This is a book of photographs and profiles of his friends by Andy Warhol. Andy Warhol's friends are the stars of rock, fashion, film, society, sports, politics. My idea of a good picture, writes Warhol, is one that's in focus and of a famous person doing somehting unfamous. It's being in the the right place at the wrong time. Only Andy Warhol could be in so many right places at so many wroing times, and only Andy Warhol could bring together these 360 good pictures, presenting a unique view of contemporary celebrity life by the most contemporary celebrity of all.

After the artist's death, The Andy Warhol Museum became the repository for numerous Time Capsules, along with some of the paintings, prints, sculptures, photographs, and films for which Warhol is best known. For this project, the museum has gathered together the highlights of its collection to create a book that is as comprehensive as its holdings.

The impact of Andy Warhol on contemporary culture is incalculable. A pioneer in virtually every media in which he worked, Warhol also has a lesser-known hand in such contemporary staples as reality TV, computer art, and the rock-gig light show. In the wake of dedicated Twitter feeds today that easily adapt his short epithets or 'Warholisms' into 140-character snippets, Andy Warhol's cultural relevance seems only to grow in the 21st century. This title brings together notable writers who have examined the influence and legacy of Warhol's life and work.

Essays by John W. Smith, Mario Kramer and Matt Wrbican. Introduction by Thomas Sokolowski and Udo Kittelmann.

Starting in 1976, Andy Warhol shot several rolls of film every week and selected images for his book Andy Warhol's Exposures, published in 1979. He had intended to title it Social Diseases but his concept was heavily watered down by his publishers at the time and many of the selected images were removed. This book presents the previously unpublished and unexhibited photographs, over 70 unique vintage black and white photographic prints, that Warhol originally selected for his book. It has been edited and introduced by Bob Colacello, who was also executive editor of the original book. "There is a sense of intimacy as well as of voyeurism, of funny-looking, insecure, wistful Andy, through flattery and attentiveness, trying to connect. Yet, because he was not just any photographer but a famous artist, a star, there is often a sense that the looking is being done at the man with the camera as well as by him. In some cases, the subjects are clearly performing for their fellow luminary, or close friend, or boss. As spontaneous as these images may seem, they are intrinsically staged, with Warhol himself as both chronicler and catalyst of the moments he is documenting. And what moments they are! Only Andy could get David Hockney in extra-brief running shorts, or Susan Sontag batting her eyelashes across a fancy restaurant table at Gloria Vanderbilt, or Halston's Venezuelan window dresser and lover, Victor Hugo, sitting under Goya's Red Boy in Kitty Miller's Park Avenue parlor .... " (Bob Coacello)

Halston was the defining American fashion designer of the 1970s. Just as his friend Andy Warhol challenged the canon of high art, Halston democratized fashion with elegant and urbane ready-to-wear clothes

Andy Warhol's daily practice of photography during the last decade of his life, examined and documented for the first time. “A picture means I know where I was every minute. That's why I take pictures.” —Andy Warhol From 1976 until his death in 1987, Andy Warhol was never without his camera. He snapped photos at discos, dinner parties, flea markets, and wrestling matches. Friends, boyfriends, business associates, socialites, celebrities, passers by: all captured Warhol's attention—at least for the moment he looked through the lens. In a way, Warhol's daily photography practice anticipated our current smart phone habits—our need to record our friends, our families, and our food. Warhol printed only about 17 percent of the 130,000 exposures he left on contact sheets. In 2014, Stanford's Cantor Center for the Arts acquired the 3,600 contact sheets from the Warhol Foundation. This book examines and documents for the first time these contact sheets and photographs—Warhol's final body of work Peggy Phelan and Richard Meyer analyze the contact sheets, never before seen, and their importance in Warhol's oeuvre. Accompanying their text and other essays are reproductions of contact sheets, photographs, and other visual material. The contact sheets present Warhol's point of view, unedited; we know where he was every minute because a photograph remembers it. Copublished with the Cantor Arts Center

Contains color artwork by Andy Warhol.

Uses simple text and examples of Andy Warhol's art to teach young readers about color and art.