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On Thursday, July 27, Eric Sher, a former curator and director at the Andy Warhol Mm, will talk about the artist's life, cludg his challeng as a gay man and practicg Christian.

Contents:

ANDY WARHOL AS A GAY ARTIST NFLICT WH HIS CATHOLIC FAH

One of Ameri’s most beloved artists kept a secret. Andy Warhol — pop artist and gay in — was also a lifelong Catholic who went to mass regularly at a church New York Cy’s Upper East Si. * was andy warhol gay *

While his sexualy is equently supprsed or bated, Warhol was a gay man who had several partners throughout his life. This tour trac Warhol’s romantic relatnships and queer inty agast the backdrop of the historil gay rights movement the Uned Stat.

ANDY {LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:600;MARG-BOTTOM:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:0.875REM;LE-HEIGHT:1.2;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1.25REM;LE-HEIGHT:1.2;}} A{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:HER;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;} A:HOVER{LOR:#A00000;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}ANDY WARHOL WAS ONE OF THE MOST PROLIFIC AND POPULAR ARTISTS OF HIS TIME, G BOTH AVANT-GAR AND HIGHLY MERCIAL {LOR:#323232;MARG-BOTTOM:0.625REM;PADDG-RIGHT:0.3125REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;} SPAN{FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;LE-HEIGHT:1.6;}{FONT-STYLE:NORMAL;PADDG-RIGHT:0.3125REM;LOR:#323232;FONT-FAY:RALAS,GEIA,TIM,SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1.3;FONT-WEIGHT:BOLD;TEXT-TRANSFORM:PALIZE;}{DISPLAY:LE-BLOCK;TEXT-TRANSFORM:UPPERSE;MARG-LEFT:0.625REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}UPDATED: MAR 11, {DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;}{MARG-BOTTOM:0.9375REM;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 64REM){{MAX-WIDTH:LC(100VW - (1REM * 2));MARG-LEFT:1REM;MARG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(-1 * 1REM);}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MARG-LEFT:TO;MARG-RIGHT:TO;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC((100VW - (LC(20.625REM * 2 - 1REM) - 2 * 1REM)) / -2);}}@MEDIA(M-WIDTH: 61.25REM) AND (MAX-WIDTH: 90REM){{MAX-WIDTH:LC(20.625REM * 2 - 1REM);MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / 2);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / -2) - 1REM);}}@MEDIA(M-WIDTH: 90REM){{MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 2);MAX-WIDTH:LC(20.625REM * 2 - 1REM);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 + 1REM)) / -2) - LC(2 * 1REM));}[DATA-HAS-SPONSOR] {MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);MARG-RIGHT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);}}{JTIFY-SELF:CENTER;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 48REM){{MARG-LEFT:-50VW;MARG-RIGHT:-50VW;WIDTH:100VW;LEFT:50%;RIGHT:50%;}}{HEIGHT:TO;}@MEDIA(MAX-WIDTH: 48REM){{MARG:TO LC(50% - 50VW);}}@MEDIA(M-WIDTH: 48REM){{MARG:TO;}}{POSN:RELATIVE;HEIGHT:TO;}{POSN:RELATIVE;--POSN:ABSOLUTE;HEIGHT:TO;} IMG{MAX-WIDTH:100%;HEIGHT:TO;} A{POSN:ABSOLUTE;}{POSN:RELATIVE;WIDTH:100%;HEIGHT:100%;OBJECT-F:VER;VERTIL-ALIGN:TOP;}{BACKGROUND:#C92228;BOTTOM:0;PADDG:.5REM;RIGHT:0;}@MEDIA(M-WIDTH: 64REM){{PADDG:0.39REM;}}{DISPLAY:BLOCK;HEIGHT:1REM;WIDTH:1REM;}@MEDIA(M-WIDTH: 64REM){{WIDTH:1.063REM;HEIGHT:1.063REM;}}{LE-HEIGHT:1;MARG-TOP:0.3125REM;}@MEDIA(MAX-WIDTH: 73.75REM){{PADDG-LEFT:0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0;}}{LOR:#595959;PADDG-RIGHT:0.3125REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}PHOTO: BROWNIE HARRIS/CORBIS VIA GETTY {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;PADDG-LEFT:0REM;PADDG-RIGHT:0REM;POSN:RELATIVE;}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:3.5REM;PADDG-RIGHT:3.5REM;}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MAX-WIDTH:45.25REM;MARG-LEFT:TO;MARG-RIGHT:TO;}}@MEDIA(M-WIDTH: 61.25REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 73.75REM) AND (MAX-WIDTH: 100REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}} EM{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-STYLE:ALIC;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}{CLEAR:BOTH;NTENT:" ";DISPLAY:BLOCK;FONT-SIZE:0.7REM;LE-HEIGHT:1.5REM;HEIGHT:0REM;VISIBILY:HIDN;}{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;} EM{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-STYLE:ALIC;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}(1928-1987){LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG-BOTTOM:0.625REM;MARG-TOP:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1.875REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}WHO