Introduction

From the author of Strapless and Guest of Honor, a book about a little-known road trip Andy Warhol took from New York to LA in 1963, and how that journey—and the numerous artists and celebrities he encountered—profoundly influenced his life and art.

In 1963, up-and-coming artist Andy Warhol took a road trip across America. What began as a madcap, drug-fueled romp became a journey that took Warhol on a kaleidoscopic adventure from New York City, across the vast American heartland, all the way to Hollywood and back.

With locations ranging from a Texas panhandle truck stop to a Beverly Hills mansion, from the beaches of Santa Monica to a Photomat booth in Albuquerque, The Trip captures Warhol’s interactions with Dennis Hopper, Peter Fonda, Marcel Duchamp, Elizabeth Taylor, Elvis Presley, and Frank Sinatra. Along the way he also met rednecks, beach bums, underground filmmakers, artists, poets, socialites, and newly minted hippies, and they each left an indelible mark on his psyche.

In The Trip, Andy Warhol’s speeding Ford Falcon is our time machine, transporting us from the last vestiges of the sleepy Eisenhower epoch to the true beginning of the explosive, exciting ’60s. Through in-depth, original research, Deborah Davis sheds new light on one of the most enduring figures in the art world and captures a fascinating moment in 1960s America—with Warhol at its center.

Editorial Review

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Excerpt

September 24, 2012

I have always been fascinated by Andy Warhol, the artist, filmmaker, writer, aphorist, media mogul, trendsetter, and visionary who remains one of the most enduring talents of the twentieth century and, somehow, one of the hottest of the twenty-first. Andy would be amused—although probably not at all surprised—to see that the paintings critics considered a joke in 1963, including his controversial Campbell’s Soup cans, command hundreds of millions of dollars today; that an entire museum is dedicated to preserving his life and works; that Warhol exhibitions are in constant circulation; that his counterculture movies laid the groundwork for the mainstream, billion-dollar industry known today as independent film; that he is credited with having invented the “selfie”; and that fans, including artists and writers, view “Saint Andy” as their muse.

I was one of those adoring fans when I found myself sitting in front of Andy at a film event at the Museum of Modern Art in the early eighties. I was thrilled to be in his presence but too shy to turn around and speak to him. Later that evening, my husband made some comment about Andy’s wig, and I asked, “What wig?” I was so young and naive that I thought his outrageous silver hair was real. Subsequently, I became better informed about everything Warhol, and when I became a writer, I contemplated making him the subject of a book. I just needed to find the right story.

In Popism, Andy’s intimate chronicle of his experiences in the 1960s, I came across a passing mention of a road trip he took in 1963, when he and some cronies drove cross-country from New York to Los Angeles. I soon became convinced that this adventure—a mere footnote in most Warhol biographies—was actually a defining moment in his life, as well as a window through which one could see the seismic shifts underway in America at the time. It is a road trip that becomes, in that sixties way, a head trip; a celebratory tour of heartland highways, California beaches, old Hollywood, new Hollywood, Las Vegas, and other quintessentially American places, and a Pop-infused exploration of American culture—art, literature, movies, television, advertising, music, sports, drugs, and the new sexuality—all filtered through Andy Warhol’s experiences.

Andy was thirty-five the first time he set out for the West Coast, but in a larger sense, his journey began at birth. His evolution from a poor, sickly child, born in depressed Pittsburgh in 1928, to the nascent artist and filmmaker speeding along Route 66 in 1963 was an eventful trip in itself. As I researched his life and times, it occurred to me that if I really wanted to understand Andy at this critical moment, I would have to get into a car and take the trip myself.

