DOCSLIB.ORG

The Creative Feud of Andy Warhol: a Philosophy of Communication Ethics”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Creative Feud of Andy Warhol: a Philosophy of Communication Ethics” Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 5-11-2018 The rC eative Feud of Andy Warhol: A Philosophy of Communication Ethics Sarah DeIuliis Follow this and additional works at: https://dsc.duq.edu/etd Part of the Rhetoric Commons Recommended Citation DeIuliis, S. (2018). The rC eative Feud of Andy Warhol: A Philosophy of Communication Ethics (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1446 This One-year Embargo is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. THE CREATIVE FEUD OF ANDY WARHOL: A PHILOSOPHY OF COMMUNICATION ETHICS A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Sarah M. DeIuliis May 2018 Copyright by Sarah M. DeIuliis 2018 Sarah M. DeIuliis “The Creative Feud of Andy Warhol: A Philosophy of Communication Ethics” Degree: Doctor of Philosophy February 23, 2018 APPROVED ______________________________ Dr. Ronald C. Arnett, Dissertation Director Professor Department of Communication & Rhetorical Studies APPROVED ______________________________ Dr. Janie M. Harden Fritz, First Reader Professor Department of Communication & Rhetorical Studies APPROVED ______________________________ Dr. Craig Maier, Second Reader Assistant Professor Department of Communication & Rhetorical Studies APPROVED ______________________________ Dr. Ronald C. Arnett, Chair Department of Communication & Rhetorical Studies APPROVED ______________________________ Dr. James C. Swindal, Dean The McAnulty College and Graduate School of Liberal Arts iii ABSTRACT THE CREATIVE FEUD OF ANDY WARHOL: A PHILOSOPHY OF COMMUNICATION ETHICS By Sarah M. DeIuliis May 2018 Dissertation supervised by Professor Ronald C. Arnett The Creative Feud of Andy Warhol: A Philosophy of Communication Ethics begins with the assumption that the current historical moment is defined by Gilles Lipovetsky’s philosophical project known as hypermodernity. The dominant paradigm of hypermodernity, as consumption and commodity culture, elicits particularity of embedded responsiveness situated within history. Ronald C. Arnett and Pat Arneson contend that communication ethics are “value-laden philosophies of communication” uniting background narratives with foreground communicative practices (Philosophy xi). This dissertation positions Andy Warhol as a hypermodern communicative prophet. Through his life, works, and human communication, Warhol utilized art to communicate embedded ethical questions, responding to his historical moment before culture and society recognized the values inherent within the communication between and among iv others. This project offers Warhol as an exemplar of hypermodernity, arguing that Warhol contributes to the field of communication by living historically, granting access to emergent ethical questions requiring attentiveness and interpretation in and through philosophy of communication ethics. v DEDICATION I dedicate this dissertation in loving memory of my grandparents, Ruth E. Beck, Kenneth E. Beck, and Michael J. Flinko. As they did in life, their spirits have continued to light and to guide my way. vi ACKNOWLEDGEMENT I begin with my family, without whom I would not have had the courage and the tenacity to dedicate myself to the pursuit of my passions and dreams. I could not adequately thank my mother and father, Jeannie and Dennis Flinko, enough for a lifetime of love, support, and encouragement. My sister, Kelsey Flinko, has always walked shoulder to shoulder with me in all of my endeavors. Her compassion and spirit energizes me everyday. To my grandmother, Adeline Flinko, I thank you for your endless support, your faith in me, and your strength and determination that so inspire me. I cannot thank my committee adequately for the intellectual support and sustaining conversations that resulted in this dissertation project. To Dr. Craig T. Maier, I offer my sincere thanks and appreciation for your encouragement, words of wisdom, and gracious support. I am indebted to Dr. Janie M. Harden Fritz, for her boundless enthusiasm and generosity of spirit guided my every step. To Dr. Ronald C. Arnett, I am indebted to you for your years of continued mentorship, support, kindness, and generosity of intellectual spirit. It is without question that, without Mrs. Rita McCaffrey, I could not have accomplished this project. There is not enough space to thank you for all that you have done for me, but I am honored to work alongside you. The faculty of the Department of Communication & Rhetorical Studies at Duquesne University have provided me with a lifetime love of learning that has been indispensible to me in this project, and will forever remain a part of my life. To each member of this department, I offer you my sincerest appreciation for every moment that you have taken to teach me about the joy of vii communication, the love of scholarship, and the passion for learning that will sustain me forever. To my friend and colleague, Susan Mancino, I offer my deepest appreciation for your encouragement, endless inspiration, and thoughtful conversations that propelled me to write a dissertation project that I never thought possible. In addition, I would like to thank Hannah Karolak, for her constant support as we moved through our journey together. I would also like to thank the graduate students of the Department of Communication & Rhetorical Studies, all of who increased my knowledge of this project through a constant willingness to share ideas. To my