Factory: Andy Warhol Free
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Frick Fine Arts Library
Frick Fine Arts Library Art History: Warhol and His World Library Guide No. 31 "Qui scit ubi scientis sit, ille est proximus habenti." Brunetiere* Before Beginning Research FFAL hours: M-H, 9-9; F, 9-5; Sa-Su, Noon – 5 Policies: Food and drink may only be consumed in the building’s cloister and not in the library. Personal Reserve: Undergraduate students may, if working on a class term paper, ask that books be checked out to the “Personal Reserve” area where they will be placed under your name while working on your paper. The materials may not leave the library. Requesting Items: All ULS libraries allow you to request an item that is in the ULS Storage Facility at no charge by using the Requests Tab in Pitt Cat. Items that are not in the Pitt library system may also be requested from another library that owns them via the Requests tab in Pitt Cat. There is a $5.00 fee for journal articles using this service, but books are free of charge. Photocopying and Printing: There are two photocopiers and one printer in the FFAL Reference Room. One photocopier accepts cash (15 cents per copy) and both are equipped with a reader for the Pitt ID debit card (10 cents per copy). Funds may be added to the cards at a machine in Hillman Library by using cash or a major credit card; or by calling the Panther Central office (412-648-1100) or visiting Panther Central in the lobby of Litchfield Towers and using cash or a major credit card. -
Unobtainium-Vol-1.Pdf
Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more. -
The Life and Times of Penny Arcade. Matthew Hes Ridan Ames Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 "I Am Contemporary!": The Life and Times of Penny Arcade. Matthew heS ridan Ames Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Ames, Matthew Sheridan, ""I Am Contemporary!": The Life and Times of Penny Arcade." (1996). LSU Historical Dissertations and Theses. 6150. https://digitalcommons.lsu.edu/gradschool_disstheses/6150 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
NY ACKER Awards Is Taken from an Archaic Dutch Word Meaning a Noticeable Movement in a Stream
1 THE NYC ACKER AWARDS CREATOR & PRODUCER CLAYTON PATTERSON This is our 6th successful year of the ACKER Awards. The meaning of ACKER in the NY ACKER Awards is taken from an archaic Dutch word meaning a noticeable movement in a stream. The stream is the mainstream and the noticeable movement is the avant grade. By documenting my community, on an almost daily base, I have come to understand that gentrification is much more than the changing face of real estate and forced population migrations. The influence of gen- trification can be seen in where we live and work, how we shop, bank, communicate, travel, law enforcement, doctor visits, etc. We will look back and realize that the impact of gentrification on our society is as powerful a force as the industrial revolution was. I witness the demise and obliteration of just about all of the recogniz- able parts of my community, including so much of our history. I be- lieve if we do not save our own history, then who will. The NY ACKERS are one part of a much larger vision and ambition. A vision and ambition that is not about me but it is about community. Our community. Our history. The history of the Individuals, the Outsid- ers, the Outlaws, the Misfits, the Radicals, the Visionaries, the Dream- ers, the contributors, those who provided spaces and venues which allowed creativity to flourish, wrote about, talked about, inspired, mentored the creative spirit, and those who gave much, but have not been, for whatever reason, recognized by the mainstream. -
Anton Perich