I started planning the sort of road trip that most people take when they are eighteen and unencumbered or, conversely, retired and in an RV. I would drive from New York to New Jersey, across Pennsylvania, Ohio, and Indiana, and then pick up historic Route 66—the hipster’s highway—straight across Missouri, Kansas, Oklahoma, Texas, New Mexico, and Arizona, all the way to the Santa Monica Pier, on the westernmost edge of California. My husband, a confirmed New Yorker, does not drive, so he would be strictly a passenger. Under the circumstances, I estimated it would take us about seven days to get to Los Angeles. Andy did it in four and a half, but he and his companions had some quintessentially sixties drugs to help them along. I would leave on -September 24, the very day that he had left.

The notion of re-creating Andy’s journey was an abstract one until I came across a page of reproduced receipts in a book of Warhol memorabilia. Andy was a notorious pack rat who saved absolutely everything in cardboard boxes he called “time capsules.” All sorts of odd things have turned up in them, including party invitations, food, nail clippings, and prescription drugs. In time capsule 55, Andy had stored what I considered absolute treasure—an assortment of receipts from his cross-country road trip.

Each one told a story. A stamped card from the The Port of New York Authority recorded the exact minute he left New York City. A bill from the Beverly Hills Hotel listed room service charges and columns of long-distance phone calls. There were receipts from gas stations, motels, restaurants, camera stores, and other places he stopped along the way. Like a trail of crumbs, these details led me to the very places Andy went and also told me how he spent his time once he got there. This trove of information brought Andy to life and would allow me to actually see what he saw. Now I was truly excited about hitting the road.

What to pack for such a long trip, with so many hours to spend in the car? Music, books on tape, and magazines. To create the appropriate atmosphere and authentically retro mindset, I decided that all my entertainment had to be from 1963. The best songs of the year were catchy pop classics—“Sugar Shack,” “Sukiyaki,” “Sally Go Round the Roses,” “Surf City,” to name a few. The most promising book on tape was Nabokov’s Lolita – the film came out in 1963 and featured a road trip of its own. For vintage magazines, I selected the ones I knew Andy read all the time, everything from Photoplay and Confidential to Vogue and Ladies’ Home Journal.

On departure day, the eagerly anticipated morning of Monday, September 24, 2012, the car rental company called with bad news. Apparently, the vehicle I had booked two months earlier was not available due to some inexplicable glitch. Fortunately, the mom-and-pop gas station down the street had an available rental car, and it was gassed up and ready to go within the hour. For better or worse, so were we.

A thoughtful friend dropped off a Warhol survival kit, complete with snacks, Andy T-shirts, and two platinum wigs. We immediately put them on for a commemorative photograph, and the first thing we noticed was how uncomfortable they were. Did Andy feel the same way about his wigs, I wondered. Were they hot and itchy? We said good-bye to family, friends, and dogs, and drove thirteen miles east to New York City so we could start exactly where Andy started—from his townhouse at 1342 Lexington Avenue.

Miraculously, I found a parking space directly in front of the building. I pulled in, fully aware of the significance of the moment, when I suddenly noticed that the door to number 1342 was slightly ajar and that construction workers were going in and out with buckets. Curious, I walked to the door and boldly pushed it open. “Bold” is not a word I would normally use to describe myself, but the urge to enter Andy’s house was so compelling that it superseded my fear of trespassing.

Inside, I walked up the stairs to the parlor floor. There were drop cloths everywhere. The house was being renovated, and the first thing I noticed was that it looked very different from the dark, old-fashioned place Andy called home in 1963. Before long, the contractor spotted me amid the crowd of workers and I quickly explained that I was writing a book about Andy Warhol. I asked if it would be possible to look around, and he glanced at a coworker as if to say, “Not another one.” Apparently I wasn’t the first Warholic to trespass in the name of research. He left the room to call the current owner about authorizing my “visit,” and the second he disappeared I gingerly started peeking through doorways.

It was thrilling to realize I was standing where Andy first painted his Campbell’s Soup cans and Coca-Cola bottles. I recalled photographs I’d seen of him in this house. In one, he sat on the hall stairs sifting through his mail. In another, he ate breakfast in the downstairs kitchen with his mother, with whom he lived. I remembered yet another photograph in which every spare inch of space seemed filled with his collectibles, everything from a pair of Carmen Miranda’s platform shoes, to a twisted sculpture by the artist John Chamberlain made of scrapped auto parts.

