ANDY WARHOL's UTILIZATION of Inter/VIEW MAGAZINE AS a SELF

Home , Barbara Rubin, Bike Boy, Bob Colacello, Cars (painting), Charlotte Gilbertson, Chelsea Girls

ANDY WARHOL’S UTILIZATION OF inter/VIEW MAGAZINE AS A SELF

PROMOTIONAL MARKETING TOOL UPDATED TO A SOCIAL MEDIA

STRATEGY FOR ARTISTS IN TODAY’S TECHNOLOGICAL AGE

A Thesis

Presented to

The Graduate Faculty of The University of Akron

In Partial Fulfilment

of the Requirements for the Degree

Master of the Arts

Danielle Dieterich

May, 2016 ANDY WARHOL’S UTILIZATION OF inter/VIEW MAGAZINE AS A SELF

PROMOTIONAL MARKETING TOOL UPDATED TO A SOCIAL MEDIA

STRATEGY FOR ARTISTS IN TODAY’S TECHNOLOGICAL AGE

Danielle Dieterich

Thesis

Approved: Accepted:

______Co-Advisor Dean of the College Mrs. Kara Stewart Mr. John Green

______Co-Advisor Dean of the Graduate School Dr. Elisa Gargarella Dr. Chand Midha

______Committee Member Date Mr. Leon Markham

ii ABSTRACT

The purpose of this project is twofold: to describe Andy Warhol's self-promotion and marketing strategies within inter/VIEW magazine and then translate them into a social media strategy for artists today. The use of inter/VIEW magazine as a marketing tool by Warhol is new research. This deduction will be gathered from accounts of persons who worked directly with Warhol, within inter/VIEW magazine and images from the magazine itself. By reviewing Warhol’s methodology within his use of inter/VIEW magazine as an inherent self-promotion and marketing tool, a social media strategy can be deduced and translated for artists to use within today's technological age.

iii

DEDICATION

This manuscript is dedicated to my sisters, Lexy Noel Dieterich and Shelby

Nicole Dieterich. Without them I would not be the person I am today. The completion of this manuscript represents the culmination of five years of trials and tribulations. Moving forward, the best is yet to come.

ACKNOWLEDGEMENTS

To my dearest committee members: Your patience, influence and understanding have made a significant impact on the overall structure, flow and progression of this paper. Thank you again for agreeing to be a member of this team. I am forever grateful.

Laura Purdy, thank you for introducing me to inter/VIEW magazine. Without you bringing the knowledge of this magazines existence to life this project would never have come to fruition. Your encouragement throughout this entire process helped me to see the light at the end of the tunnel.

Barbara and Donald Dieterich, each phone call and inquiry regarding this project inspired me to keep going. You believed in this projects concept and encourage me to keep pushing forward. Thank you for being there for me and encouraging this projects completion.

John Rummell, my rock. You never had a doubt in your mind that I could not do this. You gave me the space I needed to work and listened when I needed to decompress.

Thank you for being a part of my life though this process.

v TABLE OF CONTENTS Page

LIST OF FIGURES viii

CHAPTER

I. INTRODUCTION 1

Statement of Problem 2

Importance of the Study 3

II. BACKGROUND RESEARCH OF THE STUDY 4

inter/VIEW Magazine Inception 6

Warhol Takes Interest in inter/VIEW Magazine 11

Layering of Self Promotion and Marketing within inter/VIEW Magazine 13

III. INTERPRETATION OF RESEARCH 17

Methodology Behind Interpretation of Research 17

Warhol’s Initial Forms of Self Promotion 19

Marketing Within inter/VIEW Magazine 20

Conclusion of Initial Research 23

IV. TRANSLATION OF RESEARCH TO ARTISTS TODAY 26

Social Media and its Pertinence to Artists in Today's Technological Age 26

Warhol’s Use of inter/VIEW Magazine as a Social Media Networking Platform 28

A Social Media Strategy For Artists Today: Translated From Warhol’s Use of inter/VIEW Magazine 30

vi V. CONCLUSION 36

END NOTES 39

BIBLIOGRAPHY 46

APPENDICES 51

APPENDIX A: FIGURES 52

APPENDIX B: WARHOLS ACTORS 67

vii LIST OF FIGURES

Figure Page

2.1 Press Pass: The Andy Warhol Museum Archives Study Center, Sept. – Oct. 1969 52

2.2 Cover: inter/VIEW A Monthly Film Journal, Nov 1969 53

2.3 Cover: inter/VIEW Andy Warhol's Film Magazine, July 1971 54

2.4 Page 6: inter/VIEW Andy Warhol's Film Magazine, Aug 1976 55

2.5 Page 3: inter/VIEW Andy Warhol's Film Magazine, June 1976 56

2.6 Back Cover: inter/VIEW Andy Warhol's Film Magazine, Nov 1972 57

2.7 Page 3: inter/VIEW Andy Warhol's Film Magazine, Nov 1972 58

2.8 Back Cover: inter/VIEW Andy Warhol's Film Magazine, Jan 1976 59

2.9 Page 5: inter/VIEW Andy Warhol's Film Magazine, Nov 1972 60

2.10 Cover & Back Cover: inter/VIEW Andy Warhol's Film Magazine, Dec 1972 61

2.11 Page 44: inter/VIEW Andy Warhol's Film Magazine, Nov 1976 62

2.12 Back Cover: inter/VIEW Andy Warhol's Film Magazine, Feb 1976 63

2.13 Back Cover: inter/VIEW Andy Warhol's Film Magazine, Mar 1976 64

5.1 News Magazines: Subscriptions Circulation by Publication 65

5.2 News Magazine's: Digital Issue Circulation 66

viii CHAPTER I

INTRODUCTION

Rapid Dominance is demonstrated by one affecting an adversary’s perception, understanding and will through the use of “sufficient Shock and Awe” (Ullman, et al.

19). Andy Warhol took on the world with dominating force as would a military commander leading his troops into war. Stepping out into the workforce after college,

Warhol recreated himself, even changing his name. Warhol worked tirelessly day and night, usually to a detriment of his own personal appearance, meeting deadlines and drumming-up more work. Warhol quickly became a coveted commercial illustrator within his field, winning multiple awards from the Art Directors Club, yet these accolades were not enough. Warhol strove to bridge the gap between commercial and fine art with a belief that art is art. Warhol would observe what innovations other popular artists were doing and interpret this into his own works. In time, Warhol was able to bridge this gap. Warhol didn't stop there, he then began filming and directing his own films. Warhol’s films were innovative and simplistic in nature. These films were not initially considered acceptable during this time period due to some of their risqué depictions.

Warhol chose artistic mediums that he considered to be cheap, fast, easy and modern. Innovation was Warhol’s prerogative throughout his career. Utilizing the people around him for inspiration and for the fruition of his works Warhol quickly rose to

1 success within the multiple artistic fields. However, it was not until Warhol’s assassination attempt in 1968 that he would become a household name around the world.

Warhol, now world famous, still strove for more. In 1969 Warhol started inter/VIEW magazine. It has been assumed that Warhol initially started the magazine as a way to occupy his friends’ time and as an aide in gaining entrance to special events.

Some parts of this theory may be true. However, it is what inter/VIEW evolved into that makes it most notable. Warhol expanded the magazine to include things he enjoyed from other popular magazines such as gossip columns, poems, artist reviews, music reviews, etc. inter/VIEW magazine evolved into a type of public diary, promoting Warhol’s life, interests, and career aspirations. It aided in launching Warhol’s career as a commercial and pop artist to that of a social icon.

It is apparent that Warhol focused strongly on self-promotion throughout the progression of his career as documented within a plethora of research. However, research on the evolution of Warhol’s individual marketing strategies are lacking. This project will focus on Warhol’s self-promotional tactics and then marketing strategies exhibited through inter/VIEW magazine.

Statement of Problem

There is a lack of research regarding the implications of Warhol's initial marketing strategies leading to the inception of inter/VIEW magazine. Warhol's utilization of inter/VIEW magazine as a marketing tool has also not been researched and analyzed. However, Warhol’s utilization of inter/VIEW as a self-promotion and

2 marketing tool can be proven. Warhol’s methodologies within his use of inter/VIEW can be translated into a social media strategy for artists to use today.

Importance of Study

Warhol’s use of inter/VIEW magazine as an inherent self-promotion and marketing tool is new research. By reviewing Warhol’s use of inter/VIEW magazine as an inherent self-promotion and marketing tool, a social media strategy can be deduced for artists to use within today's technological age.

CHAPTER II

BACKGROUND RESEARCH OF THE STUDY

While in college, Warhol took a trip to New York City, taking along his portfolio to see if his work might be good enough to land a job in New York. In the process,

Warhol met a woman named Tina Fredericks, who was the youngest art director in the history of Glamour magazine at the time. Warhol's portfolio was limited but Fredericks found his blotting technique1 to be electrifying and intriguing2 and told him she could offer him a job after he graduated3. Warhol followed up with Fredericks after graduating in 1949 from the Carnegie Institute of Technology and thus began his career in New

York.

Warhol quickly became a highly coveted illustrator, enlisting the help of two assistants and even his own mother, to assist with his work load. Warhol obtained his first agent in the spring of 1953, Fritzie Miller. With the addition of Miller’s high end contacts

Warhol was able to line up better paying jobs, in turn reducing his workload while keeping his flow of income the same. In a short period of time, with this addition and the help of his two assistants and mother, Warhol had become “the most sought-after fashionware illustrator in New York” (Shanes 23). Warhol’s team helped to free up time so that he could further pursue his other fine art endeavors.

One artistic medium Warhol explored was the creation of his own self published books. These books were not as successful as Warhol had hoped. However, Warhol did

4 find a way to repurpose these books self promotionally. Warhol would distribute the unsold books to art directors, gallery owners, curators and other prospective clients.

Warhol had already been distributing his unbound portfolios before this point. Seymour

Berlin4, who printed several of Warhol's self-published books, recalled that he used them

“strictly not to sell, but as a means of giving it out to different customers to promote himself… A few were done for customers but 99 percent were done as promotional things for Andy to promote himself primarily” (qtd. in Smith 156).

Warhol’s close friend, George Klauber, recalled:

“the nature of Andy’s promotion was so personal… this is really had an influence in making him known… People began collecting them and anticipated receiving them. If you went to an agency you would often see an Andy Warhol thing out” (qtd. in Bockris 94).

Warhol’s career progressed as did his need for additional working and storage space. Thus Warhol rented a space he called his Factory. This space was utilized for the creation of Warhol’s work, as well as a meeting space for other like-minded creative persons he enlisted as part of his entourage. Warhol’s had a way of making others around him feel famous. As his fame within the art world grew, so did his notoriety. In time, socialites and celebrities alike would intermingle within his Factory5. Their draw was to

Warhol himself and to be a part of his creations, which in the late sixties were mainly films. His Warhol Superstars (Appendix B) starred in the majority of his films, as well as other people who happened to visit the Factory. It was the combination of these creative minds, the Warhol Superstars and his entourage that became the genesis of Warhol’s monthly film magazine inter/VIEW.

5 inter/VIEW Magazine's Inception

Film journals and magazines were beginning to grow in popularity in the late

60’s. Observing these magazines successes, Warhol saw a new opportunity and decided to create his own film magazine, inter/VIEW, in late 1969. Bob Colacello believed that

Warhol, having already conquered multiple mediums such as, commercial illustration, fine art, pop art and now underground film, started inter/VIEW out of boredom and jealousy of the overnight successes of such magazines as Rolling Stone and Screw.

Warhol stated later that he created the magazine “to give Bridget something to do”

(Colacello 6). Gerard Malanga believed that Warhol created inter/VIEW as a means of getting press passes to exclusive events. This philosophy presented by Malanga is confirmed by Jesse Kornbuth within the New York Magazine article, The World of

Warhol,

“The catalyst was the New York Film Festival, which, in 1969, inexplicably refused Warhol's request for free tickets. “Andy was really upset," Malanga recalls. "He said, 'If we start a film magazine, they'll have to let us in.' Interview was duly founded” (The World of Warhol). A ticket stub has been discovered, shown in figure 2.1, within one of Warhol’s many time capsules. This stub from the 1969 New York Film Festival with inter/VIEW Press Pass printed on it confirms this notion. In the late 60’s, the Factory6 was mainly creating films so the idea to create a monthly film journal was fluid. Bob Colacello observed that “film directors were replacing rock stars as role models for American college students” during this time period (Colacello 6). Thus Warhol, whose goal was to keep up with any medium considered modern, new, and trendy, was on point with the current trend and inter/VIEW would be his way to capitalize on it.

Gerard Malanga, who answered the phones in the Factory, became one of the first editors of inter/VIEW. Paul Morrissey, director of the majority of Warhol's Films, was an editor as well and assisted in the collection of content and page layouts. John Wilcock, writer and publisher of Other Scenes, was also an editor. Wilcock provided inter/VIEW with Other Scenes layout space and typesetting’s for the magazine to utilize (Colacello

38). These initial members of the inter/VIEW team were already key players within the

Factory7. This made them ideal since they were easily accessible and inexpensive to use.

True to form, Warhol was not looking to spend much money on this project, just as he was not willing to spend much money on his other projects.

Warhol’s initial direction for the magazine was vague, he knew he wanted it to include movie reviews8, interviews, photographs of famous people and some poetry9.