WAS ANDY WARHOL?ANDY WARHOL WAS A SUCCSFUL MAGAZE AND AD ILLTRATOR WHO BEME A LEADG ARTIST OF THE 1960S POP ART MOVEMENTS. HE VENTURED TO A WI VARIETY OF ART FORMS, CLUDG PERFORMANCE ART, FILMMAKG, VIO STALLATNS AND WRG AND NTROVERSIALLY BLURRED THE L BETWEEN FE ART AND MASTREAM ATHETICS. WARHOL DIED ON FEBARY 22, 1987, NEW YORK CY.EARLY LIFEBORN ANDREW WARHOLA ON AUGT 6, 1928, THE NEIGHBORHOOD OF OAKLAND PTSBURGH, PENNSYLVANIA, WARHOL'S PARENTS WERE SLOVAKIAN IMMIGRANTS. HIS FATHER, ANDREJ WARHOLA, WAS A NSTCTN WORKER, WHILE HIS MOTHER, JULIA WARHOLA, WAS AN EMBROIRER. THEY WERE VOUT BYZANTE CATHOLICS WHO ATTEND MASS REGULARLY AND MATAED MUCH OF THEIR SLOVAKIAN CULTURE AND HERAGE WHILE LIVG ONE OF PTSBURGH'S EASTERN EUROPEAN ETHNIC ENCLAV.AT THE AGE OF EIGHT, WARHOL NTRACTED CHOREA—ALSO KNOWN AS ST. V'S DANCE — A RARE AND SOMETIM FATAL DISEASE OF THE NERVO SYSTEM THAT LEFT HIM BEDRIDN FOR SEVERAL MONTHS. IT WAS DURG THE MONTHS, WHILE WARHOL WAS SICK BED, THAT HIS MOTHER, HERSELF A SKILLFUL ARTIST, GAVE HIM HIS FIRST DRAWG LSONS. DRAWG SOON BEME WARHOL'S FAVORE CHILDHOOD PASTIME. HE WAS ALSO AN AVID FAN OF MOVI, AND WHEN HIS MOTHER BOUGHT HIM A MERA AT THE AGE OF NE, HE TOOK UP PHOTOGRAPHY AS WELL, VELOPG FILM A MAKHIFT DARKROOM HE SET UP THEIR BASEMENT.WARHOL ATTEND HOLM ELEMENTARY SCHOOL AND TOOK THE EE ART CLASS OFFERED AT THE CARNEGIE INSTUTE (NOW THE CARNEGIE MM OF ART) PTSBURGH. IN 1942, AT THE AGE OF 14, WARHOL AGA SUFFERED A TRAGEDY WHEN HIS FATHER PASSED AWAY OM A JNDICED LIVER. WARHOL WAS SO UPSET THAT HE ULD NOT ATTEND HIS FATHER'S FUNERAL, AND HE HID UNR HIS BED THROUGHOUT THE WAKE. WARHOL'S FATHER HAD REGNIZED HIS SON'S ARTISTIC TALENTS, AND HIS WILL HE DICTATED THAT HIS LIFE SAVGS GO TOWARD WARHOL'S LLEGE TN. THAT SAME YEAR, WARHOL BEGAN AT SCHENLEY HIGH SCHOOL, AND UPON GRADUATG, 1945, HE ENROLLED AT THE CARNEGIE INSTUTE FOR TECHNOLOGY (NOW CARNEGIE MELLON UNIVERSY) TO STUDY PICTORIAL SIGN.POP ARTWHEN HE GRADUATED OM LLEGE WH HIS BACHELOR OF FE ARTS GREE 1949, WARHOL MOVED TO NEW YORK CY TO PURSUE A REER AS A MERCIAL ARTIST. IT WAS ALSO AT THIS TIME THAT HE DROPPED THE "A" AT THE END OF HIS LAST NAME TO BEE ANDY WARHOL. HE LAND A JOB WH GLAMOUR MAGAZE SEPTEMBER, AND WENT ON TO BEE ONE OF THE MOST SUCCSFUL MERCIAL ARTISTS OF THE 1950S. HE WON EQUENT AWARDS FOR HIS UNIQUELY WHIMSIL STYLE, G HIS OWN BLOTTED LE TECHNIQUE AND BBER STAMPS TO CREATE HIS DRAWGS.CAMPBELL'S SOUP CANS IN THE LATE 1950S, WARHOL BEGAN VOTG MORE ATTENTN TO PATG, AND 1961, HE BUTED THE NCEPT OF "POP ART"—PATGS THAT FOCED ON MASS-PRODUCED MERCIAL GOODS. IN 1962, HE EXHIBED THE NOW-INIC PATGS OF CAMPBELL'S SOUP NS. THE SMALL NVAS WORKS OF EVERYDAY NSUMER PRODUCTS CREATED A MAJOR STIR THE ART WORLD, BRGG BOTH WARHOL AND POP ART TO THE NATNAL SPOTLIGHT FOR THE FIRST TIME. BRISH ARTIST RICHARD HATON SCRIBED POP ART AS "POPULAR, TRANSIENT, EXPENDABLE, LOW ST, MASS-PRODUCED, YOUNG, WTY, SEXY, GIMMICKY, GLAMORO, BIG BS." AS WARHOL HIMSELF PUT , "ONCE YOU 'GOT' POP, YOU ULD NEVER SEE A SIGN THE SAME WAY AGA. AND ONCE YOU THOUGHT POP, YOU ULD NEVER SEE AMERI THE SAME WAY AGA." WARHOL'S OTHER FAMO POP PATGS PICTED CO-LA BOTTL, VACUUM CLEANERS AND HAMBURGERS. PORTRASHE ALSO PATED CELEBRY PORTRAS VIVID AND GARISH LORS; HIS MOST FAMO SUBJECTS CLU {-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:#A00000;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;}{LOR:#595959;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}MARILYN MONROE, ELIZABETH TAYLOR, MICK JAGGER AND MAO TSE-TUNG. AS THE PORTRAS GAED FAME AND NOTORIETY, WARHOL BEGAN TO RECEIVE HUNDREDS OF MISSNS FOR PORTRAS OM SOCIAL AND CELEBRI. HIS PORTRA "EIGHT ELVIS" EVENTUALLY ROLD FOR $100 LN 2008, MAKG ONE OF THE MOST VALUABLE PATGS WORLD HISTORY.THE FACTORY IN 1964, WARHOL OPENED HIS OWN ART STUD, A LARGE SILVER-PATED WAREHOE KNOWN SIMPLY AS "THE FACTORY." THE FACTORY QUICKLY BEME ONE OF NEW YORK CY'S PREMIER CULTURAL HOTSPOTS, A SCENE OF LAVISH PARTI ATTEND BY THE CY'S WEALTHIT SOCIAL AND CELEBRI, CLUDG MICIAN LOU REED, WHO PAID TRIBUTE TO THE HTLERS AND TRANSVT HE'D MET AT THE FACTORY WH HIS H SONG "WALK ON THE WILD SI"—THE VERS OF WHICH NTA SCRIPTNS OF DIVIDUALS WHO WERE FIXTUR AT THE LEGENDARY STUD/WAREHOE THE '60S, CLUDG HOLLY WOODLAWN, CANDY DARLG, "LTLE JOE" DALLANDRO, "SUGAR PLUM FAIRY" JOE CAMPBELL AND JACKIE CURTIS. (WARHOL WAS A IEND OF REED'S AND MANAGED REED'S BAND, THE VELVET UNRGROUND.) WARHOL, WHO