husband, David, you alone make all things meaningful. viii TABLE OF CONTENTS Page Abstract .............................................................................................................................. iv Dedication .......................................................................................................................... vi Acknowledgement ............................................................................................................ vii Part I Chapter 1 ..............................................................................................................................1 Chapter 2 ............................................................................................................................33 Chapter 3 ............................................................................................................................64 Part II Chapter 4 ..........................................................................................................................105 Chapter 5 ..........................................................................................................................140 Chapter 6 ..........................................................................................................................175 Part III Chapter 7 ..........................................................................................................................219 Works Cited .....................................................................................................................252 ix Chapter 1: Andy Warhol: Sources of Selfhood and the Artful Life André Warhola, later known as Andy Warhol, exemplifies a philosophy of communication ethics attentive to hyperreality, a term coined by Jean Baudrillard. Hyperreality refers to the multilayered nature of our historical moment where multiple goods are actively co- present (Eco). Warhol utilized the tools and values of his modern era to unmask and combat another era, ushering in the dawning of a new hyperreal moment. The creative feud of Andy Warhol manifested during a transition period of history, one that extended modern and postmodern goods in American culture. Gilles Lipovetsky termed this era hypermodernity, a moment of constant development glorifying modernity in its individualistic splendor in the midst of postmodern fragmentation and individualism. Hypermodernity calls forth a philosophy of communication ethics attentive to narrative and selfhood. Ronald C. Arnett and Pat Arneson understand communication ethics to be “value-laden philosophies of communication” uniting the ‘why’ of background narratives with the foreground ‘how’ of communicative practices (Philosophy xi). This project, The Creative Feud of Andy Warhol: A Philosophy of Communication Ethics, offers a hermeneutic entrance into the life and works of Andy Warhol, asking: What can Warhol’s creative feud, situated within hypermodernity, reveal about selfhood and narrative through a philosophy of communication ethics? 1.1 Introduction History grounds communication ethics in the public sphere, praxially oriented toward uncovering the good. Arnett, Fritz, and Bell understand the good as the “valued center of a given communication ethic,” associated with what is right and proper for humans to do and to be (3). A philosophy of communication ethics perspective unites the philosophical why and the pragmatic 1 how of communicative encounters that shape experiences, identity, and interpretation of message, uncovering the interpretative goods that comprise human life. The relationship between Warhol and a philosophy of communication ethics responds to hypermodern ideals and values
Load more

Recommended publications
  • Romanian Political Science Review Vol. XXI, No. 1 2021
    Romanian Political Science Review vol. XXI, no. 1 2021 The end of the Cold War, and the extinction of communism both as an ideology and a practice of government, not only have made possible an unparalleled experiment in building a democratic order in Central and Eastern Europe, but have opened up a most extraordinary intellectual opportunity: to understand, compare and eventually appraise what had previously been neither understandable nor comparable. Studia Politica. Romanian Political Science Review was established in the realization that the problems and concerns of both new and old democracies are beginning to converge. The journal fosters the work of the first generations of Romanian political scientists permeated by a sense of critical engagement with European and American intellectual and political traditions that inspired and explained the modern notions of democracy, pluralism, political liberty, individual freedom, and civil rights. Believing that ideas do matter, the Editors share a common commitment as intellectuals and scholars to try to shed light on the major political problems facing Romania, a country that has recently undergone unprecedented political and social changes. They think of Studia Politica. Romanian Political Science Review as a challenge and a mandate to be involved in scholarly issues of fundamental importance, related not only to the democratization of Romanian polity and politics, to the “great transformation” that is taking place in Central and Eastern Europe, but also to the make-over of the assumptions and prospects of their discipline. They hope to be joined in by those scholars in other countries who feel that the demise of communism calls for a new political science able to reassess the very foundations of democratic ideals and procedures.
