Andy Warhol’s Final U.S. Passport, 1985. Now part of the Revolver Archive.
Issued just two years before his death, this passport followed Warhol to Paris, across Europe, and back again. It’s scuffed, stamped, and quietly iconic—a record of Warhol’s final years, lived as an international art phenom.
For an artist so fascinated by identity, even his passport feels symbolic. The photo says it all: platinum wig, black turtleneck, expression flat as a screenprint.
Now, it joins other pieces in the Revolver Warhol archive: his death wig, his Rolls-Royce, and a life’s worth of pop detritus turned art. Like so much of what he touched, we don't see this as just a travel document. It’s a self-portrait, tucked inside a navy-blue cover.
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#andywarhol #revolvergallery #warholarchive #passportportrait #artephemera
#warholartifacts #poparticon #andyinmotion #artifactsasart #museumwithoutwalls
Step back in time with Andy TV.
A curated stream of rare interviews and behind-the-scenes clips, capturing Warhol’s wit, charm, and deadpan genius—on camera and on his own terms.
From the Factory years to late-career reflections, Warhol baffles, provokes, and plays with the very idea of celebrity.
Pop culture, redefined—on a retro TV screen, 24/7.
📺 Now streaming. Link in bio.
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All videos stream via public YouTube embeds. This project is for educational and archival purposes only. All rights belong to their respective copyright holders.
#andywarhol #popart #warholinterview #vintagetv #arthistory #contemporaryart #warholfactory #revolvergallery #warholstyle #artarchive #videoart #warhollegacy #celebrityinterviews #vintage #70s #80s
Scenes from Lonesome Cowboys (1968).
Directed by Andy Warhol and written and produced by Paul Morrissey, the film transformed the American Western into something fragmented, improvised, and entirely unpredictable.
What began as an underground film later sparked controversy, drawing FBI attention and police raids during screenings in the late 1960s.
Lonesome Cowboys remains one of Warhol’s most radical experiments in filmmaking—where performance, spontaneity, and reality blur together on screen.
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#AndyWarhol #RevolverGallery #LonesomeCowboys
Lonesome Cowboys, the Warhol film that sparked an FBI investigation.
Filmed in Arizona over just a few days in 1968, Lonesome Cowboys was directed by Andy Warhol and written and produced by Paul Morrissey.
The film became less about polished narrative and more about observation, presence, and improvisation. Warhol transformed the Western into something slower, stranger, and deliberately unresolved.
According to FBI reports produced during the film’s production, complaints were made that Warhol’s group was creating an “obscene film” while staying in Arizona. The bureau documented the troupe’s movements, their filming schedule, and even Warhol’s return flight to New York.
A year later, screenings of Lonesome Cowboys were raided by police in Atlanta. Theater employees were arrested, and audience members were searched for identification. The film became entangled in the era’s growing anxieties surrounding censorship, sexuality, and counterculture in America.
The film itself embraces instability. Dialogue drifts, scenes fracture unexpectedly, and moments usually removed in editing remain in the final cut.
A film that is unmistakably Warhol.
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Image Credits:
1. Andy Warhol on set of Lonesome Cowboys. Photograph by Bob Broder, 1968.
2. Lonesome Cowboys German re-release poster, 1974.
3. Andy Warhol on set of Lonesome Cowboys. Photograph by Factory Films-Sherpix, 1968.
4. Lonesome Cowboys film still, 1968.
5. Andy Warhol on set of Lonesome Cowboys. Photograph by Bob Broder, 1968.
6. Publicity stills from Lonesome Cowboys. Photography by Heritage Auctions, 1968.
7. Lonesome Cowboys” exhibitors’s press manual, 1968. #AndyWarhol #RevolverGallery #LonesomeCowboys
Before he was famous, Andy Warhol used to linger outside Truman Capote’s house.
He sent him fan letters. Made drawings inspired by his writing. Capote was everything he wanted to be: gifted, stylish, and impossible to ignore.
Capote was one of the most celebrated writers of his time and a defining presence in New York’s social world.
By the late 1970s, Warhol and Capote were friends. By then, Warhol had become his own kind of icon. But that early obsession never quite faded.
On September 10, 1978, Warhol wrote about an evening at Capote’s apartment: bad quiche instead of promised caviar, Donna Summer on the stereo, and a guest in blue jeans he couldn’t stand.
