Which artist did Valerie Solanis attempt to murder in 'The Factory'?
"a man, and Hedda (Jamie Brewer), an abandoned orphan. Valerie sought to murder all men with the exception of gay men, deemed ""gender-traitors"". Valerie's shooting of Andy Warhol launched a series of attacks by SCUM (the Society for Cutting Up Men) on couples, making a statement to women that ""partnering with men would only get you killed"". These attacks were accredited to the never-identified Zodiac Killer by the police and the media. Valerie discovered that gay male SCUM member Bruce wrote and sent the Zodiac Killer letters to the press. SCUM dismembered Bruce in retaliation. Valerie eventually presented herself to"
"""I, a Man"", paying her $25. In 1967, Solanas began self-publishing the ""SCUM Manifesto"". Olympia Press owner Maurice Girodias offered to publish Solanas's future writings, and she understood the contract to mean that Girodias would own her writing. Convinced that Girodias and Warhol were conspiring to steal her work, Solanas purchased a gun in early 1968. On June 3, 1968, she went to The Factory, where she found Warhol. She shot at Warhol three times, the first two shots missing and the third wounding Warhol. She also shot art critic Mario Amaya and attempted to shoot Warhol's manager, Fred Hughes,"
"Andy Warhol Garrick Theatre and 55th Street Playhouse) of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time. Less well known was his support and collaboration with several teen-agers during this era, who would achieve prominence later in life including writer David Dalton, photographer Stephen Shore and artist Bibbe Hansen (mother of pop musician Beck). On June 3, 1968, radical feminist writer Valerie Solanas shot Warhol and Mario Amaya, art critic and curator, at Warhol's studio. Before the shooting, Solanas had been a marginal figure in the Factory scene. She authored in 1967 the"
"Warhol and other Factory regulars. Solanas' writing is set against the new technologies of reproduction championed by Warhol. Many people who knew Solanas and Warhol tried to rationalize the shooting. Stephen Koch, who in 1973 wrote a study of Warhol's film, stated: ""Valerie lives in terror of dependence: That is what the ""SCUM Manifesto"" is about, an absolute terror before the experience of need. Like Warhol, Solanas is obsessed with an image of autonomy, except that... she has played the obsession desperately, rather than with Warhol's famous cool."" Film review aggregator Rotten Tomatoes reported that 78% of critics gave the"
"the rest of his life, including being required to wear a surgical corset. The shooting had a profound effect on Warhol's life and art. Solanas was arrested the day after the assault, after turning herself in to police. By way of explanation, she said that Warhol ""had too much control over my life."" She was subsequently diagnosed with paranoid schizophrenia and eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene heavily increased security, and for many the ""Factory 60s"" ended. Warhol had this to say about the attack: ""Before I"
"At the shooting, she left on a table at the Factory a paper bag containing a gun, her address book, and a sanitary napkin. Harding stated that leaving behind the sanitary napkin was part of the performance, and called ""attention to basic feminine experiences that were publically taboo and tacitly elided within avant-garde circles."" Feminist philosopher Avital Ronell compared Solanas to an array of people: Lorena Bobbitt; a ""girl Nietzsche""; Medusa; the Unabomber; and Medea. Ronell believed that Solanas was threatened by the hyper-feminine women of the Factory that Warhol liked and felt lonely because of the rejection she felt"
"desk. There was a pile of typewritten pages beside her. What she was writing and what happened to the manuscript remain a mystery."" Her mother burned all her belongings posthumously. Solanas's life has been the focus of numerous performances, films, musical compositions, and publications. In 1996, actress Lili Taylor played Solanas in the film ""I Shot Andy Warhol"", which focused on Solanas's assassination attempt on Warhol (played by Jared Harris). Taylor won Special Recognition for Outstanding Performance at the Sundance Film Festival for her role. The film's director, Mary Harron, requested permission to use songs by The Velvet Underground, but"
"was at this time that Harron became interested in the life of Valerie Solanas, the woman who attempted to kill Andy Warhol. Harron suggested making a documentary about Solanas to her producers, who in turn encouraged her to develop the project into what would be her first feature film. Harron says she owes her success with her first film to Andy who helped to sell the controversial focus on the attempted murderess, Solanas. Harron's feature film directorial debut, ""I Shot Andy Warhol"", released in 1996, is the partially imagined story of Valerie Solanas' failed assassination attempt on Andy Warhol. She"