Warhol looked at what other successful magazines were doing at the time and thought he could emulate them while still being hands off, keeping it cheap and easy as with his previous books publications10. However, Warhol had no experience in developing and publishing a magazine. The only person working on the magazine that had previously worked within that type of industry was Wilcock.

inter/VIEW was printed on newsprint, which was cheap and easily accessible similar to what Rolling Stones magazine was using. It was initially full of nudity, like

Screw magazine, giving inter/VIEW an avant-garde quality while still striving for seriousness and elegance. True to the magazine's name, the first issue consisted of movie reviews and mostly interviews, translated directly from voice recordings11. Pat Hackett,

Warhol’s transcriptionist during this time stated that, “he wanted stars just to talk- their own words, unedited- and, whenever possible, to be interviewed by other stars” (Hackett

XIV). This form of presenting an interview, including every word from ‘Um’ to ‘Ah’, was new and different from what other magazines were doing at the time. Colacello believed Warhol appreciated this type of transcription because it was,

“modern and real, two qualities he consistently valued above all others. For Andy, modern meant mechanical - silkscreen, movie camera, tape recorder, video, any machine that came between the creator and his audience” (7) Warhol translated his straightforward and simple ways of making films, such as with setting up a tripod and letting the film run12, into inter/VIEW by transcribing his interviews verbatim.

inter/VIEW’s first issue was released in November of 1969 and sold for 35 cents a copy. The first cover, as shown in figure 2.2 depicted a nude image of Agnes Varda and the cast of the avant-garde movie, Lions Love… (and Lies). The team at inter/VIEW believed that this cover would stand out among the plethora of other film magazines, helping the magazine to sell to their youthful target market. This was not the case, multiple factors contributed to the magazines initial and continuing pitfalls.

The initial issues of inter/VIEW appeared to be thrown together, which was partially true. inter/VIEW was mostly comprised of any images they had laying around the Factory, picked up for free, or received in trade. These images were then placed throughout the magazine's pages with no regard to what movie review, interview and or poem may already adorn that page. This visual lack of structure and organization was reflective of the internal workings of the magazine at the time.

Warhol stayed hands off when it came to inter/VIEW. This made things difficult for the team at inter/VIEW since no one individual person really had a focus on what the magazine was supposed to contain. This lack of internal structure created a free-for-all 8 culture, multiple people would get involved, meddling with different aspects of the magazine making it difficult for things to get done (Colacello). This also became a contributing factor to the high level of turnover within inter/VIEW.

It was due to this turnover13 that, in the autumn of 1970 Bob Colacello, after much consideration, transitioned from writing movie reviews for inter/VIEW to becoming editor. Colacello had never edited a magazine before and still had another semester left at

Columbia University. Morrissey, who offered him the job14 stated that:

“Putting together a magazine isn’t a big deal. You just slap some pretty pictures15 down on the page and you and your friends from school could probably do most of the interviews. Why don’t you ask Andrew Sarris if they’ll give you some college credits for working with us?” (Colacello 39) Morrissey, clearly expresses here the lack of attention, understanding and effort that was put into the magazine at this time. Colacello soon discovered that “putting out a magazine was, of course, a very big deal” (Colacello 39).

Colacello, with little direction, did his best to put out his first issue as quickly as he could16. Previously, inter/VIEW would display pictures on every page that had no correlation to the articles they accompanied. Colacello remedied this disparity by creating a loose structure and flow to the magazine as a whole. There were three advertisements within this issue. Two ‘stills-for-space17 advertiser‘s, the Memory Shop and Cinemabilia, and an advertisement for Blackglama that they did not receive permission from

Blackglama to print18 (Colacello 41). The circulation was distributed by taxi to

Cinemabilia, the Memory Shop, the Museum of Modern Art lobby, the Anthology Film

Archives lobby and the Factory. inter/VIEW had a few hundred subscribers as well, most

9 of which were complementary, each of which had to be stuffed in an envelope and mailed.

Colacello’s changes were noticed immediately. Jonas Mekas, who was well versed in the underground film movement, stated that Colacello had “created a whole new look” purely by looking at the front cover (qtd. in Colacello 41). By the middle of

1971, inter/VIEW had raised its cost from 35 cents to 50 cents per issue. The magazine also adapted a more structured layout, began using higher quality paper and printing process and added the new tagline ‘Andy Warhol’s Film Magazine’ (figure 2.3). With

Colacello’s direction, inter/VIEW’s circulation grew every year (Hackett XV).

Warhol exhibited a different attitude towards the people working in the Factory and the people working on inter/VIEW. Pat Hackett, within the Introduction to her book

The Andy Warhol Diaries, stated that “Andy seemed to regard the employees of inter/VIEW as stepchildren, different from the people who worked directly for him, who were family19” (XV). Hackett believed that Warhol viewed the people who worked for inter/VIEW as part of “his business life but, not his emotional life. He referred to them as

“them” and to us as “us” (XV). Colacello’s rise to the editor position of inter/VIEW happened just as quickly as his rise within Warhol’s inner circle. Colacello was one of the few people who crossed the lines between Warhol’s step children and family relationship.

Warhol would take Colacello with him almost everywhere he went initially.

Warhol did this in hopes that Colacello would convince the celebrities and famous people around him to come into the Factory to do an interview for the magazine and maybe even

10 pay for a self-portrait. Warhol also wanted Colacello to do write ups of the different events he would attend for the magazine as well.

Warhol Takes Interest in inter/VIEW Magazine

Pat Hackett within her introduction to The Andy Warhol Diaries, stated that before 1975, Warhol was “aloof from the day-today operation of the magazine” (XV).

From 1975 on, Warhol was more hands on with inter/VIEW and its daily idiosyncrasies.

The exact reasoning behind when and why Warhol started taking more interest in inter/VIEW after 1975 is unclear. However, the timeline does suggest a few theories. Due to the arrival of Colacello at inter/VIEW, the magazine was growing in circulation and popularity. Colacello’s and Warhol’s close relationship was also becoming profitable for

Warhol as well. Hackett supports this philosophy, "From the growing circle of rich people he was becoming friendly with, Bob delivered a lot of portrait commissions, and he also got Andy publishing contracts" (Hackett XV). One of these contracts led to the development and publication of Warhol’s book, The Philosophy of Andy Warhol (From A to B and Back Again) in 1975.

Hackett also presented a different theory regarding Warhol’s new found interest in inter/VIEW. Hackett believed that the main reason people came to the Factory was for the chance to possibly appear in one of Warhol’s films. Hackett believed this outlook to be true since in the mid-sixties Warhol “was cranking out his early, cheap,

“underground” films at a rate, practically, of one a week” (XV). This outlook on the amount of films Warhol was producing in the mid-sixties can be seen within Appendix

B., Warhol’s Superstars20. Hackett believed that the rising cost of producing and showing movies in the early 1970’s became prohibitive. Thus, “Andy had few roles to

11 offer people and not even the certainty that the movie being discussed would ever actually get made” (XV). Hackett believed that this disparagement in the amount of films being produced at the Factory created a void, hindering people's draw to the Factory.

Thus, Hackett suggests that Warhol, wanting to be able to offer people something, decided to fill this void with inter/VIEW.

By 1976, the Factory moved to its third location and was now referred to as the

‘office’ at Warhol’s request. Warhol felt that the title Factory no longer applied. This change in name, reflected the changes in tone and activities within the office. Pat

Hackett, who worked side by side with Warhol as his transcriptionist, describes interVIEWs evolution and impact on the office:

“By 1976, inter/VIEW had a cachet of sophisticated self-mocking silliness that made celebrities actually want to be in it. Often Andy, usually with someone on staff, did the cover of inter/VIEW himself. Every issue had to be stocked with people, and this was the new supply of fresh faces now coming by the office constantly. “We’ll put you in the magazine” replaced “We’ll put you in a movie” as Andy’s most frequent promise. The terms “Interman,” “Viewgirl,” “Upfront,” and “First Impression,” were all inter/VIEW page headings for pictures of young, never-before-seen-in-print male and female beauties. inter/VIEW became the most glamorous magazine around” (Hackett XV). Warhol adapted to the changes happening around him, and began capitalizing on what he discovered inter/VIEW had to offer.

Warhol had an inherent way of marketing himself, his lifestyle and his work.

Warhol initially focused on the cost to make each issue of inter/VIEW, with little regard to its overall profitability and or circulation. What Warhol failed realize, was that magazines made the majority of their income selling advertising space. Thus, the higher the circulation of the magazine, the more likely they would be to get more advertisers, according to Colacello (59). Developing and publishing a monthly magazine took time. 12

With only two part time employees working at inter/VIEW, Colacello initially found it difficult to find “time to sell ads on top of everything else” (Colacello 58).

As Warhol took more interest in inter/VIEW, Colacello realized that he had a unique way of selling magazines and ad space. Enlisting those around him, Warhol would send an attractive girl to straight clients, or an attractive boy to gay clients. He would entertain the clients by getting them into the right restaurants or disco’s and introducing them to his famous friends. Warhol’s methods worked to an extent. It was with the help of Colacello that they were able to “develop the technique of entertainment- as-selling (and selling-as-entertainment) into a minor Warhol art form” (Colacello 59).

By doing this, Colacello was able to harness Warhol’s strengths, of self-promotion all while marketing himself, his lifestyle and his work, for the betterment of the magazine.

Which in turn, was a leading factor to inter/VIEW’s profitability in the late 70’s.

Layering of Self Promotion and Marketing within inter/VIEW Magazine

Warhol never considered any project a failure throughout his career. Warhol had a way of repurposing these projects self promotionally. For example, when Warhol began illustrating and publishing books in the early 1950’s, they did not sell to his initial expectations. In turn, Warhol distributed these books to curators, art directors, and prospective clients alike self promotionally. inter/VIEW magazine was no different.

Warhol found a way to repurpose the magazine to work to his interests and in his benefit.

Warhol’s outlook on inter/VIEW, initially was self-serving, “If we’re not making money on the magazine, then we may as well use it to push the other businesses” (qtd. in

Colacello 59). Warhol viewed his art and his films as his other businesses. Thus,

Warhol’s goal, if the magazine was not profitable, was to get other work from the

13 magazine: “Andy also hoped to do portraits of the stars we interviewed, or at least more album jackets” (Colacello 59). Colacello surmised that the art Warhol created during this time period was a means of funding his films (59).

Warhol believed that in order to keep people coming to the Office, he had to be able to offer them something. Previously, the flow of people coming into the Factory strongly correlated to the creation of his films. However, Warhol’s underground films, were just that, underground, thus they were not seen by many. Now, the people coming in and out of the office served dueling purposes. Celebrities and socialites alike wanted to be in the magazine and Warhol wanted to do their portraits. Warhol had an ability to make others around him feel famous. The privilege of having a portrait done by Warhol or to be included in his magazine gave them the opportunity to feel famous, even legendary.

With the help of Colacello, by the late 1970’s inter/VIEW was starting to turn a profit. Celebrities, famous people and socialites alike all desired to be a part of Warhol’s world in some way. The circulation of inter/VIEW gave Warhol an opportunity for exposure that he would not have had access to previously. Warhol expanded the magazine to include things he enjoyed from other popular magazines such as gossip columns, poems, artist reviews, music reviews, etc. inter/VIEW magazine evolved into a type of public diary, promoting Warhol’s life, interests, and career aspirations. This level of transparency through inter/VIEW magazine aided in launching Warhol’s career as a commercial and pop artist to that of a social icon.

Warhol was able to promote his lifestyle while entertaining prospective advertisers and or interviewees through his entertainment-as-selling method. John

McHale, a well revered Pop artist in Britain during the 1950’s stated, “he lives the work.

It’s his whole life-style which becomes artwork” (Interview with John McHale (Jr.) 1).

Warhol then began to market his lifestyle through his ability to layer self-promotion within inter/VIEW. Images from events Warhol would attend were displayed within the magazine, along with other celebrities and socialites in attendance. Warhol’s life exhibited within inter/VIEW became his brand and his brand became his life.

Advertising space that was not filled would exhibit some sort of self-promotional material for Warhol. This promotional material would be to push Warhol’s other businesses such as, his gallery showings as see within figures 2.5, 2.12 and 2.13, his prints for sale (figure 2.6), promotions for his book and book signings (figure 2.4 ,2.8,

2.11) and his films (figure 2.7, 2.10). These advertisements were straightforward in nature, as seen within figure 2.7 located on page 3 of the November 1972 edition of inter/VIEW. This is a full page ad for Warhol’s film Heat, directed by Paul Morrissey.

The ad is simplistic in nature, depicting the two main characters, Joe Dallesandro and

Sylvia Miles, their names and the title of the film. Figure 2.9, located on page 5 of the

1972 November edition of inter/VIEW The top left corner depicts an image of Joe

Dallesandro standing in front of Warhol’s large scale print of James Dean. Warhol’s films and artwork are promoted within this photograph as well as his love for fashion and celebrities. This layering of self-promotion happens not only within these two figures themselves but also in their placement within the magazine, one page-turn apart.

