Forelesning 13 8.April 2015

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Forelesning 13 8.april 2015 Yayoi Kushama (86) f. 22.03.1929 Jobbet med maleri, collage, skulptur, performance, miljøkunst-installasjoner. Hun viser interesse for psykedeliske farger, gjentagelse og mønster. Forløper for pop kunst, minimalistisk og feministisk kunst. Kusama påvirket samtidige kunstnere som Andy Warhol og Claes Oldenburg. Japans mest kjente kunstner. https://www.youtube.com/watch?v=4RegxhTu748 https://www.youtube.com/watch?v=Y61s499dOME https://www.youtube.com/watch?v=pz8yUaUQsQs https://www.youtube.com/watch?v=gD-2_MTqtYw Claes Oldenburg (86), f. 28.januar 1929 Stockholm Amerikansk skulptør, født i Stockholm, kjent for offentlige kunstinstallasjoner med veldig store kopier av hverdagsobjekter. Lagde også myke skulpturversjoner av dagligdagse gjenstander. Mange av hans verk ble utført i samarbeid med kona, Coosje van Bruggen, som døde i 2009 etter 32 års ekteskap. Oldenburg bor og arbeider i New York. https://www.youtube.com/watch?v=eB91flTprsI https://www.youtube.com/watch?v=27-b8LI0WjM Miljøkunst skulptur som skaper eller endrer miljøet for betrakteren, i stedet for å presentere seg selv. Robert Smithson, Spiral Jetty, 1969 Robert Morris, Observatorium, Nederland Richard Long, South Bank Circle http://www.richardlong.org/ miljøkunst-installasjoner Andy Wahrhol 6 August, 1928 –22 Februar, 1987 Pop art fra midten av 1950 årene i Storbritania og mot slutten av 1950 årene I USA http://www.biography.com/people/andy-warhol-9523875 Marilyn Diptych 1962 (Tate Gallery) Kiss (1963) Eat (1963) Sleep (1963) Screen Tests (1964–6) Andy Warhol Blow Job (1964) Batman Dracula (1964) eksperimentell film Empire (1964) Soap Opera (1964) Couch (1964) Taylor Mead's Ass (1964) Henry Geldzahler (1964) Harlot (1964) Vinyl (1965) Horse (1965) Space (1965) Camp (1965) Poor Little Rich Girl (1965) Beauty No. 1 (1965) Beauty No. 2 (1965) More Milk, Yvette (1965) The Life of Juanita Castro (1965) Kitchen (1966) Eating Too Fast (1966) The Velvet Underground and Nico: A Symphony of Sound (1966) Salvador Dalí (1966) Chelsea Girls (1966) Since (1966) The Andy Warhol Story (1966) I, a Man (1967) Bike Boy (1967) Four Stars**** (1967) Imitation of Christ (1967) Tub Girls (1967) The Nude Restaurant (1967) Lonesome Cowboys (1968) San Diego Surf (1968) Flesh (1968) Blue Movie (1969) Trash (1969) Women in Revolt (1970) Heat (1972) L'Amour (1973) Frankenstein (1973) Bad (1977) .

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Warhol, Andy (As Filmmaker) (1928-1987) Andy Warhol
Warhol, Andy (as filmmaker) (1928-1987) Andy Warhol. by David Ehrenstein Image appears under the Creative Commons Encyclopedia Copyright © 2015, glbtq, Inc. Attribution-Share Alike 3.0 Unported license. Entry Copyright © 2002, glbtq, Inc. Courtesy Jack Mitchell. Reprinted from http://www.glbtq.com As a painter Andy Warhol (the name he assumed after moving to New York as a young man) has been compared to everyone from Salvador Dalí to Norman Rockwell. But when it comes to his role as a filmmaker he is generally remembered either for a single film--Sleep (1963)--or for works that he did not actually direct. Born into a blue-collar family in Forest City, Pennsylvania on August 6, 1928, Andrew Warhola, Jr. attended art school at the Carnegie Institute of Technology in Pittsburgh. He moved to New York in 1949, where he changed his name to Andy Warhol and became an international icon of Pop Art. Between 1963 and 1967 Warhol turned out a dizzying number and variety of films involving many different collaborators, but after a 1968 attempt on his life, he retired from active duty behind the camera, becoming a producer/ "presenter" of films, almost all of which were written and directed by Paul Morrissey. Morrissey's Flesh (1968), Trash (1970), and Heat (1972) are estimable works. And Bad (1977), the sole opus of Warhol's lover Jed Johnson, is not bad either. But none of these films can compare to the Warhol films that preceded them, particularly My Hustler (1965), an unprecedented slice of urban gay life; Beauty #2 (1965), the best of the films featuring Edie Sedgwick; The Chelsea Girls (1966), the only experimental film to gain widespread theatrical release; and **** (Four Stars) (1967), the 25-hour long culmination of Warhol's career as a filmmaker.
