The Factory
Nestled in the heart of New York’s bustling streets lay a studio unlike any other: Andy Warhol’s Factory. Far more than a mere workspace, the Factory emerged as a crucible for the avant-garde, a gathering spot for the era’s most vibrant characters—from visionaries and rebels to celebrities and outliers.
A Nexus of Art, Culture and Revolution
The original Factory, located at 231 East 47th Street in Midtown Manhattan, was known for its iconic silver-painted walls and tin foil decorations – a physical manifestation of the shimmering, transient world Warhol envisioned.
Inspired by a “haircutting party” at Billy Name’s apartment, Warhol commissioned him to replicate the silver and tin foil décor in his loft, creating an environment that resonated with the era’s fascination with amphetamines and the avant-garde.
Here, amidst the reflective surfaces, the Superstars played out their brief but unforgettable acts, embodying Warhol’s belief that fame was a transient state accessible to many. This space was not just Warhol’s studio; it was a stage for a grand experiment in fame, where the Superstars experienced the zenith of their recognition.
The Locations that Shaped a Legacy
From its inception in Midtown Manhattan to its final iteration near Union Square, each location of the Factory served as a backdrop to a different phase of Warhol’s evolving creative vision. These spaces witnessed the transformation of the Factory from a vibrant social hub to a more introspective, guarded studio following the near-fatal shooting of Warhol in 1968.
231 East 47th Street: The Silver Factory (1962-1968)
The original Factory, located at 231 East 47th Street in Midtown Manhattan, was known for its iconic silver-painted walls and tin foil decorations – a physical manifestation of the shimmering, transient world Warhol envisioned.
Inspired by a “haircutting party” at Billy Name’s apartment, Warhol commissioned him to replicate the silver and tin foil décor in his loft, creating an environment that resonated with the era’s fascination with amphetamines and the avant-garde.
Here, amidst the reflective surfaces, the Superstars played out their brief but unforgettable acts, embodying Warhol’s belief that fame was a transient state accessible to many. This space was not just Warhol’s studio; it was a stage for a grand experiment in fame, where the Superstars experienced the zenith of their recognition.
Why Did Andy Call It "The Factory"?
When Andy Warhol called his studio “The Factory” it was both a reflection of his artistic philosophy and a commentary on the intersection of art and commerce. He was making a statement about the nature of art in the modern world, blurring the lines between high and low culture, challenging traditional ideas about what art could be. The name encapsulated Warhol’s industrial approach to art-making, where the creative process was likened to an assembly line, mirroring the mass production techniques of the very consumer culture he sought to critique and celebrate.
Warhol’s Factory was a hive of continuous production, where silkscreens were prepared, artworks were churned out, and films were made with the efficiency of a manufacturing plant. Unlike traditional artists who meticulously crafted each piece by hand, Warhol embraced the repetitive, mechanical nature of production, using the silk-screening process to replicate iconic images like the Campbell’s Soup Cans and Marilyn Monroe portraits. This method not only challenged the notion of originality in art but also democratized it, making his work accessible to the masses—anyone could own a Warhol, just as anyone could own a factory-made product.
But the Factory wasn’t just a place where art was made; it was a place where culture was manufactured, reflecting Warhol’s belief that in an era of mass production, art, too, could—and should—be produced on a grand scale.
Beyond The Canvas: The Factory as a Multimedia Space
Beyond visual art, The Factory was a dynamic space for film and music, further cementing its status as a cultural landmark. Warhol produced hundreds of experimental films at The Factory, often featuring his ‘Superstars.’
Warhol employed a minimalist, voyeuristic style in his Screen Tests (1963-1966), nearly 500 short films that captured cultural icons and Factory regulars in stark, unflinching close-ups. These films, alongside others like Sleep (1963) and Kiss (1963-1964), stripped down the cinematic experience to its raw essentials, exploring themes of identity, intimacy, and the passage of time. These films were as much about capturing the essence of the personalities in Warhol’s orbit as they were about exploring new artistic expressions. The infamous red couch, a fixture in many of Warhol’s films—notably Couch (1964)—became a symbol of the Factory as a creative sanctuary where life and art seamlessly merged.
