Holy Terror
Andy Warhol Close up
(Sprache: Englisch)
From the irrepressible Bob Colacello--former Interview editor, Warhol insider, and perennial society fixture--comes a frank, lively account of his celebrity-studded life with the seminal Pop artist during the 1970s.
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From the irrepressible Bob Colacello--former Interview editor, Warhol insider, and perennial society fixture--comes a frank, lively account of his celebrity-studded life with the seminal Pop artist during the 1970s.
Klappentext zu „Holy Terror “
In the 1960s, Andy Warhol's paintings redefined modern art. His films provoked heated controversy, and his Factory was a hangout for the avant-garde. In the 1970s, after Valerie Solanas's attempt on his life, Warhol become more entrepreneurial, aligning himself with the rich and famous. Bob Colacello, the editor of Warhol's Interview magazine, spent that decade by Andy's side as employee, collaborator, wingman, and confidante. In these pages, Colacello takes us there with Andy: into the Factory office, into Studio 54, into wild celebrity-studded parties, and into the early-morning phone calls where the mysterious artist was at his most honest and vulnerable. Colacello gives us, as no one else can, a riveting portrait of this extraordinary man: brilliant, controlling, shy, insecure, and immeasurably influential. When Holy Terror was first published in 1990, it was hailed as the best of the Warhol accounts. Now, some two decades later, this portrayal retains its hold on readers-as does Andy's timeless power to fascinate, galvanize, and move us.
Lese-Probe zu „Holy Terror “
1The Beginning
When I first met Andy Warhol, the only thing I wanted to be was a Factory lifer.
It all started with a phone call, one cold day in April 1970. I still have a mental Polaroid of that moment the fruit bowl on the kitchen table filled with a mix of real and plastic apples, oranges, bananas, and grapes. After graduating from Georgetown University School of Foreign Service, I was back living with my parents in Rockville Centre, Long Island, and commuting to the city, where I was getting a master s degree in film criticism at Columbia under Andrew Sarris of the Village Voice.
We were just finishing dinner when the phone rang. A man with a strange voice introduced himself as Soren Agenoux, the editor of Andy Warhol s new film magazine. He had seen a review I had written for an alternative paper remember alternative papers? called New Times. Would I be willing to write reviews, he asked, for inter/VIEW (which is how it was originally spelled).
Would I be willing? Would Lana Turner wear a sweater?
My father, who had been through World War II instead of college and had worked his way up from clerk to executive at a Wall Street commodities firm, was less enthusiastic. I worked so hard all these years to get you kids out of Brooklyn and put you through Georgetown and now Columbia, so you could end up working for that creep Andy Warhol? he shouted. My mother, who sold evening dresses at Saks Fifth Avenue s Garden City branch, tried to calm him down. Didn t I read somewhere, she said, that Andy Warhol painted Governor Rockefeller s portrait?
Are you kidding? I exulted. Andy Warhol is the most important artist and filmmaker in the world today! Like much of my generation I idolized Mick Jagger, Timothy Leary, Marshall McLuhan, and Jean-Luc Godard. I was also wild about William (Naked Lunch) Burroughs, Jean (Our Lady of the Flowers) Genet, and Susan ( Notes on Camp ) Sontag. But above them all there was Andy Warhol, the soulless soul of
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cool, the heartless heart of hip.
The thing is, I grew up Pop. Plainview, Long Island, where I lived from eight to sixteen, was Pop Art come to life: a former potato field covered with split-levels and the occasional shopping strip, two new cars in every garage, two new mortgages on every house all the seductive banalities of the postwar American dream. The highlight of Plainview social life was the fiercely fought Christmas and Chanukah lights competition, which my parents once won.
As a teenager, I had come across Warhol s Marilyns and Elvises in Time and Life and decided, If this is Art, I like Art. Later, when The Chelsea Girls, Warhol s three-hour, split-screen psychedelic movie extravaganza, came to Washington, D.C., I sat through it three times the last high on acid with some Georgetown buddies from a band called The Brave Maggots. One afternoon in Madrid, during my junior year abroad, I lit up a joint and penned a poem entitled One Nite in Madrid Remembering the U.S. of Andy. I d even written in Andy Warhol for President in 1968, the first year I was old enough to vote.