ANTON PERICH Born near Dubrovnik, Croatia. Lives and works in New York SELECTED INDIVIDUAL EXHIBITIONS 2016 Painting in the Machine, Gallery 151, New York 2014 Electric Paintings 1978-2014, Postmasters Gallery, New York 2009 Akron Art Museum, Ohio 2008 Galleria Acquario, Rome Andy Warhol Museum, Pittsburgh Augen Gallery, Portland, Oregon 2007 Gallery DeNovo, Sun Valley Wouter van Leeuwen Gallery, Amsterdam Kasia Kay Projects, Chicago Queensland Art Museum, Australia 2006 Video Retrospective – Anthology Film Archives, New York Dorkbot NYC – Location One Soho, New York Fotografisk Center, Copenhagen Fondazione Triennale de Milano, Italy Video Movies – Ocularis, Brooklyn, New York Agnes b Gallery, London Agnes b Gallery, Tokyo Staley Wise, New York 2005 Istanbul Biannual – Istanbul, Turkey Agnes b Gallery, Paris Staley Wise, New York Photography – Gallerie du Jour, Paris Paintings and Video – Fischerspooner/Daitch, Brooklyn, New York Photography – Forografisk Center, Copenhagen Paintings – The Tank, New York Photography, Video, Paintings – Nikolaj, Copenhagen 2004 Video – Malmo Konsthall, Sweden Photography – Sperone Westwater, New York 2003 Photography – Sperone Westwater, New York 2002 Night Magazine – Malmo Konsthall, Sweden Neke Carson Presents – Gershwin Hall, New York Pittura Clandestina – Mentelanico, Italy 2000 Photography – Candace Perich Gallery, Katonah, New York Paintings – The Silo Gallery, New Milford, Connecticut Ecole Superieure des Beaux Arts, Marsaille The Gershwin Gallery, New York Neke Carson Presents – The Gershwin Hotel, New York 1999 Gnac-Inter/Prise – Paris 1998 Maison des Artistes – Cagnes-sur-Mer, France MA/13 – Gershwin Hotel, New York Video – Anthology Film Archives, New York 1997 Serge Sorokko Gallery, New York Serge Sorokko Gallery, San Fransisco 1996 La Quadriennale, Rome Mcgrath Gallery, New York Govinda Gallery, Washington, D.C. -
The Films of Andy Warhol Stillness, Repetition, and the Surface of Things
The Films of Andy Warhol Stillness, Repetition, and the Surface of Things David Gariff National Gallery of Art If you wish for reputation and fame in the world . take every opportunity of advertising yourself. — Oscar Wilde In the future everyone will be world-famous for 15 minutes. — attributed to Andy Warhol 1 The Films of Andy Warhol: Stillness, Repetition, and the Surface of Things Andy Warhol’s interest and involvement in film ex- tends back to his childhood days in Pittsburgh, Pennsylvania. Warhol was sickly and frail as a youngster. Illness often kept him bedridden for long periods of time, during which he read movie magazines and followed the lives of Hollywood celebri- ties. He was an avid moviegoer and amassed a large collection of publicity stills of stars given out by local theaters. He also created a movie scrapbook that included a studio portrait of Shirley Temple with the handwritten inscription: “To Andrew Worhola [sic] from Shirley Temple.” By the age of nine, Warhol had received his first camera. Warhol’s interests in cameras, movie projectors, films, the mystery of fame, and the allure of celebrity thus began in his formative years. Many labels attach themselves to Warhol’s work as a filmmaker: documentary, underground, conceptual, experi- mental, improvisational, sexploitation, to name only a few. His film and video output consists of approximately 650 films and 4,000 videos. He made most of his films in the five-year period from 1963 through 1968. These include Sleep (1963), a five- hour-and-twenty-one minute look at a man sleeping; Empire (1964), an eight-hour film of the Empire State Building; Outer and Inner Space (1965), starring Warhol’s muse Edie Sedgwick; and The Chelsea Girls (1966) (codirected by Paul Morrissey), a double-screen film that brought Warhol his greatest com- mercial distribution and success. -
Camp/Anti-Camp Program
18:00 19:00 CONCERT/DISCUSSION 21:00 LECTURE 22:45 PERFORMANCE OPENING HOLLY WOODLAWN DOUGLAS NARCISSISTER CAMP/ANTI-CAMP CLIPS 1 AROUND THE UNIVERSE WITH HOLLY WOODLAWN! CRIMP SUSANNE SACHSSE 23:30 PERFORMANCE THU * WITH JOHN BLUE (CELLO) AND DANIEL HEN- CAMP REFLECTIONS FROM AND MARC SIEGEL DRICKSON (PIANO)* SPECIAL GUEST TANGOWERK “OUR KIND OF MOVIE”: VAGINAL DAVIS WELCOME YOU TO * AND DISCUSSION WITH BRUCE LABRUCE THE FILMS OF ANDY CAMP/ANTI-CAMP VAGINAL DAVIS IS SPEAKING FROM THE DIAPHRAGM: APR. 19 WARHOL “WHAT WOULD HOLLY WOODLAWN DO?” 12:00 12:30 LECTURE DAILY AT HAU FILMS JULIANE REBENTISCH BOOKS & DVDs BY CAMP/ANTI-CAMP CAMP MATERIALISM B_BOOKS FRI APR. 20 CLIPS 2 DRINKS BY VOODOO CHANEL 14:00 LECTURE 15:00 VIDEO/PRESENTATION 16:00 LECTURE ALTAR BAR FOOD BY ELIZABETH LEBOVICI MAX JORGE NGUYEN TAN HOANG FOODGASM THE WELL OF HAPPINESS. BEVIS AND GEOFFREY HINDERER CRUZ TROPICAMP MALADIES: BAWA’S GARDENS ON JOSÉ PÉREZ OCAÑA SEX, CENSORSHIP, AND OVER-AESTHETICS NIGHTLY AT WAU THURSDAY DJ —WHAT IS TROPICAMP?— JIMMY TRASH/ 18:30 LECTURE LECTURE PERFORMANCE FILM MOHAIR SAM INTRODUCED AND MODERATED BY JUAN A. FREDERICO RG_ RESPECTABLE FRIDAY DJ MAX JORGE CREATURES DIAMANT SUÁREZ COELHO FALEIROS JACK SMITH TROPICAL TROPISM AND SATURDAY DJ HINDERER CRUZ PERFOMING THE TROPICS MY WALL FELL AND NOW, USA, 1950-1966, 24’ CAMP INVESTMENT BRUCE LABRUCE FILM – CARMEN MIRANDA AND TUPI OR NOT TUPI? AGRIPINA É ROMA MANHATTAN THE TROPICAL IMAGE HÉLIO OITICICA, 1972, 18’ THROUGH HÉLIO OITICICA * SPECIAL GUEST CESAR OITICICA FILHO 21:30 PERFORMANCE 22:00 PERFORMANCE CARMELITA TROPICANA VAGINAL DAVIS MEINE BOX BERLIN VAGINAL DAVIS IS SPEAKING FROM THE DIAPHRAGM: “JAYNE COUNTY’S IN LOVE WITH A RUSSIAN SOLDIER” FILMS AT ARSENAL MON, MAR. -