The contractor returned with the not-unexpected news that the owner refused to let an outsider wander through the work site. I thanked him, turned to exit the townhouse, and realized that even though I was denied a tour, I had been given an amazing opportunity. Thanks to divine intervention in the form of a parking space and a renovation, I could begin my trip exactly the way Andy had begun his own, forty-nine years earlier. I paused on the landing, walked down the stairs, pushed open the front door, and headed to the waiting car, just like Andy.

September 24, 1963

Andy Warhol watched from the window of his Lexington Avenue townhouse as a black Ford Falcon station wagon pulled up to the curb. Grabbing what he considered “essentials”—dozens of magazines, a newly purchased Bolex movie camera (which he wasn’t entirely sure how to use), and his tuxedo—Andy kissed his mother good-bye, raced down the steps, climbed into the car, and set out on his first all-American road trip. Destination: Los Angeles, where Irving Blum’s Ferus Gallery was mounting an exhibition of Andy’s paintings of Elvis Presley and Elizabeth Taylor.

Who was Andy Warhol on that sunny September day? Certainly not the cool, silver-haired sphinx and ubiquitous man about town he would later become. He was a successful illustrator in the 1950s, best known for his whimsical drawings of shoes, cherubs, and flowers. But the sixties unveiled a brand-new Andy, an avant-gardist who was painting seriously and thinking about making experimental films. In 1962, his controversial “portrait” of a Campbell’s Soup can catapulted him to the forefront of a sensational new art movement called Pop. Yet in his torn chinos and dirty sneakers, he was still “Raggedy Andy,” who struck most people as “charming and gracious,” “generous,” “easy, outgoing, pleasant, and high-spirited”—a perpetual teenager, even though he was thirty-five at the time, with an ever-enthusiastic and ebullient approach to life.

Andy had been fantasizing about Hollywood since childhood, but he had not yet seen it with his own eyes. He loved painting celebrities—Liz, Elvis, Marilyn, Marlon, Troy—faces so iconic that they only needed one name. Now he was headed west on a pilgrimage. Even more thrilling than the Ferus exhibition was the fact that his new friend, Dennis Hopper, the actor and budding art collector, and his wife, Brooke Hayward, the beautiful daughter of Hollywood royalty (the producer Leland Hayward and the actress Margaret Sullavan), had promised to throw him a real “movie star party” when he arrived in LA. Cocktails with the Hoppers and their famous friends were set for Sunday, September 29, leaving Andy only four and a half days to travel all the way across the country.

With such a tight schedule, why a road trip in this age of jet-setting? “It was a beautiful time to be driving across America,” Andy explained. “I wanted to see the United States.” True, he was curious about the landscape between New York and Los Angeles, but he was also nervous about flying. After the highly publicized 1961 plane crash of Mike Todd, Elizabeth Taylor’s then-husband and a Hollywood impresario, Andy’s mother warned (in her heavy Eastern European accent), “Many a big-shot guy up in the sky might die.” Staying on the ground seemed like the safe alternative, except for one small problem. Though he was fascinated by cars and loved to draw them, Andy Warhol did not know how to drive.

Ever resourceful, he recruited three of his friends, two of them with driver’s licenses, to accompany him on his cross-country excursion: Wynn Chamberlain, an amiable artist whose chief qualification was that he owned the all-important Ford station wagon; Taylor Mead, a puckish actor who was making a name for himself in the exciting world of underground film; and Gerard Malanga, Andy’s handsome new studio assistant, an aspiring poet still in college.

Armed with a Carte Blanche credit card, Andy and his motley crew set out for Hollywood. Wynn and Taylor, the designated drivers, sat in front so they could take turns at the wheel, while Gerard joined Andy in the back. “This will be fun,” Andy thought as he lounged in the car’s roomy seat, listening to the radio blaring. With the Manhattan skyline in the rearview mirror and the open road ahead, he optimistically set out on a trip that would take him through twenty-one states—and who knows how many states of mind.

