did. The two became close friends, collaborators and confidants for the last decade of Warhol’s life. Makos taught Warhol the art of photography and Warhol taught Makos the art of business, and together they created some of the most indelible and intimate portraits of the Pop artist.
The two artists met by chance at the Whitney Biennial in 1975. Makos remembered his surprise seeing Warhol in the flesh, thinking he had died after Valerie Solanas shot him in 1968. “I wasn’t star-struck,” says Makos, who is equally at home photographing hustlers, models, or luminaries like Debbie Harry,and Grace Jones.
“My first memories of shooting him were when I did the ‘Stand Up’ portraits. For me, he was just like everybody else that I photograph. They’re waiting for the director to tell them what to do. Everybody, no matter who it is, is waiting for you to tell them to look this way, to look up or down. When I photographed Elizabeth Taylor for Malcolm Forbes, she was the same way: waiting for her director to tell her what to do. Andy was a great subject because he was so white that he was like a canvas.
“The Altered Images series was Andy’s idea. He was looking for something that had artistic provenance. Marcel Duchamp and Man Ray did this project together,, and that inspired us. If you look at the original photos from the 1920s and what we did, it’s completely different but it laid the groundwork and direction we were going with. That series of photographs comes with five different wigs.
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