Wr: Mysteries of the Organism Beyond the Liberation of Desire
“THERE IS NOTHING IN THIS HUMAN WORLD OF OURS THAT IS NOT IN SOME WAY RIGHT, HOWEVER DISTORTED IT MAY BE.” WR: MYSTERIES OF THE ORGANISM BEYOND THE LIBERATION OF DESIRE Anarchism, crushed throughout most of the world by the middle of the 20th century, sprang back to life in a variety of different settings. In the US, it reappeared among activists like the Yippies; in Britain, it reemerged in the punk counterculture; in Yugoslavia, where an ersatz form of “self-management” in the workplace was the official program of the communist party, it appeared in a rebel filmmaking movement, the Black Wave. As historians of anarchism, we concern ourselves not only with conferences and riots but also with cinema. Of all the works of the Black Wave, Dušan Makavejev’s WR: Mysteries of the Organism stands out as an exemplary anarchist film. Rather than advertising anarchism as one more product in the supermarket of ideology, it demonstrates a method that undermines all ideologies, all received wisdom. It still challenges us today. up among his workers with his long hair, they would throw him out head first. Even after this debate, the Commission for Cinematography allowed the The struggle of communist partisans against the Nazi occupation provided film, but the public prosecutor banned it the following month. The ban the foundational mythos for 20th-century Yugoslavian national identity. was lifted only in 1986. After the Second World War, the Yugoslavian state poured millions into “I’ve been to the East, and I’ve been to the West, but it was never partisan blockbusters like Battle of Neretva and other sexless paeans to patri- 3. -
Raymond Macrino, “Jackie Curtis: the Victory Isn't Vain
"1IJIAUI Section 2. Poge5 .-- TheatreMacrino, Raymond. “Jackie Curtis: The Victory Isn't Vain.” The Herald: The lune 6. 1971 Manhattan News and Entertainment Weekly (6 June 1971): s.2, 5. Jackie Curtis: The victory isn't vai n • \/ y <01ttnb111,.,,, to "W<l•·tt,,-J .. .,,.,.. II ,,._,. f'#,_ lrQ·•. R eally sc 11tn1 in• de Jae.be C\lrtb • • wry d ilf k ull thmg: 10 do. JO muc.h scc:m1I0 be lud dcn and cnllttly 1naecetabl t. 11111 C'CnJtant tu ptNw ;arcnca o r c-0¥U'Onmcn1 al1d pmm cd tch cd u.lc matt 11 nollil to tmpot!Qble 10 enpac h lffl ,n :11convnwI10n o n one l' p,CICLfK po tt>I to, any more Oun • few bnd mo rnc-n1s Outwardly, Jacbe t« ffl J to be extrtmcly duordcrcd. bul tfltr sorne ~ roful ob9CAallOn 11 bc,comes quUe dear th:at he 1$ overloo t1n1 notblna anJ 1s wry c.a~ Je of c■ rrym1 on xwenl COI.\WJsahons aDd K l1•.t1Ct ~multaMOU:11)" J U'IUC) ftC lhal tS bow ht: aceomplllhtti IO much In such bn d hlM 1pan1. Rc«nlty, I t1oppe<I at Jacloc"s aparlment to act ,ome Informati o n from him Whde IJ-"lnl m~ the nccc.,p.ry d.ata, he alto eng,.acd mc ind tns ncJllt•haftd man . Denn■ Sp;a.Uuu1 In , con vtral lOn at tb t t;affft time ..-slcb"'f ""' Q)f'l'l fD(:rl.l\nt ·oa H o\rl fflO'rlC OD the tck:WdiOn., ma\:.1n,.coffee nd btu ldl.Jl and ct\\lfl& d,c.ed \0 1-0 OU\ "e.hanchon, hke lb• au 11,y •n<l far \n\o the me.ht, wo1lian1 on •n•n.y levels '-Ont.11nd1. -
Andy Warhol's Factory People