    [Show full text]
  • Boo-Hooray Catalog #10: Flyers
    Catalog 10 Flyers + Boo-hooray May 2021 22 eldridge boo-hooray.com New york ny Boo-Hooray Catalog #10: Flyers Boo-Hooray is proud to present our tenth antiquarian catalog, exploring the ephemeral nature of the flyer. We love marginal scraps of paper that become important artifacts of historical import decades later. In this catalog of flyers, we celebrate phenomenal throwaway pieces of paper in music, art, poetry, film, and activism. Readers will find rare flyers for underground films by Kenneth Anger, Jack Smith, and Andy Warhol; incredible early hip-hop flyers designed by Buddy Esquire and others; and punk artifacts of Crass, the Sex Pistols, the Clash, and the underground Austin scene. Also included are scarce protest flyers and examples of mutual aid in the 20th Century, such as a flyer from Angela Davis speaking in Harlem only months after being found not guilty for the kidnapping and murder of a judge, and a remarkably illustrated flyer from a free nursery in the Lower East Side. For over a decade, Boo-Hooray has 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 encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Evan, Beth and Daylon.
    [Show full text]
  • Connections Between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M
    Communication and Theater Association of Minnesota Journal Volume 36 Article 2 January 2009 "Brother," Enjoy Your Hypermodernity! Connections between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M. Brandon Hillsdale College, [email protected] Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Film and Media Studies Commons, and the Soviet and Post-Soviet Studies Commons Recommended Citation Brandon, J. (2009). "Brother," Enjoy Your Hypermodernity! Connections between Gilles Lipovetsky's Hypermodern Times and Post- Soviet Russian Cinema. Communication and Theater Association of Minnesota Journal, 36, 7-22. This General Interest is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Brandon: "Brother," Enjoy Your Hypermodernity! Connections between Gilles CTAMJ Summer 2009 7 “Brother,” Enjoy your Hypermodernity! Connections between Gilles Lipovetsky’s Hypermodern Times and Post-Soviet Russian Cinema James M. Brandon Associate Professor [email protected] Department of Theatre and Speech Hillsdale College Hillsdale, MI ABSTRACT In prominent French social philosopher Gilles Lipovetsky’s Hypermodern Times (2005), the author asserts that the world has entered the period of hypermodernity, a time where the primary concepts of modernity are taken to their extreme conclusions. The conditions Lipovetsky described were already manifesting in a number of post-Soviet Russian films. In the tradition of Slavoj Zizek’s Enjoy Your Symptom (1992), this essay utilizes a number of post-Soviet Russian films to explicate Lipovetsky’s philosophy, while also using Lipovetsky’s ideas to explicate the films.
    [Show full text]
  • Andy Warhol From
    Andy Warhol From “THE HOUSE THAT went to TOWN” 8 February - 9 March 2019 I. Andy Warhol “Dancing Sprites”, ca. 1953 ink and watercolor on paper 73.7 x 29.5 cm (framed: 92.7 x 48.4 x 2.8 cm) AW/P 1953/23 Andy Warhol “Sprite Acrobats”, ca. 1956 ink on paper, double-sided 58.5 x 73.5 cm (framed: 92.4 x 77.5 x 2.8 cm) AW/P 1956/08 Andy Warhol “Sprite Figures Kissing”, ca. 1951 graphite on paper 14.3 x 21.6 cm (framed: 32.2 x 39.5 x 2.8 cm) AW/P 1951/01 Warhol used this motif in several illustrations from the early 1950s: for an anonymous article entitled “Romantic Possession” (publication unknown, c. 1950) and for Weare Holbrook’s “Women – What To Do With Them”, Park East (March 1952), p. 26. See Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work, 1948- 1987: A Catalogue Raisonné (Munich: Prestel, 2014), pp. 30, 50. Andy Warhol “Female Sprite”, ca. 1954 graphite on paper, double-sided 27.9 x 21.6 cm (framed: 46 x 39.7 x 2.8 cm) AW/P 1954/05 Andy Warhol “Sprite Head with Feet”, ca. 1953 ink on paper 27.9 x 21.5 cm (framed: 46 x 39.7 x 2.8 cm) AW/P 1953/24 Andy Warhol “Sprite Portrait with Shoes”, ca. 1953 ink on paper 27.8 x 21.5 cm (framed: 46 x 39.7 x 2.8 cm) AW/P 1953/25 II. Andy Warhol “The House That Went To Town”, 1952-1953 graphite, ink and tempera on paper 27.7 x 21.7 cm (framed: 46 x 39.7 x 2.8 cm) AW/P 1956/25 The likely prototype for Warhol and Corkie’s “THE HOUSE THAT went to TOWN” is Virginia Lee Burton’s celebrated children’s book The Little House, first published in 1942.
    [Show full text]
  • Virtual Space Or Real Life?
