framed polaroids hung up on a wall
framed polaroids hung up on a wall

Andy Warhol’s polaroids framed at Bar Nineteen12 at The Beverly Hills Hotel

To be a fly on the wall at Studio 54, privy to Hollywood glamour and New York nightlife, during Warhol’s heyday is now closer than ever. The largest private photography collection of its sort is currently adorning the walls of the context-appropriate Beverly Hills hotel. LUX speaks to the art curator of The Beverly Hills Hotel and Hotel Bel-Air, Jim Hedges, to find out more about the curation and selection of images

The collection, belonging to James R. Hedges consists of photographic still life moments and memories of Warhol’s innermost circle of confidants and collaborators, from Jerry Hall to Grace Jones, and will now reside on the walls of Bar Nineteeen12, which has reopened just in time to celebrate the Hotel’s 110th anniversary taking place this year.  

The photos taken by his infamous Polaroid and a unique 35mm black and white silver gelatin print, are not only ‘behind the scenes’ moments of a star-studded life, but works of art in their own right that fit in a Warholian canon. From his use of photo appropriation from Hollywood stills in the 50s to use of a Times Square Photo Booth in the 60s, these photographs are decidedly closer to the artist’s hand than in previous snapshots.

Jerry Hall and Grace Jones black and white photo

Jerry Hall and Grace Jones are shown together at the Palladium night club in New York in May 1985. Image courtesy of Hedges Projects, Los Angeles. © The Andy Warhol Foundation for the Visual Arts

LUX: How did you find the challenge of curating in a space which does not have a sole artistic purpose such as a traditional gallery does?
JH: Art can be experienced in a variety of venues, and white box galleries are often sterile, intimidating and unwelcoming. Showcasing Andy Warhol’s works in a more residential, human-scale environment creates a more initiated engagement with the work and animates the space even more.

LUX: You will have so many people passing through the Bar, how does the curation urge them to slow down and enjoy the photographer?
JH: Each wall is installed with different themes and subjects, such that the visitor is taken on a journey into Andy Warhol’s world of celebrity, Studio 54, his own studio, The Factory, and organized by venues and subject themes.

black and white photo of a topless man sitting with another man at a table

Andy Warhol with Ronald Perelman at the Beverly Hills Hotel, circa 1985. Image courtesy of Hedges Projects, Los Angeles. © The Andy Warhol Foundation for the Visual Arts

LUX: How did you select the images from the large Hedges IV Collection of Andy Warhol Photography?
JH: I wanted to offer an encyclopedic survey of Warhol’s photograph oeuvre and pulled works which spoke to the best of his images and subjects and were relevant to The Beverly Hills Hotel in some manner.

LUX: Warhol is perhaps not as widely known for his photography; do you think the presentation of this collection will amplify this medium in his pop culture canon?
JH: Warhol was above all else a photographer. He used a camera from the time he was a child and nearly every painting or print he made in his career began as a photographic image, such as Hollywood publicity shots, newspaper images, or polaroid’s he took of his subjects at The Factory. Warhol’s first gestures as an artist were with a camera, and the final exhibition of his life was of photography.

A woman with short brown hair and a fringe wearing a white blouse

Carol Burnett, 1978. Image courtesy of Hedges Projects, Los Angeles. © The Andy Warhol Foundation for the Visual Arts

LUX: How can these photographs give us a greater insight to Warhol as an artist, and further the wider social scene at the time?
JH: The works provide a survey of Warhol’s photography practice over the course of nearly 30 years giving us insights to his art making process, his social circles, his travels and his singular ability to identify iconic imagery.

LUX: Is there a photograph that defines the artist and the collection for you?
JH: The expansive breadth and depth of Warhol’s subjects show that there is truly a Warhol for everyone. His photography practice is so diverse that it defies limited definitions.

The exhibition is free and open to the public Tuesday – Saturday between 3pm and 11pm in Bar Nineteen12, at The Beverly Hills Hotel

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Reading time: 3 min
Gallery exhibition of art
artworks hanging on wall

Installation view of ‘Works on Paper’ by Peter Schuyff at Carl Kostyál Gallery, London

Peter Schuyff was a central figure in New York’s East Village scene in the 1980s, where he worked for a period at Studio 54, sitting for Andy Warhol and living in the historic Chelsea Hotel. Over the years, his artistic language has evolved from loose figuration to abstraction. Following the opening and subsequent suspension of two consecutive exhibitions at White Cube, Masons’ Yard and Carl Kostyál, London, Nick Hackworth speaks to the artist about lockdown, nothingness and Sylvester Stallone

LUX: So, how’s the apocalypse going for you?
Peter Schuyff: Well, I’ve run out of pencil lead unfortunately. I’ve started work on this very obsessive project and I was using a rather specialised pencil and half-way through I ran out of lead and I can’t think of a single place where I might get more…. I’ve been working on these samplers. It’s what I often do when I get frustrated, or right after a big show. I sit down and make these very obsessive renderings that are like a smorgasbord or a sampler of all my oeuvres.

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LUX: Like the one you had in your show at Carl Kostyál Gallery a few years back?
Peter Schuyff: Yes, that one was called Plato Combinato. That’s a really good example. At the moment, I’m making a portrait of the show that I have at the White Cube.

