12 Things You Might Not Know about Andy Warhol

Andy Warhol is best known for creating iconic Pop art paintings of Campbell's soup cans and Marilyn Monroe in the 1960s. With the Factory, his New York City studio, he made films (such as Chelsea Girls) and championed bohemian performers (including Edie Sedgwick and Nico) that he deemed superstars. He also co-founded Interview magazine and presciently declared that everyone in the future will be world-famous for 15 minutes. To celebrate what would have been the artist's 89th birthday, here are a dozen things you might not know about Warhol.

1. HIS PARENTS WERE POOR IMMIGRANTS FROM CENTRAL EUROPE.

After leaving their village in present-day Slovakia to come to America, Andrej (or Ondrej) and Julia Warhola welcomed their son Andrew Warhola to the world in 1928. The family, including Warhol's two older brothers, lived humbly in a small apartment in a working-class neighborhood in Pittsburgh, Pennsylvania. Andrej worked as a construction worker and coal miner but died of tuberculosis peritonitis when Warhol was 13.

2. HE WAS A DEVOUT CATHOLIC WHO REGULARLY ATTENDED MASS.

Warhol grew up as a practicing Byzantine Catholic, and he quietly continued to practice his religion as an adult. He went to a church on Manhattan's Upper East Side almost every day, attending Mass or praying in the afternoon. Warhol also wore a crucifix necklace, carried a rosary, and regularly volunteered at a church-run soup kitchen. Some of his art, such as his series The Last Supper, depicts religious themes, and Warhol is buried in a Catholic cemetery in Pennsylvania.

3. HE WAS THE VELVET UNDERGROUND’S MANAGER.

In 1966 and 1967, Warhol organized events dubbed The Exploding Plastic Inevitable to combine his interests in art, performance, music, and film. He featured the Velvet Underground in The Exploding Plastic Inevitable and encouraged the band to perform with Nico, one of his superstars. Warhol then co-managed the band, produced the Velvet Underground and Nico’s self-titled album, and let the band use his banana artwork as its album cover.

4. DRELLA WAS HIS NICKNAME.

Warhol's friends and creative collaborators in the Factory called him Drella, a portmanteau of the names Dracula and Cinderella. Because he was often insincere and flippant, especially in interviews, it could be hard to uncover Warhol's true thoughts. But the nickname Drella conveyed the passive-aggressive, Jekyll and Hyde-like nature of his personality. Two members of the Velvet Underground even released an album in Warhol's memory called Songs For Drella.

5. HE USED URINE TO OXIDIZE SOME OF HIS PAINTINGS.

In 1977, Warhol started creating a series of abstract paintings called The Oxidations. Using a base of copper paint, he added urine to oxidize the paint, creating unique colors and textures. Warhol encouraged his friends to urinate on the canvases. Because each person's diet and vitamin intake differed, their urine created slightly different colors in the oxidation process and turned the copper paint various shades of green, brown, and yellow. In 2008, one of his paintings in this series sold for almost $2 million.

6. HE WAS NOMINATED FOR A GRAMMY AWARD.

In the 1950s and '60s, Warhol worked as a freelance commercial artist for companies such as Harper's Bazaar, RCA Records, and Columbia Records. Besides creating cover art for the Velvet Underground, he designed album artwork for the Rolling Stones, John Cale, and Aretha Franklin. His 1971 cover for the Rolling Stones's album Sticky Fingers—a risqué image of a man's crotch (in jeans) with a working zipper—was nominated for a Grammy Award for Best Album Cover. (It lost to a band called Pollution.)

7. HIS SILVER WIGS COVERED UP HIS EARLY BALDING.

In his early 20s, Warhol began going bald, so he wore wigs to obscure his hair loss. His silver wigs—he had a collection of dozens—contributed to his bohemian image and avant-garde mystique. Warhol's iconic 1986 series of self-portraits, called Fright Wig, shows his (fake) hair sticking straight up. In 2010, his purple self-portrait sold at Sotheby's for more than $32 million.