The ingenious of this self-promotional layering within the magazine can be contributed to the editor of the magazine Bob Colacello. In terms of the development and internal workings of the daily activities of the magazine, Warhol would only participate in the approval of the monthly cover. Warhol’s focus on the magazine had more to do with its social connections than its individual idiosyncrasies. This was how Warhol’s build and sold his lifestyle as his brand. With the help of Colacello, inter/VIEW magazine evolved into Warhol’s external diary, marketing his branded lifestyle and other businesses. Warhol was willing to promote his external lifestyle within the magazine, yet kept his internal life personal and out of the spotlight.

CHAPTER III

INTERPRETATION OF RESEARCH

Methodology Behind Interpretation of Research

There are a plethora of books and articles written about Andy Warhol, his life and his works. Warhol even wrote two autobiographies during his lifetime, The Philosophy of

Andy Warhol (From A to B & Back Again) and Popism. Warhol had a tendency to be very secretive about his personal life, known to lie to reporters about very basic things such as, his age and where he grew up. Gerard Malanga confirms this notion,

“Andy would always lie to people in his interviews. He’d always say he was out of McKeesport or Pittsburgh. It was never the same place in different interviews. He’d also lie about his age” (Nowhere 1). Nathan Gluck describes Warhol’s tendency to omit the truth and how it lead to confusion regarding his person information,

“Andy used to lie about his age. During the last year I was working for him, somebody from Europe was doing a biographical thing on him, and Andy handed me a form. And I asked Andy: ‘what should I put down?’ And he said, ‘Just put down anything.’ And I said, ‘Well, what about the year you were down?’ And he said, ‘Oh, I don’t know, just put down anything: any month, any day, or any place practically.’ So all of this, you know, has led to ultimate confusion” (Nowhere 1). This quote from Gluck gives a glimpse of how little those around Warhol knew the truth of his personal information.

Due to Warhol willfully falsifying his personal information, discerning truth within his bibliographical and in-print articles proves difficult. Due to these

17 inconsistencies, the selection of resources for the background research of this thesis had to be chosen carefully and with purpose. In an effort to decipher between truth and falsehood, the majority of information collected is gathered from persons who worked directly with Warhol. Those who worked directly with Warhol understood that he had a tendency to lie about his personal information. Thus their accounts should be better able to filter out the majority of Warhol's falsehoods. Gluck’s previous quote, describes how most working around him did not know much truth regarding Warhol’s personal information. However, by their proximity of working with Warhol they could decipher the difference between his truths and falsehoods. These conclusions were usually derived from the plethora of inconsistencies present within Warhol’s disclosed information to the public.

Persons working with and for Warhol did not do so for the money, he was known to not compensate his employee’s well, if at all. Those working closest to Warhol did it for the fame and notoriety of doing so. Thus, the information published by them while he was alive was slightly biased and censored. It can be assumed that, this was done in an attempt to not offend Warhol, thus remaining within his inner circle. In an effort to uncover the most reliable information regarding Warhol’s life and activities, first-hand accounts published after Warhol’s death will be strongly focused upon as credible.

From these resources, information regarding Warhol’s self-promotional strategies, initially and within inter/VIEW magazine, will be discerned. To date, there is no research outlining Warhol’s specific self-promotional strategies. This lack of research makes the interpretation of the background research within this thesis unique. The interpretations of

Warhol's strategies and conclusions within this thesis will be based on the research presented.

Warhol’s Initial Forms of Self Promotion Warhol found a way to make himself stand out early on. Warhol’s knew that if he was able to offer people something, they would want to continue using his work. An example of that can be seen through the distribution of Warhol’s small drawings and self- published books to prospective clients. The fact that people began anticipating and collecting these small drawings and books exhibits how Warhol’s attempts at offering people something by leaving his art behind was successful.

As the demand for Warhol’s work increased, he recognized the need for additional assistance. This is when Warhol enlisted the help of two assistants and his mother to aide in the completion of his daily work. This freed up Warhol’s time so that he could focus on gathering more prospective clients. Seeing a need for higher end contacts,

Warhol hired an agent. Warhol recognized that he could not grow to his desired level of success without enlisting the help of others. By creating a team of people to aide in the creation and promotion of his work, Warhol was able to reach an unparalleled level of success.

As Warhol’s team and popularity grew, so did the need for additional space.

Warhol created his first Factory in 1963, which outgrew itself thrice within his lifetime.

This Factory became a meeting space for his entourage, other like-minded creative persons, and his team to create his works. Warhol enjoyed picking the brains of those around him for ideas as well as include them within his art. The prospect of being around

Warhol or being included in his art and films was what drew creative persons, socialites,

19 actors, and celebrities to his Factory. It was the combination of these creative minds and this uninhibited workspace that became the genesis of Warhol’s monthly film magazine inter/VIEW.

Marketing Within inter/VIEW Magazine

Warhol enjoyed the idea of having a film magazine and the perks it would offer him purely by its existence. Initially Warhol was hands off in regards to the internal workings and direction of the magazine. Moving forward with this lack of direction, the team at inter/VIEW created a magazine that appeared thrown together while costing very little to create. Both Warhol and the team at inter/VIEW put little thought into the magazine’s overall cohesion. This pitfall can be attributed to both parties lack of knowledge regarding the fruition of a monthly magazine in its entirety. This is a contributing factor as to why selling advertising space was not initially a priority for inter/VIEW, there was a lack of understanding of its potential.

Within the initial editions of inter/VIEW, there were only two advertisers, the

Memory Shop and Cinemabilia. These ad’s did not generate revenue for inter/VIEW, rather they were displayed in trade for ‘stills-for-space’. In an effort to keep cost down, the magazine would offer free advertising within the magazine in trade for the rights to stills displayed within the monthly edition. The realization of advertising being a key component to revenue generation and circulation did not come into play until the addition of Bob Colacello as editor.

Colacello also had no background in editing and producing a monthly magazine.

Colacello did however have a keen grasp on the importance of good writing. As with any well written article, consisting of a cohesive beginning, middle and end, Colacello slowly

20 began to take his knowledge and bring cohesion to the magazine as a whole. These changes to inter/VIEW were recognized immediately by other well renowned film connoisseurs.

The addition of Colacello not only elevated the cohesion of inter/VIEW it also slowly elevated its circulation. Warhol came to the realization that the magazine was not generating a sufficient amount of profit and decided to use the magazine to push his other businesses. This idea of repurposing an unprofitable project as a means of further self- promotion was not new to Warhol. This process was also done with Warhol's earlier self- published books that did not sell to his initial expectations. However, inter/VIEW presented Warhol with an opportunity to reach a larger audience and higher end clients than he previously had access to.

Warhol began taking Colacello with him to the majority of his events, dinners and parties. The combination of Colacello’s high end contacts and Warhol’s entourage presented a plethora of opportunities for Colacello to push Warhol’s other businesses cross promotionally. Colacello and Warhol would invite persons in attendance at these events to the Factory, now called the Office, to be interviewed for the magazine.

Synonymously, the suggestion of getting their portrait done by Warhol, or visiting the in- house film set would be made to prospective clients. Warhol would also enlist others around him to aide in ad sales by sending attractive women out to sell ad space to straight men and attractive men to sell to gay men. These methods of sales for inter/VIEW as well as Warhol’s other businesses were unique to Warhol. Harnessing both of their strengths,

Colacello and Warhol developed their entertainment-as-selling (selling-as-entertainment) marketing method.

It was Colacello however that layered Warhol’s self-promotion within inter/VIEW itself. Even as ad sales increased at inter/VIEW, Colacello continued to include multiple ads for Warhol’s other businesses. Some of these self-promotional ads were obvious, such as advertisements for Warhol’s self-published books and book signings, his film showings, his gallery showings around the world and exclusive Warhol prints for sale.

Almost every page within inter/VIEW had something to do with Warhol, reflective of his brand, his businesses and his interests. Not all of this self-promotion was blatant.

Colacello was able to include other forms of layering self-promotion as well. Figure 2.9 depicts a man standing in front of a large photograph in the top left hand corner. This images seems simple in nature however, it presents two strong Warhol references. The man is Joe Dallesandro, one of Warhol’s Superstars and the photograph in the background is one taken by Warhol of James Dean.

inter/VIEW became known for its inclusion of photographs taken at events

Warhol attended. The inclusion of these images within the magazine created a draw for people to attend events in which Warhol might appear. These people believed that if their image could be shown within inter/VIEW magazine, they too could share in some of

Warhol’s fame. Colacello’s incorporation of these images within the magazine created a visual portal into Warhol’s life and the happenings around him.

With the implementation of the entertainment-as-selling & selling-as- entertainment marketing technique, and Colacello’s ability to layer Warhol’s self- promotion within the magazine, inter/VIEW became Warhol’s linchpin. Warhol had already mastered the art of marketing his artwork as a reflection of his lifestyle. Through the use of inter/VIEW, Warhol discovered that he could market his lifestyle as his brand

22 and his brand as his lifestyle as a new form of self-promotion. This realization prompted the evolution of inter/VIEW into becoming Warhol’s public diary, exhibiting his life, interests, and career aspirations, while branding his lifestyle and pushing his other businesses.

Conclusion of Initial Research

Warhol recognized the importance of self-promotion early on. Starting out by leaving small drawings or unsold self-published books with potential clients, Warhol discovered the lasting impression that leaving visual reminders behind with clients could do. This idea of leaving behind visual reminders evolved into Warhol's understanding that, being able to offer people something will draw them too you. The utilization of this method can be seen in the initial Factory days. This method drew a plethora of differing creative minds, socialites, actors, models, and celebrities who all wanted to somehow be a part of what Warhol was creating. The success of this method can be seen within the evolution of Warhol’s inter/VIEW magazine. No longer did Warhol have to leave something with potential clients, nor offer for them to be a part of his Factory entourage, now people came to him for the opportunity to be immortalized within his pages of inter/VIEW.

The effectiveness of this method pushed Warhol's career forward exponentially.

However, Warhol recognized that a change had to happen to keep up with the demand for his work. Thus, Warhol created small teams of people to focus on specific projects. By doing this, Warhol was able to shift his focus outward, soliciting more work, dabbling in more mediums and continuously innovating himself without having to sacrifice the ability to create works.

The exponential growth of Warhol's career continuously caused him to grow out of his work spaces. The need for more space stemmed from the growing demand for his works and storage as well as for his ever growing entourage. Warhol developed a method of picking the brains of his team members and those around him for ideas. By doing this,

Warhol was able to discover and master more artistic mediums as well as come up with new ideas for art pieces. Warhol would then solicit those around him to aide in the creation of his works.

Warhol had the ability to never view any project or creation as a failure. Warhol exhibited his ability to repurpose these works self promotionally early on in his career.

The initial focus of inter/VIEW magazine changed due to Warhol's realization that the magazine was not generating a substantial profit. The focus of the magazine shifted to a means of self-promotion, pushing Warhol’s other businesses. In the process of meeting with prospective clients for ad sales or interviews, Warhol and Colacello would suggest getting their portrait done or being involved with any of Warhol's other projects cross promotionally. Colacello, as a means of further pushing Warhol's self-promotion, developed a method of layering self-promotion within the magazine's pages. By doing this, Colacello created a cohesive representation within inter/VIEW of all things to do with Warhol, both blatantly and subtly.

In the Factory days, Warhol began to live and exhibit the Pop lifestyle within his art. As Warhol's career progressed, his art continued to reflect his lifestyle as seen within his films and within the evolution of inter/VIEW magazine. inter/VIEW presented

Colacello and Warhol with the opportunity to develop a method of exhibiting Warhol’s

24 lifestyle as his brand. In turn, inter/VIEW became an outward reflection of Warhol's life, art and interests.

Colacello and Warhol’s entertainment-as-selling (selling-as-entertainment) method provided Warhol with the opportunity to promote the magazine as well as his other business. This was achieved by giving prospective clients a glimpse into Warhol’s life. The culmination of this method transitioned inter/VIEW into a magazine that people and advertisers wanted to be in. It even developed a following of people at any events

Warhol might be attending as an attempt to be seen within the pages of inter/VIEW.

Warhol’s three initial methods of offering people something, the creation of teams and the utilization of the minds and bodies of those around him, became the building blocks of his artistic career. Without these methods, Warhol could not have accomplished the plethora of differing works that defined the progression of his life and career. inter/VIEW magazine presented Warhol with the ability to reach a larger audience than he previously had access to. The addition of Colacello to inter/VIEW brought cohesion to the magazine, where he developed the methods of layering Warhol’s self-promotion and promoting his lifestyle brand. The success of these two methods lead to the development of Warhol and Colacello’s entertainment-as-selling (selling-as-entertainment) method.

These three methods elevated inter/VIEW into more than just a monthly film magazine, inter/VIEW became an editorial diary, exhibiting Warhol's life, interests and career progression.

CHAPTER IV

TRANSLATION OF RESEARCH TO ARTISTS TODAY

Social Media and its Pertinence to Artists in Today's Technological Age

The internet was begun as a form of social networking. The first email, sent in

1971, consisted of one person attempting to send information to another via phone lines.

This methodology expanded in 1978 with the development of the Bulletin Board system

(BBS). This BBS was a means for users to exchange messages, data, and applications to one another over phone lines. However, BBS was mostly utilized by technologically savvy users, thus it was considered a niche market (Bryfonski 16). It was not until 1979 with the launch of CompuServe and The Source that online services were able to reach general businesses and the consumer market. Between these two, CompuServe gained dominance within the market because it offered real-time chat and electronic mail through its internet connectivity.