Chapter 1

It’s not what you are that counts, it’s what they think you are.

—Andy Warhol

In 1960, Andy Warhol was the opposite of a starving artist. In fact, he was a prosperous illustrator, living in a private townhouse on Lexington Avenue and Eighty-Ninth Street. The block was developed in 1888 by New York’s aristocratic Rhinelander family, wealthy landowners who commissioned the architect Henry Hardenbergh to build six attached Northern Renaissance Revival houses on one of their properties in uptown Manhattan. Hardenbergh had designed the legendary Dakota apartment building on the Upper West Side, and he would go on to build some of the city’s greatest hotels, including the Waldorf and the Plaza, among other landmarks. Decorated with brightly colored stone facades, arches, and balustrades, the buildings he erected for the Rhinelanders looked like dwellings in a fairy-tale village.

Sadly, these storybook houses deteriorated over the years. In 1931, Lexington Avenue was widened, narrowing the sidewalk and forcing the buildings to be stripped of the stairs that led to their parlor-floor entrances. Most of the residences in the row turned into rooming houses and offices, but Andy saw the potential in these quaint old buildings and claimed one as his home. He moved in and filled four floors with his unusual possessions. One of his favorite pastimes was scouring antique stores and art galleries for new acquisitions. His collection included a variety of penny arcade machines that sprayed perfume, tested strength, and dispensed gumballs; carousel horses; stuffed peacocks; a phrenological head; a giant, somewhat sinister-looking Punch figure; a cigar-store Indian; Tiffany lamps; neoclassical furniture; and the beginnings of an art collection, including a distinctive double portrait of Andy and his friend Ted Carey that had been painted by the artist Fairfield Porter. The friends thought that they could cut the painting in half and have two portraits for the price of one, but Porter, anticipating their plan, placed them so close together that it was impossible to separate them.

The parlor floor, the house’s public space, had two rooms—a small one overlooking Lexington Avenue, and a larger, paneled living room in the back. Andy described the rooms as “kind of schizo” because he designated the smaller space for his commercial work, his freelance illustration assignments, while he claimed the bigger room as his art studio and salon, the place where he did his real painting. His mother, Julia, and their ever-growing population of cats named Sam, were installed in rooms on the street-level floor of the pale blue building, which contained a homey kitchen and an adjacent bedroom. His bedroom, outfitted with a brand-new four-poster bed, was on the third floor, and the other upstairs rooms were used for additional studio space and storage.

Andy’s Upper East Side address, shopping sprees, and expanding art collection were proof of his success, but he wasn’t satisfied. He still considered himself a work in progress, a man who was going places but had not yet arrived. When one considers where Andy had started in life, the extent to which he had already transformed himself was nothing short of miraculous.

Andy was the youngest son of Julia and her husband, Ondrej Warhola, Eastern European immigrants (specifically, Ruthenians), who came from Miková, a tiny village in the mountains of Slovakia. At the turn of the twentieth century, young Mikovians realized that the only way to move up was to move out. Nineteen-year-old Ondrej did just that in 1906 when, like many of his countrymen, he traveled to America search of fortune. He worked in Pittsburgh for three years before returning to Mikova with his hard-earned bankroll.

Strong, blond, handsome, and prosperous by his village’s standards, he attracted the attentions of every mother with a marriageable daughter. But it was seventeen-year-old Julia Zavacky, a golden-haired spitfire, who immediately caught his eye. Smitten, Ondrej proposed, only to be rejected. Unlike many of her contemporaries, Julia was a free spirit who loved to sing and tell stories, and she was not yet ready to become a wife. Knowing that suitable suitors were hard to come by in Slovakian villages, her practical parents pressured Julia into accepting Ondrej’s proposal.