CLEARLY RELISHED HIS CELEBRY, BEME A FIXTURE AT FAMO NEW YORK CY NIGHTCLUBS LIKE STUD 54 AND MAX'S KANSAS CY. COMMENTG ON CELEBRY FIXATN—HIS OWN AND THAT OF THE PUBLIC AT LARGE—WARHOL OBSERVED, "MORE THAN ANYTHG PEOPLE JT WANT STARS." HE ALSO BRANCHED OUT NEW DIRECTNS, PUBLISHG HIS FIRST BOOK, ANDY WARHOL'S INX, 1967.READ MORE: HOW ANDY WARHOL AND HALSTON TRANSFORMED ART, FASHN AND STUD 54IN 1968, HOWEVER, WARHOL'S THRIVG REER ALMOST END. HE WAS SHOT BY VALERIE SOLANAS, AN ASPIRG WRER AND RADIL FEMIST, ON JUNE 3. WARHOL WAS SERLY WOUND THIS ATTACK. SOLANAS HAD APPEARED ONE OF WARHOL'S FILMS AND WAS REPORTEDLY UPSET WH HIM OVER HIS REFAL TO E A SCRIPT SHE HAD WRTEN. AFTER THE SHOOTG, SOLANAS WAS ARRTED AND LATER PLEAD GUILTY TO THE CRIME. WARHOL SPENT WEEKS A NEW YORK HOSPAL REVERG OM HIS JURI AND UNRWENT SEVERAL SUBSEQUENT SURGERI. AS A RULT OF THE JURI HE STAED, HE HAD TO WEAR A SURGIL RSET FOR THE RT OF HIS LIFE.READ MORE: LEARN ABOUT VALERIE SOLANAS, THE WOMAN WHO SHOT ANDY WARHOLWARHOL BOOKS AND FILMS IN THE 1970S, WARHOL NTUED TO EXPLORE OTHER FORMS OF MEDIA. HE PUBLISHED SUCH BOOKS AS THE PHILOSOPHY OF ANDY WARHOL (FROM A TO B AND BACK AGA) AND EXPOSUR. WARHOL ALSO EXPERIMENTED EXTENSIVELY WH VIO ART, PRODUCG MORE THAN 60 FILMS DURG HIS REER. SOME OF HIS MOST FAMO FILMS CLU SLEEP, WHICH PICTS POET JOHN GRNO SLEEPG FOR SIX HOURS, AND EAT, WHICH SHOWS A MAN EATG A MHROOM FOR 45 MUT. WARHOL ALSO WORKED SCULPTURE AND PHOTOGRAPHY, AND THE 1980S, HE MOVED TO TELEVISN, HOSTG ANDY WARHOL'S TV AND ANDY WARHOL'S FIFTEEN MUT ON MTV.DEATHIN HIS LATER LIFE, WARHOL SUFFERED OM CHRONIC ISSU WH HIS GALLBLADR. ON FEBARY 20, 1987, HE WAS ADMTED TO NEW YORK HOSPAL WHERE HIS GALLBLADR WAS SUCCSFULLY REMOVED AND HE SEEMED TO BE REVERG. HOWEVER, DAYS LATER HE SUFFERED PLITNS THAT RULTED SUDN RDIAC ARRT AND HE DIED ON FEBARY 22, 1987, AT THE AGE OF 58. THOANDS OF PEOPLE ATTEND A MEMORIAL FOR THE ARTIST AT ST. PATRICK'S CATHEDRAL NEW YORK CY.LEGACYWARHOL'S ENIGMATIC PERSONAL LIFE HAS BEEN THE SUBJECT OF MUCH BATE. HE IS WILY BELIEVED TO HAVE BEEN A GAY MAN, AND HIS ART WAS OFTEN FED WH HOMOEROTIC IMAGERY AND MOTIFS. HOWEVER, HE CLAIMED THAT HE REMAED A VIRG FOR HIS ENTIRE LIFE. WARHOL'S LIFE AND WORK SIMULTANEOLY SATIRIZED AND CELEBRATED MATERIALY AND CELEBRY. ON THE ONE HAND, HIS PATGS OF DISTORTED BRAND IMAG AND CELEBRY FAC ULD BE READ AS A CRIQUE OF WHAT HE VIEWED AS A CULTURE OBSSED WH MONEY AND CELEBRY. ON THE OTHER HAND, WARHOL'S FOC ON NSUMER GOODS AND POP-CULTURE INS, AS WELL AS HIS OWN TASTE FOR MONEY AND FAME, SUGGTS A LIFE CELEBRATN OF THE VERY ASPECTS OF AMERIN CULTURE THAT HIS WORK CRICIZED. WARHOL SPOKE TO THIS APPARENT NTRADICTN BETWEEN HIS LIFE AND WORK HIS BOOK THE PHILOSOPHY OF ANDY WARHOL, WRG THAT "MAKG MONEY IS ART AND WORKG IS ART, AND GOOD BS IS THE BT ART."{BORR:0;BORR-BOTTOM:TH SOLID BLACK;MARG:1.875REM 0;CLEAR:BOTH;}QUICK FACTS

“In New York, he pletely threw himself to this creative queer muny, ” Moran even the New York gay and arts scen, Warhol — who as a public figure was famoly elive about his bgraphil tails and inty — was “almost but never que out, ” Gopnik wr his Warhol bgraphy. “Anyone wh half a bra realized that Warhol was gay, but he didn’t actually e out and say really until the 1970s and ’80s, and even then was only said a somewhat jokg way, ” Gopnik ’s artistic immersn gay culture New York is on view a selectn of his early le drawgs om the 1950s featured the Tate exhib. Together, they rell not only a “moment of gay life New York, ” as Gopnik not, but also Warhol’s role as both a wns to and a participant that the drawgs, like most of Warhol’s explic works throughout the 1950s, were not well received by the U.

ANDY WARHOL, GAY AND CATHOLIC

Like the early le drawgs, “Sleep” implicly suggts Warhol’s dual rol both as an observer of gay life and a member of . “By makg so formally avant-gar, he saved himself om havg to worry about whether people would be up arms about s gay ntent, ” Gopnik ntrast, the ntent of Warhol’s “Ladi and Gentlemen” seri, which Marsha P. “It was rare for women who weren’t naked to be the subject of art; was extremely rare for people of lor to be the subject of art by and for the mastream world; and my gus is ’s one of very few imag of transgenr people, and certaly the only signifint reprentatn of transgenr people of lor by a major whe artist, ” Gopnik Italian art aler Luciano Anselmo missned the seri om Warhol after the artist brought him to the Gild Grape, a bar Midtown Manhattan that attracted gay and transgenr people, along wh drag queens.