In September 1969, I went to the New York Film Festival opening of Lion s Love, a French film made in Hollywood, starring Viva, the best-known of Warhol s Superstars. I was overwhelmed by Viva s public appearance that night. The audience gave her a standing ovation and she thanked them, as I wrote in my report for Sarris s class, by throwing grandiose kisses from her box in Alice Tully Hall . . . and then doubling over in laughter at her own stardom. How cool, I thought; she not only loves being a star, she s also hip enough to know it s all a joke. She was having h
The thing is, I grew up Pop. Plainview, Long Island, where I lived from eight to sixteen, was Pop Art come to life: a former potato field covered with split-levels and the occasional shopping strip, two new cars in every garage, two new mortgages on every house all the seductive banalities of the postwar American dream. The highlight of Plainview social life was the fiercely fought Christmas and Chanukah lights competition, which my parents once won.
As a teenager, I had come across Warhol s Marilyns and Elvises in Time and Life and decided, If this is Art, I like Art. Later, when The Chelsea Girls, Warhol s three-hour, split-screen psychedelic movie extravaganza, came to Washington, D.C., I sat through it three times the last high on acid with some Georgetown buddies from a band called The Brave Maggots. One afternoon in Madrid, during my junior year abroad, I lit up a joint and penned a poem entitled One Nite in Madrid Remembering the U.S. of Andy. I d even written in Andy Warhol for President in 1968, the first year I was old enough to vote.
In September 1969, I went to the New York Film Festival opening of Lion s Love, a French film made in Hollywood, starring Viva, the best-known of Warhol s Superstars. I was overwhelmed by Viva s public appearance that night. The audience gave her a standing ovation and she thanked them, as I wrote in my report for Sarris s class, by throwing grandiose kisses from her box in Alice Tully Hall . . . and then doubling over in laughter at her own stardom. How cool, I thought; she not only loves being a star, she s also hip enough to know it s all a joke. She was having h
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Autoren-Porträt von Bob Colacello
Bob Colacello ran Interview magazine from 1971 to 1983. Since then he has been a contributing editor at Vanity Fair. The first volume of his Reagan biography, Ronnie and Nancy: Their Path To the White House, 1911-1980 was published in 2004 and a collection of his photographs of the Factory years, Bob Colacello’s Out was published in 2007. He lives on Long Island.
Bibliographische Angaben
- Autor: Bob Colacello
- 2014, 752 Seiten, 32 Schwarz-Weiß-Abbildungen, Maße: 13,6 x 20,3 cm, Kartoniert (TB), Englisch
- Verlag: Penguin Random House
- ISBN-10: 0804169861
- ISBN-13: 9780804169868
- Erscheinungsdatum: 03.03.2014
Sprache:
Englisch
Pressezitat
Killingly observed. Dissecting Warhol with an amiable but sharp wit, Mr. Colacello also manages to give him more of a human dimension than anyone else. The New York TimesBy far the best of Andy Warhol s portraits, including his own. George Plimpton
"A must-read for anyone who wants to understand the genius master-minding of fame, the artistic value in what was derided as commercial, and the iconic personalities, featuring Sylvia Miles, Paul Morrissey, Fran Lebowitz, Brigid Berlin, Mick Jagger, Diane von Furstenberg, and Paulette Goddard, among the many names dropped in these pages, Holy Terror is a fascinating record of an art era American Dream." The Huffington Post
"An entertaining, hilarious book. . . . Widely regarded as the essential look at life inside the Warhol parade." Flavorwire
Compelling. . . . Perceptive, intuitive, and amusing. New York Daily News
This is a first-rate sweeping memoir of an astonishing cultural phenomenon. . . . Gossipy, gutsy, and gripping . . . A work of startling immediacy and convincing honesty. Kirkus Reviews
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