8. HE WAS A LIFELONG MAMA’S BOY.

Until her death in 1972, Julia Warhola was her son's close and constant companion. Mother and son lived and worked together in New York City for almost two decades. Julia appeared in his film Mrs. Warhol and provided calligraphy and lettering for his projects. A collection of her drawings is even on display at Pittsburgh's Andy Warhol Museum.

9. TRUMAN CAPOTE CALLED HIM A LOSER.

Warhol admired Truman Capote's work and lifestyle, but the playwright didn’t feel the same. Recalling his meeting with a pre-fame Warhol (whom Capote claimed had been essentially stalking him), Capote described the artist as "one of those hopeless people that you just know nothing's ever going to happen to. Just a hopeless, born loser, the loneliest, most friendless person I'd ever seen in my life." Despite this cruel description, Capote later warmed to Warhol, and the two men had occasional lunches and collaborated on Interview magazine.

But their relationship was more as frenemies than as BFFs. Warhol reportedly said that one of Capote's scripts was awful and that in 1980, the author had become very distant and unfriendly: "It's strange, he's like one of those people from outer space—the body snatchers—because it's the same person, but it's not the same person."

10. A RADICAL FEMINIST WITH SCHIZOPHRENIA ALMOST KILLED HIM.

In 1968, Valerie Solanas shot Warhol (as well as art critic Mario Amaya) at the Factory. Warhol fought for his life, spending two months in the hospital recovering from his chest wound. Solanas, a radical feminist author diagnosed with paranoid schizophrenia who advocated overthrowing the government and eliminating men, had appeared in Warhol's film I, a Man (that's Solanas talking on a staircase). She was mad at the level of control she felt Warhol had over her life, so she shot him. Nearly two decades later, Warhol died in 1987 of a heart attack after a gallbladder surgery, possibly due to complications from the gunshot wound.

11. HE MADE A COOKBOOK, AND IT'S AS BIZARRE AS YOU'D EXPECT.

In 1959, Warhol joined forces with his friend, interior decorator Suzie Frankfurt, to create a cookbook called Wild Raspberries. Mocking the genre of stylish French cookbooks, Warhol and Frankfurt wrote recipes for "dishes" such as Omelet Greta Garbo (to be eaten alone), Roast Iguana Andalusian, and Gefilte of Fighting Fish. Although the handmade cookbooks contained 19 Warhol illustrations, Wild Raspberries wasn’t a commercial success.

12. PITTSBURGH IS A MECCA FOR HIS FANS.

Since 1994, the Andy Warhol Museum in Pittsburgh has featured a treasure trove of Warhol-related items, including his paintings, drawings, sculptures, films, and photographs. You can also find issues of Interview magazine, his audiotaped recordings, diaries, wigs, and massive perfume collection. Perhaps most interestingly, the museum houses more than 600 Warhol time capsules, containing over three decades' worth of his newspapers, business documents, and childhood mementos.

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John MacDougall, Getty Images
Stolpersteine: One Artist's International Memorial to the Holocaust
John MacDougall, Getty Images
John MacDougall, Getty Images

The most startling memorial to victims of the Holocaust may also be the easiest to miss. Embedded in the sidewalks of more than 20 countries, more than 60,000 Stolpersteine—German for “stumbling stones”—mark the spots where victims last resided before they were forced to leave their homes. The modest, nearly 4-by-4-inch brass blocks, each the size of a single cobblestone, are planted outside the doorways of row houses, bakeries, and coffee houses. Each tells a simple yet chilling story: A person lived here. This is what happened to them.

Here lived Hugo Lippers
Born 1878
Arrested 11/9/1938 — Altstrelitzer prison
Deported 1942 Auschwitz
Murdered

The project is the brainchild of the German artist Gunter Demnig, who first had the idea in the early 1990s as he studied the Nazis' deportation of Sinti and Roma people. His first installations were guerrilla artwork: According to Reuters, Demnig laid his first 41 blocks in Berlin without official approval. The city, however, soon endorsed the idea and granted him permission to install more. Today, Berlin has more than 5000.