*BEAR-MAGAZINE.COM* WAS ANDY WARHOL GAY

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ptn__text">Warhol would tell terviewers to talk to his assistant: “He did a lot of my patgs.”</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph by Stephen Shore / Courty 303 Gallery</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 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*; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">Andy Warhol’s life may be better documented than that of any other artist the history of the world. That is bee, every few days or so, he would sweep all the stuff on his sk to a storage box, date , label “TC”—short for “time psule”—and then store , wh all the precedg TCs, a special place his stud. As a rult, we have his movie-ticket stubs, his newspaper clippgs, his wboy boots, his wigs, his llectn of ntal molds, his llectn of pornography, the untls Polaroids he took of the people at the untls parti he went to—you name . We have pi of bills he sent and also of bills he received om creasgly exasperated credors, cludg one (“<em class="small">PAY UP YOU BLOWHARD</em>”) om Gieppe Rossi, the doctor who, 1968, saved his life after a woman who felt she had been sufficiently featured his movi me to his stud one day and shot him. In one box, I’ve heard, there is also a slice of ke, on a plate. It wasn’t jt material objects he kept. When possible, he taped his phone nversatns, and sometim had an assistant type them up. He believed the power of the banal. This fah was the wellsprg of the Pop-art patgs—the Campbell’s soup ns, the Brillo rtons—that ma him famo the neteen-sixti and changed Ameri’s taste art.</p><p class="paywall">After <a href=">Warhol</a>’s ath, 1987, a mm dited to his work was tablished his home town, Ptsburgh. The time psul—six hundred and ten of them—were shipped there and led up on banks of metal shelvg, ready for the person who would work their ntents to a ftgly rich bgraphy. Seven years ago, he arrived: Blake Gopnik, formerly the lead art cric of the Washgton <em>Post</em>. (His brother, Adam, is a wrer for this magaze.) Gopnik is fantastilly thorough; the book is ne hundred pag long—not untg the seven thoand endnot, available the e-book edn or onle. But you don’t lose heart, bee Gopnik is a vivid chronicler. Here is a small clip om his scriptn of the repair job Dr. Rossi did on Warhol’s nards after the 1968 shootg. The surgeon found</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>two hol the arc of the diaphragm mcle, pierced both right and left as the bullet crossed through Warhol’s body; an ophag severed om the stomach, so that food and gastric acid were spillg out om below; a liver whose left lobe was mashed and bleedg and a spleen utterly stroyed and spillg more blood than any of the other ans. [The] bullet had also cut a ragged hole Warhol’s tt, releasg fec and uppg the chanc of fatal fectn.</p></div></blockquote><p class="paywall">Readg this, I felt as though I were havg the operatn myself.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Warhol was born Ptsburgh 1928, the youngt of the three sons of Andrej and Julia Warhola, who had immigrated to the Uned Stat om a small village what is now Slovakia. The townsfolk were Carpatho-Ryns, a Slavic people, and the fay was Byzante Catholic. (Warhol, as an adult, sporadilly went to Mass. “Church is a fun place to go,” he said.) Slavs were much mand Ptsburgh, wh s steel ls, bee they were reputedly willg to do any kd of work, at any wage. As a rult, they were also the most looked-down-upon ethnic group the cy. Andrej was a manual laborer; Julia a domtic. When she didn’t have enough work, she went door to door, often wh her sons tow, sellg rative flowers ma om cut-up peach ns. Andrej died 1942. The two olr boys qu school and took full-time jobs. Andy stayed school. For most of his youth, he was sseted by his fay. When the Warhols acquired a new Baby Brownie Special mera ($1.25), he immediately laid hands on , and never let go. His brothers built him a darkroom the basement. Also, he fell love wh the movi; he said that he wanted to make his livg showg films. This was an unual life plan for a boy of his background, but Julia saved ne dollars—ne days’ wag om her hoecleang—to buy him a projector. He showed Mickey Moe rtoons on a wall the apartment.</p><p class="paywall">Warhol liked to scribe himself as self-ted, a wily accepted claim. In fact, he went to an excellent art llege, the Carnegie Instute of Technology, where a number of his teachers regnized his gifts and kept the work that he turned to them, a rare tribute. The mute he got out of school, 1949, he packed his belonggs a paper bag and got on an overnight Greyhound bound for New York Cy. He was twenty.</p><p class="paywall">Warhol lived a seri of roach-ridn sublets, ually shar, while tryg to break to mercial illtratn. Once, when he was showg sampl of his work to the edor--chief of <em>Harper’s Bazaar</em>, an sect crawled out of his portfol, to his mortifitn. The edor felt so sorry for him that she gave him an assignment. Warhol was not shy. In the Mm of Morn Art, he went up to a staffer and proposed that he sign Christmas rds for the gift shop. (He got the job.) A iend remembered seeg him a bookstore, flippg through the rerd bs to see which labels were dog the most tertg jackets. Then he went home and ld-lled the art directors. “He was like a ltle Czech tank,” another iend said.</p><p class="paywall">Many people who met him those years, and later, found him strange—a “weird ltle creep,” the words of one. He was unabashedly homosexual, and the early fifti that was weird enough. He liked to do drawgs of nu boys, their nippl and crotch dotted wh ltle hearts, like soft kiss. If he met a man who appealed to him, he might say that he liked to photograph penis, and would this man md? “No, of urse not,” one self-posssed Brish curator replied. “What are you gog to e them for?” “Oh, I don’t know yet,” Warhol said. “I’m jt takg the pictur.” The man unzipped.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">Three years after Warhol arrived New York, his mother turned up on his doorstep. She explaed to one of his iends, “I e here to take re of my Andy, and when he’s okay I go home.” She stayed for almost twenty years. The hoehold had a large, smelly llectn of Siame ts. At one pot, there were reportedly seventeen of them, mostly named Sam. (But Julia, potg, uld troduce them separately: “That’s the good Sam, that’s the bad Sam, that’s the dumb Sam . . .”) Between the ts and Julia’s late-life drkg problem, Warhol seems to have been hant to troduce her to his iends. On the other hand, one boyiend said he thought Warhol was grateful for her prence, bee gave him an exce not to have sex. He would expla to his gut that he didn’t want to make any bedroom nois as long as his mother was wh earshot.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Captn reads 'Due to navigatnal error ty terplaary probe mak untend tour to Mrs. McGty's potato..." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Jack Ziegler</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g 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ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Warhol claimed that he was a virg until he was twenty-five, and some people would say that that was no surprise. All his life, he was paed by his looks. He was cursed wh terrible sk, not jt ae but what seems to have been a disorr of pigment distributn, so that his plexn was lighter here, darker there. He also had a bulbo nose, or so he thought, and he got a nose job. By the time he was his thirti, he had lost much of his hair. Thereafter, he glued a toupee to his slp every morng. His most celebrated wig was a silver one, which he ually wore wh a ge of his brown hair peepg out at the neck. The difficulti bod ill for his sex life, and he was wily said to be loy bed. He thought sex was “msy and distasteful,” a iend reported. He’d do wh you once or twice, and that was . Gopnik, as is his practice, also giv petg evince: “Wh a few years Warhol was havg surgery for anal warts and a tear, and a later he was takg penicill for a venereal disease.” Warhol’s iend and llaborator Taylor Mead said that Warhol “blows like crazy.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Warhol lied nstantly, almost recreatnally. He lied about his age even to his doctor. He told <em>Who’s Who</em> that he was born Cleveland, to the “von Warhol” fay. (He had trad Warhola for Warhol soon after arrivg New York.) He adopted a gentle, whispery voice, to which he might then drop a ltle grena. If someone asked how he was, he might say, “I’m okay,” and then, g closer, he would add, “But I have diarrhea.” Some people thought he was stupid. Not those who knew him well. “Warhol only plays dumb,” a iend said. “He’s credibly analytil, tellectual, and perceptive.”</p><p class="paywall">His mercial specialty was drawgs for women’s-wear ads—above all, sho. In 1955, the high-end women’s shoemaker I. Miller gave him a ntract for a mimum of twelve thoand dollars’ worth of work per year, a lot of money at the time. He also did wdow drsg, notably for Bonw Teller. But already he was lookg beyond this: he wanted to be a gallery artist. Teachers and classmat om Carnegie Tech provid some nnectns, and Manhattan’s gay muny supplied more. He also had a few special godfathers, attracted to him, seems, by his charm (not everybody thought he was creepy) and by his drive. Perhaps his most important gui was Ee Anton, an artists’ agent, who troduced him all around; he knew <a href=">John Cage</a>, whom Warhol revered, and lots of llectors. (“I gave a ltle party for a terribly rich woman I knew,” Anton relled, “and I served jt marijuana and Dom Perignon, and Andy did a betiful menu French.”) Another eful person was Ivan Karp, the director of the Leo Castelli Gallery, Manhattan’s most prtig art mart. Through Karp, Warhol eventually met Henry Geldzahler, a curatorial assistant at the Metropolan Mm, whose job there was to fd out who the hot new artists were and tell the curators.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">In the fifti, the Uned Stat already had a pocket of nceptual art, but the star paters were the Abstract Exprsnists, above all <a href=">Jackson Pollock</a> and <a href=">Willem Koong</a>, wh their effortful drips and impastos. At the Ab Ex’ heels were the young <a href=">Robert Rschenberg</a> and <a href=">Jasper Johns</a>, part nceptual, part paterly, and edgg to “Pop,” a style that ed imagery om mass culture—ic strips, movi, advertisg—and adopted a light, playful tone, the very oppose of the Abstract Exprsnists’ heavy liftg. Warhol, too, was terted this popular matter and manner, and he was annoyed that other people were, as he saw , stealg a march on him. Acrdg to a famo story, he was plag about this to iends one night and asked if anyone uld thk of pop-culture imag that no one else had ed. A rator named Muriel Latow said she had a suggtn, but she wanted fifty dollars, up ont, before she would reveal . The unembarrassable Warhol sat down and wrote a check. Then Latow said, “You’ve got to fd somethg that’s regnizable to almost everybody . . . somethg like a n of Campbell’s Soup.”</p><p class="paywall">Gopnik lls this Warhol’s “reka moment,” and is typil of the book’s sophistitn that the ccial, seedlg ia of Warhol’s Pop art should be attributed, whout apology, to someone other than Warhol. Often, artists who are praised for birthg a new trend are not the actual origators but the on who ma the trend appealg to a large public. Warhol had as much of the latter gift as of the former; Gopnik lls him “the Great Sponge.” In any se, the day after Latow shared wh him her ltle bra bomb, Warhol (or his mother, another versn) went to the Fast supermarket across the street and me home wh one n of every kd of Campbell’s soup on sale there. By the followg year, 1962, he had produced “Campbell’s Soup Cans,” a montage of all thirty-two varieti. Today, this patg hangs the Mm of Morn Art—“the ‘Nu Dcendg a Stairse’ of the Pop movement,” the words of Henry Geldzahler. It is both a slap the face and a great joy: so h, so brash, so red and whe, so certa that has vered every kd of soup the world, om Pepper Pot to Stch Broth.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">In rapid succsn, the Campbell’s Soups were followed by Warhol’s other now famo Pop patgs: “Green Co-Cola Bottl” (1962), “192 One Dollar Bills” (1962), “Brillo Soap Pads Box” (1964), the Marilyn Monro and Elizabeth Taylors and Marlon Brandos and Elvis. For some, you n easily nstct a background narrative. The “Marilyn Diptych,” prisg fifty silk screens of Monroe, fadg om garish lor to spectral black-and-whe, was exhibed jt after her ath. But I see no story lurkg behd the Liz Taylors or the Elvis or, for that matter, the panels of twenty-four Statu of Liberty (1962) or thirty Mona Lisas (1963). All of the ladi, not to speak of Elvis and Brando, were stars, and Warhol, om his childhood until the day he died, was enthralled by celebry.</p><p class="paywall">He soon beme a celebry himself, if an unual one. In his thirti, he was famo, TV terviews, for puttg two fgers over his lips and sayg thgs like “er” or “um,” but not much more, as the meras rolled. (You n see this on YouTube. It is disfortg to watch.) For live terviews, he would often brg along Gerard Malanga, who worked wh him, and say, “Why don’t you ask my assistant Gerry Malanga some qutns? He did a lot of my patgs.” There was some tth to this. Of the works listed above, all but the 1962 “Campbell’s Soup Cans” were silk screens, ually based on photographs that someone else had taken, and ma wh Malanga wieldg the squeegee. From 1963 to 1972—the perd durg which he ma most of his Pop art—Warhol produced no hand-drawn work.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Runng parallel to Warhol’s inoclasm about thorship was a certa olns toward his subjects. “For an artist wh a lifelong reputatn for suckg up to stars,” Gopnik wr, “Warhol also had a lifelong knack for makg art that unrled their shortgs and hollowns.” Probably the most important discsns of Warhol’s work are the books and says that the philosopher Arthur Danto wrote on him om the mid-sixti onward. The are not exactly art cricism. Their spe is broar. Danto says that Warhol’s work, by disposg of mornism’s assertns that patg should be about the nature of patg, liberated to go s own way, while the art crics stayed back the schoolroom, argug. Danto don’t say he loved Warhol’s work, but I thk he did. I’m sorry that he liked the Brillo rton— supplied the tle of his book “Beyond the Brillo Box”—better than the Campbell’s soup ns, but he probably enjoyed the irony that the Brillo box Warhol immortalized was signed by an Abstract Exprsnist pater, Jam Harvey, dog a money job on the si. The Ab Ex looked upon Warhol wh hatred. At a party the late sixti, a dnken Koong said to Warhol, “You’re a killer of art, you’re a killer of bety, you’re even a killer of lghter.”