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RICHARD AVEDON Murals & Portraits May 4 – July 6, 2012 B C A D Galleries: A) Andy Warhol and members of The Factory B) The Chicago Seven C) The Mission Council D) Allen Ginsberg’s family Murals: A) Andy Warhol and members of The Factory: Paul Morrissey, director; Joe Dallesandro, actor; Candy Darling, actor; Eric Emerson, actor; Jay Johnson, actor; Tom Hompertz, actor; Gerard Malanga, poet; Viva, actress; Paul Morrissey; Taylor Mead, actor; Brigid Polk, actress; Joe Dallesandro; Andy Warhol, artist, New York, October 30, 1969, printed 1975 Silver gelatin prints, three panels mounted on linen 123 x 374 1/2 inches (312.4 x 951.2 cm) AP 1/2, edition of 2 B) The Chicago Seven: Lee Weiner, John Froines, Abbie Hoffman, Rennie Davis, Jerry Rubin, Tom Hayden, Dave Dellinger, Chicago, Illinois, November 5, 1969, printed 1969 Silver gelatin prints, three panels mounted on linen 121 3/4 x 242 3/4 inches (309.2 x 616.6 cm) Edition 2/2 + 1 AP C) The Mission Council: Hawthorne Q. Mills, Mission Coordinator; Ernest J. Colantonio, Counselor of Embassy for Administrative Affairs; Edward J. Nickel, Minister Counselor for Public Affairs; John E. McGowan, Minister Counselor for Press Affairs; George D. Jacobson, Assistant Chief of Staff, Civil Operations and Rural Development Support; General Creighton W. Abrams, Jr., Commander, United States Military Assistance Command, Vietnam; Ambassador Ellsworth Bunker; Deputy Ambassador Samuel D. Berger; John R. Mossler, Minister and Director, United States Agency for International Development; Charles A. Cooper, Minister
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1 Bufferin Commercial Gary Needham Bufferin Commercial Refers in Its
Bufferin Commercial Gary Needham Bufferin Commercial refers in its title to a widely available brand of aspirin. The film is also typical of some of Warhol’s filmmaking practices in 1966 and, I will argue, anticipates Warhol’s philosophy on relations between business and art. In addition to offering some commentary on this relatively unknown film I also want to use Bufferin Commercial to explore some possible ways to explain and account for those filmmaking practices that Warhol described circa 1966 as being deliberately bad; Warhol pretended to be both incompetent and curious about the process of making films and even made a statement on network television advocating ‘bad camerawork.’1 Bufferin Commercial shouldn’t be confused with the other Bufferin (1966), the portrait film Warhol made in collaboration with Gerard Malanga and the subject of Jean Wainwright’s chapter in this volume. Bufferin Commercial is comprised of two 1200 foot thirty-three minute reels. The first reel is without sound (an unintentional accident) and the second reel has sound. There is some uncertainty surrounding the film’s projection history as being either a single screen 66 minute film, listed as 70 minutes in The Filmmaker’s Cooperative Catalogue No.4 (1967), or a double screen projection that would be 33 minutes in duration.2 It was filmed on Wednesday, 14 December 1966 with two cameras that ran simultaneously, one of them operated by Warhol and the other by Paul Morrissey. Bufferin Commercial’s absence from commentary on Warhol’s films may be due to it being one of the few of his sixties films that was an outside agency commission organised by Richard Frank from the Grey advertising agency in New York on behalf of the pharmaceutical company Bristol-Myers.
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Welcome to the Grand Strand Bike Week 2012! We are so glad that you are here. The weather is awesome and with gas prices so high, the bike is looking better every day. That's a great thing! So, get out and ride. $20 to fill a Harley! I want to thank Beaver Bar for the awesome cover. That's a great T-shirt, too. Take some home for souvenirs. Next, I want to thank Suck Bang Blow for the Centerfold; and Joye Napier and Risher lawfirm for the back cover. Hope you don't need them, but if you do, get the best! With that, lots of stuff to do, so let's get started! Spokes & Bones has Rick Derringer on the 18th. And lots of vendors, and some nice shady spots in the middle of all the Bike Week Events. Also HHI. Get some real cool wheels, handlebars, and brakes for your ride. Next, Full Throttle Saloon comes to Myrtle Beach at the House of Blues. Meet the cast and crew of the Full Throttle Saloon Show, and Jackyl on Saturday night for the grand finale. Also, bands all day Thursday, Friday and Saturday on the deck. Suck, Bang Blow – bands, bands, bands, contests, burnouts and wet t-shirt contests all day long. What more can you ask for?! Onward – Beaver Nation! At the Beaver Bars - Little, County and Junction. Rebel Son will be there – you've got to see. Special Bike Show on the 19th with the IMBB guys. Don't miss it. Next – tattoos. Go to Pitbull Tattoos voted best tattoo shop in Myrtle Beach four years in a row.
