This text argues that Andy Warhol was a fraud, the “second biggest” in art history after Marcel Duchamp. The author claims Warhol’s publicly presented biography, including his supposed Byzantine Catholic immigrant family from Austria/Hungary and his father’s job as a coal miner in Pennsylvania, is a fabrication. Instead, the author asserts Warhol’s family were wealthy Jews from Miko, Slovakia, citing his maternal grandmother Justina Chomova and other Jewish-sounding family names as evidence.
The author further alleges that Warhol’s early success and education were facilitated by his connections to wealthy and influential Jewish individuals and families. This includes his ability to afford Carnegie Mellon, his first one-man show at the Hugo Gallery owned by Robert Rothschild, and his introduction to silkscreening by Max Cohn. The author suggests that Warhol’s early artistic endeavors, such as shoe drawings, were promoted by powerful figures in the art world, including Elizabeth Arden and Maria dei Principi Ruspoli Hugo.
The text contends that Warhol’s fame in the 1960s was driven by his Campbell’s soup can motif, likely underwritten by Campbell’s and promoted by Walter Hopps and Irving Blum at the Ferus Gallery in Los Angeles, whom the author also labels as Jewish. The author posits that the CIA heavily funded Modernism and “pop art” to undermine traditional art and facilitate money laundering, using artists like Warhol as tools. This is extended to include institutions like the Museum of Modern Art, Pasadena Museum, Corcoran, and the Smithsonian.
Warhol’s exhibition at Stable Gallery run by Eleanor Ward, associated with Christian Dior, is also presented as part of this alleged conspiracy. The author links the promotion of Abstract Expressionism by artists like Willem de Kooning, Jackson Pollock, Robert Rauschenberg, and Franz Kline to the CIA. Warhol’s Factory is described as a “CIA agent-fest.”
The author dismisses Warhol’s art as “silkscreened garbage” and questions the astronomical prices achieved by his works, particularly a Blue Marilyn sold at Christies for $195 million in 2022 to Larry Gagosian, alleging it’s a money laundering scheme. The author suggests that auction houses like Christie’s and Sotheby’s act as fronts for the CIA.
Warhol’s filmography, including Empire and other experimental films, is also criticized. The author questions the authenticity of Valerie Solanas’s shooting of Warhol in 1968, suggesting it was a publicity stunt orchestrated by the CIA, citing Solanas’s background and legal proceedings as evidence. The author links Solanas to SCUM manifesto, Cavalier magazine, Chelsea Hotel, and Grove Press. The author also points to Florynce Kennedy, Ti-Grace Atkinson, and Sundance (founded by Sterling Gray Van Wegenen) as further evidence of CIA involvement in promoting these narratives.
Finally, the text delves into the alleged CIA connections of individuals associated with The Velvet Underground and Nico, including Lou Reed (Lewis Rabinowitz) and Edie Sedgwick, highlighting their supposed Jewish heritage and connections to prominent families and institutions. Nico’s association with Lee Strasberg and Nikos Papatakis, and Olga Karlatos’s career are also mentioned as evidence of Jewish influence and CIA infiltration. The author notes that Edie Sedgwick’s lineage connects to Taylor Swift.
Summary with Marked Entities:
The text asserts that Andy Warhol was the second biggest fraud in art history, after Marcel Duchamp. The author claims warhol’s biography, including his supposed Byzantine Catholic heritage from Hungary and his father being a coal miner in Pennsylvania, is a fabrication. Instead, the author alleges warhol’s family were wealthy Jews from Miko, Slovakia, citing his maternal grandmother Justina Chomova and other Jewish names.
The author contends that warhol’s early success and education at Carnegie Mellon were facilitated by his Jewish connections, leading to his first show at Hugo Gallery, owned by Robert Rothschild. warhol was taught silkscreening by Max Cohn. His early career in advertising and subsequent art shows, including shoe drawings at Museum of Modern Art, are presented as being orchestrated by wealthy individuals like Elizabeth Arden and Maria dei Principi Ruspoli Hugo.
The author believes warhol’s rise to fame in the 1960s with his Campbell’s soup can motif was underwritten by Campbell’s and promoted by Walter Hopps and Irving Blum at Ferus Gallery in LA. The text argues that the CIA heavily funded Modernism and Pop Art to destroy traditional art and facilitate money laundering, using artists like warhol as instruments. This alleged CIA influence is extended to institutions like the Museum of Modern Art, Pasadena Museum, Corcoran, and the Smithsonian.
warhol’s exhibition at Stable Gallery, run by Eleanor Ward and associated with Christian Dior, is also depicted as part of this scheme. The author connects the promotion of Abstract Expressionism by artists like Willem de Kooning, Jackson Pollock, Robert Rauschenberg, and Franz Kline to the CIA. warhol’s Factory is described as a hub for CIA agents.
The author dismisses warhol’s art as worthless and questions the high prices of his works, particularly a Blue Marilyn sold to Larry Gagosian at Christies, calling it a money laundering operation. Christie’s and Sotheby’s are accused of being fronts for the CIA.
warhol’s films, such as Empire, are also criticized. The author suspects the shooting of warhol by Valerie Solanas in 1968 was a CIA publicity stunt, citing Solanas’s background and legal proceedings. Solanas is linked to the SCUM manifesto, Cavalier magazine, Chelsea Hotel, and Grove Press. Florynce Kennedy, Ti-Grace Atkinson, and Sundance (founded by Sterling Gray Van Wegenen) are presented as further evidence of CIA involvement in promoting these narratives.
The text also alleges CIA connections within The Velvet Underground and Nico, including Lou Reed (Lewis Rabinowitz) and Edie Sedgwick, highlighting their supposed Jewish heritage and connections to prominent families and institutions. Nico’s associations with Lee Strasberg and Nikos Papatakis, and Olga Karlatos’s career are also presented as evidence of Jewish influence and CIA infiltration. Edie Sedgwick’s lineage is noted as connecting to Taylor Swift.