallery, 1980), 17.44. 809 “But I shouldn’t call them nudes”: March 15, 1977, entry

in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 1190, Kindle edition.,

45. 810 “Foreplay and sex acts”: Georg Frei and Neil Printz, Paint-ings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Rai-sonné (New York: Phaidon, 2002), 8.

46. 810 back painting room was off limits: Fernanda Eberstadt, June 16, 2016, e-mail to the author.

47. 810 “now what are we going to do for art?”: Ronnie Cutrone, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6255, Kindle edition.

48. 810 “more imaginative”: Warhol, in Charles Ruas, “Andy War-hol & Bob Colacello: The Lost Fashion Interview,” Web archive (WBAI, 1979), http://clocktower.org/show/andy-warhol-bob-colacello-the-lost-fashion-interview.

49. 810 a hard-bodied callboy: Steven S Gaines, Simply Halston: The Untold Story (New York: Putnam, 1991), 139.

50. 810 the Halston boutique’s windows: Corinne Labalme, “Vic-tor Hugo and Halston: Fashion under Glass . . . Venezuelan Style,” in Halston & Warhol: Silver & Suede, ed. Abigail Franzen-Sheehan (Pitts-burgh: The Andy Warhol Museum, 2014), 28.

51. 810 a Thanksgiving window by Hugo: November 28, 1976, en-try in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 404, Kindle edition.

52. 811 covered the feet of live chickens: Andy Warhol, Andy War-hol’s Exposures, ed. Bob Colacello (London: Arrow Books, 1980), 42.

53. 811 “always making art everywhere”: Andy Warhol, Andy Warhol’s Exposures, ed. Bob Colacello (London: Arrow Books, 1980)

54. 811 a gesture Hugo justified: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 8302, Kindle edi-tion.

55. 811 slashed the portrait: See Anton Perich, Victor Hugo Rojas, a video posted July 11, 2013, at www.youtube.com/watch?v=JbV0vUSUjcE.

56. 811 “the greatest artist in the world”: Stuart Pivar, interview by author, June 16, 2015.

57. 811 “euphemized the series”: Ronnie Cutrone, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli,


NOTES 691

1996), 68. 58. 811 clubbing until 4 A.M.: Daniela Morera, interview by au-

thor, December 21, 2017.59. 811 forty nude men: Georg Frei and Neil Printz, Paintings and

Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 42.

60. 811 “then we had to ‘entertain’ these guys”: Ronnie Cutrone, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 68.

61. 811 “it’s just not worth doing”:Vincent Fremont, full unpub-lished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

62. 812 “No more raunch here, Victor”: Frederick Hughes, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 7598, Kindle edition.

63. 812 wrists bound in duct tape: Steven Bluttal, ed., Andy Warhol “Giant” Size (London: Phaidon, 2006), 514.

64. 812 “was jerkin’ off”: Victor Hugo, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6558, Kindle edition.

65. 812 “Movies should arouse you”: Warhol, in Leticia Kent, “Andy Warhol, Movieman: ‘Its Hard to Be Your Own Script,’” Vogue (March 1, 1970): 204.

66. 812 None of the Sex Parts: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 33.

67. 812 when young men approached: June 18, 1977, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 1663, Kindle edition.

68. 812 “list of names of people who’re gay”: July 2, 1977, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 1848, Kindle edition.

69. 813 Mapplethorpe had opened a show: See Frances Terpak and Michelle Brunnick, Robert Mapplethorpe: The Archive (Los Angeles: Getty Research Institute, 2016), 16.

70. 813 said that they got their start: Brigid Berlin, in an audio track included in Fifteen Minutes: Homage to Andy Warhol, CD (Wu-Shan Inc./Sony Music Entertainment, 2011).


692 NOTES

71. 813 “allowed to walk through uninvited”: Vincent Fremont, in Vincent Fremont and Boris Groys, Cast a Cold Eye: The Late Work of Andy Warhol (New York: Gagosian Gallery, 2006), 113.

72. 813 “boot marks and urine stains”: Ronnie Cutrone in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 68.

73. 813 a kind of performance piece: Ronnie Cutrone, in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 137.

74. 813 Jackson Pollock as a reference: Warhol, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 7570, Kindle edition.

75. 813 plans to do a Pollock biopic: Stuart Pivar, interview by author, June 16, 2015. Pivar said that Warhol had asked him to direct a movie based on Ruth Kligman’s 1974 memoir of her relationship with Pollock.

76. 814 Warhol had acquired one of Duchamp’s remakes: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 407.

77. 814 the art world forced painters to repeat themselves: War-hol, in Jennifer Sichel, “‘What Is Pop Art?’ A Revised Transcript of Gene Swenson’s 1963 Interview with Andy Warhol,” Oxford Art Journal 41, no. 1 (March 2018): 85–100, https://doi.org/10.1093/oxartj/kcy001.

78. 814 “see what Walter did to your painting”: Ronnie Cutrone, in Walter Steding, oral history, interview by Matt Wrbican, audiocas-sette, June 27, 2000, AWMA.

79. 814 “Did you tell her about the Piss Paintings?”: Warhol, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 7503, Kindle edition.

80. 814 talking about with a critic: “Andy Warhol’s Interview,” Un-muzzled Ox 4, no. 2 (1976): 44.

Some doubt is cast on Warhol’s story about the early piss paintings in Georg Frei and Neil Printz, Paintings and Sculpture 1961–1963: Warhol 01—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 469.

81. 814 “I’m gonna sell my come”: Andy Warhol and David Bour-don, typed notes from a telephone call (September 26, 1971), David Bour-don Papers, II.3, Museum of Modern Art Archives, New York.

82. 814 ejaculating onto stretched canvases: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 128.


NOTES 693

83. 815 fluids applied to a surface: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 110.

84. 815 Cutrone’s wife: Gigi Williams, oral history, audiocassette, n.d., AWMA. Williams said that Cutrone got her to “execute” an Oxida-tion.

85. 815 “Oh there’s no brushstroke”: Warhol, quoted by Ron-nie Cutrone in Steven Bluttal, ed., Andy Warhol “Giant” Size (London: Phaidon, 2006), 533. The quote is from Cutrone’s interview in Chris Rodley, Andy Warhol: The Complete Picture, documentary (Channel 4 and Bravo, 2002).

86. 815 leave an occasional trace: An assistant of Warhol’s said that he urinated on a few Oxidations—Walter Steding, interview by author, January 13, 2015. Warhol’s young friend Richard Dupont said the same, in Michael Joseph Gross, “Factory Boys,” New York (October 2007): 57.

87. 815 the principal pissers: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 122.

88. 815 the copper paint still had to be wet: See Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy War-hol Catalogue Raisonné (New York: Phaidon, 2002), 118.

89. 815 “piss shy”: Ronnie Cutrone, in Wayne Koestenbaum, Andy Warhol (New York: Viking Press, 2001), 184.

90. 815 dosed themselves with vitamin B: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 122.

91. 815 “The Oxidations had technique”: Warhol, in Benjamin Bu-chloh, “An Interview with Andy Warhol,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 124.

92. 815 dripping urine from bottles: See Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 118.

93. 815 “I think I may try brushing”: November 13 and 14, 1978, entries in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 5022, Kindle edition.

94. 815 he took care to diagram: Georg Frei and Neil Printz, Paint-ings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Rai-sonné (New York: Phaidon, 2002), 125.

95. 815 lousy $3,000 a month: Leo Castelli, “Statement of Account,”


694 NOTES

February 5, 1981, box B172, AWMA. 96. 816 “cocks, cunts and assholes”: September 23, 1978, entry in

Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 4762, Kindle edition.

97. 816 “mimic the rhythms of orgasm”: David S. Rubin, “Andy Warhol (1978),” in The Critical Response to Andy Warhol, ed. Alan R. Pratt, Critical Responses in Arts and Letters, no. 25 (Westport, CT: Greenwood Press, 1997), 119. The article is reprinted from David S. Rubin, “Andy Warhol,” Arts Magazine (December 1978).

98. 816 “asexual nature”: Andrew Scott, Vanguard ( June/July 1979), quoted in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 37.

99. 816 to sell about half the paintings: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 35.

100. 816 selling the Oxidations: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 134.

101. 816 “bitter beauty”: René Micha, “Paris, FIAC ’78,” Art Interna-tional (November 1978): 53. This author’s translation.

102. 816 first-ever shows of explicitely gay work: Dan Cameron, Extended Sensibilities: Homosexual Presence in Contemporary Art (New York: New Museum, 1982).

103. 816 “To be utterly stunned”: Benjamin Buchloh, “A Primer for Urochrome Painting,” in Andy Warhol: The Late Work (Munich: Prestel, 2004), 97.

104. 816 “necessary painterly act”: Benjamin Buchloh, “A Primer for Urochrome Painting,” in Andy Warhol: The Late Work (Munich: Pres-tel, 2004), 97.

CHAPTER 46

1. 819 “Andy went home early”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 7227, Kindle edi-tion.

2. 819 the new disco: Nina S. Hyde, “The Crush of Flash, Cash and Fashion,” Washington Post, April 28, 1977.

3. 819 “underground disco super casual”: Nina S. Hyde, “The Crush of Flash, Cash and Fashion,” Washington Post, April 28, 1977.

4. 819 Half a million dollars: Ian Schrager, Studio 54 (New York:


NOTES 695

Rizzoli, 2017), 33.5. 820 “you feel you’re really making the scene”: Owen Levy, in

Nina S. Hyde, “The Crush of Flash, Cash and Fashion,” Washington Post, April 28, 1977.

6. 820 penciled in as an afterthought: The list is reproduced in Ian Schrager, Studio 54 (New York: Rizzoli, 2017), 135.

7. 820 “hopes to bring some of the good life to midtown”: “The Making of Studio 54,” an April 26, 1977, press release, reproduced in Ian Schrager, Studio 54 (New York: Rizzoli, 2017), 29.

8. 820 “It’s like mixing a salad”: Steve Rubell, in Bob Colacello, “Introduction,” in Ian Schrager, Studio 54 (New York: Rizzoli, 2017), 46.

9. 820 “wouldn’t add anything to the party”: Ian Schrager, Studio 54 (New York: Rizzoli, 2017), 35.

10. 821 through the back door: April 26, 1978, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 3732, Kindle edition.

11. 821 indulging in coke: April 1, 1979, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 5837, Kindle edition.

12. 821 “disgusting” mattresses: Robert Dupont, in Whitney Sudler-Smith, Ultra Suede: In Search of Halston, documentary, 2010.

13. 821 “conveniently classified cocaine as nonaddictive”: Bob Colacello, “Introduction,” in Ian Schrager, Studio 54 (New York: Rizzoli, 2017), 46.

14. 821 “pagan Rome”: March 6, 1978, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 3335, Kindle edition.

15. 821 “I didn’t leave there until 4:00”: April 8, 1978, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 3537, Kindle edition.

16. 821 to buy a second hit: Colacello, in Michael Joseph Gross, “The Satanic Diaries,” New York (May 29, 1989): 55.

17. 821 get properly “bombed”: Robert Dupont, interview by au-thor, January 7, 2015. Warhol is also described taking Quaaludes in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 8118, Kindle edition.

18. 821 drug of choice was alcohol: Robert Dupont, interview by author, January 7, 2015; Richard Dupont, interview by author, July 18, 2017.Warhol’s consumption of alcohol was confirmed in Christopher Ma-kos and Peter Wise, interview by author, September 20, 2016.


696 NOTES

19. 821 “bedroom drinker”: Diana Vreeland and Andy Warhol, notes from a conversation, February 1975, TC78, AWMA.

20. 821 join him at Alcoholics Anonymous: Robert Schwartz, in-terview by author, July 9, 2014.

21. 821 “would be okay”: March 6, 1978, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 3323, Kindle edition.

22. 821 “it was always work”: Ronnie Cutrone, in Michael Joseph Gross, “The Satanic Diaries,” New York (May 29, 1989): 52.

23. 822 “Everybody was working everybody”: Christopher Ma-kos, in Whitney Sudler-Smith, Ultra Suede: In Search of Halston, documen-tary, 2010.

24. 822 Bianca Jagger once got him on the floor: March 6, 1978, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 3323, Kindle edition.

25. 822 to photograph: Warhol’s contact sheets from Studio 54 can be consulted at cantorcollection.stanford.edu.

26. 822 became “Duponts”: Matthew Link, “Richard Dupont: A ‘Factory Boy’ in the Desert,” Desert Sun, June 23, 2014, www.desertsun.com/story/life/entertainment/2014/06/23/richard-dupont-factory-boy-lgbt-desert-magazine/11289259/.

27. 822 “Professor Higgins”: Richard Dupont, in “Robert, Rich-ard . . . They Love You,” New York (September 1987): 432.

28. 822 “loved you, and wanted you”: Richard Dupont to Andy Warhol, June 25, 1979, TC238, AWMA.

