tv Andy Warhol Museum CSPAN December 22, 2016 8:50pm-9:21pm EST
thursday, december 29th, we'll talk about immigration and how president-elect trump and the new congress might change immigration policy. and on friday, december 30th, we'll take a look at the future of the affordable care act and how the republican congress and the trump trump administration will repeal and replace@ca and key players to watch in the months ahead. be sure to watch washington journal monday, december 26th, at 7:00 a.m. eastern. this weekend on american history tv on c-span 3, saturday afternoon, just before 5:00 eastern, architectural historian barry lewis talks about the construction of the brooklyn bridge. why manhattan needed the bridge. and how transportation changed at the turn of the 20th century. >> when the brooklyn bridge was opened, it did not put the ferries out of business. the ferries were still running at capacity the city of brooklyn
and next of all of king's county reached 1 million people. >> then at 8:00, on lectures in history -- >> and that's the real sort of interesting thing about country music, is that it's the music of poor white people. people who are privileged to be white and i'll talk about that in a second. but also people who are underprivileged. in terms of their class identity and economic opportunities. >> dickinson college professor cotton sigh letter on the emerging definitions of whiteness and blackness in colonial america and how it impacted the origins of country music. then sunday@afternoon at 4:00 on real america -- >> a cautious congress, budget cut backs and tangle of administrative problems on a new year's horizon created evidence that the society's greatest enemies may be slowed or worse level off and fade. this is the climate, the land and unfinished tasks that face
lyndon johnson on the 1st of december, 1966. >> the film, the president 1966, documents the final month of the year of president lindon b. johnson. his meeting with mexico's president at a cooperative dam project, awarding the medal of honor to a marine who fought in vietnam and celebrating the holidays with his family at his texas ranch. and at 8 will okay, on the presidency, author of madam president, the secret presidency of edith wilson. edith wilson was president woodrow wilson's second wife, and she buffered access to the president as he recovered from massive stroke in 1919. for our complete american history tv schedule, go to c-span.org. >> andy warhol is one of the most prolific artists of the 20th century. and i thatgoes back to how he w able to tap into certain ideas of what it is to be human and this base understanding of
american identity as well that remains to be part of our culture culture. he also tapped into technology in a really interesting way. he was always surrounding himself with a younger generation, younger ideas. he wasn't an artist that went stale at the later part of his career. he died in '87, even to the last part of his career, he was painting enormous canvass, a lot of work that wasn't shown during his lifetime. it wasn't as if he fell into a specific way of working and kept that way of working. he really expanded his practice, opened up to larger ideas and to technology. and i think, you know, that's why he has remain sewed contemporary. >> warhol grew up in pittsburgh. he was born in pittsburgh in 1928. he was the youngest of three siblings, three boys. julia, his mother, were immigrants. and he gree w up fairly religio.
they were business enteen catholic. there was a lot of creativity in his house. julia is known for her creativity. we have a lot of her drawings in the collection. she add spunky spirit about her and warhol did a film, mrs. warhola, at one point in the '60s and kind of captured her humor. a lot of people would reference julia's quick wit. he had an illness at an early age. and because of that, he spent a lot of time at home with his mother. i think that's why they had a special bond and where his creative energy started. we are on the 7th floor of the warhol museum for early years from pittsburgh. years working at carnaghi tech, which is now carnaghi melon. he was there from 1944 to 1949. we will look at paintings he did for his senior year, just this
canvas called nose picker one, why pick on me. it was originally titled the lord gave me my face but i can pick my nose. the reason why it is past meeting is it is a provocative. a young boy picking his nose. he submitted it to one of the most important shows of the dwlaer would have been at the carnaghi human. of art. style of exhibition and it was denied by the jury. warhol didn't give up and that summer he showed it again with the different title of why pick on me for his student show at carnaghi tech. so it also has a little bit of biographical reference to it. i'm fascinated by some of warhol's fixations on his own body or bodies of others. he is known for talking about in the philosophies of andy warhol and how he didn't like his nose. how his family called him the red-nosed warhola and he was referred to as spot as a young boy from his skin discoloring
and it goes back to his biography and the person behind the work too. warhol had a certain charisma about him throughout his entire life and i think that that also manifested here in pittsburgh. and i think he was considered to be a bit peculiar. not like the average student at carnaghi tech. his drawings show that in the college years that they are a bit surreal almost. that kind of show the body in darker ways. but he kind of did what he wanted to do. he was irreverent from the beginning and provocative from the beginning. he went up to new york with a fellow classmate, phillip pearl steen. they took the bus together. they lived in a little tiny apartment together and they both really tried to market themselves as commercial illustrators to get their foot into the door they did a lot of commercial design.
