I found a site that I thought everyone might like to take a look at. The part I thought you might want to look at is called "After Andy: SoHo in the Eighties" it has the last interview with Andy Warhol The address is
Strange things have been going on lately at the Film-Makers' Showcase. Anti-film-makers are taking over. Andy Warhol serials brought the Pop Movie into existence. Is Andy Warhol really making movies, or is he playing a joke on us? -- This is the talk of the town. To show a man sleeping, is this a movie?...If it is not cinema, then what is it? What is it a forecast of? What is really going on in man (or in this man)> What kind of strange signs, mutterings, messages are these?
--Jonas Mekas Review; VillageVoice; December 5, 1963
I was kind of feeling that Warhol was asexual. The little I've seen of him in our in-class video clips (and certainly in "I Shot Andy Warhol"), he doesn't seem interested in either sex. He was surrounded by gay men and "beautiful" women, but didn't care for either. In "I Shot", when he asks Valerie to speak into his tape recorder, she reads the part that says how "nothing" sex actually is. He says "That's so true" while watching everyone dance.
Asexual, homosexual, heterosexual. . .I have no idea. However, it is clear that Andy Warhol was an extremely significant figure among the avant-garde in Greenwich Village. His pop art influenced many artists then and now and we still see his images of Marilyn Monroe and Campbell's Soup cans. Up until recently, these were some of the few pieces that I associated with Warhol. I searched on the web and found an online museum of his work that I found very interesting and I thought others might like to take a look at it.
The idea of Andy Warhol being asexual is intriguing and possibly truthful. When I think about it, there really hasn't been that much written about his sexuality. Warhol was very into identity and image- maybe the media image he tried to convey was one of a person who had no real human interests or thoughts, but his private life was really pretty full. He may have been asexual, or that maybe was just the image he pcked for the media and general public.
This may seem a little off topic, but here goes. Andy Warhol may have been trying to achieve the image of asexuality for the public (there is the concept of audience again). Maryellen said a that he had a pretty full private life. Didn't he have a pretty full public life. In the documantary super star those interviewed said that that Andy and his crew would be upset if they weren't on the news or in the papers every day. I don't know about everyone else, but I have a hard time making time for a private life between school and work. It is something I have to work hard for. When I do get time to myself it is hard to escape school and work because they are so much a part of my life. I don't see how anyone like Warhol could hide his true self all the time because I get the idea that he was always in the public eye. Is it possible to maintain an image all the time or does that image become who you are?
This is a great site with lots of information, not just on Warhol, but on those around him (Velvet Underground, Valerie Solanas, etc.).
The sexual preference of these two individuals is often questioned and debated. Valerie, a prostitute for money, has sex with both males and females. In the movie Andy has no physical contact with males or females - his style and demeanor assume the role of a homosexual yet he shows no liking of men throughout the film. In books that I have read Andy talks about the beauty of certain women and the style of certain men. Perhaps his sexuality lies deeper than lust or love; he was a superstar and what he loved was stardom and mystery.
Many people consider Andy as attributing a kind of voyeuristic quality. Jonas Mekas disagrees,
"There's a lot of imitation in art, you see. And how do you imitate but by looking, staring, observing. Observation has a degree ofvoyeurism. You see, I know that Stephen Koch pushed very far in that direction [Stargazer]. That's his background, his interests. So, he made a big thing out of it, but I think he over-pushed that aspect of [Warhol's] film.
"It's like by over-pushing the voyeurism in Warhol, you make it as if no other artist is concerned with it or that other art can be produced without it. I consider that every artist, filmmaker, painter is a voyeur in that aspect. It's not a negative quality, but as a working method is a part of every artist. Of course, one could say that Andy may be, because he placed the camera I mean, he's really less because he's not even looking through [the viewfinder]. As the camera runs, he walks away and lets the camera be the voyeur, so one could make a completely different point: that he is just more conscious of it than any other filmmaker - of the voyeurism, of the voyeur. Others do it unconsciously. They are caught by it, and the voyeurism manipulates them. He manipulated it. He let it be. This is the camera looking at this, picking, and he goes out for coffee, or he goes to the other end of the studio and does other things. So, it's not that simple, to call him "the voyeur." He used it, as he used everything else: objects, people."
As we look back in attempt to recapture Warhol, we are left with "popular memories". In the article "History of Forgetting," Norman Mailer wrote that that he is interested in how popular memory remakes the history of mass culture. The preceding quotes are from those that surrounded Warhol - those whose memories continue to keep Warhol alive. Whether they are a remake or a true representation of Warhol, these words tell us about both Warhol and those he affected.