"his Factory from East 47th street due to the building being torn down. Union Square at the time was hardly an upscale neighborhood, but Paul Morrissey had found the loft, in this building, and Warhol agreed to move there. Morrissey by then had met Jed Johnson and hired him to help out with the refinishing of the space. It was around this time (or just prior to it) that Morrissey introduced him to Warhol. On June 3, 1968, Valerie Solanas visited the Factory, looking for Warhol, who she felt was taking control of her screenplay away from her. She waited"
"Your Ass"" remained unpublished until 2014. In 1967, Solanas encountered Andy Warhol outside his studio, The Factory, and asked him to produce her play. He accepted the script for review, told Solanas it was ""well typed"", and promised to read it. According to Factory lore, Warhol, whose films were often shut down by the police for obscenity, thought the script was so pornographic that it must have been a police trap. Solanas contacted Warhol about the script, and was told that he had lost it. He also jokingly offered her a job at the Factory as a typist. Insulted, Solanas"
"also stated that Solanas could ""reject mainstream liberal feminism for its blind adherence to cultural codes of feminine politeness and decorum which the ""SCUM Manifesto"" identifies as the source of women's debased social status."" After Solanas was released from the New York State Prison for Women in 1971, she stalked Warhol and others over the telephone and was arrested again in November 1971. She was subsequently institutionalized several times and then drifted into obscurity. The attack had a profound impact on Warhol and his art, and security at the Factory scene became much stronger afterward. For the rest of his"
"on the sidewalk for a short time. Friends of Warhol and ""superstars"" associated with the Factory included: The Factory became a meeting place of artists and musicians such as Lou Reed, Bob Dylan, and Mick Jagger, as well as writer Truman Capote. Less frequent visitors included Salvador Dalí and Allen Ginsberg. Warhol collaborated with Reed's influential New York rock band the Velvet Underground in 1965, and designed the noted cover for ""The Velvet Underground & Nico,"" the band's debut album. It featured a plastic image of a yellow banana, which users could peel off to reveal a flesh-hued version of"
"visits Solanas toward the end of her life at the Bristol Hotel. Stridsberg was awarded the Nordic Council's Literature Prize for the book. Composer Pauline Oliveros released ""To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation"" in 1970. In the work Oliveros seeks to explore how ""Both women seemed to be desperate and caught in the traps of inequality: Monroe needed to be recognized for her talent as an actress. Solanas wished to be supported for her own creative work."" There is a music group from Belgium called The Valerie Solanas. Solanas was featured in a 2017 episode"
"""S.C.U.M. Manifesto"", a separatist feminist tract that advocated the elimination of men; and appeared in the 1968 Warhol film ""I, a Man"". Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script had apparently been misplaced. Amaya received only minor injuries and was released from the hospital later the same day. Warhol was seriously wounded by the attack and barely survived: surgeons opened his chest and massaged his heart to help stimulate its movement again. He suffered physical effects for"
"Julia (Suzy Kendall). Suffering from writer's block, Sam is on the verge of returning to America, but witnesses the attack of a woman in an art gallery by a mysterious black-gloved assailant dressed in a raincoat. Attempting to reach her, Sam is trapped between two mechanically-operated glass doors and can only watch as the villain makes his escape. The woman, Monica Ranieri (Eva Renzi), the wife of the gallery's owner, Alberto Ranieri (Umberto Raho), survives the attack and the local police confiscates Sam's passport to stop him from leaving the country; the assailant is believed to be a serial killer"
"and “Bottlerack,” and major works by Cézanne, Matisse and others. Many of these works were exhibited in 1989 in the “Masterpieces” exhibition. In 1984 Bidlo staged a reinvention of “The Factory,” inviting participants to engage. There were 2 Edie Sedgwicks, 2 Vivas, 2 Marilyn Monroes, and one Andy. Miriam Jacobs played Gerard Malanga and helped visitors make themselves silkscreens using the Marilyn screen. “NOT Andy Warhol’s Factory“ existed for one afternoon in Bidlo's attic studio, the walls were sheathed in silver and the floor boards shook with the music of enactments of 60s bands and the Velvet Underground in which"