The couple soon settled into the grinding routine of village life—work, work, and more work. Three years later, Ondrej came to the sobering realization that there was still no future in Miková. In 1912, he returned to America, promising to send for his wife and their infant daughter as soon as he had saved enough money. Nine years passed—years of war, deprivation, and heartbreak for Julia, who lost both her parents and her daughter to illness—before she took matters into her own hands and borrowed the money she needed to join her absent husband.

The Warholas reunited in 1921 and set up house in Pittsburgh, a grim, gray, industrial city covered with so much smoke and fog that its inhabitants lived under a cloud of perpetual darkness. The Warhola family lived in cheap tenement housing with primitive outdoor plumbing, and they struggled to get by on Ondrej’s wages. The couple welcomed a son, Paul, in 1922, followed by John in 1925. Paul and John resembled their stalwart father, but Andrej, the Warholas’ third son, was like a changeling—one of those enchanted infants from gypsy folklore whom the fairies substituted for a human child when the mother wasn’t looking. Baby Andy, who was born on August 6, 1928, was so fair and fragile that he seemed to come from another world. Julia was charmed by her cherubic infant and instantly started spoiling him. Her older boys were born knowing how to take care of themselves and were constantly hatching schemes to make money, whether selling newspapers or delivering ice. Andy, on the other hand, was a delicate, introspective child who needed all the special attention that Julia gladly gave him.

Despite his mother’s coddling, Andy learned early that hard work and thrift were the key to survival in Depression-era Pittsburgh. When Ondrej lost his job, forcing him to tighten his already taut belt, the hard times only made him work harder at whatever job he could find, and to save even more of what little he earned. By 1934 he had put aside enough money to buy half of a two-family house on Dawson Street, in the working-class section of Oakland. The Warholas rented their second floor to generate income, but the rest of the small house and yard, including a garden in the back for Julia, was their palace, an immigrant family’s American dream come true.

Although Andy was bright, he was also shy and fearful, and he preferred quiet games with the neighborhood girls to the rough-and-tumble activities his brothers enjoyed with other boys. The children’s school, Holmes Elementary, was down the street from their house, so the brothers came home for lunch every day. Julia usually served Campbell’s Soup, and tomato was Andy’s favorite variety. When not in school, he spent his time drawing, coloring, and cutting out paper dolls. His mother rewarded his best pictures with praise and Hershey bars, promoting an insatiable sweet tooth that would stay with him the rest of his life. Julia thought of herself as an artist, too, and she made colorful floral bouquets out of paper and tin cans that she sold to housewives looking for decorative touches for their modest homes.

The Warholas acknowledged that Andy was spoiled, but no one in the family seemed to mind his favored status. When, at the age of seven, he asked for a movie projector, his brothers were taken aback by the unusual request, but were not at all surprised when their resourceful mother found the money to buy one secondhand. Andy projected cartoons on the wall, turning the modest Dawson Street living room into his own private picture palace.

Watching cartoons at home was no substitute for seeing stars on the big screen, and Saturdays brought happy outings to the local movie theater. It was there that Shirley Temple flashed her dimples and dazzled devoted fans like Andy with her adorable song-and-dance routines. The fabled child star had a lot to sing about in 1936: her movies, including Bright Eyes, The Little Colonel, Captain January, and her most recent hit, The Poor Little Rich Girl, were so popular that Twentieth Century Fox was paying her an astonishing $50,000 per film.

As much as Andy enjoyed the star’s fanciful movies, he always dreaded the inevitable moment when a father, or some other parental stand-in, would rush in at the end of the film to claim the curly-topped little girl. “It ruined everything,” he complained. “I don’t want to know who the father is.” Even at an early age, Andy preferred fantasy to reality.

Shirley Temple had poise, charm, beauty, talent, celebrity, wealth, and an unlimited variety of happy endings. Of course Andy wanted to be just like her. “Morningstar,” “Andy Morningstar”—that’s what he called himself in his fantasies. He picked the name because it suggested bright beginnings, brilliance, fame. Alas, Andy was stuck with the less glamorous “Warhola,” and the decidedly prosaic life that went with it. “Being born is like being kidnapped . . . and sold into slavery,” he lamented when he was older.

