POPism: The Warhol Sixties

POPism: The Warhol Sixties

Andy Warhol, Pat Hackett

Language: English

Pages: 400

ISBN: 0156031116

Format: PDF / Kindle (mobi) / ePub


Anecdotal, funny, frank, POPism is Warhol’s personal view of the Pop phenomenon in New York in the 1960s and a look back at the relationships that made up the scene at the Factory, including his rela­tionship with Edie Sedgewick, focus of the upcoming film Factory Girl. In the detached, back-fence gossip style he was famous for, Warhol tells all—the ultimate inside story of a decade of cultural revolution.

Andy Warhol and the Can that Sold the World

Nest: The Art of Birds

Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman

Dürer

Pop Art

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

fifty thousand tons of it, according to the papers.) We were all big furniture freaks, really—we couldn’t stand to lose a good piece—but Fred deserved a medal for that feat. Everyone could sort of sense that the move downtown was more than just a change of place—for one thing, the Silver Period was definitely over, we were into white now. Also, the new Factory was definitely not a place where the old insanity could go on. Even though the “screening room” had couches and a stereo and a TV and was

mother became a hostess. When I was shot, Gerard had gone up to my house to get her and bring her over to the hospital, and that first night he and Viva took her home. Then somewhere along the line, I heard that the Duchess had been up at the house, too, visiting my mother, so that was food for some horrible thought. If you value your privacy, don’t ever get shot, because your private life turns into an open house very quickly. Viva and Brigid were sweet and wrote me long letters together

everything, and all through it she’d held onto the fantasy that even if no place else in the world would take her in, that Hollywood would, because Hollywood was as unreal as she was; Hollywood would surely understand—somehow. So when she didn’t get the part of Myra and she saw that Hollywood didn’t want her, either, I saw her become bitter. The big nude theater craze hit in ’69. It was only the year before that police had stood by in San Francisco to arrest the Living Theater performers if they

ON THE PREMISES to discourage people who weren’t discreet, especially after I’d gotten very upset at seeing a guy I’d never laid eyes on before standing in the middle of the Factory shooting himself up. I definitely did not want any trouble from the police, and Billy knew that. Stephen could never get over the people at the Factory. I heard him tell someone once, “They just sit there. It’s not like they’re reading, it’s not like they’re meditating, it’s not even like they’re sitting watching:

first) and all the kids had started wearing military clothes. I recall an item in Howard Smith’s Voice column about Limbo’s selling strategy/psychology—it said a lot about the way the kids were thinking: the store couldn’t sell a bunch of funny-looking black hats, so one morning they made a sign that said, “Polish Rabbis’ Hats” and they were sold out by that afternoon. One night at the Dom, Paul and I were in our usual spot, standing on the balcony watching all the kids dancing when we saw a

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