The popularity of the internet skyrocketed on March 12 of 1989 with the creation of the World Wide Web (www). The creation of the www opened up a new world where all content loaded upon the internet could be linked and accessed from one point.

CompuServe launched as America Online in 1991 with a successful strategy that linked its service to the web (Bryfonski 17) with games and chat rooms being among its most popular features. By the year 2000, AOL maintained as the market leader with 23.2 million subscribers.

The first generation of the www was static. It was a graphical interface that offered flat images with professional sounding text. It lacked interaction from the originating source to its end user. It also lacked a sense of relatability. The first decade of the www has been considered by some as Web 1.0 and the web was considered as such until the creation of social media.

From this static www sprung a plethora of differing social media platforms, each created for its own niche target market. The first generally recognized social media platform was Friendster21 initially intended as a dating website. The creation of social media platforms such as LinkedIn22, MySpace23, Facebook24, Twitter25, YouTube26,

FourSquare27, Instagram28 and Blogging forums29. Some were more successful than others, with each new platform attempting to be better than its predecessor. Regardless of each platform's popularity and or problematic glitches, each was attempting to develop a unique platform illustrative of their particular online community.

According to the Pew Research Center as of 2015, “nearly two-thirds of

American adults (65%) use social networking sites” (Social Media Usage 2005-2015). In

America alone,

“87% of American adults now use the internet, with near-saturation usage among those living in households earning $75,000 or more (99%), young adults ages 18- 29 (97%), and those with college degrees (97%). Fully 68% of adults connect to the internet with mobile devices like smartphones or tablet computers.

The adoption of related technologies has also been extraordinary: Over the course of Pew Research Center polling, adult ownership of cell phones has risen from 53% in our first survey in 2000 to 90% now. Ownership of smartphones has grown from 35% when we first asked in 2011 to 58% now” (The Web at 25 in the U.S.).

Peter Brinckerhoff explained within his book Mission-Based Management,

“Technology has gone from being a luxury to being a ubiquitous, necessary tool and even more important, an expectation” (123) and “in a competitive market, you have to compete” (128). Brinckerhoff describes technology as being in a constant state of flux which can be intimidating to many people. Flexibility and a willingness to adapt to technological evolutions, Brinckerhoff believes, is the key to successful technology handling.

Social media present a technological opportunity for artists today to reach a broad target market and audience. In a society now saturated in technology, artists are now faced with the difficult task of navigating their way through the plethora of online communities and resources. However, referencing Warhol’s utilization of inter/VIEW magazine as a form of social networking can give artists today direction as they navigate their way through.

Warhol’s Use of inter/VIEW Magazine as a Social Media Networking Platform

Warhol’s innate aptitude for self-promotion shaped his initial career and elevated him to the level of fame he is still known for today. Through the process of trial and error

Warhol discovered three predominate things that were the initial keys to the evolution of his success. Warhol knew that if he was able to offer people something that interested the, they would continuously keep coming back to him. Then, Warhol would utilize the minds and bodies of those around him for the inspiration and completion of his works.

Finally, as projects fleshed themselves out, Warhol would create teams to focus on individual projects, leaving him free to continuously self-promote and dabble in differing artistic mediums.

Warhol’s love for anything new, modern and innovative helped keep his lifestyle and his work current during his lifetime. The creation of inter/VIEW magazine was no different. Taking into account the popularity of magazines at the time Warhol used the creative like-minded people around him to create his own media outlet. This outlet became Warhol’s ticket to events he otherwise would not have been able to attend and his means of meeting people he otherwise would not have been able to meet. It elevated

Warhol’s social status and networking capabilities.

The addition of Colacello to the inter/VIEW team, was the magazine's positive catalyst for change. Colacello developed the idiosyncrasies of the magazine that shaped, displayed and advertised the progression of Warhol’s career. This impressive feat was accomplished with very little direction from Warhol initially. However, Colacello had the rare opportunity to get to know Warhol on a business and personal level. It was this insight that aided Colacello in developing inter/VIEW into a true representation of

Warhol's desired external persona. Colacello was able to channel Warhol’s marketing methods by developing their entertainment-as-selling (selling-as-entertainment) strategy.

This was done as a means to expand the magazine, to supplement Warhol’s other businesses, and to build Warhol’s lifestyle brand. Within the magazine, Colacello was able to create a flow exhibiting all things Warhol, both directly and indirectly. This method of exhibiting layered marketing, surrounded by images from social gatherings

Warhol attended and celebrity interviews, gave inter/VIEW a unique vibe. inter/VIEW became Warhol’s form of social media networking that had yet to be realized within this time period.

With Colacello’s help, Warhol was able to use the magazine to develop an audience, create a following, market his other businesses and evolve his brand. In the process, inter/VIEW became a type of public diary that people wanted to be in. People desired to attend any event Warhol might have made an appearance. They desired this not only for the opportunity to see him but for the possibility of have their image appear within the pages of inter/VIEW magazine. inter/VIEW was so successful at exhibiting

Warhol’s lifestyle to represent his brand that people believed they could share his fame merely by proximity. Thus, inter/VIEW can be translated as Warhol’s very own social media networking platform.

A Social Media Strategy For Artists Today: Translated From Warhol’s Use of inter/VIEW Magazine

Social media platforms offer a plethora of opportunities for artists today to develop an audience, create a following, market their art and evolve their brand. These social media platforms revolve around consistent participation from their individual constituents, accumulating into unique online communities. This continued participation by constituents on social media platforms presents artists with opportunities for exposure on an exponential level.

Social media platforms offer artists the opportunity to develop an audience gearing for their success through the acquisition of constituents. Once constituents begin to follow an artist they become their ‘fan’. Fans follow friends, organizations, and social causes on these platforms because they choose to. Mack Collier, author of Think Like a

Rock Star, states that not only do your fans want to follow you, they want to help you as

30 well. Collier believes that “your fans want to act in your brand’s best interests, and they want you to tell them how to do it” (37). Thus, Collier believes that there is a deep connection between an artist and their fans; both parties desire to be a part of something bigger.

Artists are able to interact with their fans via social media platforms. By interacting with fans, artists have the opportunity to offer them to be a part of their lives and creative process. Being able to offer people something, as Warhol discovered early in his career, keeps people coming back. In the case of today's social media platforms, it presents artists with the opportunity to harbor fans, develop their audience, and create a following remotely. Time magazine asked Professor R. Keith Sawyer PhD, an expert on creativity with research in artistic and scientific creativity, how the average person can get more ideas:

“Idea’s don’t magically appear in a genius’ head from nowhere. They always build on what came before. And collaboration is key. Look at what others in your field are doing. Brainstorm with people in different fields. Research and anecdotal evidence suggests that distant analogies lead to new ideas - like when a heart surgeon bounces things off an architect or graphic designer” (Department 3).

Just as Warhol picked the brains of those around him in his Factory, artists today have the opportunity to pick the brains of their fans across the globe via social media platforms.

Warhol was known to create and utilize teams of people around him for the completion of projects. This gave Warhol the opportunity to continue creating art while developing more projects. This same methodology can be applied by artists on social media platforms today. Through interaction with fans, artists can solicit for ideas in the development and creation of projects by asking questions and motivating collaboration.

An example of the solicitation of collaboration from artists on social media platforms can be seen within actors Joseph Gordon-Levitt’s creation of hitrecord.org. The concept behind hitrecord.org was a collaboration between Gordon-Levitt and his brother

Daniel Gordon-Levitt. These two created a website for Joseph to post his video RECords.

On the site, the brothers then asked others to contribute their RECords as well

(hitrecord.org). Through the utilization of hitrecord.org and other social media platforms, hitRECord quickly grew a large number of fan’s who contributed their own RECords. A

RECord is considered any artist work that has been uploaded to the site. These RECords can then be “downloaded by other members of the community to remix, refine, revise, or reimagine and then re-upload(ed) to the site for future remixing” (hitrecord.org/faq). A

RECord is never truly considered finished since it is continuously re-uploaded and remixed. hitRECord then evolved into “an open collaborative production company”(hitrecord.org/faq). The site states to “think of it as a studio where artists collaborate on projects together and remix each other’s work with the potential to contribute to money-making productions”(hitrecord.org/faq). The hitRECord community has now contributed to the creation of short films, art works, books and clothing designs.

The community’s works can now been seen on Joseph's variety TV show hitRECord On

TV.

Hitrecord.org exemplifies Warhol’s three successful career methodologies through its utilization of social media platforms: offering people something, motivating collaboration by creating teams for the competition of works and the utilization of the minds and bodies of those around for inspiration. Warhol also relished in staying abreast of new technologies. Attempting any medium considered new and modern, as seen

32 throughout his career, Warhol thrived on the social collaboration from those around him. hitRECord represents a modern Warhol-esque form of social collaboration for the purpose of making and selling art.

Warhol’s genesis of inter/VIEW magazine in 1969 marks the turning point of his career, from artist to social icon. Warhol’s elevation to a social icon through inter/VIEW did not happen overnight. This climb up the social ladder was achieved through the addition of and collaboration with Bob Colacello. As an employee of Warhol, Colacello was able to bridge the gap between Warhol’s personal life and business life. Colacello then developed methodologies that converted inter/VIEW into a diary of Warhol’s life.

This was achieved by marketing Warhol through layers of self-promotional images and the development of the entertainment-as-selling and selling-as-entertainment method that exhibited Warhol’s lifestyle brand.

Colacello developed a method of layering self-promotional images within the magazine as a means of marketing Warhol. Through observations from the pages of inter/VIEW magazine it can be concluded that Colacello would include some type of

Warhol reference or ideology as often as possible. This attention to detail aided inter/VIEW magazine in exhibiting all things applicable to Warhol both directly and indirectly. Since social media platforms present the opportunity for each constituent to display and share information at will, artists today can hone in on this same type of attention to detail. This can be achieved by focusing artists’ communications on social media platforms to relate both directly and indirectly to the individual artist communicating. Artists focusing their posts in this manner will reflect Colacello’s

33 methodology of laying self-promotion within the pages of inter/VIEW as a means of marketing Warhol.

Through observation Colacello was able to develop, alongside Warhol, their entertainment-as-selling and selling-as-entertainment method. This was a method of entertaining prospective clients by including and involving them in Warhol’s events and activities. This was done as a means of cross promotion pushing the magazine as well as

Warhol’s others businesses. Artists today can imitate this methodology of cross promotion through the utilization of social media platforms by publicizing events they will be attending, places they will be going, and activities they will be participating in.

This type of publicity, solicited via social media platforms, presents artists with the opportunity to entertain fans in person they may otherwise never have had connections to.

In turn, artists are presented with the opportunity to market themselves as well as their art to potential clients through physical social interaction. Artists’ use of social media platforms as a means of cross promoting their social lives as well as their art would be following Colacello and Warhol’s method of entertainment-as-selling and selling-as- entertainment.

These two methods displayed within the pages of inter/VIEW evolved the magazine into an exhibition of Warhol’s lifestyle brand. Warhol’s art and life became synonymous within the pages of inter/VIEW. This branding within inter/VIEW elevated

Warhol’s notoriety as a pop artist to that of a famed social icon. inter/VIEW was so successful at exhibiting Warhol’s lifestyle to represent his brand that people believed they could share his fame merely by proximity. The application of these two previous methods

34 by artists today on social media platforms, presents them with the strategy to develop and exhibit their lifestyle brand to their fans.

The evolution of Warhol’s life style brand came to fruition through his utilization of inter/VIEW magazine. Warhol’s application of his career methods in combination with

Colacello’s layering of self-promotional marketing and the two’s entertainment-as-selling and selling-as-entertainment method, evolved inter/VIEW into a successful social media platform, well ahead of its time. Artists today could look to Warhol’s utilization of inter/VIEW magazine as a social media platform and apply it to modern social media platforms. This strategy offers today's artists with the opportunity to successfully develop and exhibit their lifestyle brand on social media platforms.

CHAPTER V

CONCLUSION

Warhol’s use of “sufficient Shock and Awe” shook the world's perception of what was considered to be art during his lifetime (Ullman, et al. 19). As a resounding commander of his troops, Warhol achieved highly esteemed accolades artistically and socially. This can be contributed to implementation of Warhol’s successful self- promotional methods in the beginning of his career and through his use of inter/VIEW magazine.

Warhol had an innate understanding of the evolving world around him. Through keen observation, Warhol discovered early on the importance of being able to offer people something. Whether it be a drawing, a work of art, a role in one of his films or merely to be in his creative think tank, Warhol knew how to keep people coming back to him. His uncanny ability to create teams elevated Warhol’s output of artworks during his lifetime. Feeding off the minds and bodies of those around him for inspiration, Warhol was able to stay current and modern as he developed the building blocks that in time outlined the progression of his career.

The creation and implementation of inter/VIEW magazine as a platform for social media networking was an innovation of its time. Warhol was able to create a draw and establish a following to events he may be in attendance to due to his involvement with

36 inter/VIEW. These attendees felt that if they attended the same events as Warhol they too could share in some of Warhol’s fame purely by proximity and by the off chance of being seen within the pages of inter/VIEW. This came to be through Colacello’s development of inter/VIEW magazine into a type of public diary exhibiting Warhol’s lifestyle brand. The evolution of Warhol’s lifestyle brand in combination with Colacello’s layering of self- promotional marketing and the two’s entertainment-as-selling and selling-as- entertainment method, evolved inter/VIEW into a successful social media platform, well ahead of its time.