so this is a really important period for warhol. just when he gets to new york he is sort of formulating his own e identity and trying to break his way into the art world. there is also a moment when he starts focussing on his own image and wears wigs in 1956, toupeees. then gets into the silver wig in the '60s. he also does elective plastic surgery and he gets his nose altered. but it's as his career starts to transform, he is also thinking of his own image and his body in that place. so the photo next to me is an auto signed photograph and shows warhol going in with a black mark el to chisel out this perfect profile. so there it is again this fixation on beauty and transformation. in the 1960s he started honing this technique of using dr. martin's dye and doing a blotted line technique.
so he is able to make multiples of everything. he would use glossy paper, ink it up and remove it and you would have almost a stamp. so he would make multiple versions of the drawing which made the fashion editors he was working with very happy. so warhol got his name in women's fashion with glamour magazine. harper's bizarre. he did a lot of shoe illustrations. he did a lot of fashion and make-up and also flemming joff, a leather goods company. he got his name started in commercial design and illustration. >> we're standing in one of the strongest galleries in the museum. it showes the real strength of warhol at this moment and a really daring moment for him. he is still kind of figuring out what his signature style will be. one of those strongest works in his gallery right now is our brand-new acquisition from 1962, the do it yourself sailboat. so a one painting in a small
series of works that warhol did based off of the paint by numbers box sets that you could get as every average american could buy. the painting that i'm standing next to make him want you is from a year earlier, from 1961 and part of this small collection of early paintings and warhol's practice. and i particularly love this painting. it was taken from national enquirer, a dating ad in the back of national enquirer. a teeny tiny ad that blew up and transferred to the canvas through a projecting process. but for me it's interesting because this is a moment when he is doing the crayon on the canvas. which is kind of still playing with that idea of mark making. and in an abstract way. also, when you see the whole piece together as one, it reads like an american flag. so you have this ideal of this male and female make him want you, and this stars center, and
where he removed all of the original text with the ad and goes in straight with the crayon. a bit of play with gender politics there and warhol is being a gay artist in the '50s of doing painting called make him want you. it is provocative. and you wouldn't necessarily get that right away. it isn't all in the process. so this is the screen printing gallery. this is his screen printing paintings. this is from 1962, one of the earliest batches of the screen printed canvass. i'm standing next to a really beautiful selection of jacqueline kennedy paintings that warhol made in 1964 and he made these just after the assassination of jfk. and they show in a really simple way this blur between death and smiling. there are moments of jackie when she's with jfk and this gold one here, just before the
assassination. then there are images from the funeral. so it really shows this idea of celebrity in the public eye and death and mourning in the public eye as well. this painting of jacqueline kennedy is also a part of wore hall's fixation on beauty in the media and death in the media. so in 1962 he did the marilyn monroe canvassing which were done just after her suicide. then he selects jacqueline kennedy when she is going through this very public loss. and part of that focus is that her face was everywhere. so warhol said the same thing about marilyn monroe when she passed that her face was all over the media and on the front page of all kind of newspapers. same thing with jacqueline kennedy. the loss became very public. so warhol in a way is really sealing that moment in time and even when we look at them now they still have that very erie sense of mourning to them. >> we're in the next gallery
here on the sixth floor of the museum. we're looking at an array of brilo boxes and campbell's soup box that warhol made in 1964. these are iconic works for warhol. it is one of the first adventures he took or ventures that he took in sculpture. and they are fascinating because they play with this idea of the ready-made. the idea that any object is already a sculpture in itself. and that this idea of the gallery giving it value. but warhol's pieces are more provocative because they are not true brilo boxes. they aren't the actual object taken and reimagined in the gallery space. they are handmade. he had them crafted bay carpenter. they are plywood boxes. then he hand stencilled and screen printed he over top of them. the campbell's one is really lovely because you can kind of see it almost in process on one side it is not completely finished. so all of this is hand done.