    Today’s “the most sexy thing”: virtual space or real life? ALEXANDRA DZIUBA - Odessa National Polytechnic University (ONPU) ABSTRACT The issues of Reality and Simulation of Reality are highlighted in this article. The nature of Desire is also discussed as a fundamental in contemporary culture and media environments. Special attention has been paid to advertising, as a form of creating desire and simulations of reality which stimulate growing frustrations in society. Online space is also been viewed as a new trend in the simulation of life and a faked advertising reality. In the article I attempt to compare both of these "worlds" – simulated by culture and virtualised by media. KEYWORDS Reality, simulation, media, advertising, sex, desire. Introduction A key issue in contemporary media and cultural studies is the question of what is Reality. Throughout history, humans were trying to comprehend their own existence and validity based on the reality of their own body and on the reality of everyday life. After a while, the human body started to lose its status as a bastion of reality. It happened with the help of growing interests in different kinds of “virtual” worlds, as well as the expansion of media influence. So, with rapid cultural transformations of the present the problem of definition of reality perhaps becomes the most difficult question. In this article I would like to discuss the general issues of Reality and simulations, which prevail in our society. Also, issues about the nature of desire and simulations of desires are considered as one of the main topics of this work.
    [Show full text]
  • I.V., Campus Voter Registration Campaign Shifts Into Overdrive
    T VOL. 53-N O . 9 TUESDAY, SEPTEMBER 26,1972 UNIVERSITY OF CALIFORNIA. SANTA BARBARA ■ I.V., campus voter registration campaign shifts into overdrive By DAVE CARLSON Building, Library, and McGovern organizer for Gary Hart, is If you have changed your, Headquarters at 6527 Madrid are particularly concerned. address in any way since you last other sites where registrars w ill be " I f people register in I.V .," he registered to vote, you must located. said, "they're more likely to have re-register or you , will be an effect because of the marginal ineligible. Assembly race. Also, it's a If your 18th birthday falls on genuine hassle to get absentee any date before November, you ballots in time." should register now. Supporters of Hart and Tim October 8 is the last day to ■ Lemucchi, who is running for photo: Tom Lendino register for the November Congress in the Bakersfield REPUBLICAN ASSEMBLYMAN Bill Ketchum: candidate for re-election. elections. District to which I.V. is These are the messages that connected, are basing much of partisan campaigners are trying to their hopes on a huge Isla Vista convey to Isla Vista's 13,000 flore. Daus io turnout. young and mobile inhabitants. Santa Barbara County is now Ketcham’s platform: The McGovern-Shriver and Gary Registern Wok over 50 percent Democratic, Hart for Assembly campaigns are thanks to I.V.'s contributions to working hard to register at least Persons need only register 30 the Democratic voters column. 8,000 Isla Vista ns- on the days before an election to qualify The Republicans will also be ‘cat, squeeze, trim’ assumption that the populous for voting, according to the working in Isla Vista, "but only enclave is rich in liberal Supreme Court, which struck on a door-to-door, personal By SCOTT LARSON The Paso Robles assemblyman Democratic voters.
    [Show full text]
  • Storm Disrupts Power Service, Halts Traffic
    -Pi^U'< s- 10-year Jail Sentence r" SEE STOKY BELOW' TheWeatnw Mostly sunny, less warn FINAL and humid today; clear and T Red Bank, Freehold f cool tonight Mostly sonny and l_ Long Branch 7 pleasant tomorrow. EDITION nr • ' • Monmouth County's Outstanding Home Newspaper 34 PAGES VOL.95 NO. 22 RED BANK, NJ. WEDNESDAY, JULY 26,1972 TEN CENTS niraimiii Affected Towns Ponder Beach Fee Ruling A state Supreme Court rul- decision is made on a course Bright charges residents ?5 decision "ridiculous,1' and Mayor Norton said, "is a democracy," she said, "but nicipal beach would not make George Hoffman said the new ing that shore communities of action. per year for season passes added, "It may certainly grave problem in our then sometimes we wonder if as much profit. "We would state ruling will not have cannot charge nonresidents "We have instructed our and $10 for nonresidents. At bring more people to our borough. If the governor we do." lose approximately 4Q to 59 much effect on the city. higher beach fees than they borough attorney, Richard L. the same time, a. 50-cent ad- beach on season passes, but at wants this decision to apply Mayor Sidney B. Johnson of per cent of our revenue." "The only effect it will charge residents will have Bonello," said Mayor Cecile mission is charged for the, the same time this would then i>e should make available Monmouth Beach said he had He saw no plans for appeal- have," he said, "would be on little U any effect on Bayshore F.