Colacello’s development of inter/VIEW into a type of public diary came to be through the social collaboration of those around Warhol. Beth Canter, author of the book,

The Networked Nonprofit views the social media platforms such as, Facebook and

Myspace as being the “corner soda shops of their generation” (15). Social media platforms today offer an opportunity for dialogues between like-minded people across the globe.

According to Colacello, Warhol focused on his art being,

Social media platforms today do just that, by exhibiting a current take on Warhol’s outlook of what was considered modern and real, through a machine separating the creator and audience. Artists today can look to Warhol’s utilization of inter/VIEW magazine as a social media platform and apply it to modern social media platforms30.

By doing so, today’s artists can then develop and exhibit their lifestyle brand on social media platforms as Warhol did within inter/VIEW magazine.

ENDNOTES

1. As an illustrator, Warhol’s trademark became his fragmented and broken line pieces, developed from a sketching, tracing and blotting technique. Warhol would first sketch his work, then he would trace the sketch with ink then blot the ink onto another piece of paper. This gave his illustrations a ‘printed’ look that made his work unique, standing out from other illustrators of this time period. Bob Colacell, writer of Holy Terror Andy Warhol Close Up, viewed his early works as “fast, easy, cheap, different, and modern-all the things Andy liked his work to be” (22).

2. "I can only surmise what first drew Andy to Glamour. Before it became the fashion magazine for the Girl with a Job, it had achieved renown as the Hollywood movie slick - featuring stars like Ginger Rogers on its covers... Even as a sickly child, Andy worshiped the idols of the silver - his favourite colour - screen. So probably it was no more than the name Glamour that made him call... for glamour was surely what he loved. The day Andy walked in, in the summer of '49, I was five months pregnant with my first child - and properly editorial, in my navy-blue gabardine suit topped by the obligatory chapeau... I greeted a pale, blotchy boy, diffident almost to the point of disappearance but somehow immediately and immensely appealing. He seemed all one colour: pale chinos, pale wispy hair, pale eyes, a strange beige birthmark over the side of his face (almost like a Helen Frankenthaler wash). The big black portfolio he carried was an emphatic accent that would later be replaced by perpetual black leather jackets... The big black portfolio didn't have much in it: some nude figure studies, some flowers, and a charming abstraction of an orchestra playing... His ink lines were electrifying. Fragmented, broken, and intriguing, they grabbed at you with their spontaneous intensity..." This is a quote by Tina Fredericks, listed within Remembering Andy/An Introduction by Jesse Kornbluth page 10, describes Warhol’s humble beginnings in New York City. It also depicts a first person account of Warhol's first attempt at self-promotion. Fredericks also talks about his inherent love for fashion and glamor which may have been what drew him to come to Glamor magazine in the first place.

3. "I went to Carnegie Tech. Phillip Pearlstein was going to New York during a semester break, so I took a shopping bag and we took a bus. We took our portfolios and showed them around New York to see if we could get jobs. The lady from Glamour, Tina Fredericks, said that when I got out of school she'd give me a job. So I got out and came

39 back. That was my first job." This is a quote by Andy Warhol, listed within Andy Warhol Pre-Pop by Gary Comenas, describes Warhol's first attempt at self-promotion and how it landed him his first job in New York City (1).

4. Seymour Berlin printed self-published books for Warhol such as 25 Cats, The Gold Book and Wild Raspberries. Berlin also printed Christmas Cards for Warhol as well as promotional fliers (Comenas 4).

5. Nat Finkelstein, a notable photojournalist from Pageant magazine, attended a party at the silver Factory in 1964 where he was recognized by Warhol for his article about a happening in Greenwich Village hosted by Claes Oldenburg titled ‘What Happens at a Happening?’ (Grimes). Finkelstein then offered his services to Warhol where he would stay for the next three years, photographing the goings on within the Silver Factory. Finkelstein said that he “participated in a cultural revolution that shook the superstructure of our society” photographing “American royalty called superstars” (Finkelstein 2). Geraldine Smith, who was considered a superstar starring in a plethora of Warhol’s films, (Appendix B), stated that Warhol “liked to collect interesting people. Andy just loved to collect really colorful people that were characters” (Andy Warhol's Factory People). Warhol had a way about him, where he could make the people around him feel famous, magnetic in nature drawing in new followers daily. In 1965, this nonstop creative atmosphere started pulling in such visitors as Bob Dylan, Mick Jagger and other cultural celebrities. Finkelstein, who was a regularly published photojournalist, noticed that people at the Factory would continually parade in front of his camera. Finkelstein believed that “popstars are like PhD candidates, they must be published to exist” (Finkelstein 2).

6. The Factory was Warhol's work space. It evolved into a happening place, where people from different social classes and backgrounds would come and go, or in some cases never really leave. Warhol created his artwork within this space, filmed his movies and carried out his day to day activities. This Factory would move to four different locations within Warhol life:

1st Silver Factory Nov 1963- Jan 1964: 5th Floor 231 East 47th Street

2nd Factory 1968: 6th Floor 33 Union Square West

3rd Factory "Office" 1974: 3rd Floor 860 Broadway

4th Factory "Office" between 1982-1984: Madison Ave between 32nd and 33rd street

7. There were many key players during this time period within the Factory, some employed by Warhol, others were considered to be his Warhol Superstars. Gerard Malanga was Warhol’s hired assistant at the Factory and painting assistant. Paul

Morrissey worked with Warhol casting and directing the majority of Warhol’s films. Billy Name served as a type of manager of the Factory and live-in photographer. Fred Hughes was Warhol's business manager. Jed Johnson, who started out like everyone else cleaning floors, quickly rose to becoming an editor and later a director for Warhol. Morrissey, who hired Johnson stated “we pay the same as Western Union, but at least you get to stay in one place all day” (Colacello 34).

8. These movie reviews were the only writing Warhol had to pay for. Warhol enlisted film students to do these reviews for him, paying them very little for their work.

9. Gerard Malanga wrote the poem within the first issue of inter/VIEW titled “The Performance of Sharon Tate” (Colacello 7). Malanga would go on to write other poems for the magazine as well.

10. When Warhol created and developed his books he had help from others around him. Warhol would have one person help with the lettering of the books while he did the illustrations. Warhol hired a publisher for binding the books then enlisted the help of others to color them in. Warhol’s books were published on his own timeline, not monthly like a magazine. They also required very few people for their development, most of which volunteered their time. These books were not successful monetarily but, Warhol did discover that he could repurpose them for self-promotional purposes.

11. Andy Warhol had an affinity for tape recorders. Warhol used to record his phone calls, after his assassination attempt in 1968, at home reel to reel. When smaller tape recorders hit the market, Warhol took it everywhere with him. Colacello even quoted him as calling his tape recorder his wife, “introducing it as ‘my wife, Sony’” (Colacello 7). He liked this type of transcription because he considered it to be “modern and real, two qualities he consistently valued above all others. For Andy, modern meant mechanical- silkscreen, movie camera, tape recorder, video, any machine that came between the creator and his audience” (Colacello 7). Pat Hackett, a student at Barnard, introduced herself to Warhol at the Factory, three months after his assassination attempt, to see if he could use a part time typist. Warhol said Hackett could come in whenever she could, to help out. Hackett volunteered her work a few days a week transcribing all of his recorded conversations while he was in the hospital. Hackett stopped coming in to the Factory for a period of time while studying for midterms at school, assuming that “Andy probably wouldn’t even notice I wasn’t around” (Hackett xiii). Warhol, noticing she was gone, called her at her dorm room asking her to come back, “he ‘sweetened the pot’ by offering to start paying my subway fares to and from ‘work’. A ride was then twenty cents” (Hackett xiii). Hackett was also listed as an assistant editor for inter/VIEW magazine (Colacello 7).

12. Warhol, creating his own Hollywood studio in a way, filmed daily, exploring new editing techniques all while drawing on those around him for inspiration and for help with their production. Warhol enjoyed filming with his camera because he viewed it as a machine that did all of the work for him. Warhol's films started off straight forward, focusing on simple subject matter like a man sleeping for six hours titled Sleep, or his film Empire where he filmed the Empire State building for almost 7 hours. Warhol also produced films that were considered risqué during the sixties, depicting subject matters such as up close kissing and nudity, as well as pornographic films. Warhol’s films were not seen by many, underground movies, as his were considered, were usually shown in remote locations and tiny art cinemas. However, many of the subject matters of Warhol’s movies were considered ‘forbidden’ during the sixties, thus they became the talk of the town

13. Colacello arrived at the magazine's office, to drop off a movie review and the doors were chained up. Inquisitively, Colacello asked Warhol where Editor Soren Agenoux and his assistant Jeremy Dixson where, and all Warhol replied was “Oh, uh, something happened” (qtd in Colacello 37). Warhol and Morrissey had been too busy to review the magazine for the past three month’s editions. Morrissey, took a look and discovered that Agenoux had been “putting out a silly scandal sheet” (qtd in Colacello 37) in inter/VIEW which in turn got him and his assistant fired.

14. Morrissey offered Colacello $40 per week to be the editor. After much consideration, and getting the approval from Columbia University for college credit, he agreed to be editor for $50 per week. Colacello was also able to hire his friend Glenn O’Brien for $40 per week. Morrissey commented to Colacello that these were high paying salaries for “part-time jobs” (Colacello 38). Colacello had graduated previously from Georgetown University School of Foreign Service and was attending Columbia University for his masters in film criticism when he stated at inter/VIEW.

15. On Colacello’s first day, he was given keys to inter/VIEW, the phone number of Other Scenes, where the layout and typesetting for the magazine was done, and “a stack of Rita Hayworth stills from the forties and fifties. “Just fun one of these on every page,” (Morrissey) said. “It doesn’t matter if they go with the articles or not” (Colacello 38).

16. Warhol and Morrissey left for Paris the day after Colacello started in his new position. They did not give Colacello a deadline for the next issues completion. Colacello chose to have it completed by the time they got back from Paris.

17. inter/VIEW, in an effort to save money paying for photo rights, would offer advertising space within the magazine in exchange for photo-stills and a place to display and sell their magazine.

18. Colacello attempted to get an advertiser in his first issue of inter/VIEW as editor. He had Jude, the wife of Glenn O’Brien, call Blackglama to see if they would release an advertisement to them, one that would correlate with the theme of the issue. They said no but, Colacello decided to run it anyways “for fun” (Colacello 41). Warhol’s reply was “Oh, I bet we get in trouble” (Colacello 41).

19. Hackett recalled “one visitor, noticing the psychological distance from Andy between his personal employees and the staff of his magazine, observed only half-joking, “I get the feeling that if the people who work for inter/VIEW were asked to name one celebrity in the world they’d most like to meet, they’d all say, ‘Andy Warhol’” (Hackett XV). Hackett considered Colacello to be one of few to cross-over between these two worlds.

20. These 'Superstars' were actors, models, musicians, celebrities, etc. that stared in many of his films. Some examples of Warhol’s superstars were actors Edie Sedgwick, Ultra Violet (Isabelle Collin Dufresne), Ingrid Superstar (Ingrid Von Scheflin), Ivy Nicholson, Bridget Berlin, Joe Dallesandro and members of the Velvet Underground such as Nico and Lou Reed. A list of all of Warhol’s actors and their associated movies can be found in Appendix B.

21. The first generally recognized social media website launched in 2002, Friendster, and was initially intended as a dating website. Its premise was that users could make better dating connections through friends of one another’s friends. Friendster gained over 3 million users within its first three months (Bryfonski 17). However, it was riddled with issues in relationship to its exponential growth that caused reduced speeds and general outages.

22. LinkedIn was introduced in May of 2003. On LinkedIn users could create individual pages that listed education, current and previous work experience, interests, and professional skills and experience. From there they could ‘link’ with other users, who shared similar work experiences, interests, or skills. LinkedIn’s premise was to create a platform for like-minded business people to connect and network. As of 2015, LinkedIn has over 400 million members across the globe and stood as the world’s largest professional internet based platform (About Us).

23. MySpace launched in 2003 as a social networking channel geared towards actors, artists, and musicians. It offered more bells and whistles than other platforms at the time; such as having the ability to create your own unique web interface, or ‘page’. It was this uniqueness which drew in many users, quickly overtaking the then ‘static’ looking interface of Friendster. MySpace rectified some of the issues that riddled Friendster, slowdowns and outages, however it did present its own fair share of privacy issues. Hackers riddled individuals’ pages, breaking through password protections. This gave users a sense of unease and in time distrust for the site itself (About Myspace).

24. Facebook hit the scene in January of 2004. Its original intention was to connect the students of Harvard University. Within a short period of time Facebook expanded to other universities. Then in 2006 Facebook opened its doors to any user with a valid email address. Mark Zuckerberg, the creator of Facebook, believed that “everyone has an identity that they want to express and friends and family that they wanna stay connected with” (Bryfonski 18). It was this belief that launched this social network channel and brought it to over 1.01 billion active users as of September of 2015 (Statistics).

25. Twitter came to fruition in 2006. Twitter premise was to create an information platform in real time. It would connect its users to the latest stories, news, opinions, and ideas in relationship to what they found most compelling. Twitter is based off of small bits of information transmitted by individual users. These small bits of information are called ‘tweets’ and consist of no more than 140 characters in length. As of September 2015, Twitter reported over 320 million monthly active users (Twitter Usage / Company Facts).

