Skyscrapers up close and personal
Reinhart Wolf interviewed by Andy Warhol, New York, April 30, 1980
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R.W.: And when the morning with the right weather finalIy arrived and my sleepy assistant dropped me off and parked the car leaving me with all those cases and tripods in a totally deserted street, I just prayed I wouldn't get mugged. And then on our difficult journey through revolving doors and into elevators we were always viewed with dark suspicion. People were down-right scared meeting us that early in the morning with what could easily have been the latest thing in machine-guns. But once you conquered all these obstacles and you got into position on the right roof and your picture was there in front of you-in the right distance with the right angle and the right sky,-it gave you such an overwhelming feeling of achievement and success-downright joy! It was like reaching the summit of Mount Everest.
A.W.: Reinhart, these buildings make me think of money.
R.W.: Yor are right. It's the good face of capitalism. It took time and money to build them. The men who erected Manhattan were the Medicis of America. They sponsored the best artists and craftsmen of their time and took adcantage of their talents. A marvellous and useful way of spending big money.
A.W.: Reinhart, do you only take photographs of buildings?
R.W.: No. I started by taking portraits of painters and sculptors in Paris. Then I went into advertising where I did everything from coffeebeans to airplanes. But I have always been interested in architecture, coming from a family of architects. And then ten years ago I started to photograph buildings which came to be like human faces for me.
A.W.: I think architecture and photography are the two big arts now. All the kids we know want to be either architects or photographers-or models. Why didn't you become an architect? Or a model?
R.W.: I like being behind the camera: I think it gives you more command. And as far as architecture is concerned, I would hate the idea of having to face my mistakes my whole life long! If I take a bad picture, I can just tear it up.
A.W.: How did you pick the buildings, Reinhart?
R.W.: With binoculars. I was looking for power, wit, and-for want of a better word-something a little camp.
A.W.: Did you shoot all day and all night?
R.W.: No, Andy, but it certainly occupied my mind night and day. I usually shot at dawn or dusk because I prefer the mood of the light at these hours.
A.W.: Reinhart, I think you're an artist. Do you?
R.W.: Let me put it like this, Andy: I took these pictures as an "amateur" in the purest sense of the word, derived from the Latin "amare", to love: I loved what I was doing. Of course my many years as a professional photographer have given me the skills, the patience and the discipline neede to create these photographs; but to answer your question: I think - perhaps - I am an amateur in love with art.
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R.W.: And when the morning with the right weather finalIy arrived and my sleepy assistant dropped me off and parked the car leaving me with all those cases and tripods in a totally deserted street, I just prayed I wouldn't get mugged. And then on our difficult journey through revolving doors and into elevators we were always viewed with dark suspicion. People were down-right scared meeting us that early in the morning with what could easily have been the latest thing in machine-guns. But once you conquered all these obstacles and you got into position on the right roof and your picture was there in front of you-in the right distance with the right angle and the right sky,-it gave you such an overwhelming feeling of achievement and success-downright joy! It was like reaching the summit of Mount Everest.
A.W.: Reinhart, these buildings make me think of money.
R.W.: Yor are right. It's the good face of capitalism. It took time and money to build them. The men who erected Manhattan were the Medicis of America. They sponsored the best artists and craftsmen of their time and took adcantage of their talents. A marvellous and useful way of spending big money.
A.W.: Reinhart, do you only take photographs of buildings?
R.W.: No. I started by taking portraits of painters and sculptors in Paris. Then I went into advertising where I did everything from coffeebeans to airplanes. But I have always been interested in architecture, coming from a family of architects. And then ten years ago I started to photograph buildings which came to be like human faces for me.
A.W.: I think architecture and photography are the two big arts now. All the kids we know want to be either architects or photographers-or models. Why didn't you become an architect? Or a model?
R.W.: I like being behind the camera: I think it gives you more command. And as far as architecture is concerned, I would hate the idea of having to face my mistakes my whole life long! If I take a bad picture, I can just tear it up.
A.W.: How did you pick the buildings, Reinhart?
R.W.: With binoculars. I was looking for power, wit, and-for want of a better word-something a little camp.
A.W.: Did you shoot all day and all night?
R.W.: No, Andy, but it certainly occupied my mind night and day. I usually shot at dawn or dusk because I prefer the mood of the light at these hours.
A.W.: Reinhart, I think you're an artist. Do you?
R.W.: Let me put it like this, Andy: I took these pictures as an "amateur" in the purest sense of the word, derived from the Latin "amare", to love: I loved what I was doing. Of course my many years as a professional photographer have given me the skills, the patience and the discipline neede to create these photographs; but to answer your question: I think - perhaps - I am an amateur in love with art.
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The Twin Towers of the World Trade Center
Emery Roth's Look Building, Madison Avenue