Andy escaped to the movies most Saturdays, but he spent every Sunday in church. Located in a neighborhood called Ruska Dolina, or the Rusyn Valley, Saint John Chrysostom Byzantine Catholic Church was founded in 1910 by Carpatho-Rusyn immigrants who longed for the religious traditions they practiced in the old country. On Sundays, Julia and Andy rose early and walked a vigorous mile to make the first Mass at 7:00 am. They stayed at church the entire day, praying, socializing, and attending two more masses. Andy dutifully sat with his mother, staring at the magnificent iconostasis—a wall of hand-painted icons that had been commissioned for the church’s interior.

Painted in vivid gold, blue, red, and other rich colors, the icons were beautiful to look at, but they were meant to be much more than pretty pictures. Icons were “scripture to the illiterate,” according to Saint Gregory the Dialogist, one of the early Roman popes. “What writing presents to readers, this a picture presents to the unlearned,” he explained. The images of saints and religious scenes had a visual language all their own—an oversized forehead symbolized wisdom, full lips suggested eloquence, and large ears were the mark of a compassionate listener. The bright gold backgrounds haloing oversized heads indicated divine light, or heaven. Every aspect of an icon, including its color and scale, was infused with meaning and story.

The Warhola routine was interrupted in 1936, when eight-year-old Andy contracted rheumatic fever. It was a common illness in Pittsburgh, especially in the poorer neighborhoods, where children sometimes played near open sewage. But Andy’s recovery was unusually slow, and there were complications. His hands shook, his legs were weak, his speech was slurred, and he had difficulty concentrating. Worse still, he couldn’t stop fidgeting, and his limbs and torso constantly twitched in every direction. Eventually, the Warholas realized that something was terribly wrong. Only then did their doctor confirm that Andy’s rheumatic fever had developed into Sydenham’s chorea, a neurological disorder more commonly known as Saint Vitus’ Dance, a cruel name for an illness that causes its victims to move in an awkward parody of dancing.

Thomas Sydenham, a famous seventeenth-century physician, first described the disorder in 1686, calling it “a kind of convulsion . . . a constellation of involuntary, purposeless, rapid movements of the limbs; muscular weakness; and emotional lability.” Two hundred and fifty years later, the treatment for Saint Vitus’ Dance was no more sophisticated than it was in Sydenham’s time: patients had to endure a slow recuperation in a quiet environment, more commonly known as “bed rest.”

Staying in bed for ten weeks would have been a challenging experience for most eight-year-old boys, but not for Andy. To him, the term “bed rest” sounded luxurious, something that would be prescribed for movie stars, not an ordinary child like Andy Warhola. Julia moved her son’s bed into the first-floor dining room, where she and Ondrej normally slept, and showered him with attention, supplying comic books (Popeye and Dick Tracy were his favorites), movie magazines, candy, whatever he wanted. With his brothers’ help, Andy wrote to movie stars—Bob Hope, Abbott and Costello, Alice Faye, Carmen Miranda—requesting publicity stills and autographed pictures, which, when received, he carefully pasted into a special scrapbook. Julia also encouraged Andy to do art projects, hoping such activities would help improve his motor skills.

Eventually Andy recovered, but he had been transformed by his illness. He seemed even paler and more fragile than before, and the rashes that accompanied Sydenham’s chorea affected his fair skin, which became so blotchy and irregular as he matured that the neighborhood children called him “Andy the Red-Nosed Warhola.” There were other changes, too. Andy had gone Hollywood during his “intermission.” He was starstruck by the celebrity stories he had read in all those movie magazines, and the photographs he collected, including a signed, tinted headshot of Shirley Temple (dedicated sweetly, if incorrectly, to “Andrew Worhola”), were his prized possessions.

