ANDY WARHOL’S SERIAL PHOTOGRAPHY

From 1982 to 1987, Andy Warhol made hundreds of works composed of black-and-white photographic prints stitched together with thread. These works are indebted to his earlier repetitive silkscreen paintings and are also the result of lifelong photographic exploration and a prolific decade in which the artist shot more than 124,000 frames. This book is the first scholarly monograph to interpret Warhol’s enigmatic photographic series. Contextualizing them within the history of photography and the art world of the 1980s, William Ganis demonstrates how Warhol manipulates the tenets of modern art photography to create ambiguity in the perception of the images. Subverting the objectivity of photography by making viewers aware of photographic mediation through multiples of images, Warhol paradoxically made unique objects of his many serial photographs. They also form part of Warhol’s media machinations, through which Warhol conflated and complicated notions of painting, printmaking, drawing, and photography.

William V. Ganis is Assistant Professor of Art History at the New York Institute of Technology. He has contributed to Art in America, Contemporary, and Contemporary Visual Arts.

CONTEMPORARY ARTISTS AND THEIR CRITICS

General Editor
Donald Kuspit, State University of New York, Stony Brook

Advisory Board
Matthew Baigell, Rutgers University, New Brunswick
Lynn Gamwell, State University of New York, Binghamton
Richard Hertz, Art Center College of Design, Pasadena
Udo Kulturmann, Washington University, St. Louis
Judith Russi Kirshner, University of Illinois, Chicago

This series presents a broad range of writings on contemporary art by some of the most astute critics at work today. Combining the methods of art criticism and art history, the essays, published here in anthologized form, are at once scholarly and timely, analytic and evaluative, a record and critique of art events. Books in this series are on the cutting edge of thinking about contemporary art. Deliberately pluralistic, the series represents a wide variety of approaches. Collectively, books in this series will deal with the complexity of contemporary art from a wide perspective.

Andy Warhol’s
   Serial Photography

WILLIAM V. GANIS
New York Institute of Technology

PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE
The Pitt Building, Trumpington Street, Cambridge, United Kingdom

CAMBRIDGE UNIVERSITY PRESS
The Edinburgh Building, Cambridge CB2 2RU, UK
40 West 20th Street, New York, NY 10011-4211, USA
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Ruiz de Alarcón 13, 28014 Madrid, Spain
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http://www.cambridge.org

© William V. Ganis 2004

This book is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without
the written permission of Cambridge University Press.

First published 2004

Printed in the United Kingdom at the University Press, Cambridge

Typefaces Sabon 10.5/15 pt. and Serif Gothic      System LATEX 2_e   [TB]

A catalog record for this book is available from the British Library.

Library of Congress Cataloging in Publication Data
Ganis, William V., 1970–
Andy Warhol’s serial photography / William V. Ganis.
p.   cm. – (Contemporary artists and their critics)
Includes bibliographical references and index.
ISBN 0-521-82335-8
1. Warhol, Andy, 1928 – Criticism and interpretation.   2. Photography, Artistic.
I.   Title.   II. Series.
TR655.G35   2004
770′.92 – dc22                  2003055908