    [Show full text]
  • Fifteen Minutes of Fame, Fame in Fifteen Minutes
    Andy Warhol and the Dawn of Modern-Day Celebrity Culture 113 Alicja Piechucka Fi!een Minutes of Fame, Fame in Fi!een Minutes: Andy Warhol and the Dawn of Modern-Day Celebrity Culture Life imitates art more than art imitates life. –Oscar Wilde Celebrity is a mask that eats into the face. –John Updike If someone conducted a poll to choose an American personality who best embodies the 1960s, Andy Warhol would be a strong candidate. Pop art, the movement Warhol is typically associated with, !ourished in the 60s. It was also during that decade that Warhol’s career peaked. From 1964 till 1968 his studio, known as the Silver Factory, became not just a hothouse of artistic activity, but also the embodiment of the zeitgeist: the “sex, drugs and rock’n’roll” culture of the period with its penchant for experimentation and excess, the revolution in morals and sexuality (Korichi 182–183, 206–208). "e seventh decade of the twentieth century was also the time when Warhol opened an important chapter in his painterly career. In the early sixties, he started executing celebrity portraits. In 1962, he completed series such as Marilyn and Red Elvis as well as portraits of Natalie Wood and Warren Beatty, followed, a year later, by Jackie and Ten Lizes. In total, Warhol produced hundreds of paintings depicting stars and famous personalities. "is major chapter in his artistic career coincided, in 1969, with the founding of Interview magazine, a monthly devoted to cinema and to the celebration of celebrity, in which Warhol was the driving force.
    [Show full text]
  • Cast a Cold Eye: the Late Works of Andy Warhol
    G A G O S I A N G A L L E R Y October 11, 2006 PRESS RELEASE GAGOSIAN GALLERY GAGOSIAN GALLERY 555 WEST 24TH STREET 522 WEST 21ST STREET NEW YORK NY 10011 NEW YORK NY 10011 T. 212.741.1111 T. 212.741.1717 F. 212.741.9611 F. 212.741.0006 GALLERY HOURS: Tue – Sat 10:00am–6:00pm ANDY WARHOL: Cast a Cold Eye: The Late Works of Andy Warhol Wednesday, October 25 – Friday, December 22, 2006 Opening reception: Wednesday, October 25th, from 6 – 8pm “If you want to know about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.” --Andy Warhol Gagosian Gallery is pleased to announce the exhibition "Cast a Cold Eye: The Late Work of Andy Warhol.” The extensive exhibition, which occupies all galleries at 555 West 24th Street as well as a new gallery at 522 West 21st Street, draws together many of Warhol’s most iconic paintings from the following series executed during the 70s and 80s: Mao, Ladies & Gentlemen, Hammer & Sickle, Skulls, Guns, Knives, Crosses, Reversals, Retrospectives, Shadows, Rorschach, Camouflage, Oxidation, The Last Supper, Self Portraits and more. Comprised of works from the last eighteen years of Warhol’s life, “Cast a Cold Eye…” includes masterpieces that have been rarely or never before seen in New York, as well as important loans from The Metropolitan Museum of Art, The Museum of Modern Art, New York, The Andy Warhol Museum, and private collections. In his later career, Warhol was often vilified by art critics for being little more than a society portraitist and social impresario.
    [Show full text]
  • Wavelength (November 1984)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• •
    [Show full text]
  • NO RAMBLING ON: the LISTLESS COWBOYS of HORSE Jon Davies
    WARHOL pages_BFI 25/06/2013 10:57 Page 108 If Andy Warhol’s queer cinema of the 1960s allowed for a flourishing of newly articulated sexual and gender possibilities, it also fostered a performative dichotomy: those who command the voice and those who do not. Many of his sound films stage a dynamic of stoicism and loquaciousness that produces a complex and compelling web of power and desire. The artist has summed the binary up succinctly: ‘Talk ers are doing something. Beaut ies are being something’ 1 and, as Viva explained about this tendency in reference to Warhol’s 1968 Lonesome Cowboys : ‘Men seem to have trouble doing these nonscript things. It’s a natural 5_ 10 2 for women and fags – they ramble on. But straight men can’t.’ The brilliant writer and progenitor of the Theatre of the Ridiculous Ronald Tavel’s first two films as scenarist for Warhol are paradigmatic in this regard: Screen Test #1 and Screen Test #2 (both 1965). In Screen Test #1 , the performer, Warhol’s then lover Philip Fagan, is completely closed off to Tavel’s attempts at spurring him to act out and to reveal himself. 3 According to Tavel, he was so up-tight. He just crawled into himself, and the more I asked him, the more up-tight he became and less was recorded on film, and, so, I got more personal about touchy things, which became the principle for me for the next six months. 4 When Tavel turned his self-described ‘sadism’ on a true cinematic superstar, however, in Screen Test #2 , the results were extraordinary.
    [Show full text]
  • 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.
    [Show full text]