</p><p class="paywall">Warhol didn’t kill lghter—he would have been ls famo if he had done so—but his humor is muted, adpan. In 1964, he produced a seri of ne silk screens of Jacquele Kennedy’s face, based on prs photos: one that showed her the famo pillbox hat, jt before J.F.K. was shot; the send as Lyndon Johnson was beg sworn , on the airplane back to Washgton; the third at Kennedy’s funeral. There was nothg overtly mockg about the works. But 1964, when, the public md, Kennedy’s body was not yet ld, they raised a qutn: What was Warhol sayg? Viewers might have asked the same of his earlier “Death and Disasters” seri (1962-65), worked up om photographs of bloodied rps hangg out of wrecked rs, mangled bodi of people who had jumped to their aths, the electric chair which Ethel and Juli Rosenberg, nvicted of spyg for the Soviet Unn, were executed, and so on. Like the soup ns, the silk screens were often cheerfully multiplied and, like the Marilyns and the Liz Taylors, vered wh wash of bright lor: blue, red, vlet, yellow.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">In the same year as the “Ne Jacki,” Warhol unveiled silk screens of his “Flowers,” big, blobby hibisc blossoms agast a grassy field. They looked like wallpaper or, as Gopnik suggts, Marimekko drs fabrics. In any se, they were somethg that, unlike a picture of an electric chair, you might be willg to hang over your livg-room sofa. This was what they were apparently signed for, bee Warhol (or Malanga) turned out more than four hundred and fifty of them, different versns—different siz, different lorways, to e Gopnik’s spired word—and they sold like hotk. Warhol claimed to be proud of them. If I’m not mistaken, Gopnik don’t believe him. He quot Warhol announcg, the followg year, that he has retired as an artist. The “Flowers,” Gopnik wr, were “pretty much his last notable Pop patgs.” But, as the thor do not flat-out say but repeatedly impli, they were also pretty much Warhol’s last notable patgs, perd. “I hate patgs,” he told a reporter 1966, addg, “That’s why I started makg movi.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">He had ma his first film 1963. Tled “Sleep,” was five and a half hours long, and all showed was his boyiend, John Grno, sleepg. The next year, he followed this up wh “Empire,” eight hours, overnight, of the Empire State Buildg, shot om a wdow the nearby Time-Life Buildg. Thereafter, until the mid-seventi, he ma sr of movi, some of them pure and severe, like “Sleep” and “Empire,” and others, such as “The Chelsea Girls” and “Lonome Cowboys,” shamblg and funny and dirty, wh drag queens stg around lickg bananas or people havg dilatory nversatns about sex, or havg sex.</p><p class="paywall">But the movi were not jt movi. They were the motn-picture wg of what was by now a whole “scene.” In 1964, Warhol moved his profsnal headquarters to a vast space he me to ll the Factory— had hoed a hat factory before he moved —on East Forty-seventh Street, jt wt of the Uned Natns. The place was filthy, but Warhol’s iend Billy Name (né Billy Lich, but Lich was a name, right? So why not jt go by Name?) moved wh a pack of fellow speed eaks and transformed the space wh til and spray pat, so that the end every surface was silver.</p><p class="paywall">Jt as Warhol’s movi were not merely movi, the Factory was not merely a place where thgs were ma. It was also a showse for a certa group of people who cltered around Warhol. Billy Name was one; Gerard Malanga another. Also important was Onde (Robert Olivo), wild and vic. Bt known to outsirs was Edie Sedgwick, a sweet-faced and rather hapls rich girl who, black tights and expensive sweaters, often went along on Warhol’s outgs, as his “date,” and paid the tab. The and a few others were Warhol’s superstars, as he lled them.</p><p class="paywall">In 1966, he also beme the manager of a proto-punk rock band, the Velvet Unrground, hatchery of <a href=">Lou Reed</a>, John Cale, and others, all pretty much unknown at that pot. One of s members scribed a typil show: “Some sailors or somethg were the dience of five, and we played somethg and they said, ‘You play that aga and we’ll fuck the sh out of you.’ So we played aga.” “Our aim was to upset people,” one of the band’s founrs said, “make them vom.” Warhol knew ltle about mic, and he and the Velvets broke up ls than a year. (“Always leave them wantg ls,” Warhol said.) But for a while Warhol’s film showgs and performanc—notably, “The Explodg Plastic Inevable” and “★★★★”—were multimedia events, featurg the superstars boppg around a sultory fashn to the Velvets’ disrdant stras while two or more films were projected si by si or, ed, superimposn.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="3fxybl"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="hjhto"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">It hardly needs to be said that dgs were volved here, and this fact, gmented wh remiscenc of Warhol’s associat, has ntributed to a portra of him as a sort of Mephistophel, lurg his young iends to their . A key story is that of Freddy Herko, part of the Wt Village postmorn-dance scene the sixti. One day, a while after he had stopped hangg around the Factory, Herko took a bubble bath, and some LSD, at a iend’s apartment, danced naked for a while, and then, to the stras of Mozart’s “Coronatn Mass,” threw himself out a wdow. When rmed of Herko’s ath, Warhol mented that he was sorry not to have been there to film the fall.</p><p class="paywall">This story won him an endurg reputatn, wh those so md, as an emotnls person, a sort of eak—an image rerced by his patgs of soup ns and electric chairs. Cold heart, ld art. Gopnik don’t say whether or not he believ the report, but he nclus that, if is te, says as much about Warhol’s sire to shock as about his supposed lack of feelg. He also pots out that Warhol ed the joke more than once. When his relatnship wh Edie Sedgwick was g to an end—she ran off wh Bob Dylan—he said to a iend, “When do you thk Edie will m suici? I hope she lets know, so we n film .” If this was nasty, was also clear-eyed: six years later, Sedgwick died of a barburate overdose. Warhol also applied the joke to himself, sayg that he always regretted that no one had been there, 1968, to film him beg gunned down.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">On June 3, 1968, <a href=">Valerie Solanas</a> emerged om the elevator at the Factory. She was a lol eccentric, the founr and sole member of a femist anizatn she lled <em class="small">SCUM</em>, the Society for Cuttg Up Men. She was also, apparently, sufferg om an acute mental disorr. She had prevly drifted to Warhol’s stud a few tim and he had put her a sexploatn film, “I, a Man,” 1967. She felt he should have ed her more, and this was the reason for her vis. Enterg the stud, she fired several tim at Warhol and also put a bullet a iend of his who was visg. Then she turned around and stepped back to the elevator. A few hours later, Tim Square, she told a bewilred p, “The police are lookg for me. I am a flower child. He had too much ntrol over my life.” (She got three years. “You get more for stealg a r,” Lou Reed said.) Meanwhile, an ambulance had taken Warhol to Columb Hospal, where he was laid out on a table for Dr. Rossi’s mistratns. His mother, summoned by one of his associat, stood the lobby, prayg for her “good, relig boy.” The doctors had her sedated and taken home. After the surgery, Warhol stayed the hospal for two months, eatg ndy, talkg on the phone, and tryg to manage the stud om afar.