and when warhol originally displayed these at the stable gallery, he did it in a way with the brilos, that they were stacked almost to the ceiling. almost as if you were in the back stockroom at a grocery store or warehouse. but he played with the way that viewers could navigate the space and the idea of blocking a visitor from going certain ways around them. so really thinking of the ideas of really fascinating ideas of sculpture. around this moment that warhol is making the brilo box answers doing scre s /*s and doing screen tests. this projection way he was working in high volume like with the brilo boxes, and ended up working almost in a factory style. so that idea ended up translate together name of his studio so he ended up calling his studio the factory. eventually called the silver factory because it was literally covered in silver paint and silver aluminum foil. >> we are right now in a gallery that highlights warhol's first
f into film making. so i'm standing with two screen tests. his dushant screen test and billy name screen test. billy name was a studio assistant with warhol. he was the one that famously covered the factory in silver and where he got this iconic silver name from. billy name covered his own apartment in silver aluminum foil and spray hant and warhol thought it was super fascinated and asked him to come and dot same thi do the same thing to his studio. but the screen tests are extremely fascinating. again a play with medium.the sa. but the screen tests are extremely fascinating. again a play with medium. warhol uses 16 mill meets of film. he uses one reel of film until it runs out. so they would sit there for approximately four minutes and were supposed to sit still in
silence but it rarely worked. it is uncomfortable to face a camera for that long. there are all kind of things that people do to break out in that four minutes. but it is also way for him to create an underground world. play with hollywood film answers warhol is making his own version of that. so we're standing in our gallery of commissioned portraits that warhol started making in the '70s. this is dooebbie harry. debbie harry is an iconic youthful woman strong fierce rocker woman that warhol was working with and doing portraits of and taking photographs of and really captured her in this really incredibly energetic iconic moment in her career. he has frozen that in time with these portraits of glamour. people would commission him to do their portrait for him. but he also did certain
celebrities. like mick jagger. that were iconic images of the youthful movement in new york and music and debbie harry. so warhol would make multiples, the ones we have left now often in the museum are the portraits that the sitter didn't want. so would he always make a variety so people could pick the color they wanted or the final results. would he start with the polaroid. so he would take these beautiful polaroid answers turn them into silk screens and then into the large paintings. so we're standing in a really amazing gallery in the museum that shows andy warhol's skull paintinges from 1976. and they's enormous. they show scale in warhol's work. they also show this late resurgence of painting in his practice. sort of mop on paint and then screen print over top. so warhol gets back into really working with his hands and
canvass in this period. but thinking of warhol and here he is doing the ultimate portrait of death of a skull. like this and with many things he used a polaroid as the beginning source image so he has a polaroid of a skull. he turned it into a large screen and this beautiful screen-printed canvas. in 1968 warhol is shot multiple times by valarie solanas. someone trying to be around the factory and in his films. she felt very dejected when he decided not to work on one of her films. she went in and attempted to take his life. he was shot multiple times. nearly died. survived. but really changed his work and his life in and the way that he worked physically in his studio. he went from a very open-door policy to a closed-door policy. building more of a business-minded practice. but large paintings like this
