S&H Green Stamps

1961

决定画钱

1961年12月参观克拉斯·奥尔登堡的装置作品《商店》后，沃霍尔沮丧地回到家，觉得自己的漫画画作不够新颖。他接受了Muriel Flatow以50美元给出的玩笑建议，去画自己最爱的东西，也就是钱，于是开始描绘美元纸钞。

1961–1962

Mastering silkscreen

Seeking technical advice, Warhol turned to Floriano Vecchi of Tiber Press, who showed him the basics of silkscreen printing: transferring designs to acetate, preparing screens and pulling ink with a squeegee. The experiments became a turning point and soon led to some of his earliest silkscreen works.

9 July 1962

Soup cans at the Ferus Gallery

The Los Angeles dealer Irving Blum, surprised that Warhol had no gallery, offered him a solo show at the Ferus Gallery. Warhol sent 32 canvases, one for each variety of Campbell's soup; the exhibition opened on 9 July 1962 and marked his West Coast debut.

1962

“The New Realists” at the Sidney Janis Gallery

Invited by the dealer Sidney Janis, Warhol took part in the exhibition The New Realists, showing 200 Soup Cans, Big Campbell's Soup Can 19c (Beef Noodle) and Do It Yourself (Flowers). The show was widely seen as a turning point for the acceptance of Pop art: The New Yorker likened its effect on the New York art world to an “earthquake”.

6 November 1962

First solo Pop show in New York

The filmmaker Emile de Antonio introduced Warhol to Eleanor Ward of the Stable Gallery, who agreed to a show in exchange for a painting of a two-dollar bill; the eighteen new works included Marilyn Monroe Twenty Times and Red Elvis. Michael Fried wrote in Art International that of all the painters working in the service of a popular iconography, Warhol was probably the most single-minded and the most spectacular.

1964

The Factory on 47th Street

By 1964 Warhol had moved his studio to 231 East 47th Street, which became known as the Factory; Billy Name covered it in aluminium foil and silver paint. The poet Gerard Malanga helped him with silkscreens and films, and working with assistants became a lasting feature of his method.