29. 822 “I think he did genuinely like me”: Richard Dupont, in Michael Joseph Gross, “Factory Boys,” New York (October 2007): 58.

30. 822 an attempt to film them naked: Richard Dupont and Rob-ert Dupont, in Michael Joseph Gross, “Factory Boys,” New York (October 2007): 57. See also Robert Dupont, interview by author, January 7, 2015.

31. 822 called him “Pops”: Robert Dupont, interview by author, January 7, 2015.

32. 822 Studio 54 as the last destination: January 27 and April 23, 1978, entries in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 3037, 3695, Kindle edition.

33. 822 a lap-dancing bar: Warhol, in an October 14, 1978, conver-sation with Truman Capote, audio recording, Andy Warhol Foundation for the Visual Arts.

34. 823 “the drinks were $8.50 apiece”: September 30, 1978, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York:


NOTES 697

Hachette, 1989), loc. 4841, Kindle edition.35. 823 “a tit-judging party”: September 27, 1978, entry in Andy


36. 823 “then Andy Warhol walked in”: Mark Andrejevic, inter-view by author, March 7, 2017.

37. 824 “sticking his tongue”: Daniela Morera in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 126.

38. 824 “disco décor”: Warhol, in “Painter Hangs Own Paintings,” New York (February 5, 1979): 9.

39. 824 cast by the penises: The source of the rumor may have been Warhol’s reference to “shadow paintings of cocks and assholes” in the August 30, 1977, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 2054, Kindle edition. But that could possibly have been a reference to the very prominent shadows thrown by the penises in some of the Torsos, rather than to the later Shad-ows themselves.

The forms in the paintings were “rumored to be shadows of hard ons,” according to Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 9940, Kindle edition. But he may have got that idea from the reference in Warhol’s Diaries, published before Colacello’s own memoir was finished. Elsewhere, Colacello refers to the rumor as having come from some unnamed Warhol assistant—see Andy Warhol—Camouflage (New York: Gagosian Gallery, 1998), 8.

40. 824 “the tile glimpsed by Warhol”: Jane Bell, “New York Re-views,” Artnews (May 1979): 172.

41. 824 children’s building blocks: Ronnie Cutrone, cited in Mark Francis, “Horror Vacui: Andy Warhol’s Installations,” in Andy Warhol: The Late Work (Munich: Prestel, 2004), 19. The Francis text is reprinted from Martin Schwander, ed., Andy Warhol: Paintings 1960–1986 (Stuttgart: Hatje Cantz, 1995).

42. 824 cardboard maquettes: Ronnie Cutrone, in Patrick S. Smith, ed., Warhol: Conversations About the Artist, Studies in the Fine Arts, no. 59 (Ann Arbor: UMI Research Press, 1988), 352.

43. 824 the real source was that cardboard: See the Warhol contact sheets in the Stanford University collection at cantorcollections.stanford.edu/Obj68480?sid=650&x=150513 and cantorcollection.stanford.edu/Obj71516?sid=133&x=126431, both accessed January 5, 2019.

44. 824 borrowed the prestige of pure abstraction: See Ronnie Cu-trone, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New


698 NOTES

York: Rizzoli, 1996), 61. See also Cutrone in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 9940, Kindle edition.

45. 825 seventeen bright colors: Lynn Cooke, Andy Warhol: Shad-ows (Dia Art Foundation, 1998), np.

46. 825 sixty-seven of his Shadows: Thomas McGonigle, “Andy Warhol,” Arts Magazine (April 1979): 18.

47. 825 eight thousand square feet: Jane Bell, “New York Reviews,” Artnews (May 1979): 172.

48. 825 roots in Roman stories: See Glenn Ligon, “Warhol’s Shad-ows,” in Artists on Andy Warhol (Dia Art Foundation, 2018), 52.

49. 825 by Robert Rauschenberg: See “Rauschenberg: Blueprint Photographer,” Photo Arts (December 1952): 216. Warhol owned a copy of that issue.

50. 825 Bauhauser Josef Albers: Josef Albers was featured heavily at Outlines gallery in Pittsburgh in the 1940s—see “Elizabeth Rockwell Ra-phael Interview on Contemporary Craft,” Contemporary Craft, accessed April 18, 2019, https://contemporarycraft.org/about/history/elizabeth-rockwell-raphael-interview/.

51. 826 “he does the squares—Albers”: Warhol, in Benjamin Bu-chloh, “An Interview with Andy Warhol,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 121.

52. 826 nodding toward 1950s Abstract Expressionism: Ronnie Cutrone, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 9940, Kindle edition.

53. 826 a photo of a shadow: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 04—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 239.

54. 826 site-specific installation art: Warhol himself had already been exploring the concept of “installation” in his exhibitions at least since the Elvis show at Ferus in 1963, and then again in his Castelli Silver Clouds and in all of his exhibitions that included wallpaper, not to men-tion in the “Raid the Icebox” project—see Mark Francis, “Horror Vacui: Andy Warhol’s Installations,” in Andy Warhol: Paintings 1960–1986, ed. Martin Schwander, trans. David Britt (Stuttgart: Hatje Cantz, 1995).

55. 826 “environmental”: Peter Schjeldahl, “A Trip with Rosen-quist,” New York Times, May 31.

56. 826 a stove’s pilot light?: Philip Johnson and Jane Kaplowitz, in Gregory Battcock, “Art/Notes,” Domus (August 1979): 56.


NOTES 699

57. 827 “Blow Up quality of criminality”: Carrie Rickey, “Re-views: New York,” Artforum (April 1979): 72.

58. 827 Shadows might be digestible: Thomas McGonigle, “Andy Warhol,” Arts Magazine (April 1979): 18.

59. 827 “You’ve seen one, you’ve seen them all”: Gregory Battcock, “Art/Notes,” Domus (August 1979): 56.

60. 827 “call it post-modernism”: Jane Bell, “New York Reviews,” Artnews (May 1979): 172.

61. 827 “just” a painter of disco décor: Thomas McGonigle, “Andy Warhol,” Arts Magazine (April 1979): 18.

62. 827 four hundred fancy people: January 25, 1979, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 5436, Kindle edition.

63. 827 hosted real art-world types: Gregory Battcock, “Art/Notes,” Domus (August 1979): 56.

64. 827 “punk opening”: January 25, 1979, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 5436, Kindle edition.

65. 828 $1.6 million: The figure comes from Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 9441, Kindle edition. Contradicting other sources—and the number of paint-ings actually in the Dia collection—Colacello claims that for that sum the foundation only got 80 out of the 102 painting, at $20,000 each. It’s not clear if he really did know the total purchase amount but got the number of paintings wrong, or if he knew the per-painting price and then incorrectly multiplied it by 80 to come to his total—in which case Warhol might actually have earned as much as $2,040,000 from the foundation.

66. 828 “he zipped it into a Halston”: Robert Hughes, “Mirror, Mirror on the Wall: Two Eras—and Two Distinct Views of Social Por-traiture,” Time (December 3, 1979): 72.

67. 829 Warhol had disclosed her death: Donald Miller, “Words with Warhol,” Pittsburgh Post-Gazette, October 1, 1979.

68. 829 a patroness footing the bill: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 9479, Kindle edition.

69. 829 “shutters snapped and the champagne bubbled”: “For Warhol Show, a Festive Opening,” New York Times, November 23, 1979.

70. 829 “With three photographs. In color”: Warhol, in Bob Cola-cello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 9479, Kindle edition.


700 NOTES

71. 829 “Shallow and boring”: Hilton Kramer, “Whitney Shows Warhol Works,” New York Times, 23 November, 1979.

72. 830 “an ideal court painter”: Robert Rosenblum, “Andy War-hol: Court Painter of the 70s,” in Andy Warhol, Portraits of the 70s (New York: Whitney Museum of American Art, 1979), 15.

73. 830 thrilled by perfume: Vivian Johnson to Andy Warhol, Oc-tober 27, 1972, TC76, AWMA.

74. 830 “he had a very structured life at home”: Alan Wanzen-berg, Jed Johnson’s later business partner and spouse, interview by au-thor, January 5, 2019. Wanzenberg had been a casual friend of both men before Johnson left Warhol to live with him.

75. 830 Filipino meal of stuffed fish: Tom Cashin and Jay Johnson, interview by author, July 23, 2018. Johnson and Cashin said that Nena Bugarin was the sister who lived with Warhol, but others say it was Au-rora. The Warhol diaries suggest the latter—see February 17, 1987, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 20785, Kindle edition.

76. 830 new feature film to be called Bad: Robert H. Montgomery, a lawyer, to Andy Warhol, October 27, 1972, AWMA.

77. 830 “Anything bad is right”: Warhol, in Andy Warhol and Da-vid Bourdon, typed notes from a telephone call (December 11, 1971), Da-vid Bourdon Papers, II.3, Museum of Modern Art Archives, New York.

78. 831 “GOOD bad movie”: Warhol, in Leticia Kent, “Andy War-hol, Movieman: ‘Its Hard to Be Your Own Script,’” Vogue (March 1, 1970): 204.

79. 831 “he just loved the title”: George Abagnalo, interview by author, December 14, 2016.

80. 831 Warhol made a pass: George Abagnalo, interview by au-thor, December 14, 2016.

81. 831 Abagnalo came up with a plot and synopsis: George Aba-gnalo, interview by author, December 14, 2016.

82. 831 “producer and artistic director”: Someone had realized that the title of “art director” that Warhol had used on other films meant he should have been in a union—see Jeffery M. Tornberg, contractual documents, March 26, 1975, TC113, AWMA.

83. 831 Bette Davis and Angela Lansbury were approached: Jef-fery M. Tornberg, identical letters to Bette Davis and Angela Lansbury, April 2, 1975, TC123, AWMA.

84. 831 “That’s a lot of $$$$”: Anonymous “Notes to Bad,” October 31, 1975, TC560, AWMA.


NOTES 701

85. 831 ballooned to $1,300,000: Financing correspondence for Bad, February 9, 1976, AWMA.

86. 831 “an actual script”: Clarke Taylor, “Establishment Andy,” Newsday, July 11, 1976.

87. 832 “the polish of making a film with a professional crew”: Pat Hackett, in Clarke Taylor, “Establishment Andy,” Newsday, July 11, 1976.

88. 832 “100% incompetent”: George Abagnalo, interview by David Bourdon, typed notes, n.d., David Bourdon papers, Archives of American Art, Smithsonian Institution.

89. 832 “more aware of what it’s up to”: Vincent Canby, “Warhol’s Descent into Gore: Ungrand Guignol,” New York Times, May 5, 1977.

90. 832 “life seem like a soiled diaper”: Joseph Gelmis, “A Gro-tesque Prism,” Newsday, May 6, 1977.

91. 832 poor distribution arrangements: Pat Hackett, December 12, 2018, e-mail to the author.

The film’s first release was in mainstream theaters rather than in the art houses that might have helped give it an initial boost.

92. 832 $500,000 loss on Bad: Fred Hurwitz, Chartered Public Ac-countant, to Andy Warhol, June 12, 1978, AWMA.

93. 832 vowing never to invest in a film again: Vincent Fremont, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6364, Kindle edition.

94. 832 plunge deeper into his decorating: Jay Johnson, interview by author, July 23, 2018.

95. 832 “family” problems: November 7, 1977, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 2593, Kindle edition.

96. 833 “when Jed went out late, Andy went home early”: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 7227, Kindle edition.

97. 833 “getting on very badly”: Catherine Guinness, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6372, Kindle edition.

98. 833 Johnson having actually “left”: George Abagnalo, inter-view by David Bourdon, typed notes, n.d., David Bourdon papers, Ar-chives of American Art, Smithsonian Institution.

99. 833 heavy petting at Studio 54: According to one young man on the scene, Jed Johnson would kiss and also grope him, as would War-hol on other occasions—R. Couri Hay, interview by author, July 22, 2017.


702 NOTES

100. 833 “a tramp and a slut”: Warhol, quoted in Alan Wanzenberg, Jed Johnson’s later business partner and spouse, interview by author, January 5, 2019.

101. 833 “still lived in Andy’s house”: Stuart Pivar, interview by au-thor, May 25, 2017.

102. 833 “with the most ridiculous people”: Jed Johnson, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 6376, Kindle edition.

103. 833 Johnson still traveled with Warhol: See Travelworks, Inc., invoice for flights to London and Kuwait for Andy Warhol, Jed Johnson and Frederick Hughes, December 1977, document box 114, AWMA.

104. 833 what he called his “education”: Alan Wanzenberg, Jed Johnson’s later business partner and spouse, interview by author, Janu-ary 5, 2019.

105. 833 “in the way Jed needed”: Jay Johnson, interview by author, July 23, 2018.

106. 834 “had strong feelings for Andy”: Jay Johnson, interview by author, July 23, 2018.

107. 834 denied having been in love: Nancy Collins, “Andy Has a ‘Great’ Way With Words,” Washington Star, March 22, 1980.

108. 834 “big and like my old crush”: September 29, 1977, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 2346, Kindle edition.

