Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. This piece was contributed by Deborah Davis, author of The Trip: Andy Warhol’s Plastic Fantastic Cross-Country Adventure.© Heather Broster/Mathieu Gasquet and MirrorLessons, 2017-2021. © 2015 The Andy Warhol Foundation for the Visual Arts Unique polaroid print, 4 1/4 x 3 3/18 in. Main Image: Andy Warhol (1928-1987), Taylor Mead (And Gerard Melanga in Background). The Polaroid was the fun camera – you wouldn’t say that about a Nikon.īrowse and bid on these and other unique Polaroid prints in our online auction, Instant Andy, now through September 29, 2015. A lot of feathers in the literary establishment - especially those belonging to Frank O’Hara - Andy’s ‘frenemy’, and a contributor to the magazine - were ruffled. The scandal broke when we were on an extended road-trip to California (chronicled in the new book, The Trip: Andy Warhol’s Plastic-Fantastic Cross-Country Adventure, Atria, 2015). At the very last minute Andy told me to bend down and kiss Denby on the lips, a daring image that was way ahead of its time. He used his Polaroid to shoot me, the young poet, standing behind Denby, the elder statesman. In 1963, Andy was invited to shoot the September cover of C, a poetry journal celebrating the work of Edwin Denby that month. The picture reminds me of a Walker Evans, or one of the other W.P.A. I think that's what may have caught Andy’s eye. The newspaper headline - an interesting study in contrasts. The post-war high-rise a little further north: so ubiquitous for the neighborhood. The darkened brick building to the left in the frame might be a public school: the windows caged-in. It looks like 3rd Avenue but it could be 2nd Avenue as well. I was very taken by this shot of a newspaper with a cityscape in the background. (10.8 x 8.5 cm.) Executed circa 1979.ĭo you consider any of Andy’s Polaroids to be especially artistic? The one with the newspaper headline, ‘Fire Kills Two in Skyscraper’ is quite similar to a Death and Disaster painting (‘129 Die in Jet!’) he did at the time.Īndy’s early black-and-white Polaroids stand out - they have a vintage quality about them. Unique polaroid print mounted on board, 4 1/4 x 3 3/8 in. I don’t remember what we were shooting that day, but we seemed determined to get it on film!Īndy Warhol (1928-1987), Brigid Berlin and Gerard Malanga. Taylor Mead (who starred in several films by Warhol and other ‘underground’ filmmakers) is sitting in a chair, waiting for his close-up, and I’m coming through the door, clutching my Nikon in one hand and something else - maybe another camera - in the other. We took the train to Bridgehampton to visit our friends Jerome Hill and Charles Rydell at Hill’s home, ‘Windy Hill’. This picture was taken during the summer of 1971. Can you tell us the story behind the one of you and Taylor Mead? You turn up in several of Andy’s Polaroids. The Big Shot (Andy’s favorite Polaroid camera in the early 1970s) could make high-contrast images, perfect for silkscreens. Subsequently, the way he used the Polaroid was more utilitarian. He decided to take his own photographs and the quickest way to do that was with a Polaroid. Andy was forced to abandon his practice of photo appropriation after he was sued by a photographer in the 1960s. It has a unique ability to conjure up the truth of the photograph.ĭid Andy use the Polaroid differently at different times?Īt a certain point, the toy became a tool that was ancillary to his painting process. I don’t think I’ve ever taken a bad picture with a Polaroid. Both the photographer and the subject relaxed. The act of taking a Polaroid was so spontaneous that people were not intimidated by it. Did the Polaroid have its own personality? You’ve worked with many cameras over the years. Andy Warhol Christie’s Instant Andy online auction
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