Skyscrapers up close and personal
Reinhart Wolf interviewed by Andy Warhol, New York, April 30, 1980
Page [1] [2]
A.W.: Reinhart, why did you do New York instead of Hollywood? I like Hollywood better.
R.W.: I can understand that, Andy, but you must admit that Hollywood is sort of flat-and I like tops. I really feel that the tops of New York's skyscrapers express the strength and the spirit of America. New York inspires me-the skyscrapers are like phaIlic symbols of fertility. I wanted to capture these buildings before they disappear. Now construction is going on everywhere I look. Many of the buildings I've wanted to photograph have already been demolished.
A.W.: You make New York look so different: all mixed-up.
R.W.: New York is mixed-up! The confusion of styles can even be mad and dynamic! And it is exactly this which demonstrates the creative power of the city. And besides-something is really certain, I think: the people who erected these buildings were all trying for one thing: to defy the stars!
A.W.: Why did you do these photographs? Was it an assignment for a magazine?
R.W.: Actually it was an assignment. It was the idea of a friend of mine, Thomas Hopker, editor of GEO magazine. We were looking at buildings from his office window on the 33rd floor on Park Avenue when he said: "Reinhart, just take a look at these delightful pinnacles, and to think that hardly anybody ever even notices them! Why don't you photograph them for us?" And this I did.
A.W.: Are these photographs for everybody or just architects?
R.W.: For everybody, of course! I wanted to open people's eyes, to get them to look up. And I hope I've succeeded. Everybody who has seen these photographs so far walks around New York trying to find more. People might begin noticing small details and also grasp the whole in new and surprising ways. The beauty of all that architecture really leads to discoveries, almost like new trips!
A.W.: It must have been very difficult to take these pictures. I don't think I could take them.
R.W.: Well, it was hard work. I used a big 8 by 10 camera so as to capture the smallest detail with the greatest possible precision, and I used a long focal-length lens supported by two heavy tripods, sometimes-when there was wind-even anchored in position with rocks. In addition my assistant and I had to carry five heavy cases with all the necessary equipment However, the most difficult thing was to persuade people to let us on to their roofs, even to just have a look. I spent hours, sometimes days convincing doormen, building managers, superintendents and tenants that my intentions were legltimate. And then the shock when I said 5 a.m.! That's when we usually started setting up to catch the first rays of the beautiful morning light. And the endress pleadings and checking that certain lights be turned on in the buildings heing photographed!
Page [1] [2]
Page [1] [2]
A.W.: Reinhart, why did you do New York instead of Hollywood? I like Hollywood better.
R.W.: I can understand that, Andy, but you must admit that Hollywood is sort of flat-and I like tops. I really feel that the tops of New York's skyscrapers express the strength and the spirit of America. New York inspires me-the skyscrapers are like phaIlic symbols of fertility. I wanted to capture these buildings before they disappear. Now construction is going on everywhere I look. Many of the buildings I've wanted to photograph have already been demolished.
A.W.: You make New York look so different: all mixed-up.
R.W.: New York is mixed-up! The confusion of styles can even be mad and dynamic! And it is exactly this which demonstrates the creative power of the city. And besides-something is really certain, I think: the people who erected these buildings were all trying for one thing: to defy the stars!
A.W.: Why did you do these photographs? Was it an assignment for a magazine?
R.W.: Actually it was an assignment. It was the idea of a friend of mine, Thomas Hopker, editor of GEO magazine. We were looking at buildings from his office window on the 33rd floor on Park Avenue when he said: "Reinhart, just take a look at these delightful pinnacles, and to think that hardly anybody ever even notices them! Why don't you photograph them for us?" And this I did.
A.W.: Are these photographs for everybody or just architects?
R.W.: For everybody, of course! I wanted to open people's eyes, to get them to look up. And I hope I've succeeded. Everybody who has seen these photographs so far walks around New York trying to find more. People might begin noticing small details and also grasp the whole in new and surprising ways. The beauty of all that architecture really leads to discoveries, almost like new trips!
A.W.: It must have been very difficult to take these pictures. I don't think I could take them.
R.W.: Well, it was hard work. I used a big 8 by 10 camera so as to capture the smallest detail with the greatest possible precision, and I used a long focal-length lens supported by two heavy tripods, sometimes-when there was wind-even anchored in position with rocks. In addition my assistant and I had to carry five heavy cases with all the necessary equipment However, the most difficult thing was to persuade people to let us on to their roofs, even to just have a look. I spent hours, sometimes days convincing doormen, building managers, superintendents and tenants that my intentions were legltimate. And then the shock when I said 5 a.m.! That's when we usually started setting up to catch the first rays of the beautiful morning light. And the endress pleadings and checking that certain lights be turned on in the buildings heing photographed!
Page [1] [2]
Reinhart Wolf interviewed by Andy Warhol. Photo: Henry Wolf
Photo: Geoff Juckes