Post bed rest, Andy enjoyed drawing more than ever. Eventually, one of his teachers recognized that the odd little boy had real talent and arranged for him to attend free art classes at the Carnegie Museum on Saturday mornings. Although the museum was only a mile or so from Andy’s house, it stood at the center of a completely different world from the working-class one he occupied. That part of Oakland, nicknamed “the city beautiful,” was Pittsburgh’s showplace and cultural center, as well as a playground for its privileged millionaires.

Every Saturday, Andy went to the museum to study art with his fellow Tam O’Shanters, the name given to the group to honor its late Scottish American benefactor, the millionaire philanthropist Andrew Carnegie. He was envious of the pampered rich students who arrived at school in limousines—fancy Packards and Pierce-Arrows. Yet when class started, talent was the great equalizer, and Andy quickly proved that he was “more equal” than the other students. The instructor, Joseph Fitzpatrick, called his work “individual and unique,” and he frequently held it up for the other students to admire. Even Ondrej recognized that his youngest son was a promising artist who was not destined to remain on Dawson Street. He planned accordingly, secretly putting aside money to fulfill another immigrant dream: Andy would be the first member of the Warhola family to go to college.

Ondrej did not live long enough to see that dream come true. He became ill, possibly from a liver infection, and when he knew he was dying, he told Paul and John about Andy’s college fund. It was understood that the older boys would take care of their gifted younger brother. Ondrej passed away in 1942, and two years later, the family faced another crisis when Julia was diagnosed with colon cancer. She underwent a colostomy, recovered, and continued to look after her three industrious sons. Paul and John went to work so they could support the family, while Andy raced through high school and finished in three years. Upon graduation, he announced that he would use his father’s savings to study commercial art at the Carnegie Institute of Technology.

Commercial art is what got Andy his townhouse on New York’s Carnegie Hill, just blocks from where Pittsburgh’s own Andrew Carnegie once had a Manhattan mansion and estate. Andy was proud of his accomplishments, observing, “Uptown is for people who have already done something.” But, he added wistfully, “Downtown is where they’re doing something now.” In 1960, the New York art world was exploding with daring new talent. The Abstract Expressionists had stirred the pot by shunning traditional painting and turning their canvases into emotionally charged nonrepresentational performance pieces. But the next generation of revolutionary artists now declared their independence by embracing the concept of the “concept.” Like modern Columbuses, they set out to chart a new course, to prove that art didn’t have to be flat, or serious, or even important. While Andy was safely tucked away in his private house in Carnegie Hill, these upstarts were downtown, scattered throughout New York’s fringe neighborhoods such as Coenties Slip in Lower Manhattan, the Lower East Side, the East Village, and SoHo. Rents were cheap, spaces were large, and if an area was dangerous at night, it was a small (and unavoidable) price to pay for producing exciting art in stimulating surroundings.

Thirty-one-year-old Claes Oldenburg was downtown doing something very “now” in his apartment-studio on East Fourth Street. Born in Stockholm, raised in Chicago, and educated at Yale and the School of the Art Institute of Chicago, Oldenburg aspired to be a painter, but when he moved to New York in 1956 he grew “just a little tired of four sides and a flat face.” He wanted to liberate his work from the constraints of the past. “I am for art that does something other than sit on its ass in a museum,” he said. “I am for art that grows up not knowing it is art at all.” To this end, Oldenburg started using cast-off materials from the city streets—pieces of wood, burlap garbage bags, newspapers, and anything else he could find—to create experimental constructions that expressed the essence and energy of the urban landscape.

He did acknowledge that there was also a less conceptual reason for foraging. Oldenburg was the classic starving artist; he worked part-time at the Cooper Union Museum for the Arts of Decoration and, consequently, was unable to afford materials. When times were good, he and his soon to be wife, the beautiful and high-spirited artist Patty Muschinski celebrated with pork chops and beer. On other occasions, they went to bed with growling stomachs.