26. “Launched in May 2005, YouTube allows billions of people to discover, watch and share originally-created videos. YouTube provides a forum for people to connect, inform, and inspire others across the globe and acts as a distribution platform for original content creators and advertisers large and small” (About YouTube).

27. Foursquare launched in 2009 as a social networking platform for users to share real- time check-in information with friends. As of 2015, Foursquare has a community of 55 million users worldwide and 2 million claimed businesses (About Us).

28. Instagram launched on October 6 of 2010 as a social networking platform. Its users could manipulate and post images from their daily lives as a form of visual storytelling. These images could then be shared with other Instagram community members. As of September 2015 Instagram has 400 million monthly active users sharing 80 million photos per day (Our Story).

29. Blogging organically came to be, springing from its roots in Web 1.0. Blogging was set in motion within online diaries, which launched in the late 1990’s, which individuals would write within daily. It was these writings, which were open to the public and or subscribers to read, that sprung the concept of an online dialogue. This platform gave individuals a place to create a dialogue with others, a voice to promote social causes, share opinions, and in some cases to just be heard (Bryfonski).

30. inter/VIEW’s success cannot be directly translated for artists utilization today. This can be contributed to the saturation of technology within today’s society. This saturation can be seen through the decline in in-print news magazines (figure 5.1) when compared to the rise in these news magazines digital circulations (figure 5.2). Creating an in-print

44 publication like inter/VIEW today would not be an economically sound direction for an artist in today's technological age.

BIBLIOGRAPHY

In Print Books

Angell, Callie, and The Andy Warhol Museum. The Andy Warhol Museum. Pittsburgh: Carnegie Museum of Art, 1994. Print

Bockris, Victor. The Life and Death of Andy Warhol. New York: Bantam, 1989. Print.

Brinckerhoff, Peter C. Mission-based Management: Leading Your Not-for-profit in the 21st Century. New York: Wiley, 2000. Print.

Brooks, Arthur, Julia Lowell, Kevin McCarthy, and Laura Zakaras. The Performing Arts in a New Era. Santa Monica, CA: RAND, 2001. Print.

Bryfonski, Dedria. The Global Impact of Social Media. Detroit, MI: Greenhaven, 2012. Print.

Cherbo, Joni Maya, and Margaret Jane. Wyszomirski. The Public Life of the Arts in America. New Brunswick, NJ: Rutgers UP, 2000. Print.

Cravens, David W., and Nigel F. Piercy. Strategic Marketing. 9th ed. New York, NY: McGraw-Hill, 2009. Print.

Finkelstein, Nat. Andy Warhol: The Factory Years, 1964-1967. New York: St. Martin's, 1989. Print.

Fisher, Roger, Alan Sharp, and John Richardson. Getting It Done: How to Lead When You're Not in Charge. New York: HarperBusiness, 1998. Print.

Fisher, Roger, William Ury, and Bruce Patton. Getting to Yes: Negotiating Agreement without Giving in. New York, NY: Penguin, 1991. Print.

Jones, Amelia. A Companion to Contemporary Art since 1945. Malden, MA: Blackwell Pub., 2006. Print.

Kornbluth, Jesse. Pre-pop Warhol. New York: Panache at Random House, 1988. Print.

Kouzes, James M., and Barry Z. Posner. The Leadership Challenge. San Francisco: Jossey-Bass, 2002. Print.

McShine, Kynaston, Robert Rosenblum, Benjamin Buchloh, and Marco Livingstone. Andy Warhol: A Retrospective. Ed. Kynaston McShine. New York: Museum of Modern Art, 1989. Print.

Putnam, Robert D. Bowling Alone: The Collapse and Revival of American Community. New York: Simon & Schuster, 2000. Print.

Rosenbach, William E., and Robert L. Taylor. Contemporary Issues in Leadership. Boulder, CO: Westview, 1984. Print.

Shanes, Eric. Warhol: The Master Works. New York: Portland House, 1991. Print.

Smith, Patrick S. Warhol: Conversations about the Artist. Ann Arbor: UMI Research, 1988. Print.

Web Publications

“About Interview Magazine.” Interviewmagazine. n.p., n.d.. Web. 10 July 2014.

“About Myspace.” Myspace. Myspace LLC, 2014. Web. 20 May 2015.

“About Us.” Foursquare. Foursquare, n.d.. Web. 23 Oct 2015.

“About Us.” Press.linkedin. LinkedIn Corporation, 2015. Web. 20 May 2015.

“About YouTube.” Youtube. Google, n.d.. Web. 10 Oct 2015.

“Andy Warhol Biography.” Warhol. n.p., n.d.. Web. 10 July 2014.

“Andy Warhol: Career Timeline.” PBS. PBS, 20 Sept. 2006. Web. 02 June 2015.

Borrelli-Persson, Laird. "From the Archives: Andy Warhol in Vogue." Vogue. Vogue, 12 Nov. 2012. Web. 02 June 2015.

Comenas, Gary. Warholstars. n.p., n.d..Web. 20 May 2015.

Comenas, Gary. "Andy Warhol Pre-Pop." Warholstars. N.p., 2006. Web. 20 May 2015.

Comenas, Gary. “Interview with John McHale (Jr.).” Warholstars. N.p., July 2006. Web. 14 October 2015.

Department. "The Hidden Secrets of the Creative Mind." Time. Time Inc., 16 Jan. 2006. Web. 26 Oct. 2015.

"Early Work." Warhol. The Andy Warhol Museum, n.d. Web. 01 June 2015.

"FAQ" Hitrecord. n.p., n.d. Web. 26 Oct. 2015.

Fox, Rainie. “The Web at 25 in the U.S..” Pewinternet. Pew Research Center, 27 Feb. 2014. Web. 22 Oct. 2015.

Grimes, William. "Nat Finkelstein, ‘Court Photographer’ of Andy Warhol’s Factory, Dies at 76." Nytimes. The New York Times, 12 Oct. 2009. Web. 24 July 2015.

"History." Adcglobal. Art Directors Club, n.d. Web. 02 June 2015.

Kornbluth, Jesse. "The World of Warhol. Remembering the World of Andy Warhol.” Nymag. New York Magazine, 9 Sep. 1987. Web. 24 Sept. 2015.

Lavietes, Stuart. "Richard Bernstein, 62; Created Covers for Interview Magazine." Nytimes. The New York Times, 01 Nov. 2002. Web. 10 July 2014.

“Our Story.” Instagram. Instagram, Sept 2015. Web. 23 Oct 2015.

PÉrez-peÑa, Richard. "Management Changes At Interview Magazine." Nytimes. The New York Times, 19 July 2009. Web. 10 July 2014.

Perrin, Andrew. “Social Media Usage: 2005-2015.” Pewresearch. Pew Research Center, 08 Oct. 2015. Web. 22 Oct. 2015.

Rouvalis, Cristina. "Andy Warhol Revealed.” Carnegiemuseums. Carnegie Magazine, Summer 2014. Web. 28 May 2015.

“Statistics.” Newsroom.fb. Facebook, Sept 2015. Web. 10 Oct 2015.

“Twitter Usage / Company Facts.” Twitter. n.p.. 30 Sep 2015. Web. 10 Oct 2015.

Ullman, Harlan, et al. “Shock and Awe Achieving Rapid Dominance”. Dodccrp (1996): 19. Defense Group Inc.. Web. 20 May 2014.

Film

Andy Warhol’s Factory People. Dir. Catherine O’Sullivan Shorr. Perf. Brigid Berlin, Victor Bokris, Steven Bruce, Leee Black Childers, Danny Fields, Nat Finklestein, Bob Heide, Gerard Malanga, Jonas Mekas, Billy Name, Holly Woodlawn and Warhol SuperStars UltraViolet, Taylor Mead, Mary Woronov, Bibbi Hansen, Geraldine Smith, Louis Walden, Allen Midgette and David Croland. PGE in Association with Zarafa Films, France Television and OvationTV, n.d. Planetgroupentertainment. 2009. Web. 17 July 2015.

Figures

2.1 Press Pass. Sept. - Oct. 1969. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

2.2 inter/VIEW A Monthly Film Journal. Nov. 1969. Photograph. Warholstars. n.p., n.d.. Web. 20 May 2014.

2.3 inter/VIEW Andy Warhol’s Film Magazine. July 1971. Digital Photograph. Steven Hellener Collection. containerlist.glaserarchives. n.p., n.d.. Web. 20 May 2014.

2.4 inter/VIEW Andy Warhol’s Film Magazine. Aug 1976. 6. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

2.5 inter/VIEW Andy Warhol’s Film Magazine. Jun 1976. 3. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

2.6 inter/VIEW Andy Warhol’s Film Magazine. Nov 1972. Back Cover. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

2.7 inter/VIEW Andy Warhol’s Film Magazine. Nov 1972. 3. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

2.8 inter/VIEW Andy Warhol’s Film Magazine. Jan 1976. Back Cover. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

2.9 inter/VIEW Andy Warhol’s Film Magazine. Nov 1972. 5. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

2.10 inter/VIEW Andy Warhol’s Film Magazine. Mar 1972. Cover & Back Cover. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

2.11 inter/VIEW Andy Warhol’s Film Magazine. Nov 1976. 44. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

2.12 inter/VIEW Andy Warhol’s Film Magazine. Feb 1976. Back Cover. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

2.13 inter/VIEW Andy Warhol’s Film Magazine. Mar 1976. Back Cover. Photocopy. The Andy Warhol Museum Archives Study Center. Dec. 2014.

5.1 Pew Research Center; Information & Technology; Average Subscriptions Circulation, News Magazines: Subscriptions Circulation by Publication. Pewresearch.

5.2 Pew Research Center; Media & News; News Magazine's: Digital Issue Circulation, Average digital issue circulation for subscription and single copy sales. Journalism.

APPENDICES

APPENDIX A

FIGURES

Figure 2.1 Press Pass. The Andy Warhol Museum Archives Study Center, Sept. - Oct. 1969.

52 Figure 2.2 Cover: inter/VIEW A Monthly Film Journal, Nov 1969.

Figure 2.3 Cover: inter/VIEW Andy Warhol’s Film Magazine, July 1971.

Figure 2.4 Page 6: inter/VIEW Andy Warhol's Film Magazine, Aug 1976

Figure 2.5 Page 3: inter/VIEW Andy Warhol's Film Magazine, June 1976

Figure 2.6 Back Cover: inter/VIEW Andy Warhol's Film Magazine, Nov 1972

Figure 2.7 Page 3: inter/VIEW Andy Warhol's Film Magazine, Nov 1972

Figure 2.8 Back Cover: inter/VIEW Andy Warhol's Film Magazine, Jan 1976

Figure 2.9 Page 5: inter/VIEW Andy Warhol's Film Magazine, Nov 1972

Figure 2.10 Cover & Back Cover: inter/VIEW Andy Warhol's Film Magazine, Mar 1972

Figure 2.11 Page 44: inter/VIEW Andy Warhol's Film Magazine, Nov 1976

62 Figure 2.12 Back Cover: inter/VIEW Andy Warhol's Film Magazine, Feb 1976

63 Figure 2.13 Back Cover: inter/VIEW Andy Warhol's Film Magazine, Mar 1976

Figure 5.1 News Magazines: Subscriptions Circulation by Publication

Figure 5.2 News Magazine's: Digital Issue Circulation

66 APPENDIX B WARHOL SUPERSTARS

Name Title

George Abagnalo Women in Revolt (1970-71)

Charles Aberg Withering Heights (ca. March 1966) (Unreleased)

Inna Alexeievna Andy Warhol's Dracula (March/April 1973)

Barbara Allen Andy Warhol's Bad (Spring 1976)

My Hustler (September 1965) My Hustler II (1965) (Footage from My Paul America Hustler sequels: My Hustler: In Apartment and My Hustler: Ingrid)

Eric Anderson Space aka Space (Since) (Late June/Early July 1965)

Bruce Ann Bike Boy (Summer 1967)

George Ann Bike Boy (Summer 1967)

Matthew Anton Andy Warhol's Bad (Spring 1976)

Penny Arcade Women in Revolt (1970-71)

John Ashbery Screen Test (1965)

Pat Ast Heat (end June/early July 1971)

Jodie Babs Camp (October 1965)

Carroll Baker Andy Warhol's Bad (Spring 1976)

Imitation of Christ (1967) (Originally part of ****) I, a man (Late July Tom Baker 1967)

Gordon Baldwin Restaurant (aka L'Avventura) (June 26, 1965)

Waldo Diaz Balart The Life of Juanita Castro (January 1965)

Benedetta Barzini Screen Test (1966)

Batman Dracula aka Dracula (July 1964) Horse (March 1965) Eating Too Gregory Battcock Fast aka Blow Job No. 2 (1966)

Marisa Berenson Screen Test (1965)

The Chelsea Girls (Summer 1966) **** (Four Stars) (1966/67) Imitation of Christ (1967) (Originally part of ****) The Loves of Ondine (ca. August Brigid Berlin aka Brigid Polk 1967) Bike Boy (August 1967) Tub Girls (1967) Women in Revolt (1970- 71) Phoney (Video) (ca. 1973) Nothing Special (Video) (ca. 1975) Fight (Video) (ca. 1975) Andy Warhol's Bad (Spring 1976)

