Factory Made: Warhol and the Sixties - Hardcover

Watson, Steven

 
9780679423720: Factory Made: Warhol and the Sixties
Hardcover
ISBN 10: 0679423729 ISBN 13: 9780679423720
Verlag: Pantheon, 2003

Inhaltsangabe

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.

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Über die Autorin bzw. den Autor

Steven Watson is a cultural historian and documentary filmmaker. His other books include Strange Bedfellows, The Harlem Renaissance, The Birth of the Beat Generation, and Prepare for Saints: Gertrude Stein, Virgil Thomson, and the Mainstreaming of American Modernism. He lives in New York City.

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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.

Aus dem Klappentext

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.

Auszug. © Genehmigter Nachdruck. Alle Rechte vorbehalten.

Childhood Snapshots

The people who would come into the orbit of the Silver Factory grew up in America’s postwar years, an era of cultural conservatism and financial comfort. The handful of childhood snapshots that follow show the early lives of the people who would shape the Silver Factory. They appear in order of birth; Taylor Mead is the eldest, and Joe Dallesandro is the youngest.

Taylor Mead usually declines to state his age: “Sometimes I say I am thirty-seven, or vice versa.” In fact Mead was born at 3:30 p.m. on December 31, 1924. Raised in the wealthy Detroit suburb Grosse Pointe, he thought his social position was rather murky: “I felt like I grew up in the middle of the tracks,” he said. “In society yet outside of it.” His father, Harry Mead, ran Michigan’s Democratic Party: he was a political boss who effectively manipulated power and provided the force behind Detroit’s mayor, Frank Murphy. Harry Mead hated the Republicanism of Grosse Point, while his wife, Priscilla, aspired to its social life. Their conflict resulted in a separation shortly after Taylor was born, and he believes that it was only the stigma of impropriety and danger of abortion in the 1920s that allowed him to be born.

Taylor adored his mother and considered her “a cross between Irene Dunne and Mary Astor and Garbo.” Her social position depended on her charm, her beauty, and her talent as a pianist. “She was sort of one of the darlings of Grosse Pointe,” said Mead. “And as a result I hardly ever saw her. I was brought up by black maids.” Taylor would wait up late at night to hear the details of her evening at the country club or one of the grand houses of Grosse Point. Talking recently, he described himself as “a little boy with perfect clothes. His well-bred manners were peppered with bursts of outrageousness, which in retrospect he attributed to his insecurity over his equivocal social position. Even though the four-bedroom house he grew up in was altogether respectable, he was acutely aware that he lived on the edge of Grosse Pointe, and he didn’t belong to the country club. “I don’t think it bothered my brother so much, but it bothered me,” said Taylor. “Because I had fantasies of being a king.”

Taylor also had fantasies of travel. At the age of four he stowed away on a Greyhound bus because he wanted to ride on a bus and see the world. He walked up and down the aisles and chatted with the other passengers, and he seemed so at ease that it took a long time for anyone to realize he was alone. When he got to a little town called Washington Court, fifty miles from home, his family was notified. “There he was sitting on the steps of the hotel in his little red suit,” recalled Taylor’s older brother, Hudson. “He had wet himself, but he seemed very pleased at the publicity and being the center of attention.”

From the fifth grade on Taylor became the star of school plays, turning everything into comic theater. He was so natural and commanding a performer that one of the teachers wrote a play for him called Professor Obidiah J. Biddlebody. In seventh grade, while playing an African king, he did an impromptu wild dance that brought the audience to its feet. When he was elected class president of the ninth grade, Taylor conducted meetings with an absurdist Robert’s Rules of Order and insisted the class secretary sit on his lap. The teacher soon relieved him of his position, saying, “Taylor, you are conducting meetings in too much hilarity.”

Mead was erotically aware from the age of five—at least he knew that he wanted the neighbor boys to tie him up or wrestle. He had his first sexual experience when he was twelve. While watching a movie, the boy in the next seat put his hand in Taylor’s lap. Taylor immediately took him to a field outside the theater, under a full moon, and said, “Let’s wrestle and no holds above the belt.” Although he still didn’t know the mechanics of sexual penetration, he had an orgasm riding home on his bike, and he now knew the exciting feelings that would later shape his performing persona: he was beginning the transformation from “a little boy in perfect clothes” to a radical fag.

Andy Warhol sometimes said he was from McKeesport, sometimes from Philadelphia, and occasionally Hawaii; the birthdates he gave ranged from 1925 to 1931. When he imagined it in a 1971 film, Warhol said his mother gave birth to him alone at midnight in midst of a raging fire, and his first words were “Look at the sunlight.”

Julia Warhola never registered the birth of her son. It was not until after his death that Isabella du Collin Fresne tracked down his birth certificate and the truth became clear: Andrew Warhola was born on August 6, 1928, in the bedroom of Andrei and Julia Warhola on 73 Orr Street in Pittsburgh. Both parents had emigrated from a small mountain village in the Carpathian Mountains in Ruthenia, formerly in Czechoslovakia, now in Ukraine. Theirs was an extremely marginal nationality—the Warholas were not just emigrants but eastern European, and the obscure location of Ruthenia, looked down upon by neighboring countries, put them at the bottom of the ladder. Bram Stoker portrayed Ruthenians as God-fearing peasants in Dracula.

The lot of working-class immigrants got worse at the onset of the Depression. Andrei lost his regular job laying roads for the Eicheleay Corporation, and he was forced to support his family with odd jobs, while Julia did part-time housekeeping for two dollars a day. She supplemented this income by cutting up tin cans, fashioning them into flower sculptures, and selling them door to door for twenty-five cents.

Warhol later described his home as “the worst place I have ever been in my life.” The rooms in the brick row house were dark and cramped, and the five Warholas lived in these close quarters for six dollars a week. The apartment had a kitchen, bathroom, and two other rooms. Andy and his two older brothers slept in the same bed, and they bathed by sitting in a steel tub and pouring heated water over their bodies. Until Andy was eleven there was no radio, and so storytelling became the center of the Warhola home.

In the Ruska Dolina section of Pittsburgh little happened—it was a routine of work and church and making meals and sitting around. Andy grew to appreciate the slow pace of watching life. “Years ago people used to sit looking out of their windows at the street,” he said. “They would stay for hours without being bored although nothing much was going on. This is my favorite theme in movie making—just watching something happening for two hours or so.”

The loquacious Julia Warhola presided over the storytelling evenings. She was a maternal woman with a broad face, a gap between her front teeth and thick gray hair that had once been blond. She often fractured Bible stories, telling Andy about “Moses born in the bull,” and she created a myth of the days when, as an opera singer in Ruthenia, she had ridden from town to town on horseback belting out songs. She inevitably returned to her first meeting with Andrei, and the funny white coat and ribboned hat he wore on his wedding day. From the five-and-ten Julia bought comic books and read them aloud to her children in broken English. Andy became her main and devoted audience, and Julia noted that “Andy, he look like me. Funny nose.”

From an early age, Andy had had a pasty complexion and was prone to sickness. He had trouble with his eyes at the age of two, a broken arm at four,...

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Verlag
Pantheon
Erscheinungsdatum
2003
Sprache
Englisch
ISBN 10 
0679423729
ISBN 13 
9780679423720
Einband
Gebundene Ausgabe
Auflage
1
Anzahl der Seiten
512
Kontakt zum Hersteller
Nicht verfügbar
Verantwortliche Person
Purmerul LTD
https://strengholt.nl/en/

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