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Andy Warhol 12/28/07 10:26 PM
Andy Warhol 12/28/07 10:26 PM contents great directors cteq annotations top tens about us links archive search Andy Warhol Andrew Warhola b. August 6, 1928, Pittsburgh, Pennsylvania, USA d. February 22, 1987, New York, New York, USA by Constantine Verevis Constantine Verevis teaches in the School of Literary, Visual and Performance Studies at Monash University, Melbourne. filmography bibliography articles in Senses web resources When people describe who I am, if they don't say, 'Andy Warhol the Pop artist,' they say, 'Andy Warhol the underground filmmaker.' Andy Warhol, POPism Andy Warhol was not only the twentieth century's most “famous” exponent of Pop art but, “a post-modern Renaissance man”: a commercial illustrator, a writer, a photographer, a sculptor, a magazine editor, a television producer, an exhibition curator, and one of the most important and provocative filmmakers of the New American Cinema group of the early 1960s. (1) The influence of Warhol's filmmaking can be found in both the Hollywood mainstream film, which took from his work a “gritty street-life realism, sexual explicitness, and on-the-edge performances,” and in experimental film, which “reworked his long-take, fixed-camera aesthetic into what came to be known as structural film.” (2) At the beginning of the 1960s Warhol emerged as a significant artist in the New York art scene, his first Manhattan show – at the Stable Gallery in the fall of '62 – featuring Coca- Cola, Dance Diagram, Do It Yourself, Elvis, Marilyn and disaster paintings. In 1963 Warhol established a work space in a vacant firehouse – a hook and ladder company – on East 87th Street, and later that same year moved his studio to 231 East 47th Street, the space which came to be known as the Factory.
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Andy Warhol's Blow Job: Toward the Recognition of a Pornographic Avant-Garde
From Linda Williams (ed.) Porn Studies (Durham: Duke University Press, 2004), 431 – 460. Andy Warhol's Blow Job: Toward the Recognition of a Pornographic Avant-garde ARA OSTERWEIL Boredom is not far from bliss: it is bliss seen from the shores of pleasure. —Roland Barthes, The Pleasure of the Text * According to Andy Warhol, the first public screening of his 1963 film Blow Job occurred at Ruth Kligman's Washington Square Art Gallery, located at 530 West Broadway in downtown New York, in the fall of 1964 (Warhol and Hackett 1980, 79).' At Warhol's request, Kligman had invited some friends to the screening -a decision she later regretted.2 Although Jonas Mekas's Film Culture Non-Profit Organization sponsored the screening, the event remained unadvertised due to the recent seizures of sexually explicit experimental films and the costly and tedious legal battles that ensued. Only a few months before, in the spring of 1964, Mekas himself had been arrested in New York on obscenity charges for screening Jack Smith's sexually explicit film Flaming Creatures (1963) along with Jean Genet's Chant d'amour (1950) (James 1992, 11).3 Presenting Blow Job at a respectable art gallery was a practical attempt to elide the censors,4 but it also signified the tension between "high art" and "pornography" that structured cultural reception during the early sixties.5 By 1969, Blow Job would land in exhibition spaces more compatible with Warhol's own preference for prurience.6 At the peak of Warhol's fascination with the "beaver craze" that had moved east from San Francisco," Blow job was finally shown in movie theaters specializing in gay porn, with "the ad- monition to call the theater to find out its name" (Hoberman 1991, 182).
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Local men create this Register online generation's E.T. to be a Pistons FILTER • Bookmark your local community to view daily updates ball kid • Click and win free tickets _ Printable coupons www.hometownlife.com CANTON THURSDAY March 22, 2007 75 cents WINNERS OF OVER 100 STATEAND NATIONAL AWARDS SINCE 2001 wwwhometownhfe com Woman who lived with body linked to two other deaths BY TlFFANYL PARKS STAFF WRITER Canton and ;Dearborn pohce say It could Just be an eene comCI- dence that the woman dIscovered IlVlng WIth a corpse for three weeks m a Canton apartment was also the roommate of a Dearborn man that dIed of a drug overdose last year Even so, the mvestIgatIon mto the death of 33-year-old Chnstopher McCarthy has been reopened When he dIed May 10, McCarthy was hVIng m Dearborn WIth the same woman that hved WIth the dead body of19-year-old Ashley P,erce m Heathmoore Apartments for three weeks Pohce say foul play Isn t ev.dent m eIther death and prehmmary reports from P,erce s autopsy have mdlcated drugs could have been a factor A small amount of her om and drug paraphernalIa were dIscovered m the ranch-style apartment that Pierce and the woman shared for two months Throughout any mvestlgatIOn, you often find unusual comcl- PHOTOS BY BILL BRESLER ISTAFF PHOTOGRAPHER dences and sometImes they pan out mto somethmg more and Susan Torgersen and her neighbors are concerned about the Impact a proposed hospital will have on their residential neighborhood near Beck and Geddes sometImes they don't; Canton Pohce Sgt RIck PomorskI saId "Any conclusIOn
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Myrtlespring2016.Pdf
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