Wally Berman Tarzan and Jane Regained, Sort of... (1963)

Ted Berrigan Screen Test (1966)

Loredana Bertè Music video (ca 1984)

Baby Betty Women in Revolt (1970-71)

Binghampton Birdie (real name: Couch (July 1964) Richard Stringer)

Susan Blond Andy Warhol's Bad (Spring 1976)

Tarzan and Jane Regained, Sort of... (October 1963) Elvis at Ferus (October Irving Blum 1963) Duchamp Opening (October 1963)

Sean Bolger Batman Dracula (1964) John and Ivy (1965)

Miguel Bose Music video (ca. 1984)

DeVerne Bookwalter Blow Job (1964)

Liu Bosisio Andy Warhol's Frankenstein (March/April 1973)

Screen Test (1966) Superboy (1966) The Chelsea Girls (Summer 1966) Susan Bottomly aka International Nico/Antoine (October 1966) The Velvet Underground Tarot Cards (1966) Velvet Susan-Space (1966) The Bob Dylan Story (1966) Since (1966) **** (Four Stars) (1966-67)

Christian Aaron Boulogne aka Ari The Chelsea Girls (Summer 1966) Ari and Mario (1966) (Nico's son)

David Bourdon Batman Dracula aka Dracula (July 1964)

The Closet (1965) (Originally part of The Chelsea Girls) Hedy (February Randy Bourscheidt 1966) Susan-Space (1966) Since (Autumn 1966)

Mary Boylan Andy Warhol's Bad (Spring 1976)

Maurice Braddell Flesh (Aug/Sept. 1968) Women in Revolt (1970-71)

Barry Brown Flesh (Aug/Sept. 1968)

Tally Brown Batman Dracula (1964) Camp (October 1965) **** (Four Stars) (1966/67)

Kitty Bruce Andy Warhol's Bad (Spring 1976)

Ann Buchanan Screen Test (Early 1966) 13 Most Beautiful Women (1964)

Joan-Juliet Buck Nothing Special (Video) (ca. 1975)

Julian Burroughs Nude Restaurant (1967) Lonesome Cowboys (end January 1968)

Gil Cagne Andy Warhol's Dracula (March/April 1973)

The Velvet Underground and Nico (1966) The Velvet Underground (1966) The Velvet Underground Tarot Cards (1966) The Velvet Underground in John Cale Boston (1966) The Bob Dylan Story (1966) **** (Four Stars) (Mary I, Tiger Hop, Barbara and Ivy, Ivy and Don McNeil, Philadelphia Stable)

Emi Califri Andy Warhol's Dracula (March/April 1973)

Joseph Campbell My Hustler (September 1965)

Tosh Carillo Horse (March 1965) Vinyl (March 1965) Camp (October 1965)

The Cars Music Video (ca. 1984)

Paul Caruso More Milk Yvette (November 1965) The Bob Dylan Story (October 1966)

Andy Warhol's Dracula (March/April 1973) Andy Warhol's Bad (Spring Stefania Casini 1976)

Daniel Cassidy, Jr. Horse (March 1965)

Frank Cavestani Women in Revolt (1970-71)

Genevieve Charbon My Hustler (September 1965)

Harold Stevenson credited as Harold Childe . Heat (end June/early July 1971)

Lucinda Childs Shoulder (Summer 1964) 13 Most Beautiful Women (1964)

John Christian Flesh (Aug/Sept. 1968)

James Claire Hedy (February 1966)

**** (Four Stars) (1966/67) Imitation of Christ (1967) (Originally part of Patrick Tilden Close ****)

Roderick Clayton Hedy (1966) Rick (unreleased) (1966)

Bettina Coffin I A Man (Late July 1967)

Naomi and Rufus Kiss (1963) Batman Dracula (1964) Soap Opera (1964) Rufus Collins Couch (July 1964)

Gregory Corso Couch (July 1964)

Vera Cruz Bike Boy (August 1967)

Richard Cummings Andy Warhol's Bad (Spring 1976)

Curiosity Killed The Cat Music Video (ca. 1984)

Jackie Curtis Flesh (Aug/Sept. 1968) Women in Revolt (1970-71)

Walter Dainwood Couch (1964) Three (1964) Since (1966)

John Daley Haircut No. 1 (1963)

Salvador Dali Screen Test (1966) Salvador Dali (Pre-April 1966)

Bob Dallesandro (Joe's brother) Flesh (Aug/Sept. 1968)

The Loves of Ondine (ca. August 1967) Lonesome Cowboys (end January 1968) San Diego Surf (May 1968) Flesh (Aug/Sept. 1968) Trash (October Joe Dallesandro 1969) Heat (end June/early July 1971) Andy Warhol's Frankenstein (March/April 1973) Andy Warhol's Dracula (March/April 1973)

Sarah Dalton Sarah-Soap (1963)

Patti D'Arbanville Flesh (Aug/Sept. 1968) L'Amour (September 1970)

Dominique Darel Andy Warhol's Dracula (March/April 1973)

Flesh (Aug/Sept. 1968) Women in Revolt (1970-71) Phoney (Video) (ca. Candy Darling 1973)

Angelina 'Pepper' Davis The Chelsea Girls (Summer 1966) The Loves of Ondine (ca. August 1967)

Afternoon (June 1965) (Originally part of The Chelsea Girls) Space (1965) Dorothy Dean My Hustler (September 1965)

Emile de Antonio Drink (aka Drunk) (January 1965)

Denis Deegan (1963) 13 Most Beautiful Boys (1964/65) Dentist: Nico Denis Deegan (1966) Ivy (1966) Denis (1966) Ivy and Denis I (1966) Ivy and Denis II (1966)

Max Delys L'Amour (September 1970)

Vittorio De Sica Andy Warhol's Dracula (March/April 1973)

Dickin **** (Four Stars) (1966/67)

Silvia Dionisio Andy Warhol's Dracula (March/April 1973)

Johnny Dodd Kiss (1963) Haircut No. 3 (ca. end 1963)

Donovan Screen Test (1966)

Mar-Mar Donyle Camp (October 1965)

Duchamp Opening (1963) Screen Tests (2 solo and one with Benedetta Marcel Duchamp Barzini) (1966) Marcel Duchamp (three filmed portraits) (1966)

John Dunn Andy Warhol's Bad (Spring 1976)

Marlowe Dupont The Bob Dylan Story (October 1966)

Bob Dylan Screen Test

Isabel Eberstadt 13 Most Beautiful Women (1964) Isabel Wrist (1964)

Winthrop Kellogg Edey 13 Most Beautiful Boys (1964/65)

Electrah The Life of Juanita Castro (January 1965) Kitchen (May 1965)

Nicoletta Elmi Andy Warhol's Frankenstein (March/April 1973)

The Chelsea Girls (Summer 1966). **** (Four Stars) (1966/67). Lonesome Eric Emerson Cowboys (end January 1968). San Diego Surf (May 1968). Heat (end June/early July 1971)

Batman Dracula (July 1964) Six Months (Nov. 64 - Feb. 65) Harlot Philip Fagan (December 1964) Philip and Gerard (1964) Screen Test No. 1 (January 23, 1965)

Harry Fainlight Harlot (December 1964) (off-screen voice)

Alexis de la Falaise Tub Girls (1967)

Maxime de la Falaise Phoney (Video) (ca. 1973)

**** (Four Stars) (1966/67) Imitation of Christ (1967) (Originally part of Andrea Feldman ****) Trash (October 1969) Heat (end June/early July 1971)

Danny Fields Screen Test

13 Most Beautiful Women (1964) Couch (1964) Nancy Fish and Rodney Nancy Worthington Fish (1966)

Patrick Fleming The Chelsea Girls (1966) Ed Hood (1967)

Charles Henri Ford Screen Test (1966)

Michael Forella Andy Warhol's Bad (Spring 1976)

Trash (October 1969) Women in Revolt (1970-71) L'Amour (September Jane Forth 1970) Andy Warhol's Bad (Spring 1976)

Cyrinda Fox Andy Warhol's Bad (Spring 1976)

Frankie Francine aka Frances or Lonesome Cowboys (end January 1968) Francis Francine

The Fugsand The Holy Modal The Fugs and The Holy Modal Rounders (ca. July 1965) Rounders

Cristina Gaioni Andy Warhol's Frankenstein

Henry in Bathroom (1963) Henry Geldzahler (July 26, 1964) Batman Henry Geldzahler Dracula (1964) Couch (1964) Since (1966) (Ondine #1 reel) Tiger Hop (1966) (part of **** Four Stars)

Charlotte Gilbertson Kiss (1963)

Screen Test (ca. 1964/65) Couch (July 1964) 50 Fantastics and 50 Allen Ginsberg Personalities (1964-66)

Sleep (1963) Taylor and John (1963) Bob Indiana, Etc. (1963) Billy Klüver John Giorno (1963) John Washing (1963) Naomi and John Hand Job (1964)

Norman R. Glick Horse (1965)

Tito Goya Andy Warhol's Bad (Spring 1976)

Batman Dracula (aka Dracula) (July 1964) 13 Most Beautiful Women Beverly Grant (1964)

Stephanie Graves I, a man (July 1967)

Sam Green Batman Dracula (aka Dracula) (July 1964)

Peter Greenlaw L'Amour (September 1970)

John Hallowell Heat (end June/early July 1971)

Bibbe Hansen Restaurant (aka L'Avventura) Prison aka Girls in Prison (July 1965)

Pat Hartley Prison (1965) My Hustler II (1965)

Kate Helzicer Couch (July 1964)

Screen Test (1964) Couch (1964) The Andy Warhol Story (Autumn 1966) Piero Heliczer Tiger Hop (Autumn 1966)

Ed Hennessey Space (1965)

Rollerskate/Dance Movie (1963) Kiss (1963) Jill and Freddy Dancing Freddy Herko (aka Freddie (1963) Salome and Delilah (1963) Haircut (No.1) (end 1963) 13 Most Herko) Beautiful Boys (1964)

Robert Hodges Andy Warhol's Bad (Spring 1976)

Kiss (1963) Screen Test Soap Opera (1964) Batman Dracula (1964) Couch (July 1964) 13 Most Beautiful Women (1964) Jane and Darius (1964) Camp Baby Jane Holzer (October 1965) Bufferin Commercial (1966) Sally Kirkland (66/67) (Reel 39 of **** (Four Stars))

Tom Hompertz Lonesome Cowboys (end January 1968) San Diego Surf (May 1968)

My Hustler (September 1965) The Chelsea Girls (Summer 1966) Superboy Ed Hood (1966) Ed Hood (included in **** (Four Stars) (1967) Bike Boy (1967)

Dennis Hopper Tarzan and Jane Regained, Sort of... (1963)

Tamara Horax Andy Warhol's Bad (Spring 1976)

Barbara Hunt Andy Warhol's Bad (Spring 1976)

Angelica Huston Nothing Special (Video) (ca. 1975)

Imu 13 Most Beautiful Women (1964) Imu and Son (1964)

Imu's son Imu and Son (1964)

Robert Indiana Eat

Ruth Jaroslow Andy Warhol's Bad (Spring 1976)

Jill Johnston Jill Johnston (Dancing)

Donna Jordan L'Amour (September 1970)

Andy Warhol's Frankenstein (March/April 1973) Andy Warhol's Dracula Arno Juering (March/April 1973)

Gary Kasnocha Heat (end June/early July 1971)

John Kemper Women in Revolt (1970-71)

Jack Kerouac Couch (July (1964)

Andy Warhol's Frankenstein (March/April 1973) Andy Warhol's Dracula Udo Kier (March/April 1973)

Paul Kilb Women in Revolt (1970-71)

Perry King Andy Warhol's Bad (Spring 1976)

13 Most Beautiful Women (1964) Restaurant (aka L'Avventura) (June 26, Sally Kirkland 1965)

Olga Kluver 13 Most Beautiful Women (1964)

Carol Koshinskie Harlot (December 1964)

Martin Kove Women in Revolt (1970-71)

Gary Koznocha Heat (end June/early July 1971)

Jonathan Kramer Women in Revolt (1970-71)

Coral Labrie L'Amour (September 1970)

Karl Lagerfield L'Amour (September 1970)

Joe Lambie Andy Warhol's Bad (Spring 1976)

Mark Lancaster Kiss (1964) Batman Dracula (1964) Couch (July 1964)

Dalila Di Lazzaro Andy Warhol's Frankenstein (March/April 1973)

Debby Lee (aka Deborah Lee) Salome and Delilah (1963)

Joseph LeSeuer Couch (July 1964)

Larry Letreille Horse (March 1965) Vinyl (March 1965)

Tarzan and Jane Regained, Sort of... (1963) Kiss (1963) Screen Test Batman Naomi Levine Dracula (July 1964) Couch (July 1964) Naomi Kisses Rufus (ca. 1963/64) Norman Levine Space (1965)

Marco Liofredi Andy Warhol's Frankenstein (March/April 1973)

Rick Lockwood Hedy (February 1966)

Arthur Loeb Afternoon (June 1965) (Originally part of The Chelsea Girls)

Donyale Luna 2 Screen Tests (1965) Camp (1965) Donyale Luna (1967)