109. 834 any number of busboys: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 8115, Kindle edi-tion.

110. 834 “break-up with his boyfriend”: Rupert Jasen Smith, in Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 406.

111. 834 “Well, it’s a broken heart”: Warhol, quoted by Horst We-ber von Beeren, interview by author, June 12, 2018.

112. 834 a bruise on his head: Bob Colacello, Holy Terror: Andy War-hol Close Up (New York: Vintage Books, 1990), loc. 7646, Kindle edition.

113. 834 took an overdose of quaaludes: Jay Johnson, interview by author, July 23, 2018.

114. 834 he was gone from the house: Jay Johnson, interview by au-thor, July 23, 2018.

115. 834 five-night stay in the hospital: Blue Cross Blue Shield of Greater New York, invoice to Jed Johnson for a five day hospital stay,


NOTES 703

March 15, 1978, TC376, AWMA.116. 834 “Why would you embarrass me like this”: Jed Johnson,

quoted by Alan Wanzenberg, Jed Johnson’s later business partner and spouse, interview by author, January 5, 2019.

117. 834 “everybody’s seat is full, except Jed’s”: Warhol, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 8479, Kindle edition.

118. 834 an apartment of his own: Penelope Green, “A New View on Life,” New York Times, December 5, 2013.

119. 835 “so that’ll be a relief”: October 27, 1980, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9098, Kindle edition.

120. 835 “weren’t so impossible for us”: Pat Hackett to Jed Johnson, July 30, 1974, TC88, AWMA.

121. 835 “Dear Mr. Warhol”: Jed Johnson to Andy Warhol, Novem-ber 26, 1980, AWMA.

122. 835 “Have you ever been in love?”: Nancy Collins, clip from a 1980 interview with Warhol, https://www.gettyimages.com/detail/video/asked-have-you-ever-been-in-love-warhol-responds-no-andy-news-footage/935476956, accessed December 31, 2018.

123. 835 Four days before Christmas: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 9618, Kindle edition.

124. 835 co-owned a house in Vail: Jed Johnson to Andy Warhol, November 26, 1980, AWMA.

125. 835 moving out of the Sixty-Sixth Street place: Alan Wanzen-berg, Jed Johnson’s later business partner and spouse, interview by au-thor, January 5, 2019.

126. 835 ruin the delicate balance in the artist’s world: Alan Wan-zenberg, Jed Johnson’s later business partner and spouse, interview by author, January 5, 2019.

127. 835 “no Christmas spirit at all”: December 22, 1980, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 9387, Kindle edition.

128. 835 his usual Christmas silkscreens: Bob Colacello, Holy Ter-ror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 9618, Kindle edition.

129. 835 “You did have all my love and respect”: Jed [Johnson], Christmas card to Andy [Warhol], n.d., AWMA.


704 NOTES

CHAPTER 47

1. 837 “I’m sure not turning out good work”: November 21, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11007, Kindle edition.

2. 837 one of Jed Johnson’s socks: Wilson Hand Kidde, “Exposed by Warhol’s Diary,” New York (October 2017).

3. 837 noticing him for a while: November 19, 1980, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9220, Kindle edition. Jon Gould had actually spotted Warhol first, at Studio 54, a short while before the two men actually met—Rich-ard Dupont, in a November 29, 2019, note to the author.

4. 837 “I want him to get Paramount to advertise”: December 22, 1980, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9399, Kindle edition.

5. 837 “He tries to play it macho”: January 3, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9461, Kindle edition.

6. 837 “but I feel so weak”: April 15, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9923, Kindle edition.

7. 837 140 pounds: April 10, 1980, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 7443, Kindle edition.

8. 838 “and I really got scared”: May 13, 1981, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10146, Kindle edition.

9. 838 “anorexic”: April 27, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11615, Kindle edition.

10. 838 “walking pneumonia”: Bob Colacello, Holy Terror: Andy War-hol Close Up (New York: Vintage Books, 1990), loc. 9697, Kindle edition.

11. 838 “I’m ready to kill myself”: Warhol, in Robert Rauschen-berg and Andy Warhol, notes from a conversation (Spring 1981), AWMA.

12. 838 “my nerves grating against my bones”: August 12, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10622, Kindle edition.

13. 838 “so I decided not to eat”: August 15, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10634, Kindle edition.

14. 838 started to work out: August 27, 1981, entry in Andy Warhol,


NOTES 705

The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10688, Kindle edition.

15. 838 under the eye of the personal trainer: Lidija Cengic was the trainer, and he was working out with her already in 1981—see the photograph of Warhol doing a push-up inscribed “N.Y. 1981 To Andy! Love Lidija,” TC580, AWMA. Cengic was already training Warhol in 1971 according to Fred Lawrence Guiles, Loner at the Ball: The Life of Andy Warhol (New York: Bantam, 1989), 368. But this is almost certainly incor-rect.

16. 838 “a good body all my life”: December 14, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11129, Kindle edition.

17. 838 “favorite pastime””: Olof Tranvik, interview by author, November 14, 2017. Tranvik had worked with Warhol on a marketing campaign for Absolut vodka.

18. 838 forty-two push-ups: “Andy and Lidija Exercise,” an outtake from Andy Warhol’s TV, season 1, episode 18, 1982, AWMA.

19. 838 “no one will ever see them on me”: December 16, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11150, Kindle edition.

20. 839 approved by the FDA: Sharon Bailey, “Sight Without Sore Eyes,” Atlanta Journal-Constitution, November 5, 1981.

21. 839 “and be able to see”: August 11, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10614, Kindle edition.

22. 839 trying to be unbeautiful: Warhol, in Ilene Barth, “Andy Warhol: I’m Not Attracted to Rebellion,” Newsday, December 26, 1976.

23. 839 “my crush on him will be good for business”: April 16, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9942, Kindle edition.

24. 840 “Zoli Modeling Agency’s roster”: “Listen,” Los Angeles Times, April 10, 1981, TC313, AWMA.

25. 840 “It made my year”: Warhol, undated circa 1981 typescript in an envelope marked “Cosmopolitan,” TC304, AWMA. The typescript labels its two speakers as “AW” and “KH,” and edited portions of the conversation were eventually published in Karen Hardy Bystedt, Not Just Another Pretty Face: An Intimate Look at America’s Top Male Models (New American Library, 1983), 101. Bystedt said that the interview was con-ducted by a ghostwriter that she’d hired, and that it happened in Septem-ber 1982, but internal evidence in the typescript suggests that that date


706 NOTES

is at least a year too late—Karen Hardy Bystedt, interview by author, August 14, 2014. The portion excerpted here has been edited.

26. 841 “his hands were shaking”: Paige Powell, oral history, in-terview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

27. 841 got his chest waxed: Warhol, in Robert Rauschenberg and Andy Warhol, notes from a conversation (Spring 1981), AWMA.

28. 841 plastic surgery: See Dr. Thomas D. Rees, plastic surgeon, undated instructions and prescriptions for operative prep, box B172, AWMA. It’s impossible to tell when or if Warhol might have actually had the surgery, but he recorded an initial visit to Rees in an October 1, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10865, Kindle edition.

29. 841 “so I ignored him”: April 9, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9880, Kindle edition.

30. 841 “made his job harder if I looked like a fool”: October 14, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10928, Kindle edition.

31. 841 “to be more of a buffoon”: July 26, 1982, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11890, Kindle edition.

32. 841 “I think I could be a comedian”: Warhol, in undated circa 1981 typescript in an envelope marked “Cosmopolitan,” TC304, AWMA.

33. 842 his tiny Minox “spy” camera: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 7321, Kindle edition.

34. 842 “meant venereal disease”: Donnie Radcliffe, “Warhol’s Contagious Celebration,” Washington Post, November 15, 1979.

35. 842 twenty-five thousand copies: George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 59.

36. 842 “I believed in photography”: August 14, 1980, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 8385, Kindle edition.

37. 843 “was just a tripod for Andy”: Christopher Makos, in Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 17.

38. 844 “watcher of the rich”: Peter Schjeldahl, “Warhol and Class Content,” Art in America (May 1980).

39. 844 failed to snap up this latest Warhol book: George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 59.


NOTES 707

40. 844 gossipy phone calls: The tapes are in the Samuel Adams Green Papers, Beinecke Rare Book and Manuscript Library, Yale Univer-sity.

41. 845 “Hidden in an apartment in New York”: Steve Rubell, in Steve Rubell, Andy Warhol, and Bianca Jagger, notes from a conversa-tion, January 1980, AWMA.

42. 845 doing three and a half years in prison: “Owners of N.Y. Disco Begin Prison Sentences,” Los Angeles Times, February 5, 1980.

43. 845 “I almost threw up”: May 7, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10101, Kindle edition.

44. 846 Warhol had wanted to do only Disney characters: Barry Blinderman, “Modern ‘Myths’: An Interview with Andy Warhol,” Arts Magazine (October 1981): 144.

45. 846 had been a favorite of Warhol’s: Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 919, Kindle edition.

46. 846 “I hate to yell on the phone”: October 5, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 10898, Kindle edition.

47. 846 might help their subjects survive: Ronald Feldman, inter-view by author, July 24, 2014.

48. 847 bartering a portrait sitting with Feldman: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 03—The Andy War-hol Catalogue Raisonné (New York: Phaidon, 2002), 407.

49. 847 “When I showed Chris Burden”: Ronald Feldman to Andy Warhol, September 24, 1976, AWMA.

50. 847 “Andy did Electric Chairs; Chris Burden had himself shot”: Ronald Feldman, interview by author, July 24, 2014.

51. 847 “I talked about money to Fred”: Anthony d’Offay, inter-view by author, October 20, 2014.

52. 847 “shocking conceptual idea”: Anthony d’Offay, interview by author, October 20, 2014.

53. 847 offered Warhol checklists: Long lists of possible Jews and myths survive in the Warhol archive.

54. 847 found most of the images: Ronald Feldman, interview by author, July 24, 2014.

55. 848 Jews were supposed to have sold out: Helen K. Kohen, “Warhol: Is It Art? S. Florida Sees for Itself,” Miami Herald, September 5, 1980.


708 NOTES

56. 848 “He makes a lot of money”: Ronald Feldman, in George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 56.

57. 848 “the pictures were too big and too awful”: August 16, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10639, Kindle edition.

58. 848 “but I’m sure not turning out good work”: November 21, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11007, Kindle edition.

59. 848 headline on the little news brief: Albin Krebs and Robert McG. Thomas Jr., “A 1960’s Rerun,” New York Times, September 15, 1981.

60. 848 contribution to art was “nil”: Hilton Kramer, “Warhol Show at Jewish Museum,” New York Times, September 19, 1980.

61. 848 took that one to heart: Ronald Feldman, interview by au-thor, July 24, 2014.

62. 849 “I can’t do all the fun things I did at one time”: Barry Blinderman, “Modern ‘Myths’: An Interview with Andy Warhol,” Arts Magazine (October 1981): 145.

63. 849 “if I get hurt and keep my eyes”: Paige Powell, interview by author, February 25, 2016.

64. 849 “the kids are my project”: Paige Powell, oral history, inter-view by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

65. 849 “to me it’s negative”: Warhol, in Paul Taylor, “Andy War-hol: The Last Interview,” Flash Art, April 1987, reprinted in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 382, Kindle edition.

66. 849 Rupert Jasen Smith, who had replaced Alexander Heinrici: Alexander Heinrici, in an audio track included in Fifteen Min-utes: Homage to Andy Warhol, CD (Wu-Shan Inc./Sony Music Entertain-ment, 2011). Heinrici dated the end of his work for Warhol to 1978.

67. 849 a big loft on Duane Street in Tribeca: Horst Weber von Beeren, interview by author, June 12, 2018.

68. 849 “like an abortion on a kitchen table”: Horst Weber von Beeren, interview by author, June 12, 2018.

69. 850 “worked for ages on them himself”: Horst Weber von Beeren, a later printer of Warhol’s, in a November 28, 2018, e-mail to the author.

70. 850 names of old works—“Campbell’s Soup Red”: George Condo, interview by author, May 26, 2016.

71. 850 destroy the stock of unused proofs: Jay Shriver, oral his-tory, audiocassette, March 19, 1992, AWMA.


NOTES 709

72. 850 excessively “artistic”: July 34, 1980, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 8130, Kindle edition.

73. 850 found the pile of shoes: Rupert Jasen Smith, in Margaret M. Jensen, ed., The Andy Warhol Collection, April 23–May 3, 1988, vol. 1–6 (New York: Sotheby’s, 1988), lot #922.

74. 850 “They gave me my first job”: Paige Powell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

75. 851 Smith sometimes couldn’t pay: Horst Weber von Beeren, interview by author, June 12, 2018.

76. 851 “drunk as could be”: George Condo, interview by author, May 26, 2016.

77. 851 still be unconscious in bed: Horst Weber von Beeren, inter-view by author, June 12, 2018.