Capote could be magnetic and exhausting at the same time—constantly performing, telling stories that blurred fact and fiction, shifting between charm and something sharper. Warhol watched it all closely.
On June 2, 1979, he noted: “When Truman turns, he really turns.”
In Wahrol's Polaroids, you can still feel his admiration. His lens fixed on Capote with the same curiosity and quiet reverence.
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Image Credits:
1. Andy Warhol & Truman Capote. Photography by Bettmann, 1979.
2. Andy Warhol and Truman Capote at Studio 54. Photography by Adam Scull. 1978.
3. Warhol & Truman Capote at Fiorucci. Photo by Joey Arias, 1979.
4. Truman Capote. Andy Warhol, 1977.
5. Truman Capote. Andy Warhol, 1979.
6. Truman Capote. Andy Warhol, 1984.
#andywarhol #trumancapote #revolvergallery
#waybackwednesday Our Very 1st Fashion editorial for New Generations Magazine in The Summer of 1998 starring Actor,Film Producer,Businessman & Philanthropist @aplusk His 1st NY modeling agent @natbernier Photographed by Me,Styled by @lisamariefernandez Hair & Grooming by @brianoliverhair Shot at The Iconic #andywarhol & #paulmorrissey Estate in #montauk @andywarholgallery Special Thanks to Uncle Paul & My Best Friend and His Niece,Rebecca Indri-Burns🖤🖤Shot with 🎞️ & The Beautiful #pentax67
@theduanemichals doesn’t photograph Warhol as an icon.
He photographs him as a question in progress.
Across Michals’ photographs, Andy Warhol appears in fragments: sharply visible in one frame, obscured in another, dissolving into a blur, or hiding behind his own hands.
Born in 1932, Duane Michals became known for pushing photography beyond straightforward documentation, using sequences, handwritten text, and surreal visual storytelling.
That approach made Warhol an especially interesting subject.
The artist who built a reputation on image and repetition appears here as something elusive, slipping between public persona and private self.
Michals often used sequences, motion, and psychological ambiguity to suggest that a photograph could reveal something deeper than appearance alone.
Through Michals’ lens, Warhol becomes less a fixed figure than a series of impressions: appearing, disappearing, and shifting between identities.
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Image Credits:
1-3. Portrait of Andy Warhol. Photography by Duane Michals, 1973.
4. Andy Warhol (covering face). Photography by Duane Michals, c. 1957.
5. Andy Warhol and his mother, Julia Warhola. Photography by Duane Michals, 1958.
6. Andy Warhol (With Banana Next to Cans). Photography by Duane Michals, c. 1962.
7. Andy Warhol Contact Sheet (B). Photography by Duane Michals, c. 1958. #AndyWarhol #RevolverGallery #DuaneMichals
Bruno Bischofberger understood Andy Warhol earlier than most. And he remained one of the key figures in his world for decades.
The Swiss gallerist began working with Warhol in the 1960s, helping introduce his work to European audiences at a moment when Pop Art still felt disruptive and uncertain. Their relationship would grow into one of the defining collaborations of Warhol’s later career.
Bischofberger was one of the people encouraging Warhol to return seriously to painting in the early 1970s. In one well-known exchange, Bruno suggested painting the most important figure of the twentieth century. Warhol replied that if the subject was truly the world’s most powerful image, it should be Chairman Mao. The conversation would lead to the now-iconic Mao series.
In 1983, Bischofberger also encouraged Warhol to create paintings inspired by toys. The result was the Toy Paintings: playful, strange, and unexpectedly revealing works that transformed children’s packaging, logos, and commercial imagery into something both nostalgic and quietly unsettling.
The exhibition installation itself felt unmistakably Warholian: Toy paintings hung against walls covered in repeating Fish wallpaper, with children moving through the space beneath rows of silkscreened fish. Pop culture, commerce, childhood, decoration, and image all collapsing into the same visual field.
Bischofberger would later play a pivotal role in bringing together Warhol, Jean-Michel Basquiat, and Francesco Clemente for the collaborative works of the 1980s, helping shape the final decade of Warhol’s career in ways that still resonate through contemporary art.
Yesterday, the art world lost one of the people who helped make that history possible.
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#AndyWarhol #BrunoBischofberger #JeanMichelBasquiat
This isn’t about jeans. It’s about how Andy Warhol made @levis iconic.
Levi’s were part of Andy Warhol’s uniform long before they became part of his art. He wore jeans with black turtlenecks, leather jackets, cowboy boots, and even a tuxedo jacket.