"of the same name and declared that revolutionary art should be ""an integral part of life, as in primitive society, and not an appendage to wealth"". In May 1968, Black Mask changed its name and went underground. Their new name, Up Against the Wall Motherfuckers, came from a poem by Amiri Baraka. Abbie Hoffman characterized them as ""the middle-class nightmare... an anti-media media phenomenon simply because their name could not be printed"". Valerie Solanas, a radical feminist and would-be assassin of Andy Warhol, was friends with Morea and associated with the Motherfuckers. In the film ""I Shot Andy Warhol"", the"
"that day, Solanas arrived at the Factory and waited outside. Morrissey arrived and asked her what she was doing there, and she replied ""I'm waiting for Andy to get money"". Morrissey tried to get rid of her by telling her that Warhol was not coming in that day, but she told him she would wait. At 2:00 pm she went up into the studio. Morrissey told her again that Warhol was not coming in and that she had to leave. She left but rode the elevator up and down until Warhol finally boarded it. She entered The Factory with Warhol,"
"gun used in her attack is alleged to have been taken from Morea. When Morea was asked in a 2005 interview by John McMillian of ""The New York Press"" how he had been able to rationalize supporting Solanas, Morea replied, ""Rationalize? I didn't rationalize anything. I loved Valerie and I loathed Andy Warhol, so that's all there was to it."" He then added ""I mean, I didn't want to shoot him."" He then added: ""Andy Warhol ruined art."" Prior to becoming the Motherfuckers, the Situationist International accepted Morea's group as its New York chapter. The phrase was taken from the"
"was published in 1968, the same year that Solanas, who had spent time in Andy Warhol's ""Factory"", shot and nearly killed him. It also has sections that address art ideas. Solanas spent her last years as a street prostitute and died in 1988. It is a document of just over 11,000 words. Its tone and basic theme are evident from the title, but it is not quite as clear cut as it seems and some women are admitted to be as bad as men (women artists, for example). SCUM wants to ""destroy all useless and harmful objects — cars, store"
"San Francisco. The copy Warhol had lost was found in a trunk of lighting equipment owned by Billy Name. Coates learned about the rediscovered manuscript while at an exhibition at The Andy Warhol Museum marking the 30th anniversary of the shooting. Coates turned the piece into a musical with an all-female cast. Coates consulted with Solanas's sister, Judith, while writing the piece, and sought to create a ""very funny satirist"" out of Solanas, not just showing her as Warhol's attempted assassin. Swedish author Sara Stridsberg wrote a semi-fictional novel about Solanas called ""Drömfakulteten"" (English: ""The Dream Faculty""). The book's narrator"
"England and became the assistant editor of the Royal Opera House magazine ""About the House"" from 1962 to 1968, and while still in England became the founding editor of Art and Artists magazine from 1965 to 1968. Amaya also wrote books on art, such as ""Pop As Art: A Survey of the New Super Realism"" (1965), ""Art Nouveau"" (1966), and ""Tiffany Glass"" (1967). On June 3, 1968, Amaya was in Andy Warhol’s office when radical feminist Valerie Solanas opened fire and shot both Amaya and Warhol. Amaya, 34 at the time, was discharged from the hospital after receiving treatment of"
"Factory Girl (film) Factory Girl is a 2006 American biographical film directed by George Hickenlooper. It is based on the rapid rise and fall of 1960s underground film star and socialite, Edie Sedgwick (played by Sienna Miller), known for her association with the artist Andy Warhol (Guy Pearce). The film premiered in Los Angeles on December 29, 2006 to largely negative reviews from critics, who nonetheless praised Miller's performance as Sedgwick. The film is framed by Edie Sedgwick (Sienna Miller) being interviewed in a hospital several years after her time as an Andy Warhol superstar. In the mid 1960s, Edie"
"when The Artist arrives and shoots everybody, including Kelly. Jesse brings a stripper named Zala to the tattoo parlor. Zala has her clit pierced by Uta and the two women end up fighting until Zala is captured and later tortured. When Jesse discovers that Amy is The Artist’s captive, he tries to shut down The Artist’s operation. It is revealed that Jesse is part of the Cuzas line and his father insisted that he have a portrait of himself done on human skin as part of their family tradition. Jesse only meant for Brock to be murdered, but not his"
"heading to the Grove Press, where she asked for Barney Rosset, who was also not available. In her 2014 biography ""Valerie Solanas"", Breanne Fahs argues that it is unlikely that Solanas appeared at the Chelsea Hotel looking for Girodias. Fahs states that Girodias may have fabricated the account in order to boost sales of the ""SCUM Manifesto"", which he had published. Fahs states that ""the more likely story ... places Valerie at the Actor's Studio at 432 West Forty-Fourth Street early that morning."" Actress Sylvia Miles states that Solanas appeared at the Actor's Studio looking for Lee Strasberg, asking to"
"crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations). During the 1960s, Andy Warhol groomed a retinue of bohemian and counterculture eccentrics upon whom he bestowed the designation ""Superstars"", including Nico, Joe Dallesandro, Edie Sedgwick, Viva, Ultra Violet, Holly Woodlawn, Jackie Curtis, and Candy Darling. These people all participated in the Factory films, and some—like Berlin—remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in"
"culture, and a non-interest in working with others despite a dependency on others. Fahs also brings into question the contradictory stories of Solanas's life. She is described as a victim, a rebel, and a desperate loner, yet Solanas' cousin says she worked as a waitress in her late 20s and 30s, not primarily as a prostitute, and friend Geoffrey LaGear said she had a ""groovy childhood."" Solanas also kept in touch with her father throughout her life, despite claiming that he sexually abused her. Fahs believes that Solanas embraced these contradictions as a key part of her identity. Valerie Solanas"
"Press as ""S.C.U.M."" and was said to stand for ""Society for Cutting Up Men"". Solanas objected, insisting that it was not an acronym, although the expanded term appeared in a ""Village Voice"" ad she had written in 1967. Solanas held a series of recruitment meetings for SCUM at the Chelsea Hotel where she lived, but a decade later insisted that the organization was ""just a literary device"" and never really existed. The ""Manifesto"" was little-known until Solanas attempted to kill Andy Warhol in 1968. This event brought significant public attention to the ""Manifesto"" and Solanas herself. While some feminists, such"
"to please ask Dorothy not to do that again. Podber was, however, henceforth barred from The Factory for life. Shot Marilyns The Shot Marilyns is a work of art produced in 1964 by Andy Warhol. It consists of four canvases, each a square measuring 40 inches and each consisting of a painting of a Marilyn Monroe, each shot through in the forehead by a single bullet. Warhol actually painted five colored Marilyns in 1964 with different colored backgrounds: red, orange, light blue, sage blue, and turquoise and he stored them at The Factory, his studio on East 47th Street in"
"was denied by Lou Reed, who feared that Solanas would be glorified in the film. Six years before the film's release, Reed and John Cale included a song about Solanas, ""I Believe"", on their concept album about Warhol, ""Songs for Drella"" (1990). In ""I Believe"", Reed sings, ""I believe life's serious enough for retribution... I believe being sick is no excuse. And I believe I would've pulled the switch on her myself."" Reed believed Solanas was to blame for Warhol's death from a gallbladder infection 20 years after she shot him. Solanas's life has inspired three plays. ""Valerie Shoots Andy"""
"passages from a French translation of Solanas's manifesto. Warhol later satirized the whole event in a subsequent movie, ""Women in Revolt"", calling a group similar to Solanas's S.C.U.M., ""P.I.G."" (Politically Involved Girlies). Solanas's creative work and relationship with Warhol is depicted in the 1996 film, ""I Shot Andy Warhol"", a significant portion of which relates to the ""SCUM Manifesto"", and Solanas's disputes on notions of authorship with Warhol. ""Viva Los Muertos!"", an episode of the animated comedy TV series ""The Venture Bros."", features a character named Val who directly quotes the ""SCUM Manifesto"" throughout the episode. The SCUM manifesto was"
"as well as its own creations such as lobster in green sauce. Andy Warhol was known to hold forth at a table there, and was often joined by the author William S. Burroughs. Janis Joplin was said to have caused a scene on the premises more than once. El Quijote was used for scenes in ""I Shot Andy Warhol"", a movie by Christine Vachon about Valerie Solanas, the would-be assassin of the famed pop artist, recreating the meetings which took place there between Solanas and the publisher of her ""SCUM Manifesto"", Maurice Girodias. El Quijote (restaurant) El Quijote is a"
"Solanas then traveled to Feiden's residence in Crown Heights, Brooklyn, as Solanas believed that Feiden would be willing to produce her play. As related to Fahs, Solanas talked to Feiden for almost four hours, trying to convince her to produce the play and discussing her vision for a world without men. Throughout this time, Feiden repeatedly refused to produce Solanas's play. According to Feiden, Solanas then pulled out her gun, and when Feiden again refused to commit to producing the play, Solanas responded, ""Yes, you will produce the play because I'll shoot Andy Warhol and that will make me famous"