78. 851 never venturing up to Smith’s Duane Street studio: Horst Weber von Beeren, interview by author, June 12, 2018.

Richard Dupont, in a January 21, 2020, message to the author, re-called seeing Warhol at least once on a visit to Duane Street, perhaps when van Beeren was not working there. Warhol’s visit was “because of a problem with a screen,” Dupont said.

79. 851 a can of gasoline sitting nearby: George Condo, interview by author, May 26, 2016.

80. 851 “would never have exposed himself”: George Condo, in-terview by author, May 26, 2016.

CHAPTER 48

1. 853 “I like all paintings”: Warhol, in Benjamin Buchloh, “An Interview with Andy Warhol,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 124.

2. 853 “kids doing this bad art”: November 16, 1980, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 9199, Kindle edition.

3. 853 “He was very much aware of the scene”: Peter Wise, inter-view by author, September 20, 2016. Wise said that he gave Warhol his first contact with Keith Haring.

4. 853 1980s art world was a close repeat of the early ’60s: March 23, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12840, Kindle edition.

5. 854 “I figured I’d better get cracking”: November 16, 1980, en-


710 NOTES

try in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9199, Kindle edition.

6. 854 “always drawn to a youthful vision”: Jeffrey Deitch, in Catherine Johnson, ed., Thank You Andy Warhol (New York: Glitterati, 2012), 163.

7. 854 “[he] does sort of bad paintings”: November 16, 1980, en-try in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9195, Kindle edition.

8. 854 “determined to be a big star”: May 30, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13104, Kindle edition.

9. 854 most pretentious afternoon: December 16, 2016, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 20222, Kindle edition.

10. 854 “The specter of derivativeness”: Benjamin Buchloh, “Fig-ures of Authority, Ciphers of Regression: Notes on the Return of Repre-sentation in European Painting,” October 16 (Spring 1981): 60.

11. 855 paintings by George Condo: George Condo, interview by author, May 26, 2016.

12. 855 “just change my name for George’s?”: Warhol, quoted in George Condo, interview by author, May 26, 2016.

13. 855 “I could never do that”: Warhol, quoted in George Condo, interview by author, May 26, 2016.

14. 855 “kids right off the street getting these prices!”: May 14, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13059, Kindle edition.

15. 855 “art before the dole”: Jenny Dixon, quoted in John Pass-more, The Rise and Fall of the East Village Art Scene, Web audio (WNYC, 1983), https://www.wnyc.org/story/rise-and-fall-east-village-art-scene/.

16. 856 “it’s very hard to pick out one or two”: Barry Blinderman, “Modern ‘Myths’: An Interview with Andy Warhol,” Arts Magazine (Oc-tober 1981): 145.

17. 856 alternative high school: Phoebe Hoban, Basquiat: A Quick Killing in Art (Open Road Media, 2016), loc. 694, Kindle edition.

18. 856 “kids who drove me crazy”: October 4, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12129, Kindle edition.

19. 856 keep Basquiat out: Walter Steding, oral history, interview by Matt Wrbican, audiocassette, June 27, 2000, AWMA.

20. 857 “conceptual art project”: Al Diaz, in Tamra Davis, Jean-


NOTES 711

Michel Basquiat: The Radiant Child, documentary, 2010.21. 857 “more like Greco-Roman graffiti”: Al Diaz, in Ashleigh

Kane, “The Story of SAMO©, Basquiat’s First Art Project,” Dazed, Sep-tember 6, 2017, www.dazeddigital.com/art-photography/article/37058/1/al-diaz-on-samo-and-basquiat.

22. 857 “They want an idiot savant”: Jean-Michel Basquiat, quoted by his girlfriend Anna Taylor Delory in a July 16, 2019, affidavit provided to the author by art dealer Stuart Denenberg.

23. 857 tied him to the outsider status: Fred Brathwaite, a.k.a. Fab 5 Freddy, interview by author, September 9, 2019.

24. 858 “on easy street”: October 4, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12129, Kindle edition.

25. 858 He and Bischofberger had a deal: Bruno Bischofberger, “Collaborations: Reflections on My Experiences with Basquiat, Clem-ente, and Warhol,” in Andy Warhol, the Last Decade, ed. Joseph D. Ketner II (New York: DelMonico Books, 2009), 199–200.

26. 858 Basquiat took off with a Polaroid: Bruno Bischofberger, in Tamra Davis, Jean-Michel Basquiat: The Radiant Child, documentary, 2010.

27. 858 “within two hours a painting was back”: October 4, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12133, Kindle edition.

28. 858 returned to paint after being shot: Warhol, in Barry Blin-derman, “Modern ‘Myths’: An Interview with Andy Warhol,” Arts Maga-zine (October 1981): 145.

29. 858 “the way new things happen and stuff”: Warhol, in Ben-jamin Buchloh, “An Interview with Andy Warhol,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 124.

30. 859 Beuys and Warhol saw their works: Warhol and Joseph Beuys first crossed paths in the show “Realität Realismus Realität,” at the Museum Wuppertal in Germany, whose catalog is in Warhol’s Time Capsule 90, AWMA.

31. 859 Warhol did the German’s portrait: Georg Frei and Neil Printz, Paintings and Sculpture 1964–1969: Warhol 05B—The Andy Warhol Catalogue Raisonné (New York: Phaidon, 2002), 38.

32. 859 “ever lasting love”: Joseph Beuys to Andy Warhol, March 1, 1984, AWMA.

33. 859 “I thought it was more”: October 5, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette,


712 NOTES

1989), loc. 12143, Kindle edition.34. 860 portrayed on top of that piss: Fred Brathwaite (a.k.a. Fab 5

Freddy) in a September 6, 2019, talk in New York City. 35. 860 a high-fashion jacket and tie: Bruno Bischofberger, Andy

Warhol’s Visual Memory (Zurich: Galerie Bruno Bischofberger, 2001), 48.36. 860 drugs burned a hole: May 18, 1983, entry in Andy Warhol,

The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13089, Kindle edition.

37. 860 through his budget: Jean-Michel Basquiat spent $1,000 a week on cocaine according to David Bourdon, Warhol (New York: Abrams, 1989), 392.

38. 860 Hasselblad cameras and Rose’s Lime Juice: Paige Powell, interview by author, February 25, 2016.

39. 860 “I was like an alien”: Paige Powell, interview by author, February 25, 2016.

40. 860 “I was awful to people”: Jean-Michel Basquiat, in Rich-ard Marshall, ed., Jean-Michel Basquiat (New York: Whitney Museum of American Art, 1993), 241, cited at “Jean-Michel Basquiat (1960–1988), Dos Cabezas,” Christie’s, accessed April 18, 2019, https://www.christies.com/lotfinder/lot_details.aspx?intObjectID=5371726.

41. 860 “going between the two of them”: Paige Powell, interview by author, February 25, 2016.

42. 860 “Only if she keeps working”: Paige Powell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

43. 860 “exercised together”: Keith Haring, “Painting the Third Mind,” in Andy Warhol, the Last Decade, ed. Joseph D. Ketner II (New York: DelMonico Books, 2009), 203. The article is reprinted from Col-laborations: Andy Warhol, Jean-Michel Basquiat (London: Mayor Rowan Gallery, 1989).

44. 860 painted together in Warhol’s studio: April 16, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 14645, Kindle edition.

45. 861 “Paige is just so nutty”: August 21, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13574, Kindle edition.

46. 861 hunt for vintage watches: Todd Brassner, interview by au-thor, June 2, 2017.

47. 861 his body odor: October 5, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13869, Kindle edition.


NOTES 713

48. 861 “he hadn’t slept for four days”: October 6, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 13879, Kindle edition.

49. 861 “How dare you dump us in Milan!”: October 18, 1983, en-try in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13911, Kindle edition.

50. 861 $4,000 a month: Andy Warhol Enterprises, Inc., lease with Jean-Michel Basquiat, August 30, 1983, TC342, AWMA.

51. 862 “doesn’t have the money to pay his rent”: September 5, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13665, Kindle edition.

52. 862 kept the room at the Ritz: September 29, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 15693, Kindle edition.

53. 862 huge concrete table: September 29, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15698, Kindle edition.

54. 862 a wake-and-bake friend: August 5, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15397, Kindle edition.

55. 862 as a December-May duo: Bruno Bischofberger, “Collabora-tions: Reflections on My Experiences with Basquiat, Clemente, and War-hol,” in Andy Warhol, the Last Decade, ed. Joseph D. Ketner II (New York: DelMonico Books, 2009).

56. 862 “was a little depressing”: Anna Wintour to Jean-Michel Basquiat, November 19, 1984, AWMA.

57. 862 “painted over within seconds”: Keith Haring, “Painting the Third Mind,” in Andy Warhol, the Last Decade, ed. Joseph D. Ketner II (New York: DelMonico Books, 2009), 205.

58. 863 “all too willing accessory”: Vivien Raynor, “Basquiat, Warhol,” New York Times, September 20, 1985.

59. 863 “Oh, God” was Warhol’s response: September 19, 1985, en-try in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 17612, Kindle edition.

60. 863 led Basquiat to put distance: Paige Powell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

61. 863 a show of those works failed to sell: Bruno Bischofberger, in Tamra Davis, Jean-Michel Basquiat: The Radiant Child, documentary, 2010.

62. 863 “so I guess it’s really over”: November 24, 1985, entry in


714 NOTES


63. 863 felled by a cocaine-and-heroin cocktail: Phoebe Hoban, Basquiat: A Quick Killing in Art (Open Road Media, 2016), loc. 181, Kindle edition.

64. 863 “Wearing earrings and punk fun clothes”: July 1, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13285, Kindle edition.

65. 863 He could be spotted: Philip Monaghan, interview by au-thor, August 22, 2017.

66. 863 “knitting Andy into the downtown scene”: Philip Monaghan, interview by author, August 22, 2017.

67. 864 made a clear distinction: Jay Shriver, in Joseph D. Ketner II, “Warhol’s Last Decade: Reinventing Painting,” in Andy Warhol, the Last Decade, ed. Joseph D. Ketner II (New York: DelMonico Books, 2009), 46n68.

68. 864 mistakenly thought that the Rorschach: Warhol, in Rob-ert Nickas, “Andy Warhol’s Rorschach Test,” in Andy Warhol: The Late Work (Munich: Prestel, 2004), 99.

69. 864 “could work really big”: Warhol, in Robert Nickas, “Andy Warhol’s Rorschach Test,” in Andy Warhol: The Late Work (Munich: Pres-tel, 2004), 100.

70. 864 Warhol and his team: Jay Shriver, in Joseph D. Ketner II, “Warhol’s Last Decade: Reinventing Painting,” in Andy Warhol, the Last Decade, ed. Joseph D. Ketner II (New York: DelMonico Books, 2009), 45n49. Shriver’s detailed account of how the Rorschachs were made makes it clear that there was much fudging involved in getting the blots on canvas to look like the paper-and-ink originals.

71. 864 “I really worked hard”: Warhol, in Robert Nickas, “Andy Warhol’s Rorschach Test,” in Andy Warhol: The Late Work (Munich: Pres-tel, 2004), 99.

72. 864 “Well, that’s just part of the art”: Jay Shriver, oral history, audiocassette, March 19, 1992, AWMA.

73. 864 a Rorschach as one of the very few illustrations: Laur-ance Frederic Shaffer, The Psychology of Adjustment: An Objective Approach to Mental Hygiene (Boston: Houghton Mifflin, 1936), 302.

74. 864 experimented with Rorschach-style blots: Gluck used blots for the backgrounds in windows displays for Bonwit-Teller—see the October 25, 1955, photograph of one such window in the Dan Arje papers, Anna-Maria and Stephen Kellen Design Archives, Parsons The


NOTES 715

New School for Design, New York. Another was included in the Novem-ber 3, 1955, edition of Retail Reporting Bureau, Views & Reviews.

75. 864 gifting a whole book of them: Nathan Gluck, A Book of Blots, TC56, AWMA. Although the handmade book is undated, Gluck’s inscription to Warhol indicates that it was executed—or at least gifted—sometime after the release of Andy Warhol, Andy Warhol’s Index (Book) (New York: Random House, 1967).

76. 865 folded-image abstractions: See for instance the background to Warhol’s Two Heads, a circa 1957 work on paper at The Andy Warhol Museum.

77. 865 Cornell had tried out the idea: See the large series of Joseph Cornell Rorschachs in the collection of the Smithsonian American Art Museum, Smithsonian Institution, Washington, D.C. Thanks to Thomas Kiedrowski for the reference to these works.

78. 865 an automatic painting machine: Nelson B. Young, of Crys-talizations Ltd., to Andy Warhol, January 22, 1981, TC563, AWMA.

79. 865 “if I could write down everything I read”: Warhol, in Ben-jamin Buchloh, “An Interview with Andy Warhol,” in Andy Warhol, ed. Annette Michelson and Benjamin Buchloh, October Files 2 (Cambridge, MA: MIT Press, 2001), 123.