"An early image of Andy that I'll never forget dates from one Sunday afternoon, when he called me from the Factory and said, 'C'mon over, keep me company while I paint," Christopher Makos remarked. Makos and Warhol became friends when they first met in 1971 in New York. They were close friends, phone buddies and traveling partners. Makos lives in an apartment in the West Village, "covered with art inscribed to him by Warhol, Man Ray, Basquiant and Haring, its rooms littered with remote controls, bicycles and paper plates" (qtd. Makos 11). Both Andy and Man Ray worked in the seventies and taught Makos the same thing: "Don't think about making art, just get it done. Let everyone else decide whether it's good or bad, whether they love it or hate it. Whilethey're deciding, make even more art" (qtd. Makos 112). Charles Lisanby, a former assistant to Cecil Beaton and Warhol's close friend from the 50s remarked that, "Andy always wanted to do anything that was going to get him publicly Andy was famous for being famous. That's often been quoted since then and has been attributed to other people as well, but that really is true. The one thing that he wanted more then anything else was to be famous. I asked him once if he wanted to be a great artist, and he said, 'No, I'd rather be famous.'"
"Andy was a very familiar person, and he created his family as he went along. Unmarried men often do this. Andy was very paternal, maternal and fraternal with me. He would get involved in his friends' emotional needs, which was another aspect of his vicarious living. But his own emotional needs were overshadowed by his work. He was intensely absorbed in his work - except when he was having a relationship, and then the relationship became his work," Makos said.
Steve Bruce, co-owner of the unique and trend-setting restaurant-boutique Serendipity, sold drawings and items of clothing designed by Warhol. Serendipity became a hangout for Warhol and his team as they sketched and drank coffee there daily. Bruce said that, "Andy wanted to be in a very comfortable surrounding. And Serendipity happened to be very, very comfortable, very charming, and Andy felt free enough to do anything he wanted, stay there for hours and have his friends come by."
"Andy liked being non-committal because he thought that was the best way of being diplomatic. He wasn't afraid to say that something was the greatest, but he didn't like publicly to dislike anything. I don't know when he first started saying, 'Great', but I think that habit had a lot to do with the influence of Bob Colacello. Bob was the ultimate diplomat. And that rubbed off on Andy," Makos said.
When individuals entered the Factory they were often filmed because Warhol wanted to capture people's identity. Warhol's ongoing human experience (Wise's axiom 3) developed as he met knew people and heard knew stories. He took enormous parts of other people's personalities and made them his own. So too, did Warhol touch the heart and souls of so many around him.
Banes also writes that Claes Oldenbeg "took a comic/erotic turn by changing these things' scales as well as their texture. He had used mundane objets in The Store, but unlike those earlier lumpy, painted plaster flags, clothing, and food items, these large, sometimes unnaturally shiny objects bulged and sagged and were often soft and stiff at the same time." Warhol also took common items and made them into art. His brillo box creation, his Campbell Soup paintings, or his film of a person eating a mushroom became masterpieces. He never threw anything away because he either used for an idea or used it as art.
Steve Bruce, the owner of Serendipity created a sort of avant-garde furor because everything he sold in his boutique was "Art Nouveau," which was always considered "junk." Even Klara Sax from the Underworld "took junk and saved it for art" as a way of looking at something more carefully and deeper. Perhaps the Ivan Karp I saw in person still sees art in everything and everywhere and that is why his ideal museum is a "junk museum." In the 60's people who collected "junk" or saw it in a broader sense surrounded Karp. The artist's influences, Karp's generation and past, all play a major role in shaping his dream of owning a "junk" museum.
For someone who adores adulation and stardom, Andy Warhol was a very timid and reserved individual. He was introduced to Ivan Karp in 1961 and by the mid-1960s they became friends. Karp eventually became Warhol's official spokesperson and answered many questions for Warhol as he stood next to him.
Warhol was always shy and quiet in front of others. However, Karp writes that, "In a small circle of people, with those who he was comfortable with, he was an easy, out going, charming, pleasant person. Not what you would call remarkably articulate. Rarely, [he was] meditative or philosophical, you know, but always high-spirited and enthusiastic, totally caught up in New York art scene."
Karp and Warhol's friendship was strongly influenced by Warhol's profession. When Warhol did not know what to do he sought advice from Karp. Karp suggested "cows" in which Warhol then made cow wallpaper. It was a failure. Later, Karp suggested Warhol using himself as a form of art and this did moderately well.
Karp named Warhol's works and put descriptions on the back of his paintings and pictures. Warhol never complained or said anything about the work that Karp did. He trusted him so much that he even turned to Karp to answer questions for him no matter who was asking or where they were. Their friendship evolved into confidants, friends, and business partners.
Return to AMST450 Website