'We would had these lunches at 860 Broadway where we’d just mix people up. Maybe there’d be a couple big art stars, maybe dancers, musicians, opera singers, some advertisers.'
days during 1984-1992 as part of Andy Warhol’s cadre of downtown characters. In, there’s a table with Debbie Harry, Stephen Sprouse, and LaTasha Jordan forking peas. InBeulah Land
, she collects photos from her show at the East Village art bar, which documents the raucous inner sausage-making of the magazine. Currently, her photos can be seen on display in Gucci’s Wooster Street flagship store.about Basquiat’s ice cream cones, Warhol’s oranges, and how it all started with elephant manure.PAIGE POWELL: I’m from Portland, Oregon, and some friends of mine there subscribed toMagazine.
860 Broadway, right off Union Square. And it was really scary back then, there were daily shootouts. This was 1980. It was serendipitous that one of Andy’s technical assistants opened the door for me because they had this bulletproof glass door, and glass windows, and it was right after a deadline, so he asked me, “Who are you here to see?” And I said “Oh, um… I came to apply for a job atat the time. I was like, “I would like to do interviews.” And they go “Oh, no. We don’t do them.
POWELL: It changed like eleven sizes by the time it was 1990. We kept changing sizes because the newsstand would say people aren’t gonna buy it because it’s not gonna fit in. I loved that the paper was newspaper-like, matte and porous. There’s more grain in the paper and when you put ink into it, if it’s black and white it’s stronger because the dot gain is higher. It’s not too precious. It’s egalitarian.POWELL: Well, I had quite a few.
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