ANDY WARHOL AND CECIL / ENDEL LEPP AND MARTIN _ HORST P. HORST 1983 / KUMARI A. VAIM 2026
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Andy Warhol and Cecil photographed by Horst P. Horst for House & Garden at the Factory, 1983.
In the article "Andy on the Move: The Factory Factor" John Richardson wrote for House & Garden (July 1983):
"Andy Warhol's moves from 'Factory' to 'Factory,' as he calls his studios, have been reflected in abrupt changes of style and subject. In this respect, if no other, he reminds me of Picasso, whose successive 'periods' were likewise triggered by domestic change. ... By 1973 Warhol and Co. had once again outgrown the Factory. Even larger premises had to be found to accommodate the editorial offices of Andy's new magazine, Interview. The perfect space materialized around the corner. Built in the 1870s as a furniture warehouse, 860 Broadway had been remodeled in the 1920s for the S&H Green Stamp company; and to Andy's delight, the vast second floor boasted an incongruously pompous boardroom to which I made a suitable contribution in the form of a gargantuan moose's head. Once again Fred Hughes had everything, except the paneled boardroom, painted white. But for all the similarities in décor, the ambience of 860 Broadway turned out to be different from that of Union Square West. Once again the changes in lifestyle can be attributed to Fred Hughes, who was determined to project a reasonably respectable image to establish the Factory, socially as well as artistically, on the international map. ... And now Andy has had to move once again. How, one wonders, will Factory IV—a rehabilitated Con Edison subway generator station located on East 33rd Street—differ from the old one, and its products—paintings, video programs, Interview's interviews—from all that came before? My own guess is that Andy is due for a go at sculpture—the one field he has not as yet tackled—and that technology will play a greater part in his activities. And let us hope, albeit vainly, that he will get around to exploiting his incomparably rich archives. For, make no mistake, one of Andy's greatest claims to fame is that he is the principal recording angel of our time—always on the job whether in the White House or a star's dressing room, dining with Beautiful People or the likes of you and me."
Andy Warhol and Cecil photographed by Horst P. Horst for House & Garden at the Factory, 1983.
In the article "Andy on the Move: The Factory Factor" John Richardson wrote for House & Garden (July 1983):
"Andy Warhol's moves from 'Factory' to 'Factory,' as he calls his studios, have been reflected in abrupt changes of style and subject. In this respect, if no other, he reminds me of Picasso, whose successive 'periods' were likewise triggered by domestic change. ... By 1973 Warhol and Co. had once again outgrown the Factory. Even larger premises had to be found to accommodate the editorial offices of Andy's new magazine, Interview. The perfect space materialized around the corner. Built in the 1870s as a furniture warehouse, 860 Broadway had been remodeled in the 1920s for the S&H Green Stamp company; and to Andy's delight, the vast second floor boasted an incongruously pompous boardroom to which I made a suitable contribution in the form of a gargantuan moose's head. Once again Fred Hughes had everything, except the paneled boardroom, painted white. But for all the similarities in décor, the ambience of 860 Broadway turned out to be different from that of Union Square West. Once again the changes in lifestyle can be attributed to Fred Hughes, who was determined to project a reasonably respectable image to establish the Factory, socially as well as artistically, on the international map. ... And now Andy has had to move once again. How, one wonders, will Factory IV—a rehabilitated Con Edison subway generator station located on East 33rd Street—differ from the old one, and its products—paintings, video programs, Interview's interviews—from all that came before? My own guess is that Andy is due for a go at sculpture—the one field he has not as yet tackled—and that technology will play a greater part in his activities. And let us hope, albeit vainly, that he will get around to exploiting his incomparably rich archives. For, make no mistake, one of Andy's greatest claims to fame is that he is the principal recording angel of our time—always on the job whether in the White House or a star's dressing room, dining with Beautiful People or the likes of you and me."
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