One of my favorite people from the old days at AIGA was Nathan Gluck. I never quite understood Nathan’s role. He seemed to be the archivist and keeper of the stories of AIGA’s history. When I met him, he must have been in his 70s. Nathan was like your friendly uncle who knew all the family gossip. When I’m older, I plan on writing a tell-all book. By then everyone Nathan gossiped about will be long gone, and I won’t care if everyone hates me.
We were all star-struck by the fact that Nathan worked with Andy Warhol on his shoe drawings. It was hard to imagine lovable and disheveled Nathan as part of the beautiful people Factory scene, but there you have it. Long before Warhol became a pop icon, he worked as an illustrator. He won awards from the Art Directors Club, and illustrated pieces for AIGA. In the mid-1950s, Warhol made most of his income with shoe illustrations for I. Miller. When he started, the shoes were represented faithfully. As the work evolved, they became increasingly fanciful. Nathan worked for Warhol as an assistant. He drew the shoes, and then Warhol made corrections and refined the illustrations.
In 1955, Warhol published a self-promotional portfolio, A la Recherché du Shoe Perdu. The portfolio capitalized on the increasing fame of the shoe illustrations and combined a shoe poem by Ralph Pomeroy. Warhol’s mother handwrote the poems in a careful and ornate script. When she became too ill to continue, Nathan took over, imitating the style perfectly. I spend a great deal of time explaining that reality is irrelevant, perception is everything. In other words, it doesn’t matter what a shoe actually looks like. That it is presented powerfully and dynamically is more important.