In January 1960, Oldenburg and Jim Dine, a fellow downtown artist, created a double installation called The Ray Gun Show at the Judson Gallery, which was located in the Judson Memorial Church on Washington Square South, a classically beautiful house of worship designed by the architect Stanford White in 1893. But as New York’s aristocracy moved uptown, the venerable old church became less social and more socially conscious, offering medical assistance and shelter to its low-income congregation, veterans, and the homeless. In the 1950s, while promoting civil rights and freedom of expression, the Judson invited local artists, including Oldenburg, Jim Dine, and Robert Rauschenberg, to display their work in its galleries without fear of censorship. The artists were encouraged to do anything, and they generally did.

The Ray Gun Show featured two experimental environments: Oldenburg’s The Street, which consisted of oversized burlap figures and cardboard constructions, and Dine’s companion piece, The House, a chaotic assemblage of paint cloths, bedsprings, signs with quotidian messages such as “Breakfast is ready,” and floating body parts—a new take on domestic bliss.

If these disjointed images weren’t shocking enough, visitors were welcome to come to the Judson to attend the artists’ performance pieces, known as “Happenings.” The new artists saw a fluid line between art and reality, and wanted the viewer to step into the art. Furthermore, they questioned why an artist had to work in one particular medium. According to Allan Kaprow, who staged the first Happening, “the young artist of today need no longer say ‘I am a painter,’ or a ‘poet,’ or a ‘dancer.’ He is simply an ‘artist.’”

Happenings set out to prove that the new aesthetic landscape had no boundaries. Artist and audience were liberated from their defined roles. These events were spontaneous, to an extent. But Oldenburg actually wrote scripts, recruited a cast, rehearsed, and provided lighting notes (although “lighting” could mean a friend flipping a switch on and off), for his Ray Gun performances. Patty made the costumes. The stage directions were casual, such as “man looks in hand mirror,” or “woman salutes,” , and characters performed in disjointed set pieces that resembled scenes from silent movies. The old-fashioned concept of story was replaced by a “spirit of exploration and experiment,” which meant that everything happened all at once. There were real ideas behind the action, even if they were not always apparent. From the audience’s point of view, attending a Happening was like being at the center of a bizarre tableau vivant where anything could happen.

Inspired by these experimental mavericks and the recent success of the up-and-coming artists Jasper Johns and Robert Rauschenberg, Andy wanted to return to his fine art roots and spend more time painting. His friend Emile de Antonio, an oversized and outspoken man who knew everybody in the art world, gave him the push he needed. “De,” as he was called, often stopped by Andy’s place at the end of the day for a generous serving of Scotch and conversation. He was a great raconteur, conversant in all the arts, including filmmaking (he would, in fact, become an acclaimed documentarian), a great womanizer (much married and divorced), and überintellectual. He also loved to gossip. On one occasion when De was holding forth about his friends “Jap” and “Bob”—offering the kind of insider information Andy loved to hear about Johns and Rauschenberg—he stopped to say, “I don’t know why you don’t become a painter, Andy—you’ve got more ideas than anybody around.” This is exactly what Andy was thinking: I should be painting. The question was, what should he be painting? view abbreviated excerpt only...

Discussion Questions

What made the early 1960s such an exciting and storied time?

How did Andy Warhol change in the course of his cross-country road trip? How did America change, and why? Did the Kennedy assassination contribute to that change?

Who did you like better? The Andy you met at the beginning of the story, or the icon he became at the end?

Did you learn anything about Andy that surprised you?

Warhol has been called the most influential and recognizable artist of all time. Why? Do you agree?

Artists, writers, filmmakers, actors...everyone seemed so colorful in the 1960s. How does that period differ from today?

Is a Campbell's Soup painting a work of art? Was POP a legitimate art movement?

Is it my imagination, or did people have more fun in the 1960s?

Have you ever driven cross-country? What can road trips teach us? Are they always transformative in one way or another?

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by piper0922 (see profile) 05/17/16

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by piper0922 (see profile) 05/17/16

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