ISBN 0 521 82335 8 hardback

For Julia

CONTENTS

IMAGES

1. Andy Warhol. Self-Portrait II, c. 1986. Six gelatin silver prints and thread, 27 × 32 in.	page 9
2. Andy Warhol. Ethel Scull 36 Times, 1963. Synthetic polymer paint and silkscreen ink on canvas, 6 ft. 7 in. × 11 ft. 11 in.	10
3. Andy Warhol. Ethel Scull, 1963. Gelatin silver photomat print, 1 × 7 in.	11
4. Andy Warhol. The Performance Group – Dionysus in ’69, 1969. Color Royaltone print, 3 × 6 in.	13
5. Christopher Makos. Andy Warhol and Debbie Harry, September 30, 1980. Gelatin silver print.	14
6. Andy Warhol. Debbie Harry, 1980. Polaroid Polacolor Type 108 print, 4 × 3 in.	15
7. Andy Warhol. Self-Portrait, 1979. Large format Polaroid Polacolor print, 32 × 22 in.	17
8. Andy Warhol. Empire State Building, c. 1976–86. Four gelatin silver prints and thread (mounting visible), 27 × 21 in.	25
9. Andy Warhol. Contact Sheet W70682–13, July 6, 1982. Gelatin silver contact print, 10 × 8 in.	28
10. Andy Warhol. Pots and Pans, 1982–6. Four gelatin silver prints and thread, 21 × 27 in.	29
11. Andy Warhol. Skeletons. Photo Edition for Parkett, 1986–7. Four gelatin silver prints and thread, 9 × 7 in.	32
12. Andy Warhol. Nude Man Standing, c. 1987. Four gelatin silver prints and thread, 27 × 21 in.	34
13. Anonymous. Nude, nineteenth century. Stereoscopic colored daguerreotype.	39
14. André Adolphe Eugène Disdéri. Album Disdéri No. 21: The Theatre 1860–1868: Mlle. Bonelli, 1866. Albumen carte-de-visite print prior to cutting.	41
15. André Adolphe Eugène Disdéri. The Imperial Family, c. 1864. Photomontage.	42
16. Eadweard Muybridge. “The Trot” from Animals in Motion, 1872–85.	43
17. Man Ray. Untitled, 1924. Collage of two gelatin silver prints, 31 × 27 in.	45
18. Kurt Kranz. Eye Series, 1930–1. Sixteen gelatin silver prints mounted on board, 13 × 19 in. overall.	47
19. László Moholy-Nagy. Two Nudes, Positive-Negative, 1932. Gelatin silver print.	49
20. Harry Callahan. Chicago, 1948. Gelatin silver print, 4 × 3 in.	50
21. Ansel Adams. Surf Sequence, 1–5, San Mateo County, California, 1940. Five gelatin silver prints.	51
22. Harry Callahan. Highland Park, Michigan, 1941–2. Three gelatin silver prints, 3 × 4 in. each.	53
23. Ray Metzker. Torso I, 1965. Twenty gelatin silver prints, 14 × 12 in. overall.	54
24. Ray Metzker. Torso I, 1965. Twenty gelatin silver prints, 14 × 12 in. overall.	55
25. Ray Metzker. Sailing on 9th, 1966. Seven gelatin silver prints, 30 × 22 in. overall.	56
26. Christian Boltanski. Portraits of the Students of the Lentillères       College of Secondary Education, Dijon, 1973. Black-and-white photographs, frames; Dimensions variable.	57
27. Christopher Makos. Foldout One: Andy Warhol, artist; 1977. From White Trash book.	58
28. René Magritte. L’Evidence éternelle, 1930. Oil on five canvases, dimensions variable.	59
29. Robert Rauschenberg. Photem Series I #10, 1981. Five gelatin silver prints on aluminum, 37 × 61 in.	61
30. Robert Rauschenberg. In + Out City Limits: Los Angeles, 1981. Gelatin silver prints, 16 × 20 in. each.	62
31. Andy Warhol. Rauschenberg’s Photos, 1982–6. Four gelatin silver prints and thread, 21 × 27 in.	63
32. Mike and Doug Starn. Horses (detail of installation), 1985–6. Toned silver prints and tape, 10 × 15 ft. overall.	64
33. Andy Warhol. World Trade Center, c. 1986–7. Six gelatin silver prints and thread, 31 × 27 in.	69
34. Harry Callahan. New York, 1974. Gelatin silver print, 8 × 8 in.	71
35. Andy Warhol. Dolly Parton and Keith Haring, c. 1985–7. Six gelatin silver prints and thread, 27 × 31 in.	81
36. Andy Warhol. Ads on Building–185 Bowery, c. 1986. Four gelatin silver prints and thread, 21 × 27 in.	85
37. Andy Warhol. Brick Wall, c. 1976–86. Six gelatin silver prints and thread, 32 × 27 in.	95
38. Andy Warhol. Shadow on Sidewalk, c. 1976–87. Four gelatin silver prints and thread, 21 × 27 in.	97
39. Harry Callahan. Eleanor and Barbara, Chicago, 1954. Gelatin silver print, 5 × 5 in.	104
40. Harry Callahan. Eleanor, Chicago, 1951. Dye transfer print, c. 1980; 9 × 13 in.	105
41. Edward Steichen (photograph by Ezra Stoller). The Family of Man, exhibition at the Museum of Modern Art 1955. MoMA Installation.	109
42. Andy Warhol. Stuffed Gull, c. 1981–6. Four gelatin silver prints and thread, 27 × 21 in.	113
43. Christopher Makos. Pearls, 1995. Four gelatin silver prints and thread, 19 × 15 in.	119
44. Andy Warhol. Facade of Chinese Building, 1982–6. Four gelatin silver prints and thread, 21 × 27 in.	135