The Factory was also instrumental in the development of Warhol’s relationship with music, particularly through his collaboration with The Velvet Underground. Warhol managed the band, designed the iconic banana cover for their debut album, and helped create The Exploding Plastic Inevitable—a series of multimedia events that combined live music, film screenings, and avant-garde performances. These happenings were a perfect embodiment of The Factory’s ethos, blending different art forms into a singular, groundbreaking experience.
Through his work in film and music, Warhol further expanded the influence of The Factory, transforming it into a cultural production house that pushed the boundaries of art in every direction.
Warhol's Superstars: Fame and Transience
The Silver Factory was far more than just a workspace for Warhol; it was a groundbreaking social experiment in celebrity culture. Here, Warhol’s entourage—artists, muses, and collaborators known as the Superstars—played crucial roles in his cinematic and artistic experiments. These individuals were not merely muses; they were active co-creators, each contributing to the Factory’s legendary status and embodying Warhol’s famous prophecy, “In the future, everyone will be world-famous for 15 minutes.”
The Superstars epitomized Warhol’s vision of modern celebrity—brief, brilliant, and accessible to all. They lived their lives as art installations, capturing the essence of the cultural revolution that Warhol orchestrated at the Factory. Each of these eclectic personalities, with their fleeting moments of fame, reflected the intense yet transient nature of celebrity in the modern world.
Curious to learn more about these intriguing figures and their stories? Visit our Warhol’s Superstars page for a deeper dive into their lives and contributions.
Andy Warhol at his Factory at 33 Union Square West in New York City, circa 1968, photographed by Jack Mitchell.
33 Union Square West (1968–1973)
After the Silver Factory’s building was scheduled for demolition in 1967, Andy Warhol relocated his studio to the sixth floor of the Decker Building at 33 Union Square West. This move marked the beginning of a new era for Warhol, introducing a more structured yet still vibrant environment. The Union Square Factory, strategically located near the cultural hotspot Max’s Kansas City, became a nexus for Warhol’s expanding circle of Superstars, artists, musicians, and intellectuals.
The new space allowed Warhol to further refine his techniques, particularly his use of silkscreens to mass-produce images, blending corporate America’s production methods with his distinct artistic twist. This period was crucial for Warhol, as he founded Factory Additions, a venture focused on the business aspects of his art, particularly in publishing and printmaking.
The Assassination Attempt and Its Aftermath
The Union Square Factory was also the site of a dramatic turning point in Warhol’s life. In 1968, shortly after the move, Warhol was shot and seriously wounded by Valerie Solanas, a woman who had appeared in one of his films. This near-fatal incident had a profound impact on Warhol, both personally and professionally.
After his recovery, Warhol became more cautious and less involved in the day-to-day operations of his filmmaking, shifting his focus to other ventures. The assassination attempt led to significant changes in the Factory’s dynamics, with increased security and a more controlled environment.
Despite this, Warhol’s studio remained at Union Square until 1973, continuing to be a prolific center of art and innovation.
Felonious assault scene at 33 Union Square where Andy Warhol and Mario Amaya were shot by Valerie Solanas, desk area with bloody paper, facing west, June 4, 1968. NYPD Photo Collection, NYC Municipal Archives.
Business Art
In the years following the shooting, Warhol’s approach to his art became more businesslike. He began to pursue other ventures, most notably the publication of Interview magazine, which started as a monthly film journal but soon evolved into a glossy celebrity magazine.
The magazine became a platform for Warhol to profile his glitterati friends, including Mick Jagger, Halston, and Truman Capote. This new focus on celebrity culture led to an increased demand for commissioned portraits by society notables in the 1970s. Instead of the photo-booth strips he had used in the 1960s, Warhol now used Polaroid photographs taken by himself and his assistants to create flattering images of his subjects.
