She Shot Andy Warhol
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She Shot Andy Warhol

The 1960’s was a turbulent decade marked by numerous notable murders, assassinations, and attempted assassinations (some of which, like the Martin Luther King Jr. assassination, the Bobby Kennedy assassination, and the murder of Kitty Genovese, have previously been chronicled on Off the Grid).

But one may have shook downtown more deeply and personally than any of the others, because it involved two quintessentially downtown figures — one a world-famous artist; the other, a struggling, mentally unbalanced aspiring writer/performer/self-proclaimed social propagandist, whose greatest claim to fame ended up an attempt to kill the former, her one-time employer.  That assassination attempt took place on June 3rd, 1968.

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Valerie Solanas, 1936 – 1988.  Copyright: Estate of Fred W. McDarrah.

On that day, Valerie Solanas went to Andy Warhol’s ‘Factory,’ then at 33 Union Square West, with a gun she had bought a few weeks earlier.  She shot at Warhol three times, missing him twice but striking him the third time.  She also shot art critic Mario Amaya, who was also in the Factory at the time, and attempted to shoot Warhol’s manager Fred Hughes at point blank, but the gun jammed.  Solanas left the factory, and turned herself into the police.  She was charged with attempted murder, assault, and illegal possession of a gun.  While in custody Solanas was diagnosed with paranoid schizophrenia.  She plead guilty to “reckless assault with intent to harm”, and served a three-year prison sentence, including psychiatric hospital time.

33 Union Square West, home of Andy Warhol’s ‘Factory’ in 1968.

Sadly for Solanas, the assassination attempt was the zenith of her fame.  After her release from prison she moved to San Francisco, where she continued to attempt to publish her writings, to little notice.  She died in almost total obscurity in 1988 of pneumonia, though in later years her notoriety increased, including with the release in 1996 of the independent film based upon her life, “I Shot Andy Warhol.”

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The movie poster.  While Solanas’ writings have gained a loyal following in the years since their initial release, it is this single act for which she is most remembered.

Solanas was no ordinary figure, though like many in the 1960’s, she was a drifter drawn to the Village by the promise of cheap living and a receptive climate for radical ideas and unconventional lifestyles.  Born in Ventnor City, New Jersey, she was a troubled child who later claimed she had been abused by several different male relatives and ran away and became homeless by her teenage years.  But she also displayed precocious intelligence and ambition, graduating from high school on time in spite of the challenges she faced and earning a degree in psychology from the University of Maryland, College Park.  There she became known for a militant brand of feminism she espoused, and, in spite of the highly restrictive laws and mores of the day, came out as a lesbian.

By the mid-1960’s, she had moved to New York City, where she began begging and working as a prostitute to support herself.  In 1965 she wrote a play titled “Up Your Ass” about a man-hating prostitute and panhandler who ends up killing a man, which would not only presage but indirectly lead to her attempt upon Warhol’s life.

In 1967 Solanas wrote and self-published (via mimeograph) “The SCUM Manifesto,” a radical feminist screed which came to be both reviled and celebrated, but which attracted little attention at the time.  The manifesto called for the overthrowing of the male gender and for women to institute automation and take over the world.  “SCUM” may or may not have stood for “Society for Cutting Up Men,” a phrase which appears on the cover but which scholars believe Solanas never intended as the literal meaning of ‘SCUM.’  She sold the manifesto on the streets on Greenwich Village, charging women one dollar and men two.  By the following spring, she had sold about 400 copies.

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A later version of the 1967 manifesto.

The manifesto opens:

Life in this society being, at best, an utter bore and no aspect of society being at all relevant to women, there remains to civic-minded, responsible, thrill-seeking females only to overthrow the government, eliminate the money system, institute complete automation and destroy the male sex.

It is now technically feasible to reproduce without the aid of males (or, for that matter, females) and to produce only females. We must begin immediately to do so. Retaining the male has not even the dubious purpose of reproduction. The male is a biological accident: the Y (male) gene is an incomplete X (female) gene, that is, it has an incomplete set of chromosomes. In other words, the male is an incomplete female, a walking abortion, aborted at the gene stage.

It was around this time, in 1967, that Solanas first met Warhol, outside the Factory, where she asked him to publish her play, Up Your Ass. Warhol told Solanas the play was “well typed” and offered to read it.  However, Warhol eventually told Solanas that he lost her play (some in the Factory claimed that Warhol found the play so dirty that he assumed it was being offered to him for production by the police as  a form of entrapment).  In response, Solanas demanded monetary remuneration from Warhol.  Instead, he offered her $25 to appear in his film I, A Man, which she did. Solanas seemed to be happy with her participation in the film, and with Warhol, bringing the new publisher of the SCUM Manifesto, Maurice Girodias, along with her to see the film.

But somewhere along the way, things went sour between her and Warhol, as well as Girodias, at least in Solanas’ mind.  Solanas became increasingly combative with several people in her life, demanding they lend her money, and she seemed increasingly angry about the control she felt both Warhol and Girodias had over her life, and her belief that they were conspiring against her.

On June 3rd, 1968, she went to the Chelsea Hotel, where Girodias was living, with the intent to shoot him.  However, she was told that he was out of town, and never encountered him.

Unfortunately for Andy Warhol, though several people at the Factory tried to keep Solanas from him, telling her that he too was away, she finally encountered him in the elevator of the building.  She followed him inside the Factory, and fired off several bullets.  Though only one hit Warhol, it went through his lungs, spleen, liver, stomach, and esophagus.  After five hours of surgery, Warhol’s life was saved, but changed forever.  The very public, outgoing pop artist became much more guarded and reclusive.  He spent much of the rest of his life worried that Solanas (who stalked him by phone for a while after her release from prison) would try to shoot him again.  Warhol was left physically frail from the shooting as well, and his injuries were believed to have contributed to his untimely death in 1987.

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The Daily News cover story.  Solanas got the News to retract the use of the word “actress” to describe her, and in later editions referred to her as a “writer,” and included a statement from her.

When arrested for the shootings, Solanas told reporters that the reason for why she did it could be found in the SCUM Manifesto.  Girodias immediately had the SCUM Manifesto published, and sales picked up considerably. Solanas was for a time hailed as a hero by some in the feminist movement.  But her instability and apparent mental illness kept her from ever reaching the mass audience she desired — at least in her lifetime.  At the time of her death in 1988, Solanas was living in a single room occupancy hotel in the Tenderloin District of San Francisco.

 

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Andrew Berman

Andrew Berman has been the Executive Director of GVSHP since 2002.

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