Cover image for Andy
Makos, Christopher, 1948-
Personal Author:
Publication Information:
New York, NY : Assouline, [2001]

Physical Description:
1 volume (unpaged) : color illustrations ; 22 cm
Format :


Call Number
Material Type
Home Location
Item Holds
N6537.W28 M338 2001 Adult Non-Fiction Central Closed Stacks

On Order



For the first time since they were shot in 1981, the story behind Christopher Makos' Altered Images photographs of Andy Warhol is told. Makos has a history of recognizing trends, fashions, and social movements long before most others. His highly acclaimed book, White Trash, caught Warhol's eye and the two men began a friendship based on an ever-flowing exchange of ideas, inspiration and technical knowledge. Inspired by the famous photographs, "Rrose Selavy, " that Man Ray took of Marcel Duchamp in drag in 1921, Makos created a fresh and unique concept. Mixing elements of style, traditional gender cues, and mysterious sexuality, Makos went beyond portrait and photojournalism, giving a glimpse into the future of blurred gender and alternative drag. Evocative, intimate and campy, Andy is a true reflection of the uniquely creative and fertile collaboration between Makos and Warhol.

Reviews 1

Booklist Review

Warhol was a wily and prescient artist whose persona and work continue to yield surprising revelations. Clearly Warhol is a loaded subject for cultural critic Koestenbaum, the author most recently of Cleavage: Essays on Sex, Stars, and Aesthetics (2000). Intent on illuminating aspects of Warhol's life heretofore left in the shadows, he devotes much of his thickly argued, deeply psychological analysis to the self-obsessed artist's rarely seen films, a crucial aspect of his persistently controversial and misconstrued work. As he parses such outreyet deeply resonant creations as Blow Job (1964), Koestenbaum considers Warhol's radical approach to homosexuality, both in art and life; his inquiry into how the camera and later the tape recorder both violate and liberate; and his perception of the drama of repetition, stillness, and commercial iconography and the deceptions and disclosures of appearance. Koestenbaum's penetrating explication of the longings and fears, complex ironies and peculiar innocence, eroticism and search for transcendence that drive Warhol's work goes far in reaffirming Warhol's stature as a seer who understood the power of the image, the religion of fame, and the narcosis of consumerism. Koestenbaum writes at length about Warhol's fascination with doubling and the divide between inner and outer lives, an obsession outed in Makos' 1981 photographs of the artist in partial drag. Either wraithlike in faded jeans, white shirt, and tie, or regal wrapped in a white sheet, Warhol wears various women's wigs and starlet makeup, staring into the camera with an aging diva's pride and melancholy. In some shots, he holds a mirror, in one he balances a tape recorder on his lap--the tools of his trade. Ingrid Sischy ponders the paradox of Warhol's distinctive personality and chameleonlike aura, and Makos describes his collaboration with the artist-turned-model that resulted in images so unsettling they were kept under wraps for 20 years. Donna Seaman