80. 865 “Somebody else could see a lot more”: Warhol, in Robert Nickas, “Andy Warhol’s Rorschach Test,” in Andy Warhol: The Late Work (Munich: Prestel, 2004), 98.

81. 865 Jasper Johns: Jay Shriver, in Joseph D. Ketner II, “Warhol’s Last Decade: Reinventing Painting,” in Andy Warhol, the Last Decade, ed. Joseph D. Ketner II (New York: DelMonico Books, 2009), 45n49.

82. 866 art bringing him $1.7 million: Jonathan H. Edelstein, of HQZ Enterprises, to Jules J. Herbert, of Chemical Bank, March 26, 1982, TC497, AWMA. The letter seeks financing for a new building Warhol was buying and includes extensive information on Warhol’s finances.

83. 866 big play to a photo of Warhol: Eamonn Fingleton, “Portrait of the Artist as Money Man,” Forbes (February 1, 1982): 62. Warhol is shown in a photo with his print dealer Ronald Feldman.

84. 867 antique dental models: July 28, 1982, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11914, Kindle edition.

85. 867 flea markets and antiques bazaars: Stuart Pivar, interview by author, May 25, 2017.

86. 867 $100,000 landscape by Courbet: Barbara Guggenheim Associates Inc., appraisal of Warhol’s art and furnishings, February 22,


716 NOTES

1982, AWMA. 87. 867 French painters sometimes known as Pompiers: Stuart

Pivar, interview by author, May 25, 2017.88. 868 “Let’s go trade my stuff for real art”: Stuart Pivar, inter-

view by author, May 25, 2017.89. 868 portraits of George III: Stuart Pivar, interview by author,

May 25, 2017.90. 868 “Stuart, what am I going to do?”: Stuart Pivar, interview

by author, May 25, 2017.91. 868 “why do people own anything?”: May 2, 1984, entry in


92. 868 “clinically depressed for years”: Stuart Pivar, “Andy and Me” (draft memoir, February 18, 2014), provided to the author by Pivar.

93. 869 “nothing means anything”: April 16, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9934, Kindle edition.

94. 869 “I guess I better not kill myself”: July 15, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 10510, Kindle edition.

95. 869 “But I have them. I wish I didn’t”: Warhol, in Edward Lu-cie-Smith, “Andy Warhol: BBC Radio 4 Interview,” radio broadcast (BBC, March 17, 1981), https://www.youtube.com/watch?v=_wKh2ZdeZjk.

96. 869 “Life is too hard”: Jed Johnson, in Bob Colacello, Holy Ter-ror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 3476, Kindle edition.

CHAPTER 49

1. 871 “Every Move You Make”: Jon Gould, inscription in Para-mount desk agenda for 1985, box B107, AWMA.

2. 871 “ it would be an artist’s space”: August 17, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 10645, Kindle edition.

3. 871 they needed a bigger headquarters: Christopher Makos, interview by author, September 20, 2016.

4. 871 another floor in the Broadway building: Vincent Fremont, oral history, interview by Margery King and Geralyn Huxley, audiocas-sette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

5. 871 jumped by 50 percent: Jonathan H. Edelstein, of HQZ En-


NOTES 717

terprises, to Jules J. Herbert, of Chemical Bank, March 26, 1982, TC497, AWMA.

6. 871 a sweet little office building: Steven H. Renfroe, of Renfroe Realty, to Andy Warhol, November 14, 1980, TC566, AWMA.

7. 871 McGraw-Hill Building: Robert F. Kiely, realtor, to Andy Warhol, September 12, 1980, TC275, AWMA.

8. 872 laid out $2 million: Jonathan H. Edelstein, of HQZ Enter-prises, to Jules J. Herbert, of Chemical Bank, March 26, 1982, TC497, AWMA.

9. 872 “The best thing is the roof terrace”: November 4, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10963, Kindle edition.

10. 872 three arms and three entrances: Vincent Fremont, in a January 17, 2019, e-mail to the author.

11. 872 considered the purchase worth a story: William R. Greer, “Warhol Has Plans for Substation,” New York Times, November 22, 1981.

12. 872 a big “ballroom,” for entertaining: July 10, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 15108, Kindle edition.

13. 872 his space for drawing: Vincent Fremont, interview by au-thor, December 18, 2018.

14. 872 buying extra socks: Vincent Fremont, oral history, inter-view by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

15. 872 princely income of $235,000: Internal Revenue Service to Frederick Hughes, Notice of Adjusted Refund for tax year 1984, Frederick Hughes Papers, AWMA.

16. 872 a laundry bill of $1,200: Madison Red Star Laundry, invoice to Frederick Hughes, March 1, 1984, Frederick Hughes Papers, AWMA.

17. 872 a first dab of profit: Jonathan H. Edelstein, of HQZ Enter-prises, to Jules J. Herbert, of Chemical Bank, March 26, 1982, TC497, AWMA.

18. 873 “Bob has gotten so grand”: January 6, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12506, Kindle edition.

19. 873 “tough as a Hermes Saddle”: Glenn O’Brien, “Fashioning ‘Interview,’” in The Warhol Look, ed. Mark Francis and Margery King (Pittsburgh: The Andy Warhol Museum, 1997), 252.

20. 873 his doubts about the virtues of such magazine clichés: Diana Vreeland and Andy Warhol, notes from a conversation, February


718 NOTES

1975, TC78, AWMA.21. 873 “have an artist on the cover”: May 18, 1983, entry in Andy


22. 873 “he was about 8 cents off”: Gael Love, in George Rush, “Andy Warhol, Inc.,” Manhattan Inc. (October 1984): 54.

23. 873 distribute Interview far and wide: Stuart Pivar, interview by author, May 25, 2017.

24. 873 irritating the newsstands: October 27, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13953, Kindle edition.

25. 873 “practical people”: Daniela Morera, interview by author, December 21, 2017.

26. 873 Si Newhouse: July 19, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15138, Kindle edition.

27. 873 overjoyed that a big shot like Newhouse: Paige Powell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

28. 873 “machinery generating the now”: Carter Ratcliff, “Andy Warhol: Inflation Artist,” Artforum (March 1985): 75.

29. 874 “a new audio-visual art form”: Perry Davis, “Parallels,” Portfolio (March 1949): np, Records of the Associated Artists of Pittsburgh, Senator John Heinz History Center, Pittsburgh, PA. Davis was quoting the composer Virgil Thompson.

30. 874 ninety-minute: John Hanhardt, Andy Warhol’s Video & Tele-vision (Whitney Museum of American Art, 1991), 7.

31. 874 TV version of Chelsea Girls: Vincent Fremont, oral history, interview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

32. 874 “it’s my name”: Warhol, in Vincent Fremont, full unpub-lished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

33. 874 “he was absolutely right”: Vincent Fremont, oral history, interview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

34. 874 camera equipment worth $40,000: Benjamin Secher, “Andy Warhol TV: Maddening but Intoxicating,” Telegraph, September


NOTES 719

29, 2008, https://www.telegraph.co.uk/culture/film/3561451/Andy-War-hol-TV-maddening-but-intoxicating.html.

35. 874 “Television was the last taboo”: Anton Perich, interview by author, December 3, 2014.

36. 874 “a fashion magazine on TV”: Warhol, quoted from a 1980 article in SoHo News in Greg Pierce, “On TV 1979–1987,” in Andy Warhol: A Guide to 706 Items in 2 Hours 56 Minutes (Rotterdam: Nai Publishers, 2007), 218.

37. 874 “later he would take it apart”: Vincent Fremont, oral his-tory, interview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

38. 874 “I think it’s too condensed”: Warhol, in Diane Goldner, “Andy Takes to the Air,” Soho News, December 3, 1980.

39. 875 “I’d most like to shine in”: Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 147, Kindle edition.

40. 875 Madison Square Garden Network: Greg Pierce, “On TV 1979–1987,” in Andy Warhol: A Guide to 706 Items in 2 Hours 56 Minutes (Rot-terdam: Nai Publishers, 2007), 220.

41. 875 branch out from its focus on sports: November 16, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 14010, Kindle edition.

42. 875 got over his terminal shyness: Vincent Fremont, oral his-tory, interview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

43. 875 plucked from Warhol’s own staff: Greg Pierce, “On TV 1979–1987,” in Andy Warhol: A Guide to 706 Items in 2 Hours 56 Minutes (Rot-terdam: Nai Publishers, 2007), 226.

44. 875 As many as thirty guests: Benjamin Secher, “Andy Warhol TV: Maddening but Intoxicating,” Telegraph, September 29, 2008, https://www.telegraph.co.uk/culture/film/3561451/Andy-Warhol-TV-madden-ing-but-intoxicating.html.

45. 875 “attention span on cable”: Vincent Fremont, oral history, interview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

46. 875 “all of a sudden my time was up”: Warhol, in undated circa 1981 typescript, in envelope marked “Cosmopolitan,” TC304, AWMA.

47. 875 a fee of $3,000 per appearance: September 9, 1981, entry


720 NOTES

in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10846, Kindle edition. Saturday Night Live had origi-nally asked Warhol to be a guest host, only accepting his video spots once he turned down the live appearance—see John Hanhardt, Andy Warhol’s Video & Television (Whitney Museum of American Art, 1991), 8.

48. 875 “Andy Warhol from Saturday Night Live!”: October 4, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10890, Kindle edition.

49. 875 “just sat there and died”: John O’Connor, “Salvaging ‘Sat-urday Night Live,’” New York Times, October 11, 1981.

50. 876 “television isn’t ready for him”: Viva, in John Wilcock, The Autobiography and Sex Life of Andy Warhol (New York: Trela, 2010), 216.

51. 876 “they’re the ones who understood it”: Vincent Fremont, oral history, interview by Margery King and Geralyn Huxley, audiocas-sette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

52. 876 $12,500 per episode: Vincent Fremont, interview by author, December 18, 2018.

53. 876 “They’re all the same”: May 21, 1984, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 14887, Kindle edition.

54. 876 to anticipate and then dissect: Vincent Fremont, oral his-tory, interview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories, AWMA.

55. 876 “this program rippled”: John Wallace, “Prime: Andy War-hol’s 15 Minutes,” Village Voice, October 22, 1985. Thanks to Jay Reeg for this reference.

56. 877 buying his town house on Sixty-Sixth Street: Carmela Ciuraru, “MTV President Splurges on Warhol’s 66th Street Mansion,” Observer, January 24, 2000, https://observer.com/2000/01/mtv-president-splurges-on-warhols-66th-street-mansion/.

57. 877 “My back was just killing me”: Paige Powell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

58. 877 Warhol and Brigid Berlin as its only occupants: June 25, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15076, Kindle edition.

59. 877 “It became an artist’s studio”: Vincent Fremont, oral his-tory, interview by Margery King and Geralyn Huxley, audiocassette, April 12, 2000, Andy Warhol Museum Institutional Oral Histories,


NOTES 721

AWMA.60. 877 “Like the loft I always wanted”: March 21 and March 23,

1984, entries in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12842, Kindle edition.

61. 877 A moving company estimated: Lane Wrigley, of Mor-gan and Brother Manhattan Storage Co., to Andy Warhol, May 9, 1984, TC409, AWMA.

62. 878 “he’ll just brighten up”: Warhol, in Samuel Adams Green and Andy Warhol, notes from a conversation, c.1971, document box 205, AWMA.

63. 878 “THEY TREAT ME LIKE A PIECE OF SHIT!”: Frederick Hughes, in Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 10020, Kindle edition.

64. 878 a still-healthy $110,000: Jonathan H. Edelstein, of HQZ En-terprises, to Jules J. Herbert, of Chemical Bank, March 26, 1982, TC497, AWMA.

65. 878 “People didn’t believe in the prices”: Antonio Homem, in-terview by author, October 16, 2017.

66. 878 “where the couple can’t get a divorce”: Christopher Ma-kos, interview by author, September 20, 2016.

67. 878 “really high”: George Warhola, interview by author, No-vember 25, 2016.

68. 878 dropping his pants: November 8, 1986, and January 8, 1987, entries in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 19896, 20361, Kindle edition.

69. 878 “Who is this horrible Fred Hughes?”: Sonya Moscowitz, in a September 9, 1981, diary entry by Bob Colacello in “Joint Diary AW BC Paris,” typescript, misc. box 54, AWMA.

70. 878 “fiendish pleasure”: Stuart Pivar, interview by author, May 25, 2017.

71. 879 acting weirdly “grand”: July 25, 1984, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15307, Kindle edition.

72. 879 a change in Hughes’s memory: December 11, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16104, Kindle edition.

73. 879 tested for multiple sclerosis: June 24, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15064, Kindle edition.

74. 879 advertising contract with Levi’s jeans: Jennifer E. Morla,


722 NOTES

of Levi Strauss & Co., to Andy Warhol, October 24, 1983, TC409, AWMA.See also Emily Gosling, “Jennifer Morla on the Andy Warhol Levi’s

Commission That Never Made It,” Eye on Design (blog), August 27, 2018, https://eyeondesign.aiga.org/jennifer-morla-on-the-andy-warhol-levis-commission-that-never-made-it/. According to Morla, the image Warhol delivered was never used in an ad campaign, proper, although it seems to have gone into circulation as a poster, of which several signed copies have been on the market.