</p><p class="paywall">Gopnik scrib the asslt by Solanas as the dividg le between Warhol’s “before” and his “after.” He slowly got rid of his disreputable entourage, or they, feelg ls valued, left him. He acquired fancier iends, like Lee Radziwill and Mick Jagger. He bought an tate Montk, and a cholate-brown Rolls to go wh . In 1969, he found <em>Interview</em>, a publitn that was advertised as beg voted to movi (the origal tle was <em>ter/VIEW: A Monthly Film Journal</em>) but soon beme a magaze about celebri. Apparently, he did not often work on —one of the early edors said he never read until the prter livered —but helped to snag clients for another partment of his activi, the manufacture of silk-screen portras of iends, patrons, and assorted big nam: Dennis Hopper, Domique Menil, Gianni Versace, the Shah of Iran, Chris Evert, Dolly Parton, Imelda Mars.</p><p class="paywall">Seeg Warhol’s bsh wh ath as a watershed has obv narrative appeal, but, on the evince of Gopnik’s chronicle, the “after” had been g for a while. Like most of Warhol’s Pop patgs, the great majory of his films were ma ls than five years. Then, seems, he got bored. He field a few works the I-dare-you-to-say-this-isn’t-art manner of his hero and iend Marcel Duchamp, who, by exhibg a signed ural, 1917, more or ls vented nceptual art. In 1972, at Fch College, New York, Warhol did his “vacuum-cleaner piece,” which volved his vacuumg a patch of rpet the llege’s art gallery, signg the dt bag, proppg on a pestal, and gog home. But, as Gopnik pots out, “Where Duchamp’s ural had volved a transformatn of the banal to art, if only by the artist’s say-so, Warhol’s update volved jettisong transformatn altogether so that banaly self, left to do s banal thg, uld unt as high art.”</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="A woman mak her iend wa for her to check a long list of thgs on her phone before they leave." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“Let me jt check my e-mail, my texts, my missed lls, Instagram, Facebook, Twter, WhatsApp, my cred sre, my horospe, the rults of this latt personaly tt, the S. & P., the Dow, the news, this article about cute dogs, and the weather, and then we n go.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Amy Kurzweil</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 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id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc cxFROy alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Some years before, Warhol had placed an ad the <em>Village Voice:</em> “I’ll endorse wh my name any of the followg; clothg AC-DC, cigarett small, tap, sound equipment, <em class="small">ROCK N’ ROLL RECORDS</em>, anythg, film, and film equipment, Food, Helium, Whips, <em class="small">MONEY</em>!! love and kiss Andy Warhol, EL 5-9941.” This illy blatant announcement—the phone number was Warhol’s real office number—n’t serly have been tend to brg sh. Rather, proclaimed that, henceforward, “sellg out” would be, for Warhol, an athetic move.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">But gradually the sellout pose stuck. When, two years later, Warhol told a reporter that his artistic medium was “bs,” he meant . In Gopnik’s words, this claratn “lnched a new approach to his life and his art that would mold both for the followg two s, and then shape his reputatn for all the years afterward.” Revertg to his I. Miller days, he began signg ads: a sundae for Schrafft’s, a limed-edn bottle for Absolut vodka, and the like. He also had an ia for a cha of Andy-Mat ders. “They’re for people who eat alone,” he explaed. “You s at a ltle table, orr up any sort of ozen food you want, and watch TV at the same time. Everyone has his own TV set.”</p><p class="paywall">Warhol’s new enterpris didn’t take up much of his time. Gopnik says that the artist gave maybe two days each to the later silk-screen portras—and that showed. “Ever more vant,” Gopnik lls the patgs. Unsurprisgly, Warhol’s star fell. By the time, the early eighti, that he began dog llaborative patgs wh <a href=">Jean-Michel Basquiat</a>—Gopnik gus that the young prodigy remd the olr man of his earlier self—the associatn was enough to damage Basquiat’s reputatn. A cric for the <em>Tim</em> wrote that their work together looked “like one of Warhol’s manipulatns, which creasgly seem based on the Mencken theory about nobody gog broke unrtimatg the public’s telligence. Basquiat, meanwhile, across as the all too willg accsory.” Basquiat soon distanced himself, which hurt Warhol. Gopnik feels, too, that Warhol was not as different to artistic qualy as he ma himself out to be. Soon after the Centre Pompidou, Paris, opened, Warhol spent a day lookg at s morn-art masterworks and wrote his diary, “I wanted to jt sh home and pat and stop dog society portras.”</p><p class="paywall">Still, many rich people were happy to have him do portras of them. This third arm of his empire fell to a neat synergy wh the others—the fancy Montk hoe, the celebry magaze—and ma him a lot of money. He enjoyed spendg . He liked to buy loose diamonds and walk around jigglg them his pocket. In his later years, he went antique shoppg most morngs and eventually bought around a ln dollars’ worth of heirloom furnure. He had no space for most of his livg quarters and therefore had to stash empty rooms upstairs.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Warhol once tried to give an old iend one of his Marilyn Monroe silk screens, and the man, who disliked Pop, said, “Jt tell me your heart of hearts that you know isn’t art.” Warhol, imperturbable, answered, “Wrap up brown paper, put the back of a closet—one day will be worth a ln dollars.” He was right, Gopnik says, but off by two orrs of magnu: 2008, a Warhol silk screen sold for a hundred ln dollars. There was no huger reputatn than Warhol’s the art of the sixti, and late-twentieth-century art there was no more important than the sixti. Much of the art that has followed, the Uned Stat, is unthkable whout him, whout his jog of high culture and low, whout his love of sizzle and flash, whout his batn of tenrns and sarsm, whout the e of photography and silk-screeng and advertisg.</p><p class="paywall">If any artist of the past half century serv a bgraphy as tailed as this one, then, is Warhol. Still, the long tail end of Warhol’s reer forc Gopnik to some tight rners as a cric. He acknowledg that, even by the end of the sixti, Warhol was treadg water as an artist. I believe that’s te, and that Gopnik thks so, too. Yet elsewhere, and often, he tri to fend Warhol agast the charge of havg ma ferr work the seventi and eighti. Most tratg are the stanc when he exc medcre patgs by sayg that medcry was what Warhol was gog for, and that we should ngratulate him for havg achieved his goal.</p><p class="paywall">At tim, the fens remd me of the philosopher Karl Popper’s famo objectn to Frdian analysis, on the ground that was “unfalsifiable.” (If you said that you’d never wanted to have sex wh your mother, this was stantly terpretable, via the theory of reprsn, as an admissn that you wanted to have sex wh your mother. If, on the other hand, you said that you wanted to have sex wh your mother, voilà: you wanted to have sex wh your mother.) Gopnik wr that, the sixti and seventi, “ ‘Andy Warhol’ may have promoted some banal popular culture. Andy Warhol, the brilliant artist si those quot, uld be unted on to turn to art.” Really? How n you tell the difference between the two? “Anythg bad is right,” Warhol clared, and Gopnik lls this “as close as he ever me to a guidg athetic prciple.” But is a good prciple—not jt for Warhol, but for ? Better, surely, jt to acknowledge that the bad stuff was bad than to try to turn s badns to a postmorn triumph.