Kitchen (May 1965) Afternoon (June 1965) (Originally part of The Chelsea Donald Lyons Girls) Restaurant (aka L'Avventura) (June 26, 1965)

Willard Maas Blow Job (off-screen) (1964) Screen Test (1966) Bitch (March 1965)

David McCabe Kitchen (May 1965)

John MacDermott Vinyl (March 1965) My Hustler (September 1965)

Duncan MacKenzie Women in Revolt (1970-71)

Kiss (1963) Tarzan and Jane Regained, Sort Of. (1963) Duchamp Opening (1963) Screen Test (ca. 1964) Couch (1964) Three (1964) Allen (1964) Batman Dracula (1964) Soap Opera (1964) Taylor Mead's Ass (1964) Philip and Gerard (1964) Harlot (December 1964) 13 Most Beautiful Boys (1964/5) Vinyl (March 1965) Beauty #2 (1965) Bitch (March 1965) My Gerard Malanga Hustler II (late 1965) Camp (October 1965) My Hustler II (1965) Hedy (February 1966) Salvador Dali (1966) The Beard (May 1966) The Chelsea Girls (Summer 1966) Bufferin (1966) Bufferin Commercial (1966) Since (aka The Kennedy Assassination) (Autumn 1966) Kiss The Boot (Winter 1966) **** (Four Stars) (1966-67)

Carla Mancini Andy Warhol's Frankenstein (March/April 1973)

Kiss (1963) Bob Indiana, Etc. (1963) Marisol - Stop Motion (1964) 13 Most Marisol Beautiful Women (1964)

Fiorella Masselli Andy Warhol's Frankenstein (March/April 1973)

Cynthia May I, a man (Late July 1967)

Charles McGregor Andy Warhol's Bad (Spring 1976)

Maxime McKendry Andy Warhol's Dracula (March/April 1973)

Tarzan and Jane Regained, Sort of... (1963) Allen (1964) Batman Dracula (1964) Couch (July 1964) Taylor Mead's Ass (September 5, 1964) .**** Taylor Mead Four Stars (1966/67) .Imitation of Christ (1967) (Originally part of ****) .Nude Restaurant (1967) .Tub Girls (1964) .Lonesome Cowboys (end January 1968) .San Diego Surf (May 1968)

Jonas Mekas Screen Test (1964)

Screen Test (1966) The Life of Juanita Castro (January 1965) Bitch (March Marie Menken 1965) Prison aka Girls in Prison (July 1965) The Chelsea Girls (Summer 1966)

Andrew Meyer Kiss (1963)

David Meyers Hedy (February 1966)

Screen Test (1966) .**** (Four Stars) (1966/67) .Nude Restaurant (1967) Allen Midgette .Lonesome Cowboys (end January 1968)

Sylvia Miles Heat (end June/early July 1971)

Geri Miller Flesh (Aug/Sept. 1968) Trash (October 1969) Women in Revolt (1970-71)

Mario Banana (1964) Mario Montez Dances (1964) Batman Dracula aka Dracula (July 1964) Harlot (December 1964) Screen Test No. 2 (January Mario Montez 1965) Camp (October 1965) More Milk Yvette aka Lana Turner (November 1965) Hedy (February 1966) Ari and Mario (1966) The Chelsea Girls (Summer 1966)

Pierre Antoine Muracciolo Nico/Antoine (October 1966)

Haircut No. 1 (end 1963) Haircut No. 2 (end 1963) Haircut No. 3 (ca. end 1963) 2 Screen Tests (1964) included in: Fifty Fantastics and Fifty Personalities and The Thirteen Most Beautful Boys Couch (July 1964) Billy Name (Linich) Harlot (December 1964) (off-screen voice) Lupe (December 1965) My Hustler II (1965) Since (1966) Philadelphia Stable (1967) (Reel of **** (Four Stars)) The Nude Restaurant (1967)

Screen Test Batman Dracula (1964) Couch (July 1964) 13 Most Beautiful Ivy Nicholson Women (1964) John and Ivy (Early January 1965) **** (Four Stars) (1966/67) I, a man (Late July 1967) The Loves of Ondine (ca. August 1967)

Screen Test (1966) The Closet (1965) (Originally part of The Chelsea Girls) The Velvet Underground and Nico: A Symphony of Sound (January 1966) The Chelsea Girls (Summer 1966) Ari and Nico (1966) Nico/Antoine Nico (October 1966) **** (Four Stars) (1966/67) Imitation of Christ (1967) (Originally part of ****) I, a man (Late July 1967) Sunset (ca. late 1967) (off-screen voice)

Gordon Oas-Heim Andy Warhol's Bad (Spring 1976)

Prindeville Ohio Women in Revolt (1970-71)

Claes Oldenburg Tarzan and Jane Regained, Sort of... (1963)

Sean O'Meara Women in Revolt (1970-71)

Couch (July 1964) Three (1964) Horse (March 1965) Vinyl (March 1965) Restaurant aka L'Avventura (June 1965) Afternoon (June 1965) (Originally part of The Chelsea Girls) The Chelsea Girls (Summer 1966) Since (Autumn Ondine 1966) A Christmas Carol (ca. 1966/67) (Based on a play by Soren Agenoux) **** (Four Stars) (1966/67) Imitation of Christ (1967) (Originally part of ****) The Loves of Ondine (ca. August 1967)

Orion **** (Four Stars) (1966/67)

Peter Orlovsky Couch (July 1964) 50 Fantastics and 50 Personalities (1964-66)

Marina Ospina The Life of Juanita Castro (January 1965)

Ronna Page The Chelsea Girls (Summer 1966)

John Palmer Kiss (1963) Couch (July 1964) John and Ivy (Early January 1965)

Renee Paris Andy Warhol's Bad (Spring 1976)

Pat Parlemon Heat (end June/early July 1971)

Bruce Pecheur Trash (October 1969)

Lester Persky Heat (end June/early July 1971)

Paloma Picasso Nothing Special (Video) (ca. 1975)

Susan Pile The Bob Dylan Story (October 1966)

Gino Piserchio Beauty No. 2 (Early July 1965)

Diane Podel Trash (October 1969)

Roman Polanski (uncredited man Andy Warhol's Dracula (March/April 1973) in tavern)

Darius de Poleon Jane and Darius (1964) Batman Dracula (1964) John and Ivy (1965)

Jacques Potin Vinyl (March 1965)

Tom Quinn Andy Warhol's Bad (Spring 1976)

Screen Test (1966) The Velvet Underground and Nico: A Symphony of Lou Reed Sound (January 1966)

Matthew Reich Andy Warhol's Bad (Spring 1976)

Pierre Restaney Kiss (1963)

Ann Reynolds Restaurant (aka L'Avventura) (June 26, 1965)

Mrs. Warhol (1966) The Andy Warhol Story (1966) The Bob Dylan Story Richard Rheem (1966) Richard and Mary (1966) Richard and Mary II (1966) Susan-Space (1966) Ingrid and Richard (1966) Tiger's Place (1966)

Screen Test (1966) Kitchen (May 1965) The Chelsea Girls (Summer 1966) Rene Ricard The Andy Warhol Story (Late 1966) Four Stars

John Richardson Phoney (Video) (ca. 1973)

Arnold Rockwood Hedy (February 1966)

Barbara Rose 13 Most Beautiful Women (1964)

Abigail Rosen Tub Girls (1967)

Jerry Rosenberg Andy Warhol's Bad (Spring 1976)

Jim Rosenquist 50 Fantastics and 50 Personalities (1964 - 66)

Cathy Roskam Andy Warhol's Bad (Spring 1976)

Barbara Rubin Screen Test (1964)

Bruce Rudow 13 Most Beautiful Boys (1964/65)

Phoebe Russell Screen Test (1965)

Charles Rydell Phoney (Video) (ca. 1973) Fight (Video) (ca. 1975)

Ed Sanders Kiss (1963) 50 Fantastics and 50 Personalities (1964-66)

Francesco Scavullo Screen Test (1965)

Richard Schmidt More Milk Yvette (November 1965)

Zachary Scott 50 Fantastics and 50 Personalities (1964 - 66)

Ethel Scull 13 Most Beautiful Women (1964)

Screen Test (1965) Horse (March 1965) Vinyl (March 1965) Bitch (March 1965) Poor Little Rich Girl (March/April 1965) Face (April 1965) Restaurant aka L'Avventura (June 26, 1965) Kitchen (May 1965) Afternoon (June 1965) (originally part of The Chelsea Girls) Beauty No. 1 (ca.1965) Edie Sedgwick Beauty No. 2 (Early July 1965) Space aka Space (Since) (Late June/Early July 1965) Outer and Inner Space (July 1965) Prison aka Girls in Prison (July 1965) Lupe (December 1965) The Andy Warhol Story (ca. Late 1966/Early 67) **** (Four Stars) (1966/67)

Trash (October 1969) .Women in Revolt (1970-71) .L'Amour (September Michael Sklar 1970)

Fu-Fu Smith Camp (October 1965)

Geraldine Smith Flesh (Aug/Sept. 1968) Andy Warhol's Bad (Spring 1976)

Andy Warhol Films Jack Smith Filming Normal Love (1963) Batman Jack Smith Dracula aka Dracula (July 1964) Camp (October 1965) Hedy (February 1966)

Maria Smith Andy Warhol's Bad (Spring 1976)

Valerie Solanas (Solanis) I, a man (Late July 1967)

Sissy Spacek (uncredited girl at Trash (October 1969) bar - footage was cut from film)

Joe Spencer Bike Boy (August 1967)

Dusty Springs Women in Revolt (1970 - 71)

John Starke Andy Warhol's Bad (Spring 1976)

Walter Steding Music video (ca. 1984)

Harold Stevenson Kiss (1963) Screen Test Heat (directed by Paul Morrissey)

Michael Sullivan Andy Warhol's Bad (Spring 1976)

David Sulzberger Restaurant (aka L'Aventurra) (June 26, 1965)

Screen Test Hedy (February 1966) Withering Heights (ca. March 1966) (Unreleased) The Chelsea Girls (Summer 1966) **** (Four Stars) (1966/67) Ingrid Superstar I, a man (Late July 1967) Bike Boy (August 1967) Nude Restaurant (Post- Bike Boy 1967) San Diego Surf (May 1968)

Paul Swan Camp (October 1965) Paul Swan (Autumn 1965)

Amy Taubin Couch (July 1964)

Hedy (February 1966) The Life of Juanita Castro (January 1965) Horse Harvey Tavel (March 1965)

Harlot (December 1964) (Off-screen voice) Screen Test No. 2 (January Ronald Tavel 1965) (Off-screen voice) The Life of Juanita Castro (January 1965) Hedy (February 1966)

Tere Tereba Andy Warhol's Bad (Spring 1976)

Lawrence Tierney Andy Warhol's Bad (Spring 1976)

Corey Tippen L'Amour (September 1970)

**** (Four Stars) (1966) The Loves of Ondine (1967) Imitation of Christ Katrina Toland (1967)

Rosita Torosh Andy Warhol's Frankenstein (March/April 1973)

Roger Trudeau Kitchen (May 1965)

Susan Tyrrell Andy Warhol's Bad (Spring 1976)

Ray Vestal Heat (end June/early July 1971)

The Life of Juanita Castro (January 1965) **** (Four Stars) (1966) Ultra Violet I A Man (Late July 1967)

Vasco Valladares Andy Warhol's Bad (Spring 1976)

Philip van Renselet Kiss (1963)

Monique van Voreen Andy Warhol's Frankenstein (March/April 1973)

**** (Four Stars) (1966/67) The Loves of Ondine (ca. August 1967) Bike Boy (August 1967) Tub Girls (Post-Bike Boy/Pre-Nude Viva Restaurant 1967) Nude Restaurant (1967) Lonesome Cowboys (end January 1968) San Diego Surf (May 1968) Blue Movie (October 1968)

Milena Vukotic Andy Warhol's Dracula (March/April 1973)

Bonne Walder Heat (end June/early July 1971)

Nude Restaurant (1967) Lonesome Cowboys (end January 1968) Louis Waldon San Diego Surf (May 1968) Flesh (Aug/Sept. 1968) Blue Movie (October 1968)

Eleanor Ward Bob Indiana, Etc. (1963)

Julia Warhola Mrs. Warhol(1966)

James Waring (aka Haircut No. 1 (1963) Jimmy Waring)

Andy Warhol Horse (March 1965)

Pat Way Andy Warhol's Bad (Spring 1976)

Ann Wehrer Bike Boy (August 1967)

Chuck Wein Beauty No. 2 (Early July 1965) (Off-screen voice)

Ed Weiner Bike Boy (August 1967)

Charles Welch Andy Warhol's Bad (Spring 1976)

Nicky Weymouth Nothing Special (Video) (ca. 1975)

John Wieners Screen Test

Jane Wilson 13 Most Beautiful Women (1964)

Gloria Wood Couch (July 1964)

Holly Woodlawn Trash (October 1969) .Women in Revolt (1970-71)

Mary Woronov Hedy (February 1966) The Beard (May 1966) Superboy (1966) The

Chelsea Girls (Summer 1966) Since (Autumn 1966) Kiss The Boot (Winter 1966)

Eleonora Zani Andy Warhol's Dracula (March/April 1973)

Srdjan Zelenovic Andy Warhol's Frankenstein (March/April 1973)