75. 879 beauty queens on a float: March 29, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16515, Kindle edition.

76. 879 Vidal Sassoon hair campaign: Gerry Casanova, of Vidal Sassoon, to Andy Warhol, June 13, 1985, TC430, AWMA.

77. 880 “endorsement of Andy Warhol”: Olof Tranvik, of Scandi-navian Specialties, to Carolyn Kaiser, of Carillon Importers, Ltd., June 14, 1982, Olof Tranvik collection.

78. 880 new dried soups for Campbell: Leslie Graham, of Golin-Harris Communications, to Andy Warhol, October 4, 1985, AWMA. Gra-ham discusses the success of the new Campbell’s soup campaign.

79. 880 “anything you wanted on anything you wanted”: Antonio Homem, oral history, March 14, 2016, Archives of American Art, Smith-sonian Institution.

80. 881 enticements from the show’s two producers: Douglas S. Cramer, “Show Us Your Warhol!,” New York Times, November 4, 2018.

81. 881 “which I don’t want to say”: March 20, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16424, Kindle edition.

82. 881 Orson Welles called him over: March 25, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 16458, Kindle edition.

83. 881 “I had to sign like 800 autographs”: March 25, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16470, Kindle edition.

84. 882 he was the only guest mentioned twice: Deborah Caul-field, “Irving (Swifty) Lazar’s Annual Bash: Stars Meet at Spago’s to See Oscars,” Los Angeles Times, March 26, 1985.

85. 882 “Flubbed my lines in the morning”: April 1, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16572, Kindle edition.

86. 882 drag queen role was cut: April 1, 1985, entry in Andy War-


NOTES 723

hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16571, Kindle edition.

87. 883 in May of ’85, “Art”: Michael Small, “The Beat Goes on, but Famous Artists Are Top Draw at Area, New York’s Super Nightclub,” Peo-ple Weekly (May 27, 1985): 108. See also Alexis Bard Johnson, “The Work of Being Sexed: Andy Warhol on Drag,” in Contact Warhol: Photography without End, ed. Peggy Phelan and Richard Meyer (Cambridge, MA: The MIT Press, 2018), 175.

88. 883 the scene’s “elder statesman”: Anthony Haden-Guest, The Last Party: Studio 54, Disco, and the Culture of the Night (Open Road Me-dia, 2015), loc. 5183, http://public.eblib.com/choice/publicfullrecord.aspx?p=1913276.

89. 883 working on the Area piece for twenty years: Warhol, in Trevor Fairbrother, “Warhol Meets Sargent at the Whitney,” Arts (Febru-ary 1987): 67.

90. 884 “all the really horrible stuff”: October 21, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 13919, Kindle edition.

91. 884 stuff that he actually knew was him at his most daring: See Trevor Fairbrother, “Warhol Meets Sargent at the Whitney,” Arts (February 1987): 67.

92. 884 films he had shot then never taken out of their canisters: Paige Powell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

93. 884 “I could actually have a good show”: October 16, 1986, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 19774, Kindle edition.

94. 884 just for art’s sake: Jay Shriver, in Joseph D. Ketner II, “War-hol’s Last Decade: Reinventing Painting,” in Andy Warhol, the Last Decade, ed. Joseph D. Ketner II (New York: DelMonico Books, 2009), 46n68.

95. 884 “by the yard”: Jay Shriver, in Brenda Richardson, “Hiding in Plain Sight: Warhol’s Camouflage,” in Andy Warhol—Camouflage, ed. Gagosian Gallery. (New York: Gagosian Gallery, 1998), 11.

96. 885 sixty or seventy of the Camouflage paintings: Brenda Richardson, “Hiding in Plain Sight: Warhol’s Camouflage,” in Andy War-hol—Camouflage, ed. Gagosian Gallery. (New York: Gagosian Gallery, 1998), 21.

97. 885 he’d actually visit his silkscreener: Jay Shriver, in Brenda Richardson, “Hiding in Plain Sight: Warhol’s Camouflage,” in Andy War-hol—Camouflage, ed. Gagosian Gallery. (New York: Gagosian Gallery,


724 NOTES

1998), 21.98. 885 camouflage to camouflage the camouflage pattern:

Brenda Richardson, “Hiding in Plain Sight: Warhol’s Camouflage,” in Andy Warhol—Camouflage, ed. Gagosian Gallery. (New York: Gagosian Gallery, 1998), 19.

99. 885 makes his camouflage creep: Warhol’s camouflage pattern always sits under any image Warhol combines it with, silkscreened as a background before the image gets silkscreened overtop. But visually the camouflage gives the impression of being on top.

100. 885 called the prospect “scary”: July 16, 1980, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 8091, Kindle edition.

101. 885 “war pictures”: January 4, 1986, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 18298, Kindle edition. See also Brenda Richardson, “Hiding in Plain Sight: Warhol’s Camouflage,” in Andy Warhol—Camouflage, ed. Gagosian Gallery (New York: Gagosian Gallery, 1998), 11.

102. 886 Warhol actually signed a petition: Grace Glueck, “Halt Urged in Work on Sistine and ‘Last Supper,’” New York Times, March 6, 1987.

103. 886 shown them in art exhibitions: “Art: New Arrival,” The Bulletin Index (January 1942). Homer Saint-Gaudens, head of the Carnegie art museum, had organized camouflage training during World War II after serving in World War I with America’s first camouflage unit—see Eugene F. Jannuzi, “Carnegie Art Chief Is a Horseman, Too,” Pittsburgh Post-Gazette, October 16, 1948.

104. 886 at Outlines gallery: See “Artists in Wartime,” a December 7, 1943, exhibition at Outlines gallery in Pittsburgh—Outlines Gallery, scrapbook (n.d.), Rockwell family collection.

105. 886 Alain Jacquet, who used camouflage patterns: Brenda Richardson, “Hiding in Plain Sight: Warhol’s Camouflage,” in Andy War-hol—Camouflage, ed. Gagosian Gallery. (New York: Gagosian Gallery, 1998), 25.

106. 886 camouflage he saw on National Guard trucks: Paige Pow-ell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

107. 886 seven-page feature: “Go Wild over Camouflage,” Seventeen ( January 1981): 79.

108. 886 to America from the halls of haute couture: “Camouflage Clothes Pick up Parisian Accent,” Baltimore Sun/Knight News Service,


NOTES 725

March 10, 1981. 109. 886 “What did you say to him?”: Philip Monaghan, interview

by author, August 22, 2017.110. 886 ’80s abstraction called Neo Geo: See Robert Nickas, “Andy

Warhol’s Rorschach Test,” in Andy Warhol: The Late Work (Munich: Pres-tel, 2004), 101. Nickas makes the link between Warhol and Neo Geo.

111. 887 “there was a room with his name on it”: April 16, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9937, Kindle edition.

112. 887 “nobody loves me”: April 17, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9962, Kindle edition.

113. 887 “seeing all these young kids just budding”: April 20, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9985, Kindle edition.

114. 887 twenty-seven years old: Peter Wise, interview by David Bourdon, typed notes, March 23, 1989, David Bourdon papers, Archives of American Art, Smithsonian Institution.

115. 887 Jaeger-LeCoultre watch: Christopher Makos, interview by author, September 20, 2016.

116. 887 common knowledge in most of the circles: Christopher Makos, interview by author, September 20, 2016.

117. 887 as Warhol’s “girlfriend”: Paige Powell, oral history, inter-view by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

118. 887 to stop mentioning their romance: May 25, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 10212, Kindle edition.

119. 888 “it’s exciting because he acts straight”: April 30, 1981, en-try in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10041, Kindle edition.

120. 888 wore them to the beach: Peter Wise, interview by David Bourdon, typed notes, March 23, 1989, David Bourdon papers, Archives of American Art, Smithsonian Institution.

121. 888 antique carousel horses: “John McInnis Auctioneers—Un-reserved Extraordinary Estate Auction,” LiveAuctioneers, December 2, 2017, https://classic.liveauctioneers.com/catalog/111859_unreserved-extraordinary-estate-auction/?pagenum=2&rows=20.

122. 888 a portrait that he painted of him: “An Interview with the Curator,” in Andy Warhol: The Jon Gould Collection—Guidebook (Brattle-boro, VT: Brattleboro Museum and Art Center, 2004), 37.


726 NOTES

123. 888 dozens of versions of the Gould portrait: Horst Weber von Beeren, interview by author, June 12, 2018.

124. 888 a helicopter ride over Manhattan: Peter Wise, interview by David Bourdon, typed notes, March 23, 1989, David Bourdon papers, Archives of American Art, Smithsonian Institution.

125. 888 almost breaking his wrist: Emergency Room Treatment form, Aspen Valley Hospital, illegible date, box B172, AWMA. The form indicates that an X-ray was ordered of Warhol’s wrist and that no further treatment was recommended.

See also January 1, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11215, Kindle edition.

126. 888 another driver had thrown snow: Mark Zink in Zack Kopp, “Andy Warhol and the Beats in Denver: A Conversation with Mark Sink,” PleaseKillMe, July 29, 2019, https://pleasekillme.com/andy-warhol-mark-sink/.

127. 888 “I confronted Jon”: January 1, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12487, Kindle edition.

128. 888 “I can’t live without you”: Andy Warhol to Jon [Gould], undated, unsigned typed letter, TC311, AWMA. ©The Andy Warhol Foundation for the Visual Arts, Inc.

129. 889 “the most serious love affair”: Frederick Hughes, inter-view by David Bourdon, typed notes, July 14, 1987, David Bourdon pa-pers, Archives of American Art, Smithsonian Institution.

130. 889 “Every Move You Make”: Jon Gould, inscription in Para-mount desk agenda for 1985, box B107, AWMA.

131. 889 “love one another”: Jon [Gould] to Andy Warhol, Christ-mas card, December 8, 1983, AWMA.

132. 889 “Jon was fascinated by Andy”: Christopher Makos, inter-view by author, September 20, 2016.

133. 889 “completely a couple”: Cornelia Guest, interview by au-thor, July 18, 2016.

134. 889 ulterior motives in the relationship: February 19, 1981, en-try in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 9586, Kindle edition.

135. 889 “vice president in charge of inter-office memos”: Warhol, quoting Steven M. L. Aronson, in July 15, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 10517, Kindle edition.


NOTES 727

136. 890 “He says he needs to be his own person”: December 26, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 14191, Kindle edition.

137. 890 agreeing to move in with Warhol: Peter Wise, interview by David Bourdon, typed notes, March 23, 1989, David Bourdon papers, Archives of American Art, Smithsonian Institution. Jon Gould was cer-tainly staying in Warhol’s house by March 1983—see Pat Hackett’s an-notation in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12757, Kindle edition.

138. 890 Archie and Amos held a grudge against the new arrival: Peter Wise, interview by David Bourdon, typed notes, March 23, 1989, David Bourdon papers, Archives of American Art, Smithsonian Institu-tion.

139. 890 the needlepoint inscription “A.W. + J.G.”: The pillow sur-vives in Warhol’s archives, box B107.

140. 890 sewn by Warhol himself: On Warhol’s knowledge of nee-dlepoint see Andy Warhol, THE Philosophy of Andy Warhol: From A to B and Back Again (New York: Houghton Mifflin, 1975), 12, Kindle edition. Brigid Berlin, who was a skilled needlepointer, talked about giving les-sons in the craft to Warhol in the studio at 860 Broadway—see Berlin in an audio track included in Fifteen Minutes: Homage to Andy Warhol, CD (Wu-Shan Inc./Sony Music Entertainment, 2011). The pillow’s workman-ship and design look too crude to be Berlin’s own work.

141. 890 got the artist’s help in buying an apartment: Peter Wise, interview by author, September 20, 2016. Wise recalled Warhol actually buying the apartment for Gould. Warhol mentions it as Gould’s “new loft” in a February 3, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11296, Kindle edition. An August 1984 invoice from the Hotel des Artistes to Gould (TC497, AWMA) bills him for a $487.28 monthly “base charge,” which was either a maintenance fee (it would have been a high one for that era) or, if it was for rent, the apartment’s purchase is in fact a myth.

142. 890 admitted to the hospital with pneumonia: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 10336, Kindle edition.

143. 890 clothes and dishes separately: Pat Hackett, in an annota-tion in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 14300, Kindle edition.

144. 890 “he has to be out here more”: January 3, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-


728 NOTES

chette, 1989), loc. 16230, Kindle edition.145. 890 lost a second editor to AIDS: January 2, 1985, entry in Andy


146. 890 “he became very disenchanted”: Christopher Makos, in-terview by David Bourdon, typed notes, January 26, 1989, David Bour-don papers, Archives of American Art, Smithsonian Institution.