During this period, Warhol also continued to produce his famous Factory Editions, a series of limited-edition art prints that allowed him to reach a wider audience and further cement his reputation as one of the most influential artists of the 20th century. These prints, along with his work in Interview magazine and his celebrity friendships, exemplify Warhol’s ability to blend art with commerce, making his work accessible to the masses while maintaining its status as highly prized by collectors and enthusiasts.
Photo of Andy Warhol with Glen O’Brien by Kate Simon. Published in Interview Magazine, February 4, 2019.
860 Broadway (1973–1984)
In 1973, Andy Warhol relocated his legendary Factory to 860 Broadway, at the vibrant north end of Union Square. This new space became a bustling epicenter of creativity and innovation, where Warhol filmed his television series “Andy Warhol’s TV” from 1980 to 1983. More than an art studio, the Factory at 860 Broadway was a dynamic cultural hub that reflected Warhol’s avant-garde spirit and his influence on the art world.
Adding to the Factory’s allure, the nightclub Underground operated at 860 Broadway from 1980 to 1989. Owned by Maurice Brahms, a former partner of the iconic Studio 54 founders, the club opened its doors on February 28, 1980. It quickly became a hotspot for New York City’s nightlife, intertwining with Warhol’s artistic endeavors and drawing a crowd of creatives, socialites, and visionaries, further cementing 860 Broadway’s status as a landmark of cultural and artistic significance.
Pop Art Meets Street Art
At his 860 Broadway Avenue studio, Andy Warhol continued to innovate by collaborating with emerging street artists like Jean-Michel Basquiat and Keith Haring.
Warhol’s partnership with Basquiat began in the early 1980s, blending his iconic pop imagery with Basquiat’s raw, graffiti-inspired style. Their joint works symbolized the merging of different art worlds—Warhol’s established Pop Art with Basquiat’s edgy, urban energy.
Similarly, Warhol mentored Keith Haring, whose vibrant, cartoon-like figures were gaining popularity on New York’s streets. Haring admired Warhol’s ability to bridge commercialism and fine art, and their collaborations often explored themes of consumer culture and social activism.
The 860 Broadway studio was often the site for these groundbreaking collaborations, which not only revitalized Warhol’s work but also played a key role in bringing street art into the mainstream.
Pop Art Meets Street Art
Warhol, Haring & Basquiat at Warhol’s 3rd Factory, photo by Michael D. Hermann
GE (1984-85) by Andy Warhol and Jean-Michel Basquiat; Andy Mouse (1986) by Keith Haring, signed by both Haring and Andy Warhol.
Madison Avenue and East 33rd Street: Warhol's Final Factory (1984–1987)
Madison Avenue and East 33rd Street: Warhol's Final Factory (1984–1987)
In its final iteration at 22 East 33rd Street, the Factory transcended its artistic roots to embrace the burgeoning world of television. With a façade as a conventional office, this venue harbored Warhol’s MTV venture, Andy Warhol’s Fifteen Minutes, from 1985 until his death in 1987. Here, within the nexus of Madison Avenue and East 33rd Street, Warhol continued to explore and expand upon his fascination with fame, media, and culture. This phase of the Factory not only marked the culmination of Warhol’s groundbreaking endeavors but also cemented his legacy as a visionary who redefined the intersection of art and celebrity.
The Enduring Influence and Legacy of Warhol's Factory
The legacy of the Factory transcends the walls within which it was housed. More than an artist’s studio, it was a phenomenon that redefined the cultural landscape, leaving an indelible mark on the art world and beyond. The Factory embodied Andy Warhol’s vision of art as a continuous, inclusive process that blurred the lines between high and low culture. As Warhol moved through different locations and phases, The Factory evolved with him, shaping and reflecting the zeitgeist of each era. The legacy of The Factory endures, inspiring new generations of artists and creatives who continue to draw from Warhol’s groundbreaking ideas.
