Looking back now, what do you think you were working out in terms of technique during that time? Stephen Shore: Even though I was young, I had been developing since I was six, so I had already been going for 11 years. So technically I was pretty advanced. In what we might imagine to be a world of wild parties and constant activity, what surprises about the photos is their relative quietude.
Stephen Shore : I was there on-and-off for three years, and there were a couple of parties, by which I mean a couple — a handful! It was a studio, and we were there working every day. There were a lot of people who sat around waiting for something to happen in the evening, but there really were not many parties. For some of these people this was the centre of their life, and they were living vicariously through Andy. I think I just had more ambition than some, and I wanted to move on with my life.
Later, you become known for your uncanny and unfamiliar takes on the more banal aspects of American life. Do you think what you did later was a deliberate turn away from the Factory — from being around people who courted fame? Stephen Shore: No, I think that there is a connection, and that is that Andy had a fascination with American culture. However, the collaborative essence of the environment also gave him the perfect opportunity to get involved in a variety of other creative endeavors.
Warhol produced hundreds of films at the Factory. Warhol withdrew the majority of his films from circulation in Blue Movie , one of his most famous films, became the first adult erotic picture including explicit sex to get a wide theatrical release in America. Other notable features are Vinyl , an adaptation of the novel A Clockwork Orange by Anthony Burgess, and Sleep which depicts poet John Girono sleeping for almost five and a half hours.
These were films in their own right, rather than auditions to test their suitability in front of the camera. Each was only a few minutes long and totally silent, with the subject instructed to stay as still as possible in order to create a living portrait. The Factory was frequently visited by many iconic musicians. He also financed the recording sessions, and persuaded the band to feature German singer Nico, another Warhol superstar.
Featuring a close-up of a male crotch in tight jeans, the album sleeve could be literally unzipped to reveal the underwear beneath. Warhol also teamed up with The Velvet Underground, Nico and other Factory denizens to create The Exploding Plastic Inevitable, a series of multimedia concert events held between Entitled Sleep, it was a five-hour voyeuristic portrait of John Giorno, his lover at the time, asleep. Brian Jones and Warhol at the Paraphernalia launch, Jones was fascinated with the underground art scene in New York.
He was the first person to bring model and singer Nico to the Factory, where she would meet Cale and later join the Velvet Underground. It was where the assembly line for the silkscreens happened. While one person was making a silkscreen, somebody else would be filming a screen test. As teenagers, Sarah and David were neighbours of, and studio assistants to, Warhol.
Sarah edited the film Sleep when she was just
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