STEVE SCHAPIRO

Andy Warhol Mimics Margaret Keane "Waif", New York City, 1965, Edition 25

14x11 Silver Gelatin Photograph
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20x16 Silver Gelatin Photograph
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I Shot Andy Warhol
Portraits of Andy and the Warhol Scene

Group Exhibition

May 23, through July 6, 2002

Opening Reception:
Thursday, May 23, 2002 - 7 to 9 pm

The Fahey/Klein Gallery is pleased to present a group exhibition, I Shot Andy Warhol, Portraits of Andy and the Warhol Scene, by fourteen photographers. This exhibition contains over 200 photographs including portraits of Andy Warhol and the personalities who were a part of the Factory and the Warhol scene in 1960's. Additional photographs include portraits of Warhol throughout 1970's and early 1980's.

About Andy Warhol

"Andy Warhol may have become a household name as he wanted to, he may have appeared on the TV show The Love Boat, and he may have hobnobbed with fancy folk as well as being a lighting rod for the underground. He may have made movies and written books, he may have been the force behind the magazine Interview, but first and foremost, he was an artist. It was all part of his art. Warhol was an artist who changed American culture. It will never look the same now that we have seen it through his eyes. Part of what he did was to re-present it in a way that seemed real to him. This is the point of art - to capture things as they are in their essence, and also to describe the world. Warhol described America in particular - and the paintbrush was just one of the tools with which he captured and changed our culture" (Ingrid Sischy, Interview 1996).

Peter Beard, photographer, diarist, naturalist, raconteur and most known for his provocative book "The End of the Game," also photographed some of the most prominent figures of our time. He made portraits of Andy Warhol on Warhol's birthday as well as other occasions over their long friendship. As next-door neighbors in Montauk, Beard made many informal portraits of Warhol, which Beard later collaged and altered in his most unique style. His latest publication is "50 Years of Portraits," (Arena Editions, 1999).

Jonathan Becker is a contributing photographer at Vanity Fair and Vogue. His publication "Bright Young Things," co-authored with Brooke De Ocampo, was released by Assouline Publishers (2000). His newest book "Studios by the Sea" (Harry Abrams), with text by Bob Colacello, was released May 2002. Becker photographed Andy Warhol at various occasions in the late 1970's and early 1980's.

Gretchen Berg, a Manhattan native, began her professional career as a writer in the mid-60s. She had the opportunity to speak at length with such notable figures in the arts as Andy Warhol, Fritz Lang, Berenice Abbott, Julien Levy, Roman Polanski, and Weegee. She called the resulting pieces "meditations" rather than interviews. She tried to give the impression of the subject speaking directly to the reader, of the reader being present in a private room, and a party to unusual or private lives that he or she would not have been privy to otherwise. Berg's work, including the intimate photographs she took during these encounters, was widely syndicated in the Underground Press; Cahiers du Cinema reprinted her multiple-part studies of Warhol and Lang. She is proudest of her work as a photojournalist during the Vietnam anti-war movement, covering peace demonstrations in New York, Washington, D.C. and Berkeley while on staff at the New York Free Press.

Michael Childers is one of the entertainment business's most renowned and highly respected portrait, fashion, and art photographers. He began his photography career in 1970's and went on to become a founding photographer for Andy Warhol's Interview and After Dark magazine. He has photographed over 200 magazine covers for such magazines as GQ, New York, Esquire, Life, and Vogue among many others. His latest book of photographs "Hollywood Voyeur," with an introduction by David Hockney, was published in 2000.

Charles Henri Ford, a prominent figure of the New York poetry world, photographed Warhol in the early 1960's. Henri Ford founded a short-lived magazine called Blues: a Magazine of New Rhythms, which introduced the work of Erskine Caldwell and Paul Bowles. In 1941, he started View, the first American magazine of avant-garde art and literature. A book of his photographs from 1930's to 1960's, with an introduction by Gerard Malanga, will be published by Arena Editions Spring 2003.

Greg Gorman met Andy Warhol at the Factory with Robert Hayes in 1982. Since then, Andy visited Gorman in Los Angeles several times. Greg Gorman was a working photographer for Interview and had shot several covers for the magazine. In 1986, Andy made an inquiry to Greg and asked if he thought L.A. Eyeworks would be interested in doing an ad with him. Gorman later photographed Warhol for the L.A. Eyeworks Campaign "A Face is Like a Work of Art, It Deserves a Great Frame." His publications include: "Greg Gorman, Volume I" (1990); "Greg Gorman, Volume II" (1992); "Inside Life" (1996); "Perspectives" (1999); "As I See It" (2000); and "Just Between Us" (2002).

Dennis Hopper, actor, director, and artist, began making paintings and assemblages in the mid-1950s. In the early 1960's, Hopper was influenced by art world friends including California artists, Edward Kienholz, and Bruce Connor. It was at this time he began making photographs of likes of Timothy Leary, Martin Luther King, and Andy Warhol. "Hopper's photographs from the 1960's so often convey a 'right in the middle' point of view, close up to their subjects, obliquely angled, zooming in not on a 'subject' but on a series of moments. Some of these moments are posed, even staged, others are fleeting and candid; some of these images are of people, others are of places, still others of situations and events, and still others of pure images formed in quotidian reality and framed by the camera eye into abstraction and/or the ground-zero semiotic encouraged, even dictated, by the Pop sensibility. Many of Hopper's photographs have a 'painterliness' to them that bespeaks his roots in Abstract Expressionism. (Peter Frank, "Dennis Hopper, A System of Moments," MAK Museum Catalogue, Vienna, Austria, 2001)

