Factory Made: Warhol and the Sixties
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Factory Made: Warhol and the Sixties is a fascinating look at the avant-garde group that came together—from 1964 to 1968—as Andy Warhol’s Silver Factory, a cast that included Lou Reed, Nico, Edie Sedgwick, Gerard Malanga, Paul Morrissey, Joe Dallesandro, Billy Name, Candy Darling, Baby Jane Holzer, Brigid Berlin, Ultra Violet, and Viva. Steven Watson follows their diverse lives from childhood through their Factory years. He shows how this ever-changing mix of artists and poets, musicians and filmmakers, drag queens, society figures, and fashion models, all interacted at the Factory to create more than 500 films, the Velvet Underground, paintings and sculpture, and thousands of photographs.
Between 1961 and 1964 Warhol produced his most iconic art: the Flower paintings, the Marilyns, the Campbell’s Soup Can paintings, and the Brillo Boxes. But it was his films—Sleep, Kiss, Empire, The Chelsea Girls, and Vinyl—that constituted his most prolific output in the mid-1960s, and with this book Watson points up the important and little-known interaction of the Factory with the New York avant-garde film world. Watson sets his story in the context of the revolutionary milieu of 1960s New York: the opening of Paul Young’s Paraphernalia, Truman Capote’s Black and White Ball, Max’s Kansas City, and the Beautiful People Party at the Factory, among many other events.
Interspersed throughout are Watson’s trademark sociogram, more than 130 black-and-white photographs—some never before seen—and many sidebars of quotes and slang that help define the Warholian world. With Factory Made, Watson has focused on a moment that transformed the art and style of a generation.
and body.” —Andy Warhol on Nico Morrissey told the band that their association with Warhol could bring fame and money. “There’s a girl we know named Nico who made a record produced by Andrew Loog Oldham, and Bob Dylan wrote a song for her,” said Morrissey. “And I think she should sing with you.” Nico had flown to New York in early November, after a brief reunion with her three-year-old son, Ari. She had no clear plan for her trip to America, but she knew she could always find modeling jobs.
Biennale, he didn’t tell Andy until just before leaving for a vacation. It had been assumed that Geldzahler would select Warhol for the exhibition, but in Geldzahler’s mind the art-world politics were very complicated. His position at the Metropolitan was always tenuous because he operated in an institution that paid little attention to contemporary art (that was the mission of the Museum of Modern Art and the Whitney) and was ruled by conservative board members. The museum’s director, James
all. The EPI informed him that they did not consider this a light show, and Danny Williams organized a new one. Morrissey’s acidic brand of running commentary cheered the band in their dispirited state. “Paul had become our hero in L.A. because he could never open his mouth without trashing everything,” recalled Mary Woronov. “He’d roll down the window and yell at the hirsute passersby, ‘Get a haircut!’ ” He called the Fillmore the Swillmore Vomitorium, and he made provocative cracks about the
and at the center was Joe Dallesandro. Over six weekends that summer he shot the entire movie for under four thousand dollars, less than one percent of Midnight Cowboy’s budget. Ever since he had seen John Ford’s little-known Flesh, Morrissey had carried the title in his head, and he now found a way of using it. “The movie’s very schematic, with all these different people’s attitudes toward flesh,” said Morrissey. “It’s kind of intellectual, but in a very flimsy way.” Morrissey’s Flesh follows
Rauschenberg Joseph Cornell Richard Stankiewicz Alex Katz Marisol Robert Indiana Isamu Noguchi Ward went to Warhol’s house accompanied by her friend Emile de Antonio, wondering whether he should fill her empty slot. The three drank quadruple whiskeys in white Danish cups, and by the time de Antonio called the question—was she or wasn’t she going to give him a show?—everyone was pleasantly inebriated. Ward pulled out her lucky two-dollar bill, waved her cigarette, and said, “Well, I’ll give you a