Abstract artwork on wall

Plato Combinato (2010), Peter Schuyff

LUX: Why do you think you tend to do these sampler works after completing shows? Are you visually cataloguing or processing the shows?
Peter Schuyff: Yeah, I’m visually cataloguing the show I guess, just so I can see it clearly. I’ve always had a fascination with pictures of pictures, whether it’s in 17th Dutch paintings where you often see paintings hanging in the background or in those preposterous 18th century paintings of salons. I’ve often commissioned friend to make drawings or paintings of my drawings and paintings. They help me see my own work a little bit clearer.

LUX: I managed to catch your show just before it got locked-down along with the rest of the world. It’s stunning, so congratulations, but commiserations on the timing. How are you feeling about it all?
Peter Schuyff: It hurts, of course. I’ve been looking forward to this for a couple of years now and I guess I was expecting the show to be a liminal moment for me, y’know? With a before and after. Somehow, that before and after thing has been taken away a bit. But if it would have been a show of new paintings, I think I would have been really destroyed.

Read more: Art photographer Senta Simond on the female image

LUX: Because of all the labour you would have invested in the work?
Peter Schuyff: No, no, it’s not the invested labour, it’s about momentum. When I show new paintings, they’re paintings I want to show now, not later. Do you know what I mean? Whereas these painting were shown last year (in a touring show at Le Consortium, Dijon and Fri Art, Fribourg) and many people know them already, so it doesn’t feel quite as much of a loss.

LUX: What’s it like walking into a show of your works from three to almost four decades ago? Do you still feel connected to the paintings?
Peter Schuyff: I’m really impressed by them! I’m impressed that I was young and handsome [laughs] and so I could afford not to give a shit, which is a great recipe for making paintings! Today, I’m old and cynical so I have another way of not giving a shit, which enables me to make really clean and clear paintings and I love that. There was a lot of time in between where I couldn’t do that. When I see these works I always surprised at how big they are and how much balls I had. My God! Especially the paintings at White Cube, the audacity I had.

Gallery exhibition of art

Installation view from ‘Works on Paper’ by Peter Schuyff at Carl Kostyál Gallery, London

LUX: We’ve talked over the years and you’ve always said your paintings are ‘about nothing’. Is that how you thought about the paintings when you were making them back in the 80s?
Peter Schuyff: Yeah, I did. A teacher of mine in Vancouver, Michael Morris, used to talk about the problem of nothing. I guess it was almost a spiritual principle of work not needing to be about something. When I got to New York, that came more naturally, but I always talked about my work in this way and it’s always been an issue. When I showed in Germany in the mid-80s, I remember a lot of the German artists being mystified by how little was there was going in the work.

LUX: In your other show at Carl Kostyál, you’re showing several of your 80s watercolour works, which I love. I’ve been trying to get my head around how you achieve the precise gradations of colour and shade in them?
Peter Schuyff: So, I’ll answer it this way. That great big painting downstairs at White Cube, the one with the prism of colours, it’s a ten-foot-square canvas, and it’s broken up into one-inch units, and I made that with a four-inch brush with a round bristle. So knowing that, you should be able to figure out how I made them… It’s the same with those watercolours. Those watercolours were broken up into little squares that are about a half a centimetre squared or something? There’s no way I’m going to pay attention to each of those little squares.

watercolour artworks hanging on wall

Both Untitled (1990), watercolour on paper, Peter Schuyff at Carl Kostyál Gallery, London

LUX: Well, it’s a very effective trick then, because the apparent precision is amazing in those works.
Peter Schuyff: And just like a good magic show, it’s all about engineering.

Read more: Boundary-breaking artist Barbara Kasten on light & perception

polaroid of two men and a woman

Peter Schuyff with Sylvester Stallone and Brigitte Nielsen

LUX: In the book accompanying ‘Works on Paper’, there’s picture of you with Brigitte Nielsen and Sylvester Stallone. I gather Stallone is a bit of a collector?
Peter Schuyff: Oh yeah, a very sensitive collector. One time that I remember particularly was when Sylvester came to my house. I had all these Louis M Eilshemius paintings on the wall and Sylvester walks in and – I can’t do a Stallone impression, I wish I could –  says, ‘Oh my God, you have all these Louis M Eilshemius paintings!’ He knew exactly who Louis M Eilshemius was despite him being a totally obscure American cultural presence in the 1910s and 1920s. I was so impressed. Sylvester was so well read about American art from the early 20th century, The Ashcan School period and so on. He was so smart. Another time we met in Los Angeles and he gave me a tour of the post-production set of Rocky and I met Apollo Creed, which is the guy he fights at the end of the film.

LUX: Sounds like an interesting time.
Peter Schuyff: Well, it was different. When I first showed up in New York there was this idea of the underground. It was about glamour that was absolutely free. All you had to be was some kind of fabulous. It didn’t matter what kind.

Peter Schuyff’s exhibitions ‘Works on Paper’ at Carl Kostyál Gallery, London and ‘In Focus’ at White Cube, Mason’s Yard, London both opened in March 2020 and are currently suspended due to Covid-19. For further updates visit: kostyal.comwhitecube.com

Nick Hackworth is the Director of Modern Forms, a contemporary art collection and platform founded by British financier, Hussam Otaibi. For more information visit: modernforms.org

 

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Reading time: 6 min