A look he later claimed he helped popularize.
In The Andy Warhol Diaries (Friday, September 19, 1986), he wrote:
“You know, I do think I started this whole bluejeans—with—a—tuxedo—jacket thing because years ago after I wore that to a few big events and was photographed, all the kids began doing it and they’re still doing it.”
Warhol had already turned denim into one of rock’s most recognizable and provocative images with his 1971 cover for @therollingstones Sticky Fingers. Conceived and photographed by Warhol, the album’s close-cropped image of jeans (with a working zipper) made denim feel instantly iconic.
In 1984, Warhol photographed Levi’s jeans in a series of @polaroid and transformed them into silkscreen, turning denim into the kind of image he understood best: familiar, repeatable, and inseparable from American culture.
In the decades following his death, Warhol’s legacy extended into collaborations with Levi Strauss & Co., including Warhol Factory X Levi’s. A line that translated his imagery into limited-edition denim, such as wax-coated jeans priced at $185.
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Image Credits:
1. Andy Warhol. Photography by Paul Weiss, 1979.
2. The Rolling Stones "Sticky Fingers" album cover. Andy Warhol, 1971.
3-5. Levis. Andy Warhol, 1984.
6. Levi''s (Four Images). Andy Warhol, 1984.
7. Warhol Factory X Levi's mens jeans.
#AndyWarhol #Revolvergallery #levis
This isn’t about celebrities. It’s about the beach.
From sunsets to seafood, shorelines to summer snapshots, Warhol returned again and again to the imagery of the coast.
Across decades, he explored symbols of leisure: glowing sunsets in shifting palettes, bright crustaceans, shimmering fish, and quiet moments by the sea.
The Sunset series, in particular, captures this rhythm. Each variation shifting in tone, like the sky itself repeating but never the same.
Revolver Gallery currently holds several examples from the series, including unique and signed variations (images 4 & 5).
Revolver also holds Warhol’s Fish A40 (image 7). Created in 1983 as silk scarves, they were originally intended as personal holiday gifts (each one inscribed for a specific recipient). Here, the imagery of the sea becomes something intimate and wearable.
Even within the spectacle of Pop Art, these works feel different. They are observational and feel personal.
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Image Credits:
1. Andy Warhol. Photographed by Geoffroy de Boismenu, 1981.
2. Andy Warhol. Photographed by Peter Beard, 1972.
3. Beach. Andy Warhol, 1973.
4. Sunset 85. Andy Wahrol, 1972.
5. Sunset 85 (unique). Andy Warhol, 1972.
6. Sunset Series. Andy Warhol, 1972.
7. Fish A40. Andy Warhol, 1983.
8. Lobster. Andy Warhol, 1982.
9. Lobster. Andy Warhol, 1982.
#andywarhol #revolvergallery #beach
Before the @metmuseum Gala called fashion “art,” Warhol was already doing it.
Tonight’s Met Gala (May 4, 2026) centers on “Costume Art,” with a dress code of “Fashion Is Art.”
The exhibition spans 5,000 years of the dressed body, treating clothing as more than decoration. It’s a way of shaping identity, power, and how we’re seen. By placing garments in conversation with painting, sculpture, and other media, "Costume Art" reframes fashion as central to how meaning is made. Co-chaired by @beyonce , @nicolekidman , @venuswilliams , and Anna Wintour.
Across decades, designers have drawn directly from Andy Warhol. They have printed his images onto garments, reworked them into collections, and built runway moments around his visual language.
One of the most iconic examples is the @versace Pop Art spring/summer 1991 collection, where Gianni Versace used Warhol’s Marilyn and James Dean imagery directly on the garment.
Warhol isn’t just an influence on the runway, he’s part of the exhibition itself.
In "Costume Art", Andy Warhol appears in sections that examine how the body is constructed, altered, and understood. His Before and After (1961), based on a cosmetic surgery advertisement, is shown alongside fashion that comments on cosmetic surgery and constructed identity.
In Skull (1977), the body is reduced to its most essential form, stripped of identity and rendered universal.
Warhol also appears as a subject. A 1969 photograph by Richard Avedon places Warhol’s scarred torso within a section focused on the inscribed body. Where the surface of the skin is understood not as ideal form, but as something marked by trauma and lived experience.
Fashion isn’t separate from art. Warhol understood that long before the museum did.
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#AndyWarhol #themet #revolvergallery