147. 890 “He never gave me keys to his new house”: April 2, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16588, Kindle edition.

148. 891 “the new vacancy as my New York Wife”: March 30, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16549, Kindle edition.

149. 891 “facing life alone”: May 26, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16942, Kindle edition.

150. 891 “just being around these kids who go the Baths”: May 11, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11662, Kindle edition.

151. 891 kissed him too hard: July 21, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13406, Kindle edition.

152. 891 threw out a sandwich: September 29, 1983, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 13848, Kindle edition.

153. 891 a crude test for AIDS: Paramedical Laboratories, invoice to Warhol for tests including a mitogen stimulation panel, August 23, 1983, misc. box 103, AWMA.

154. 891 AIDS struck down Zoli: November 20, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 12290, Kindle edition.

155. 891 Days before Warhol himself passed away: See Brigid Ber-lin, in Vincent Fremont and Brigid Berlin, “Factory Workers Warholites Remember: Brigid Berlin,” Interview (November 30, 2008), https://www.interviewmagazine.com/culture/factory-workers-warholites-remem-ber-brigid-berlin.

156. 891 the toll that the disease was taking: Michael Shnayer-son, “One by One,” Vanity Fair (March 1987), www.vanityfair.com/cul-ture/1987/03/devastation-of-aids-1980s.

157. 891 tragedy of AIDS: On Warhol’s late work and its links to


NOTES 729

illness see Jessica Beck, Andy Warhol: My Perfect Body (The Andy Warhol Museum, 2016).

158. 891 “I always had thoughts of death”: Anthony d’Offay, inter-view by author, October 20, 2014.

159. 892 a patron whose AIDS had triggered dementia: January 14, 1986, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 18343, Kindle edition.

160. 892 “It’s so much better just going to dinner”: October 26, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 17804, Kindle edition.

161. 892 “kinder and easier”: Pat Hackett, Introduction in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 326, Kindle edition.

162. 892 Warhol was starting to display a gentler side: Paige Pow-ell, interview by author, February 25, 2016.

163. 892 bought a home for one of the Bugarin sisters: The same claim is made in Paul Warhola, interview provided to the author by Jesse Best, digital audio, n.d.

164. 892 feeding the neighborhood pigeons: Paige Powell, oral his-tory, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

165. 892 “It’s my charity”: Warhol, quoted by Stuart Pivar, inter-view by author, May 25, 2017.

166. 892 somehow she and he might marry: Paige Powell, oral his-tory, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

167. 892 “barking at the wrong tree”: May 10, 1986, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 18924, Kindle edition.

168. 892 seated with the head of an adoption agency: Paige Pow-ell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

169. 893 “raise one of these kids”: June 11, 1986, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 19043, Kindle edition.

170. 893 imagining Powell as his coparent: Paige Powell, oral his-tory, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

171. 893 Warhol as “a sweetheart”: Cornelia Guest, interview by author, July 18, 2016.

172. 893 “Andy Warhol cared about what I did”: Victoria Leacock to Frederick Hughes, February 24, 1987, shared with the author by Lea-cock.


730 NOTES

173. 893 “All the people around were made happy by him”: Olof Tranvik, interview by author, November 14, 2017.

174. 893 “make it respectable to be poor again”: Andy Warhol, America (New York: Harper & Row, 1985), 11.

175. 893 “How can we let this keep happening?”: Andy Warhol, America (New York: Harper & Row, 1985), 194.

176. 894 “The media can turn anyone into a half-person”: Andy Warhol, America (New York: Harper & Row, 1985), 30.

177. 894 “sweet little gay guy who worked like a dog”: Craig Nel-son, interview by author, January 10, 2018.

178. 894 Thanksgiving in 1985: David Bourdon, Warhol (New York: Abrams, 1989), 406.

179. 894 “And he was kind of reluctant, but he said, ‘OK’”: Paige Powell, oral history, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

180. 894 on several holidays the following year: David Bourdon, Warhol (New York: Abrams, 1989), 406. See also Warhol’s diary entries for Easter, Thanksgiving, and Christmas 1986.

181. 895 he was joined at Heavenly Rest: Stuart Pivar, “Andy and Me” (draft memoir, February 18, 2014), provided to the author by Pivar.

182. 895 Victor Hugo, who managed to yell: Paige Powell, inter-view by author, February 25, 2016.

183. 895 participated in any number of benefits: See for instance Warhol’s diary entries for April 29, 1986, November 10, 1986, and De-cember 7, 1986, in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 18857, 19919, 20098, Kindle edition.

184. 895 signed-on as “co-chairperson”: “Entertainers Unite in Sev-eral Benefits to Raise Funds to Combat AIDS,” Newsday, August 2, 1985. Warhol contributed the cover image on the brochure for the Aids Project Los Angeles Commitment to Life charity gala held on September 19, 1985—see Paul Maréchal, Les Imprimés éphémères de Andy Warhol (Lyon: Musée de l’imprimerie et de la communication graphique, 2018), 154.

CHAPTER 50

1. 897 “The best way to go is fast”: Truman Capote and Andy Warhol, notes from an interview, late 1970s, TC578, AWMA.

2. 897 “Health is wealth”: July 31, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15355, Kindle edition.

3. 897 restore the health of his pancreas: January 1, 1984, entry


NOTES 731

in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15507, Kindle edition.

4. 897 “He said I had some negative powers in me”: August 14, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15362, Kindle edition.

5. 898 “It tells you what mood you’re in”: Christopher Makos, interview by David Bourdon, typed notes, January 26, 1989, David Bour-don papers, Archives of American Art, Smithsonian Institution. The quotation based on those notes has different wording in David Bourdon, Warhol (New York: Abrams, 1989), 390.

6. 898 “There’s a hole here escaping”: Warhol, quoting his doc-tor, September 20, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 15625, Kindle edition.

7. 898 “laughed at all the hippie stuff”: December 18, 1984, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16147, Kindle edition.

8. 898 “They all knew it was bullshit”: Stuart Pivar, interview by author, May 25, 2017.

9. 898 the chief doctor’s son: July 16, 1986, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 19200, Kindle edition.

10. 898 Warhol paid $10,000 for a “special” one: Stuart Pivar, “Andy and Me” (draft memoir, February 18, 2014), provided to the author by Pivar.

11. 898 energized by contact with the pyramids of Giza: April 19, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16681, Kindle edition.

12. 898 trading crystals for $50,000 worth of his portraits: De-cember 18, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 18145, Kindle edition.

13. 898 join them in Tibet: April 19, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16681, Kindle edition.

14. 898 Jon Gould, desperate and dying: July 8, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 17146, Kindle edition.

15. 898 an anticockroach crystal: June 19, 1985, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 17024, Kindle edition.

16. 898 grabbing the wig off his head: October 30, 1985, entry in


732 NOTES


17. 898 a certain Dr. Linda Li: See Dr. Linda Li’s September 22, 1986, prescription to Warhol, box B172, AWMA.

18. 898 “invading” his crystals: November 4, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 17912, Kindle edition.

19. 899 black magic that lay hidden: July 29, 1986, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 17254, Kindle edition.

20. 899 “Diamonds really are a girl’s best friend”: Warhol, quoted by Maura Moynihan, in David Bourdon, Warhol (New York: Abrams, 1989), 390.

21. 899 dunk a crystal in the water: Christopher Makos, interview by David Bourdon, typed notes, January 26, 1989, David Bourdon papers, Archives of American Art, Smithsonian Institution.

22. 899 “the most sickly looking individual”: Philip Hoare, in Brian Dillon, The Hypochondriacs: Nine Tormented Lives (Faber and Faber, 2009), 263.

23. 899 ever-present supply of Demerol tablets: Brigid Berlin, in Heather Robinson, A Walk Into the Sea: Danny Williams and the Warhol Factory, DVD, documentary, 2007.

24. 899 medication that he’d once tried in Japan: Jay Johnson, in-terview by author, July 23, 2018.

25. 899 type of stones that he had: June 7, 1978, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 4020, Kindle edition.

26. 899 the young “sweetheart”: Sam Bolton, interview by author, April 12, 2017. See also Warhol being addressed as “sweetheart” in Sam Bolton to Andy Warhol, November 5, 1985, TC84, AWMA.

27. 899 Brigid Berlin had her own gallbladder out: March 15, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11409, Kindle edition.

28. 899 “you can hardly see the staple marks”: March 15, 1982, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 11412, Kindle edition.

29. 899 a gift of the stones: See the black hinged box with gold de-tail (TC548, AWMA) with a handwritten note from Berlin: “Dear Andy, Now you have three of my most precious stones removed from my gall-bladder Friday, February 19, 1982—Much love, Brigid.”


NOTES 733

30. 899 Maxime de la Falaise looking “great”: Warhol, unpub-lished diary entry for October 29, 1972, AWMA.

31. 899 “he was in such pain”: Daniela Morera, interview by au-thor, December 21, 2017.

32. 900 a million-dollar commission: The commission was said to have involved $500,000 in funds and $500,000 in ancient statuary—see Natalia Aspesi, “Warhol a cena con Leonardo,” La Repubblica, January 23, 1987, quoted in Corinna Thierolf, “All the Catholic Things,” in Andy War-hol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 49n49.

On the other hand, a journalist’s report on a 1988 lawsuit filed by the Warhol estate says that Iolas first agreed to pay $150,000 for one large Last Supper painting and six smaller works, and then in a later deal with Warhol agreed to trade a half-dozen Roman statues for another 15 Last Suppers—see “Warhol Art Dispute,” International Herald Tribune, Janu-ary 1988. Another reporter said that the later deal involved three Last Supper paintings and 12 paper collages—see Andrew Decker, “Warhol Wrangle,” Artnews (May 1988): 23.

Warhol’s diaries hint at a solution to the puzzle: It seems that Iolas might have staged two shows in Milan, one in December in his own gal-lery there, where he might have shown the 15 works in dispute in the lawsuit, and then another, in January, in the bank’s gallery space.

33. 900 ask several artists for riffs: Warhol, in Paul Taylor, “Andy Warhol: The Last Interview, Flash Art, April 1987,” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 385, Kindle edition.

34. 900 already started to riff on that Leonardo: Jay Shriver and Vincent Fremont, in Brenda Richardson, “Hiding in Plain Sight: War-hol’s Camouflage,” in Andy Warhol—Camouflage, ed. Gagosian Gallery (New York: Gagosian Gallery, 1998), 30n6.

35. 900 project based on the Last Supper: Kathleen Louise Men-drey to Andy Warhol, letter with enclosures, March 17, 1984, TC396, AWMA.

36. 900 “I guess that’s the score”: April 25, 1985, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 16741, Kindle edition.

37. 900 “fund my fifty staffers”: Natalia Aspesi, “Warhol a cena con Leonardo,” La Repubblica, January 23, 1987. The article is quoted in Corinna Thierolf, “All the Catholic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 49n45. The English translation here is this author’s, from Aspesi’s Italian translation of Warhol’s original


734 NOTES

English words. 38. 900 6,500 square feet of space: Corinna Thierolf, “All the Cath-

olic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 24.

39. 900 Four mammoth canvases and twenty-one smaller pieces: “People,” International Herald Tribune, January 24, 1987. Using records from the Milanese bank, and apparently unaware of the Herald Tribune article, Corinna Thierolf gave twenty-two as the number of works on view in Milan—see Corinna Thierolf, “All the Catholic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 24. A yet differ-ent tally of the works in the show seems to be given in Alexander Iolas, Il Cenacolo (Milan: Mondadori, 1987).

40. 900 one hundred or so that Warhol painted: Corinna Thierolf, “All the Catholic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 24.

41. 900 “gay cancer”: See Jessica Beck, “Warhol’s Confession: Love, Faith, and AIDS,” in Andy Warhol—From A to B and Back Again, ed. Donna De Salvo (London and New York: Yale University Press and Whitney Museum, 2018).

42. 901 busy killing Iolas: January 21, 1987, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 20483, Kindle edition.

43. 901 expected to cross themselves: Natalia Aspesi, “Warhol a cena con Leonardo,” La Repubblica, January 23, 1987. The article is quoted in Corinna Thierolf, “All the Catholic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 51n78.

44. 901 “unites all the leading threads”: Raymond Somers Stites, The Arts and Man (London: McGraw-Hill, 1940), 560.

45. 901 “You don’t think about it”: Warhol, in Paul Taylor, “Andy Warhol: The Last Interview (Flash Art, 1987),” in Andy Warhol: The Late Work, vol. 3 (Munich: Prestel, 2004), 119.

46. 901 “exciting again”: Warhol, quoted by Benjamin Liu, in Corinna Thierolf, “All the Catholic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 27.

47. 901 to turn out “transgressive” art: Warhol, in Paul Taylor, “Andy Warhol: The Last Interview (Flash Art, April 1987),” in I’ll Be Your Mirror: The Selected Andy Warhol Interviews, ed. Kenneth Goldsmith (New York: Avalon, 2004), 118, Kindle edition.