Demnig lays a Stolpersteine.
Artist Gunter Demnig lays a Stolpersteine outside a residence in Hamburg, Germany in 2012.
Patrick Lux, Getty Images

The Stolpersteine are unique in their individuality. Too often, the millions of Holocaust victims are spoken of as a nameless mass. And while the powerful memorials and museums in places such as Berlin and Washington, D.C. are an antidote to that, the Stolpersteine are special—they are decentralized, integrated into everyday life. You can walk down a sidewalk, look down, and suddenly find yourself standing where a person's life changed. History becomes unavoidably present.

That's because, unlike gravestones, the stumbling stones mark an important date between a person’s birth and death: the day that person was forced to abandon his or her home. As a result, not every stumbling stone is dedicated to a person who was murdered. Some plaques commemorate people who fled Europe and survived. Others honor people who were deported but managed to escape. The plaques aim to memorialize the moment a person’s life was irrevocably changed—no matter how it ended.

The ordinariness of the surrounding landscape—a buzzing cafe, a quaint bookstore, a tree-lined street—only heightens that effect. As David Crew writes for Not Even Past, “[Demnig] thought the stones would encourage ordinary citizens to realize that Nazi persecution and terror had begun on their very doorsteps."

A man in a shop holding a hammer making a Stolpersteine.
Artisan Michael Friedrichs-Friedlaender hammers inscriptions into the brass plaques at the Stolpersteine manufacturing studio in Berlin.
Sean Gallup, Getty Images

While Demnig installs every single Stolpersteine himself, he does not work alone. His project, which stretches from Germany to Brazil, relies on the research of hundreds of outside volunteers. Their efforts have not only helped Demnig create a striking memorial, but have also helped historians better document the lives of individuals who will never be forgotten.

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Evening Standard/Stringer, Getty Images
60 Years Later, a Lost Stanley Kubrick Script Has Been Found
Evening Standard/Stringer, Getty Images
Evening Standard/Stringer, Getty Images

A “lost” screenplay co-written by famed filmmaker Stanley Kubrick has been found after 60 years, Vulture reports.

The screenplay is an adaptation of Stefan Zweig’s novella Burning Secret, which Vulture describes as a reverse Lolita (plot summary for those who forgot high school English class: a man enters a relationship with a woman because of his obsession with her 12-year-old daughter). In Burning Secret, a man befriends an adolescent boy in order to seduce his mother. Zweig’s other works have inspired films like Wes Anderson's The Grand Budapest Hotel (which the director claims he "stole" from Zweig's novels Beware of Pity and The Post-Office Girl).

Kubrick’s screenplay adaptation is co-written by novelist Calder Willingham and dated October 24, 1956. Although the screenplay bears a stamp from MGM’s screenwriting department, Nathan Abrams—the Bangor University professor who discovered the script—thinks it’s likely the studio found it too risqué for mass audiences.

“The child acts as an unwitting go-between for his mother and her would-be lover, making for a disturbing story with sexuality and child abuse churning beneath its surface,” Abrams told The Guardian. It's worth noting, however, that Kubrick directed an adaptation of Vladimir Nabokov's Lolita in 1962, which MGM distributed, and it was also met with a fair share of controversy.

Abrams said the screenplay for Burning Secret is complete enough that it could be created by filmmakers today. He noted that the discovery is particularly exciting because it confirms speculations Kubrick scholars have had for decades.

“Kubrick aficionados knew he wanted to do it, [but] no one ever thought it was completed,” Abrams told The Guardian.

The Guardian reports that Abrams found the screenplay while researching his book Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film. The screenplay is owned by the family of one of Kubrick’s colleagues.

[h/t Vulture]

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