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拍品专文
"They are so goddamn beautiful. And so simple. And their glamour was so intense. What killed you, killed you, was the grainy black-and-white of the stems. That grainy look with that Day-Glo color was killer, and still is (P. Schjeldahl on Warhol’s Flowers, quoted in T. Sherman and D. Dalton, POP: The Genius of Andy Warhol, New York, 2009, pp. 236-237)."
Offered from the collection of the Philip Norman Fagan Archive, these Flowers by Andy Warhol bear a touching inscription to his lover, muse, and studio assistant Phillip Fagan. Fagan and Warhol met in the fall of 1964, and Fagan quickly became Warhol’s first live-in boyfriend, central film subject, and studio assistant, working alongside Gerard Malanga in the Factory as part of Warhol’s official silkscreening team.
As Adam Gopnik wrote in his recent biography on Warhol, “[Fagan] became Warhol’s muse, in a rare case where the term seems both justified and meaningful.” Not only did Fagan appear in several Warhol films from the period, including Batman Dracula (1964), Harlot (1964), and Screen Test No. 1 (1965), he became the subject and star of one of Warhol’s most ambitious film projects, Six Months. For this film project, Warhol set out to shoot a screen test of Fagan every day for a period of six months. The cumulative product would serve as a serial portrait, and one that showed Fagan visibly aging on screen. Although Warhol shot 107 screen tests of Fagan over 96 days, the most of anyone in the Factory at that time, their relationship ended after three months and the film was never completed.
Fagan appeared in other experimental movies by Jonas Mekas, Marie Menken and Jack Smith, and he played the role of Cupid in Gregory Markopoulos’s film The Illiac Passion (1967). An accomplished artist in his own right, he spent the last years of his life as a wandering monk in Southeast Asia, and his papers and ephemera from his time with Warhol are housed in the Philip Norman Fagan Archive.
Offered from the collection of the Philip Norman Fagan Archive, these Flowers by Andy Warhol bear a touching inscription to his lover, muse, and studio assistant Phillip Fagan. Fagan and Warhol met in the fall of 1964, and Fagan quickly became Warhol’s first live-in boyfriend, central film subject, and studio assistant, working alongside Gerard Malanga in the Factory as part of Warhol’s official silkscreening team.
As Adam Gopnik wrote in his recent biography on Warhol, “[Fagan] became Warhol’s muse, in a rare case where the term seems both justified and meaningful.” Not only did Fagan appear in several Warhol films from the period, including Batman Dracula (1964), Harlot (1964), and Screen Test No. 1 (1965), he became the subject and star of one of Warhol’s most ambitious film projects, Six Months. For this film project, Warhol set out to shoot a screen test of Fagan every day for a period of six months. The cumulative product would serve as a serial portrait, and one that showed Fagan visibly aging on screen. Although Warhol shot 107 screen tests of Fagan over 96 days, the most of anyone in the Factory at that time, their relationship ended after three months and the film was never completed.
Fagan appeared in other experimental movies by Jonas Mekas, Marie Menken and Jack Smith, and he played the role of Cupid in Gregory Markopoulos’s film The Illiac Passion (1967). An accomplished artist in his own right, he spent the last years of his life as a wandering monk in Southeast Asia, and his papers and ephemera from his time with Warhol are housed in the Philip Norman Fagan Archive.