show his ability to still sort of gravitate towards very eye cannotic imagery. so the idea of death is very human and he captures it here in almost this portrait way. but the scale is great here. you feel kind of dwarfed under the skull and there is a hint of dark cynicism or humor. almost looks as if the skull is smiling. warhol died in 1987. kind of very unexpectedly from complicatio complications following a routine gl routine gallbladder surgery. he is buried here in pittsburgh. you can visit andy warhol's grave if you want. there is a 24-hour webcam on his grave. it has the famous quote that warhol had wanted on his tombstone, the word, figurement. no name, no date, just figment. so we are in the archive study center here at the andy warhol
museum. the archives is the heart of the museum. we have all of warhol's personal collections, including decorative art objects, posters, photographs, clothing, scrap books, source material, everything you could imagine that this man collected. we also have the heart of the archives is the time capsule collection. which is a set of 610 cardboard boxes that you can see covering the walls around you. so one of the earliest items that warhol collected as a young boy were movie star images. that he would send away for. probably one of his favorites was this one from shirley temple, that she sent to him when he was still andy warhola. but it didn't stop there. we have celebrity photographs. can you see the combination between this celebration of the celebrity and the constant
collecting. which you know as a young boy in pittsburgh, who was also very ill a lot of the times, this is kind of the perfect outlet for him to reach out to these people that were so glamorous and beautiful to him while he was still stuck at home. one of the strength of our archives is the deep amount of source material that we have for all of warhol's projects. so in front of me you have the very famous marilyn source material which is a promotional still for one of her movies. and you can see the crop lines he added in himself. he also took his source materials from different, you know, different types of materials. so this is a book, the mergens of john f. kennedy. can you see this page where he was cut out jackie's face for part of the jackie series. and then of course, the famous funeral scene of jackie in mourning. so in keeping with warhol's
fashion with celebrity and autographs, this is the autograph book from the factory itself that when people come by and visit warhol he would have them sign this. so you can see, we have phyllis diller on the left and aretha kit on the right. and just go through. and some people left lengthy little notes. some people did their own little artwork. my favorite is the peter beard signature. which is quite unlike any others in the book. peter beard is a photographer. he was a good friend of warhol's. dea lot of wo dehe did a lot of work in africa. he discovered the model iman. he is a model in his own right. even with the photography he would do a lot of these types of drawings on his photographs. and in addition to his hand print, we also have a fork that's afixed. and it is also signed, cheryl teeings, who he was dating at
the times. one of the great things about having candid shots of warhol is that you kind of see the man at ease and he really lets his guard down. these are two really great photos of warhol with his friends he, mick jagger, jerry hall, and that's quinn in the background with her photograph. you can tell he is just loving every minute of this. it is such a break from the very kpoeds, very methodical image would he put out there. you asked for one of my favorite items. this is my favorite. it is rob lowe wrapped in a plush snake. we think it is probably i lewding to the brooke shields with the snake wrapped around her. this is snapshot and on the back it says, andy, thanks so much for all the fun. don't forget i would love something from you. this is a trade. call me from l.a. we have on the table some of the different processies that warhol did in his lifetime.
