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Every month I had two pages to do whatever I wanted, and so with that, I’d always be looking to do something like what would be the theme of the month. These were published in February which is Valentine’s Day, and so I said, “Andy, when John comes over or Liza, I want you to kiss them, and then I’m going to publish them in the February issue.” So there is a story behind all my pictures, and they speak to my autobiography. The neat thing is a lot of people write their autobiography, and then they’ve got to go find the pictures. I already have the pictures. You just needed to tell the stories. Can you speak about the image with Andy Warhol with a red clown nose on? That one with the red nose. Well, that is when we were going to-- that’s pictures from Switzerland during Lent, and of course this was like all Catholics during Lent. They celebrate this episode some sort of wait, and we were at some party, and that’s a red plastic nose With the new series of Hilton Brothers Mako-Solberg and the series and the collaborations, are you digitally enhancing, or using traditional techniques. Can you speak about your process? One that they start at is single images and then because Paul Solberg was involved and I’m involved, we kind of mashed them up together. We have dialogue, and the images back and forth. We will sit in front of the computer together, and he will sit and play and do something. We’ve been collaborating for about 13 years, and our book the Tyrants and Lederhosen provide an inside view. It is much fun for me, and it’s so enjoyable because it has nothing to do with Andy. I mean, yeah, I do still sometimes bring him into the narrative. What are your thoughts about the Whitney exhibition on Andy Warhol? Do you feel it honors him? I think it’s an amazing show. Yeah. Oh yeah. He’d love it. I always tell people to get on the elevator, go to the top floor, and walk down. But the thing about the Whitney it’s so distracting, --with their beautiful outdoor verandas, there’s something distracting. Architect Renzo Piano’s building, is great. I love the building. It shows that people get to take a break from looking at art on those verandas, but sometimes I prefer the whole immersion. I know so much of Andy’s work - I love it. I have sent all my friends who don’t know everything about Andy because the exhibition is so comprehensive. Drawings, videos, field clips, and they did a good job. I mean, it’s hard to-- I think for that kind of a show you have to do all the hits for sure, then you have to notice the works that are not seen as the hits and then you see even the obscure. And then Andy has a lot of grand work like the Chairman Mao painting which stand to take over a whole room. Andy simply lives on with all of us now.

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Profile for Metropolitan Magazine

Metropolitan Magazine March 2019  

Metropolitan Magazine March 2019