1 Andy Warhol’s Factory People 100 minute Director’s Cut Feature Documentary Version Transcript Opening Montage Sequence Victor Bockris V.O.: “Drella was the perfect name for Warhol in the sixties... the combination of Dracula and Cinderella”. Ultra Violet V.O.: “It’s really Cinema Realité” Taylor Mead V.O.:” We were ‘outré’, avant garde” Brigid Berlin V.O.: “On drugs, on speed, on amphetamine” Mary Woronov V.O.: “He was an enabler” Nico V.O.:” He had the guts to save the Velvet Underground” Lou Reed V.O.: “They hated the music” David Croland V.O.: “People were stealing his work left and right” Viva V.O.: “I think he’s Queen of the pop art.” (laugh). Candy Darling V.O.: “A glittering façade” Ivy Nicholson V.O.: “Silver goes with stars” Andy Warhol: “I don’t have any favorite color because I decided Silver was the only thing around.” Billy Name: This is the factory, and it’s something that you can’t recreate. As when we were making films there with the actual people there, making art there with the actual people there. And that’s my cat, Ruby. Imagine living and working in a place like that! It’s so cool, isn’t it? Ultra Violet: OK. I was born Isabelle Collin Dufresne, and I became Ultra violet in 1963 when I met Andy Warhol. Then I turned totally violet, from my toes to the tip of my hair. And to this day, what’s amazing, I’m aging, but my hair is naturally turning violet. -
Gay Gotham Exhibition Reveals How New Y... Underground Changed
OUTWARD EXPANDING THE LGBTQ CONVERSATION NOV. 2 2016 1:42 PM Gay Gotham Reveals How a City’s Queer Underground Changed American Culture By Miz Cracker From left: Whitney Elite, Ira Ebony, Stewart and Chris LaBeija, Ian and Jamal Adonis, Ronald Revlon. House of Jourdan Ball, New Jersey, 1989. Chantal Regnault Last month, The Museum of the City of New York mounted Gay Gotham, an exhibition that tells the story of New Yor k City’s thriving and influential queer cultural underground. Encompassing more than eight decades of history, Gay Gotham gathers a rt works, printed matter like novels and newsletters, and other ephemera to reveal how queer artists and queer social networks have impacted the cultural landscape of both the city and America more broadly. Presenting period-specific maps and documentary photographs, the exhibition locates and draws connections between queer icons and the “gayborhoods” they called home, allowing us to contemplate how past generations of LGBTQ people carved out a space for the queer culture we take for granted today. I spoke with co-curator Stephen Vider about Gay Gotham, specifically why the exhibition focuses on the years between 1910 and 1995. Why not include the present moment of queer visibility, in which New York City is certainly an important player? For Vider and co- curator Donald Albrecht, there was someth ing more powerful in exploring the period when gay culture was less visible, forced underground—but still somehow shaping American life. DYKE, A Quarterlyflyer, design by Liza Cowan. 1974. Liza Cowan and Penny House Advertisement “We decided to begin in 1910, the moment when you really start to see the emergence of queer communities in two neighborhoods in New York—Greenwich Village and Harlem,” Vider explained. -
Horses”—Patti Smith (1975) Added to the National Registry: 2009 Essay by Kimbrew Mcleod (Guest Post)*
“Horses”—Patti Smith (1975) Added to the National Registry: 2009 Essay by Kimbrew McLeod (guest post)* Original album Original label John Cale “Jesus died for somebody’s sins / but not mine,” Patti Smith growled during the opening lines of “Horses,” the first album to emerge from New York City’s punk scene. Released at the end of 1975, it can best be understood by surveying the panorama of influences that shaped its creation: first and foremost, the overlapping underground arts scenes in downtown New York City during the 1960s and 1970s. While “Horses” seemed to emerge fully formed from the mind of a brilliant lyricist and musician, it was also very much the product of an environment that enabled Smith to find her voice. Growing up in a dreamworld filled with poetry and rock ’n’ roll, Smith first fell for Little Richard while living in New Jersey, which introduced her to the idea of androgyny. At age 16, she came across a copy of “Illuminations” by 19th-century French poet Arthur Rimbaud, which expanded her aesthetic horizons. By spring 1967, she graduated from high school and was doing temp work at a textbook factory in Philadelphia, which inspired her early poem-turned-song “Piss Factory,” about having her face shoved into a toilet bowl by bullying coworkers. Smith plotted her escape to New York City, where she landed a much more rewarding job at Brentano’s bookshop and also met Robert Mapplethorpe, who eventually photographed the iconic “Horses” album cover. She and Mapplethorpe became lovers and moved into the Chelsea Hotel, where Smith cultivated social connections that led her to become a performer in underground theater productions around town.