Andrew Warhola, was born August 6, 1928 in Pittsburg. He was the youngest son of Czechoslovakian immigrants. Andrew was born at the time of the Wall Street Crash (1929) and the Great Depression. Like millions of other families, Andrew’s father could not find work and his early childhood was very difficult and deprived. After several years his family’s financial situation improved and he was older he attend a commercial design course at Pittsburgh’s Carnegie Institute of Technology. Although he was very shy and had a strong fear of failure, he did very well there.

In 1949, Andrew Warhola moved to New York. After his first commission to illustrate shoes, Andrew noticed that the final ‘a’ of his na

In 1964, Andy began silk-screening images on wooden boxes. He became well known for his boxed commodities, soapboxes and Brillo pad box sculptures. It was during this time that Geldzhaler, his friend who redirected Andy from soup cans, coke bottles, and celebrities into disaster themes, once again advised Andy to leave disasters and paint flowers. This was big change for Andy who quickly adopted the idea. Warhol and his assistant produced several hundred paintings of flowers in a variety of colors. The first exhibit sold out and the industry continued. Geldzhaler’s casual idea definitely paid off but it was Andy’s creative ability to shape this idea into powerful imagery that’s behind it all. Dave Hickey writes in Andy’s Enterprise: Nothing Special “Warhol did not change the ‘look’ of the images we see. He changed the way we look at them, the importance we attach to them, and the similarities we see between them.” (93)

Although Andy was identified with Pop art and credited with its invention, this is a misunderstanding of his creative ability. Pop is much more complicated than it seems. In creating Pop art, one must create memorable (although sometimes unrealistic) images and awareness of the unpredictable forces in nature and society in whole. It is not simply the portrayal of popular icons but more of an expression of all that is familiar and accepted American society. Pop art also contains a serious sub-message that is not apparent at first sight. Trewin Copplestone, author of The life and works of Andy Warhol, pointed out that Pop artists were aware of this and exploited it:

By 1982, Andy had begun to lose some of his creati

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