</p><p class="paywall">If special pleadg for the late perd is the book’s one real weakns, s great strength is s tone. In his time, Warhol was very ntroversial. Some people thought he was a geni; others, that he should be arrted. Gopnik, though he do believe that his subject is a geni, treats him fairly, lmly, and fondly. If Warhol tells a good joke, Gopnik relays . In the hospal, soon after he was shot, Warhol said to a iend, “You know, we gotta get some bigger thgs to hi behd.” When the artist stuffs a photograph of Brando down the ont of his pants, we hear about . As for Warhol’s love life, Gopnik manag to nvce , whout sentimentaly, that, however many cute guys Warhol went through, he always jt wanted to fall love wh somebody and settle down. He did fall love, often—ually wh someone who loved him ls—but never worked out for long. The last boyiend, Jon Gould, a young vice-print at Paramount, cled to sleep Warhol’s room wh him, sayg that the artist’s dachshunds farted on him bed. Gould died of <em class="small">AIDS</em> wh a few years.</p><p class="paywall">Then, there is Warhol’s mother, wh whom he lived for most of his life. By the time he was urtg Jon Gould, Julia, now her late seventi, was downstairs, gog bats, hidg food secret plac around the hoe. In 1971, she moved back to Ptsburgh, livg first wh one of Warhol’s brothers and then a nursg home. A repeatedly wrote to Warhol, tellg him that Julia survived only the hope that Andy would vis her before she died. He didn’t vis, nor, eventually, did he attend her funeral, though he paid for . One day soon afterward, a reporter asked him what was on his md. He answered, “I thk about my bird that died. If went to bird heaven. But I really n’t thk about that. It jt took a walk.”</p><p class="paywall">Fifteen years after his mother died, Warhol, fifty-eight, followed her. It’s a wonr that he lasted that long. All his later life, he suffered om an fected gallbladr. He wore a girdle—there’s a llectn of them, dyed pretty lors, the time psul—jt to keep his guts . He was nstant pa. Fally, one day Febary of 1987, he checked himself to New York Hospal. When the surgeons pulled out his gallbladr, they found fallg apart wh gangrene. He died the next morng. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="5xnufi"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2020/06/08" data-reactroot="">June 8 & 15, 2020</a>, issue, wh the headle “Bigger Thgs to Hi Behd.”</footer></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/joan-acella">Joan Acella</a> has been a staff wrer at The New Yorker sce 1995. Her most recent book is “<a href=">Twenty-eight Artists and Two Sats</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/andy-warhol" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Andy Warhol</span></a><a href="/tag/artists" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Artists</span></a><a href="/tag/diari" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Diari</span></a><a href="/tag/books" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Books</span></a><a href="/tag/li" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Li</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt jjsHHz newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Books & Fictn</h3><div class="NewsletterSubscribeFormDek-kXonvc lhYeOn newsletter-subscribe-form__k">Short stori and poems, pl thor terviews, profil, and tal om the world of lerature.</div></div><div data-ttid="NewsletterSubscribeFormInputsWrapper" class="NewsletterSubscribeFormInputsWrapper-keARJE hVWbzr"><form class="form-wh-validatn NewsletterSubscribeFormValidatn-iCYa-Dt dweEln" id="newsletter" name="newsletter" novalidate="" method="POST"><span class="TextFieldWrapper-Pzdqp hNhevp text-field" data-ttid="TextFieldWrapper__email"><label class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TextFieldLabel-klrYvg iUEiRd stdEm fvoOvz text-field__label text-field__label--sgle-le" for="newsletter-text-field-email" data-ttid="TextFieldLabel__email"><div class="TextFieldLabelText-cvvxBl eeDYTb">E-mail addrs</div><div class="TextFieldInputContaer-jcMPhb oFrOs"><put type="email" aria-scribedby="privacy-text" aria-valid="false" id="newsletter-text-field-email" required="" name="email" placeholr="E-mail addrs" class="BaseInput-fAzTdK TextFieldControlInput-eFUxkf eGzzTT laFPCK text-field__ntrol text-field__ntrol--put" data-ttid="TextFieldInput__email"/></div></label><button class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv dwpimO button button--utily TextFieldButton-csBrgY edxbrw" data-event-click="{"element":"Button"}" data-ttid="Button" type="subm"><span class="ButtonLabel-cjAuJN hzwRuG button__label">Sign up</span></button></span><div id="privacy-text" tabx="-1" class="NewsletterSubscribeFormDisclaimer-bTVtiV lnYvsZ"><span><p>By signg up, you agree to our <a href=" rel="nofollow noopener noreferrer" target="_blank">User Agreement</a> and <a href=" rel="nofollow noopener noreferrer" target="_blank">Privacy Policy & Cookie Statement</a>. 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summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2010/01/11/top-of-the-pops" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Top of the Pops" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Cric at Large</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href="/magaze/2010/01/11/top-of-the-pops" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Top of the Pops</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2010/01/11/top-of-the-pops" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Top of the Pops" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Did Andy Warhol change everythg?</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Louis Menand</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2018/11/19/ther-still-no-pg-andy-warhol" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="There’s Still No Espg Andy Warhol" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Art World</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href="/magaze/2018/11/19/ther-still-no-pg-andy-warhol" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">There’s Still No Espg Andy Warhol</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2018/11/19/ther-still-no-pg-andy-warhol" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="There’s Still No Espg Andy Warhol" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">A bold retrospective at the Whney shows works that fed the emergg enomy of brands and that offer lors to cleanse the optic nerve.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Peter Schjeldahl</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--evio summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="Igor Lev’s Twenty-Hour Performance via Live Stream" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Vio</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Igor Lev’s Twenty-Hour Performance via Live Stream</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="Igor Lev’s Twenty-Hour Performance via Live Stream" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k summary-em__k--isCneVio">The pianist played Erik Satie’s “Vexatns,” one of the longt posns the classil-mic non, to raise awarens for the plight of artists and performers durg the ronavis panmic.</div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div 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