ACKNOWLEDGMENTS

This monograph owes much to the grace of many people, especially those who worked with me to create a successful dissertation, and later a book. First of all I thank my advisor and mentor Donald B. Kuspit and the other members of my dissertation committee, chairperson Nicholas Mirzoeff and readers Robert Harvey and Jonathan Katz.

   I am grateful to the community of dedicated professionals at the Andy Warhol Foundation, especially Timothy Hunt, who answered my numerous questions about the collections and made sure that I got the facts straight; Martin Cribbs who administered a lot of good advice over the years; Sally Nero-King, who during my many months of research in the foundation’s collections made sure that I had a space to work, always procured the resources that I requested, answered my queries, and taught me the meaning of the Kafkaesque; Valerie Chirgos, who was my human link to the photographs themselves; Scott Riker, who gave me much information about Warhol’s photographic equipment and publications pertinent to my research; and Jackie Ferrara who always put me in touch with the right people. Matthew Wrbican at The Andy Warhol Museum was very helpful in pinpointing useful information in the vast Warhol archive.

   My gratitude is given to Christopher Makos, who through telephone conversations, e-mail, and a studio visit gave me many recollections of his days spent with Warhol, of printing his photographs, and the inherent frustrations therein. Thanks also to Michele Loud, who spoke with me about her role in stitching these artworks. Benjamin Liu and Jay Shriver, Warhol’s studio assistants in the eighties, were wonderful in sharing anecdotes, facts, and other recollections. I would like to thank Lucia Siskin, the International Center for Photography librarian, who guided me through the holdings at that fine institution, including the invaluable clippings and ephemera files that she has prepared over the years. I would also like to thank the staff members of Cooper Union, Parsons, and New York University’s Bobst and Fales Libraries, as well as Peter Nesbit of the Busch-Reisinger Museum Study Center who offered his tremendous knowledge. Bruno Bischofberger, who was the first dealer to recognize Warhol’s photographic endeavors as fine art, was especially warm and approachable, especially as he helped me get the facts straight about the early photography editions published by his gallery.

   I would like to extend my appreciation to all of those who have discussed this project with me through its many permutations. I especially wish to acknowledge Douglas Beube, Michele Brody, Grace Elmaleh, Francis X. Ganis, R. Jay Magill, Tanja Maka, Valerie Moylan, Carolyn Oldenbusch, and Lynn Somers.

   My appreciation goes to my colleagues at Skidmore, Owings and Merrill, and Polshek Partnership who gave me their weekly encouragement, valued my undertakings at the firms and elsewhere, and included me in their teams despite my impossible schedule.

   I acknowledge my many students at the New York Institute of Technology, New York University, and Stony Brook University, who over the years have given me their fresh perspectives on and reminded me of what is relevant about Warhol, art history, and photography.

   Without the financial support of Stony Brook University, the Maurice M. Goldberger and Miriam H. Goldberger Fine Arts Fellowship, New York Institute of Technology’s Institutional Support of Research Grant, and the generosity of Gary and Evelyn Reich who gave me a place to write at the inception of the manuscript, this book would not have been possible.

   Many thanks go to the institutions and individuals who allowed me to reproduce images for free or at substantially reduced rates. These organizations and people include Ansel Adams Publishing Trust, Artists Rights Society, Art Resource, Esto Photographics, Ingrid Kranz, Laurence Miller Gallery, Makostudio, Pace/MacGill Gallery, and VAGA.

Of course, there is always one person that deserves the most thanks in the writing of a scholarly monograph. In my case that someone happens to be Julia Reich. She gave unconditional support and patience through this entire process, read and reread the many manuscripts generated in the writing of this book and always lent her wit, insight, and visual sensibilities. As I close this manuscript I look forward to the opening of another chapter in our lives.