Christopher Makos, "described by Andy Warhol as 'the most modern photographer in America,' has a history of seeing trends, fashions and social movements long before most others…Since 1970, he has worked at developing a style of boldly graphic photojournalism. He has become a seminal figure in the contemporary art scene in New York" (Ingrid Sischy, "Andy by Christopher Makos," Assouline Publisher, 2001). "Warhol, so impressed with the book's (Makos' "White Trash") images and layout, named Makos art director for …"Andy Warhol's Exposures"…Makos meanwhile had become a close friend, traveling companion, and personal photographer to Warhol, and would remain so for the last fourteen years of Andy's life. It was Makos who convinced Warhol, in 1981 to pose in drag, and Makos who gave Warhol the idea of sewing photographs together..." (Glenn Albin, "Makos Men: Sewn Photos"). Makos publications include: "White Trash" (1977); "Warhol by Makos" (1988); "Warhol-A Personal Photographic Memoir" (1989); "Makos Men: Sewn Photos" (1996); "Makos" (1997); "Andy by Christopher Makos" (2001); "Andy Warhol by Christopher Makos" (2002).

Gerard Malanga, poet, photographer, filmmaker, was founding editor, with Andy Warhol, of Interview. The New York Times called him "Warhol's most important associate." He worked with Warhol over periods of seven years. During this period he stared in several of Warhol films and collaborated with Andy on the nearly five hundred individual 3-minute "Screen Tests." Malanga has "that great essential virtue of the photographer: humility before the complex virtue of the real thing…Malanga is the photo historian of this culture" (Ben Maddow). Malanga has produced 12 books of poetry as well as "Up Tight: The Velvet Underground Story," co-authored with Victor Brockris. Additionally, his photography publications include: "Good Girls" (1994), "Seizing the Moment" (1996), "Resistance to Memory" (1998) and "Screen Tests, Portraits, Nudes" (1964-1996).

David McCabe, encouraged by David Bailey to pursue a career in New York after winning a national photography prize in his native England, was 24 when he got a call from Andy Warhol. Impressed by a layout McCabe had done for Mademoiselle, Warhol asked him to audition for a project he had in mind - the documentation of his life in pictures for the period of one year. The young Brit won the assignment, and 2,000 images resulted, filed away until the mid-90s, when curators of The Warhol Museum tracked down the photographer after discovering a picture of Salvador Dali stamped "David McCabe" in one of Warhol's 600+ "Time Capsules." "There were times when I thought about releasing pictures - maybe when he died, but I didn't want them to be used sensationally," McCabe told W in January 2001 on the eve of a show of the lost work at the International Center of Photography. To McCabe, the Warhol assignment was just a job; not different from the ones he has done over the years for commercial clients and magazines like Harper's Bazaar, Life and French Vogue.

Fred McDarrah, a well-known reporter and writer in New York City, photographed Andy Warhol in the 1960's. "In 1958, he started to work for the Village Voice and became one of the most important reporters of the New York Beat generation…(he) began to portray the leading figures of the village in their social and cultural settings using an extemporaneous technique that had nothing to do with celebrity poses, thereby becoming a direct witness of this time…The rich anthology of photographs of the Warholian world is important in Fred McDarrah's career, because it shifts the focus from the individuality of the lonely artist to his entourage, i.e. the social setting" (Germano Celant, "New York Stories") McDarrah received a Guggenheim Fellowship in Photography in 1972. Some of his many publications include: "The Beat Scene," 1960; "The Artist's World," 1961; and "New York Stories," 2001.

Jim McHugh is a widely acclaimed portrait photographer. His images have appeared in Time, Entertainment Weekly, Architectural Digest and Life among many others. McHugh co-authored, with museum director Henry Hopkins, "California Artist, New Work," 1990. His portrait of David Hockney is the cover of Hockney's "That's the Way I See It" publication. McHugh made his portrait of Andy Warhol on the set of The Love Boat in 1986.

Billy Name (a.k.a. William Linich), in 1963, was originally invited by Andy Warhol to "transform the Factory's drop walls, floors, and ceilings into a gleaming silver décor…the silver décor prompted Andy to replace the gray hairpiece he had worn since the early 50's with a silver-sprayed wig…During the 60's (Billy) sometimes traveled with Warhol's experimental rock group, the Velvet Underground…Billy's photographs, from 1964-1967, include images of Viva, Edie Sedgwick, Gerard Malanga and Ondine among others. Late 1980's, Billy Name's historic negatives from the Factory's heyday, resurfaced in a Manhattan Warehouse where they have been stored by Andy Warhol."

Steve Schapiro met Andy Warhol while in the process of photographing Henry Geldzahler for a feature story for Life magazine. In 1965, Schapiro convinced Life to also do a feature story on, at that time, the less than well-known art world figure Andy Warhol. By 1966, Schapiro had extensively photographed Warhol and his entourage of associates. The Life story was never published as the editors felt, by the end of 1966, Warhol was too well known. Schapiro's photographs have been featured in Life, Look, Time, and Newsweek. His recent publication "American Edge" showcases searing photographs that document the turbulent 1960's and early 1970's.

"A lot of people thought it was me everyone at the Factory was hanging around, but that's absolutely backward: It was me who was hanging around everyone else…I just paid the rent and the crowds came simply because the door was open. People weren't particularly interested in seeing me; they were interested in seeing each other. They came to see who came." (Andy Warhol, "POPism: The Warhol '60s.")