eventually would he get really big into photography. we have two of these big shot cameras, which were polaroid. an assortment of his other cameras. i have a sample film reel here. it is the film is i am man which is the film that valarie solanas appeared in who went on to shoot warhol. we also have a collection of some of his early works. so this is one of the earlier screens that he made which he experimented in smaller screens before he went larger and same with the stamps. so this is an early process where he would hand-carve the stamps. we do have a large collection of andy's clothing. this is an outfit typical of what he would wear in the '80s. the interesting thing about the leather jacket, this is actually the jacket that he wore on his way to the hospital in 1987. we found in the pocket the receipt to the cab that he took to the hospital. we ended up lending this coat to
the film baskiat, which staerd davy bowie as andy warhol and david wore this coat and one of andy's wigs. when he returned the coat to us, he put a winning lottery ticket in the pocket. so we tried to kind of create a little display. just showing the absolute breadth and width of the collection here. we like to show the wigs. we have at least 60 of them c cataloged. we have more that haven't even been processed yet. and they are all handmade by the same wood maker. some of them when they came here, we had them stored nicely in boxes. these ones were very unsore moanusly just stuffed into these envelopes. so he started wearing wigs right about the time when he first moved to new york. he suffered from male pattern baldness and he was very self conscious about it. so these are really great
insight into just how self conscious andy warhol actually was. i think a lot of people have a vision of him being really cool and aloof and he was definitely cool and aloof but it came with a lot of work. would he talk about getting up in the morning and like putting himself together. he would put on his wigs. he would put on make-up. would he take all kind of vitamins. later in his life he today quite literally tie himself together with these corsets that he wore after he was shot. his internal organs kind of got all ripped up by the trajectory of the bullet. but this is not necessarily -- it was more that he was focused on his acne and towards the later in life he became really interested in holistic health. so this is a selection of andy warhol's time capsules that we have on display. in 1974 andy warhol was switching studios from 33 union
square to 64th broadway. it was planted in his mind that content you fill in these boxes when you move is a complete snapshot of your life at the time. so warhol kept a box all wathe y up until his death. we have 610 time capsule. mostly in these cardboard boxes. we have filing cabinet drawers and one steamer trunk. these are items from various time capsules to give you an idea of what's in them. much like warhol's artwork the time capsules themselves mix high and low things together. by have a letter from the museum of modern art from time capsule negative 12. originally sent in october 1956 informing warhol that thanks for the shoe drawing but they would not need it. from director of museum collection eats museum of modern art.
we also have different, from all the times, from the '60s to the mid '80s they odd objects like the fudgy wujy radio. goes anywhere any time. we have this airplane lamp. which could have been something that warhol picked up at a flea market or antique dealer or could have been a gift given to him that he just through in a time capsule. we also have strange like easter eggs hand blown eggs that were dyed and maybe given to warhol as a gift. a lot of the items we don't know why are in the boxes or where they came from. we have things like comic books. ton answers tons and tops of mail he, bills, receipts. he didn't pay a lot of his bills so we have a lot of overdue notices. we have opened every single time capsule. they haven't been fully cataloged yet. but we have a basic inventory of what is in each box. it depend. we have one time capsule,
capsule 522, that these drawings came out of, that just has a bunch of artwork. it has some really interesting clothing. just kind of seems like everything in that box is something interesting. we have some time capsules that are literally junk mail. entire way through. those are much more boring. but then a lot of the early boxes have some of warhol's early illustrations which are very important. just kind of depend. each time capsule is different. a lot of personal objects we have came from his home that at the time of his death most of the rooms were so packed with items that they were unuseable. so and what we inherited here is the result of a ten-day sale at soj by's to auction off his estate. we only have a fraction of what was collected. i think what was really nice about working with war hall's collection says that it offered
kind of this stripped down view of the man. w warhol was famous for cure rating his persona. he put out a lot of information famously. when you work for the time capsules, you see a representation of warhol. i think he comes across as funny. some people don't think of soft-spoken sun glass wearing warhol as being funny. it shows that he was a really sensitive person. we have all of these letters back home, you know, very close with his family. very close with his mother. very religious. and these are all things that i don't think jump to mind when people think of andy warhol. they think of studio 54 and celebrities and mick jagger and parties. but this showes a really kind of quiet and sensitive side to the man. s a really kind of quiet and sensitive side to the man.s a really kind of quiet and sensitive side to the man.
friday night american history tv and prime time continues with visits to archives, museums and historic sites. at 8:00 p.m., programs on the pearl harbor attack and memorials. then a look at world war ii aircraft. and president woodrow wilson. and later a tour of the ellis island immigration museum. and the history of african-americans in congress. american artifacts, 8:00 p.m. eastern, here on c-span 3. >> friday night on c-span, senate tributes and farewell speeches. we have tributes to outgoing senate democratic leader harry reid, remarks from senator box earn kelly ayotte. senator reid's tribute to president obama and later senator dan koet on his career. senate tributes