48. 901 “hanged and crucified”: Stuart Pivar, in Catherine John-son, ed., Thank You Andy Warhol (New York: Glitterati, 2012), 185.


NOTES 735

49. 901 the properly religious inspiration: Warhol, in Maria Giulia Minetti, “E’ un autentico Andy da Vinci,” Epoca, in an undated press clipping quoted in Corinna Thierolf, “All the Catholic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 51n77.

50. 901 painted all the works there entirely by himself: Natalia Aspesi, “Warhol a cena con Leonardo,” La Repubblica, January 23, 1987. The article is quoted in Corinna Thierolf, “All the Catholic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 49n45.

51. 901 “Spaghetti”: Daniela Morera, in John T. O’Connor and Ben-jamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 128.

52. 901 Warhol had given him no hint of any religious interest: Jay Shriver, in Corinna Thierolf, “All the Catholic Things,” in Andy War-hol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 45.

53. 901 “just another button to push”: Jay Shriver, in Joseph D. Ket-ner II, “Warhol’s Last Decade: Reinventing Painting,” in Andy Warhol, the Last Decade, ed. Joseph D. Ketner II (New York: DelMonico Books, 2009), 44n44.

54. 902 anyone who wanted a Leonardo Last Supper: Warhol, in Alexandra Farkas, “Incontro con Andy Warhol alla vigilia del suo arrivo a Milano dove presenta una ‘copia’ di Leonardo,” Corriere della Sera, from an undated press clipping quoted in Corinna Thierolf, “All the Catholic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 50n65.

55. 902 Warhol obscured Leonardo’s image: See the reproductions in Alexander Iolas, Il Cenacolo (Milan: Mondadori, 1987).

56. 902 “diligent Germans”: Martin Filler, in David Bourdon, “Andy Warhol 1928–87,” Art in America (May 1987): 143.

57. 902 to judge how Andy measured up against Leonardo: Corinna Thierolf, “All the Catholic Things,” in Andy Warhol: The Last Supper (Ostfildern: Hatje Cantz, 1998), 32.

58. 903 “Andy, you’re tired, let’s go”: Daniela Morera, in John T. O’Connor and Benjamin Liu, eds., Unseen Warhol (New York: Rizzoli, 1996), 128.

59. 903 a severe pain in his right side: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 10680, Kindle edition.

60. 903 “His face was like a skeleton”: Daniela Morera, interview by author, December 21, 2017.

61. 903 nineteen rolls of snapshots of his trip: The contact sheets can be consulted at cantorcollection.stanford.edu.


736 NOTES

62. 903 an entire opera at La Scala: Ricky Clifton, interview by author, May 21, 2016.

63. 903 “Maybe it was just that I felt so sick”: January 24, 1987, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 20516, Kindle edition.

64. 904 “he negates the conventional notion of an artistic ‘eye’”: Andy Grundberg, “Photography View; Warhol Sews a Subversive Pat-tern in Black and White,” New York Times, January 11, 1987.

65. 904 carried a clipping around: Paige Powell, oral history, inter-view by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

66. 904 “I worked myself to death”: January 6, 1987, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 20352, Kindle edition.

67. 904 Dr. Bernsohn “cured” it: January 7, 1981, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 20356, Kindle edition.

68. 904 had never seen Warhol looking so skinny: David Bourdon, Warhol (New York: Abrams, 1989), 7. Despite Warhol’s emaciation, Bour-don also found him looking “terrifically healthy.”

69. 904 plans to get back into filmmaking: Paige Powell, oral his-tory, interview by Matt Wrbican, audiocassette, June 3, 2005, AWMA.

70. 904 optioned a hot new book, Slaves of New York: Vincent Fre-mont, interview by author, December 18, 2018.

71. 904 portraits of Beethoven: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 10712, Kindle edi-tion.

72. 904 silkscreened views of Paris: James Mayor, interview by au-thor, October 20, 2014.

73. 904 “Could that have been a mistake?”: February 2, 1987, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 20603, Kindle edition.

74. 904 “I guess it was a gallbladder attack”: February 5, 1987, en-try in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 20639, Kindle edition.

75. 904 “nothing much happened”: February 14, 1987, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 20737, Kindle edition.

76. 905 two stones lodged inside: Dr. Clement Barone, in Paul Al-exander, Death and Disaster (London: Little, Brown, 1995), 63. Alexander provides the most detailed account of Warhol’s final illness.


NOTES 737

77. 905 a morning spent watching TV: February16, 1987, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 20745, Kindle edition. See also Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 63.

78. 905 Julian Schnabel made some kind of a play: February 16, 1987, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 20745, Kindle edition.

79. 905 “wrong pipe”: Warhol, as quoted by Dr. Karen Burke in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 7612, Kindle edition. Dr. Denton Cox and his colleagues pub-licly blamed Li for exacerbating Warhol’s condition—see “Warhol Com-plained of Pain after Visit to Chiropractor,” Hartford Courant, March 1, 1987.

80. 905 for the studio’s next MTV episode: John Hanhardt, Andy Warhol’s Video & Television (Whitney Museum of American Art, 1991), 8.

81. 905 “be the new Liberace?”: February 17, 1987, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 20762, Kindle edition.

82. 905 “The gallbladder situation was serious”: Vincent Fremont, full unpublished transcript for the video documentary “Andy Warhol: 15 Minutes Eternal” (New York and Pittsburgh: Ogilvy Entertainment and The Andy Warhol Museum, 2014), provided to the author by director Jamie Schutz, n.d.

83. 905 Warhol’s teeth were chattering from the cold: Stuart Pi-var, “Andy and Me” (draft memoir, February 18, 2014), provided to the author by Pivar.

84. 905 “I feel like I’m going to die!”: Stuart Pivar, quoting War-hol, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 7610, Kindle edition.

85. 905 he didn’t answer the phone: February 17, 1987, entry in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Ha-chette, 1989), loc. 20786, Kindle edition.

86. 906 a diet of clear liquids: Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 64.

87. 906 an immediate second opinion: Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 64.

88. 906 prestigious American Surgical Association: Dr. Bjorn Thorbjarnarson, interview by author, May 27, 2014. My interview with Dr. Thorbjarnarson was conducted in collaboration with Dr. John Ryan, Emeritus Chief of Surgery at Virginia Mason Medical Center in Seattle,


738 NOTES

whose expertise informs the following discussion of Warhol’s death.89. 906 gallbladder of the Shah of Iran: Lawrence K. Altman,

“Shah’s Surgeons Unblock Bile Duct and Also Remove His Gallbladder,” New York Times, October 25, 1979.

90. 906 “if you don’t operate on me”: Warhol, quoted by Dr. Bjorn Thorbjarnarson, interview by author, May 27, 2014.

91. 906 “become lodged in its “neck”: Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 67.

92. 906 “the absolute imperativeness”: Dr. Denton Cox, in Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 67.

93. 906 “they were very easy to digest”: Stephen Bruce, quoted in Christian Holzfuss and Nikolaus Sonne, eds., Andy Warhol: Play Book of You S. Bruce (Frankfurt: Edition Achenbach, 1989), 29.

94. 906 Warhol phoned Dr. Giuseppe Rossi: Dr. Giuseppe Rossi, interview by author, May 28, 2014.

95. 907 tucking his valuables and cash: Bob Colacello, Holy Terror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 10770, Kindle edition.

96. 907 take him off to his “appointment”: Stuart Pivar, interview by author, June 16, 2015. In other accounts he has given Pivar has said he was present at the house with Warhol that morning.

97. 907 a Sunday date at the ballet: Paul Alexander, Death and Di-saster (London: Little, Brown, 1995), 79.

98. 907 Warholian collection of stuff: Warhol’s clothing and ef-fects, as well as hospital records about them, survive in his archives.

99. 907 asked the clerk at admissions: David Bourdon, Warhol (New York: Abrams, 1989), 408.

100. 907 “Bob Roberts”: Ken Leland, a new assistant of Warhol’s, in Victor Bockris, Warhol: The Biography (Cambridge, MA: Vintage Books, 2003), loc. 7616, Kindle edition.

101. 907 Blue Cross and Health Insurance numbers: Pat Hackett, in Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 20799, Kindle edition.

102. 907 would be his patient in the O.R.: Dr. Bjorn Thorbjarnar-son, interview by author, May 27, 2014.

103. 907 a lousy TV: Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 79.

104. 907 memoirs of Jean Cocteau but also a new biography of Sinatra: Steven Watson, Factory Made: Warhol and the Sixties (New York: Pantheon Books, 2003), 434.


NOTES 739

105. 907 IV antibiotics: Bjorn Thorbjarnarson, in patient records ac-cessed by Dr. John Ryan.

106. 907 last late-night call: Paige Powell, in Bob Colacello, Holy Ter-ror: Andy Warhol Close Up (New York: Vintage Books, 1990), loc. 10770, Kindle edition.

107. 907 wig still in place: Dr. Bjorn Thorbjarnarson, interview by author, May 27, 2014. The wig was still there on autopsy—see Paul Alex-ander, Death and Disaster (London: Little, Brown, 1995), 93.

108. 908 “monumental”: Dr. Bjorn Thorbjarnarson, interview by author, May 27, 2014. The hernia repair would have been a difficult but necessary operation, to prevent Warhol’s colon from protruding through his skin “at first cough,” according to the surgeon Dr. John Ryan, inter-view by author, February 14, 2017.

Ryan, in a May 9, 2019, e-mail to the author, described the operation as “a cholecytectomy with intra-operative cholangiogram for gallstones with gangrene of the gallbladder, lysis of adhesions from1968 gun shot injury and repair of giant right perimedial incisional hernia with rectus fascia relaxing incision without mesh.”

109. 908 pleased to be alive: Dr. Bjorn Thorbjarnarson, interview by author, May 27, 2014.

110. 908 “one of the healthier patients”: Dr. Bjorn Thorbjarnarson, in Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 82.

111. 908 a struggle with colitis in ’83: Dr Lawrence J. Downs, insur-ance report on medical visit by Warhol, January 26, 1983, TC531, AWMA. Interestingly, the diagnosis of colitis was accompanied by a rectal culture and a test for syphilis.

112. 908 anemia in ’84: Dr. Denton Cox, claim to Blue Cross Blue Shield of New York, June 20, 1984, TC430, AWMA.

113. 908 addiction to Valium: October 2, 1986, entry in Andy War-hol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Hachette, 1989), loc. 19674, Kindle edition. Prescriptions for Valium survive in Warhol’s archives.

114. 908 needed a daily enema: Dr. Denton Cox, February 18, 1987, medical chart for Andy Warhol, in Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 65.

115. 908 a 4 percent chance of his body failing: Blake Gopnik, “Andy Warhol’s Death: Not so Simple,” New York Times, February 22, 2017.

116. 908 in a car crash: In 2009, the U.S. government calculated that the chance of an adult Amercan driver having a crash in any given year


740 NOTES

were 4.4%—see Amram Shapiro, Louise Firth Campbell, and Rosalind Wright, Book of Odds: From Lightning Strikes to Love at First Sight, the Odds of Everyday Life (New York: William Morrow Paperbacks, 2014), loc. 9770, Kindle edition.

117. 909 suggested in a study: Merrill M. Mitler, “When People Die,” American Journal of Medicine (February 1987): 266.

118. 909 would be home “tomorrow”: Gigi Williams, oral history, audiocassette, n.d., AWMA.

119. 909 settle down fine to sleep: Paul Alexander, Death and Disas-ter (London: Little, Brown, 1995), 86.

120. 909 “pale” at four thirty and “paler” at four forty-five: Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 88, 188. The nurse’s records were deemed unreliable in an investigation of the death and no one has been able to determine the exact course of events.

121. 909 “It’s like going to sleep”: Warhol, in Truman Capote and Andy Warhol, notes from an interview, late 1970s, TC578, AWMA.

POSTLUDE: AFTERLIFE

1. 911 handpicked by Fred Hughes: Paul Alexander, Death and Disaster (London: Little, Brown, 1995), 117. Alexander gives the most thorough account of events in the years immediately following Warhol’s death.

2. 911 Eulogies: Judd Tully, “The Other Andy Warhol; Artist’s Spiritual Side Extolled at N.Y. Service,” Washington Post, April 2, 1987.

3. 911 $215 million: Geraldine Norman, “Art Market: Warhol: Fa-mous for $500 Million,” The Independent, July 3, 1994.

4. 911 a $3 million settlement: “Warhol’s $3 Million Death,” Buf-falo News, March 31, 1992.

5. 911 $25 million: Meg Cox, “Ten Thousand Items Later, the Warhol Auction Ends,” Wall Street Journal, May 4, 1988.

6. 912 prices had more than doubled: Barbara Isenberg, “Waiting for the Warhol Windfall; Dealers Expect Big Profits in Selling the Pop Artist’s Works,” Washington Post, March 10, 1987.

7. 912 $500,000: Joe Helman, interview by author, December 9, 2014.
