Cultural Infidels: Film and Performance for Consenting Adults 3-31 January 1990 Cultural Infidels: Film and Performance for Consenting Adults

3-31 January 1990

Wednesday, 3 January Friday, 19 January Beauty #2 and Kiss (films) Looking for Langston (film) Andy Isaac Julien Flaming Creatures (film) Friday, 5 January Jack Smith and Empire (films) John Kelly (performance) Saturday, 20 January Saturday, 6 January Shelley Hirsch & David Weinstein Lonesome Cowboys and Empire (films) (performance) Andy Warhol John Kelly (performance)

Tuesday, 9 January Tuesday, 23 January and Sleep (films) Flesh and Eat (films) Andy Warhol Andy Warhol

Wednesday, 10 January Wednesday, 24 January My Hustler and Sleep (films) Flesh and Eat (films) Andy Warhol Andy Warhol

Thursday, 11 January Thursday, 25 January Karen Finley (performance) Douglas Dunn (dance)

Friday, 12 January Friday, 26 January Dick (film) Three from Apparatus (films) Jo Menell Guillermo G6mez-Pefta (performance) Urinal (film) John Greyson Saturday, 27 January Karen Finley (performance) Kathy Acker (reading) Guillermo G6mez-Pefta (performance) Saturday, 13 January OWT (music) Tuesday, 30 January Karen Finley (performance) The (film) Andy Warhol Tuesday, 16 January Vinyl and Blow Job (films) Wednesday, 31 January Andy Warhol The Chelsea Girls (film) Andy Warhol Wednesday, 17 January Vinyl and Blow Job (films) Andy Warhol Cultural Infidels is supported in part with funds provided by the National Endowment for the Thursday, 18 January Arts. Promotional assistance provided by the John Kelly (performance) Twin Cities Reader. Andy Warhol Films

Beauty #2 and Kiss 7 and 9:15 pm Vinyl and Blow Job Wednesday, 3 January 7 and 9 pm Tuesday and Wednesday, 16 and 17 January Beauty #2 1965, 16 mm-silent, 70 minutes segment Vinyl screened from the 105 minute original. 1965, 16 mm-sound, 64 minutes. Directed by Directed by Andy Warhol; writer and assistant Andy Warhol; scenario: Ronald Tavel; camera: director: Chuck Wein. Featuring: Edie Bud Wirtschafter. Featuring: Gerard Malanga, Sedgwick, Gino Peschio, Gerard Malanga and , Ondine, Tosh Carillo, Larry Chuck Wein. Latreille, Jacques Potin, John MacDermott. Kiss Blow Job 1963, 16 mm-silent, 58 minutes, screened 16 1963, 16 mm-silent, 35 minutes. Directed by frames per second). Directed by Andy Warhol; Andy Warhol. Actors unknown. featuring Naomi Levine, Ed Sanders, Rufus Collins, Gerard Malanga, Baby Jane Holzer, John Palmer, Andrew Meyer, Freddy Herko, Flesh and Eat Johnny Dodd, Charlotte Gilbertson, Phillip van 7 and 9:15pm Renselet, Pierre Restany, Marisol. Tuesday and Wednesday, 23 and 24 January

Flesh Lonesome Cowboys and Empire 1968, 87 minutes, color. Directed by Andy 8pm Warhol; featuring Maurice Bardell, Harry Friday and Saturday, 5 and 6 January Brown, John Christian, , , Patti D'Arbanville, , Lonesome Cowboys Geri Miller, Geraldine Smith, Louis Waldron 1967, 16 mm-sound, color, 110 minutes. Eat , Directed by Andy Warhol; featuring Taylor 1963, 16 mm-silent screened at 16 frames per Mead, , Louis Waldron, , Joe second, 45 minutes. Directed by Andy Warhol; Dallesandro, Julian Burroughs, Alan Midgette, featuring Robert Indiana. Tom Hompertz, Frances Francine. Empire 1964, 16 mm-silent, 48 minute excerpt from the The Chelsea Girls eight hour original, screened at 16 frames per 7pm second. Directed by Andy Warhol. Filmed Tuesday and Wednesday, 20 and 31 January June 25, 1964 from the 44th floor of the Time­ Life Building. Arranged by Henry Romney; co­ The Chelsea Girls directed by John Palmer; cinematography by 1966, 16 mm-sound, 210 minutes. Directed by Jonas Mekas. Andy Warhol; featuring Angelina "Pepper" Davis, Eric Emerson, Patrick Fleming, Ed Hood, Gerard Malanga, Marie Menken, Mario My Hustler and Sleep Montez, Ondine, Brigid Polk, Rene Ricard, 7 and 9:15pm Ronna, Ingrid Superstar, International Velvet, Tuesday and Wednesday, 9 and 10 January Mary Woronov.

My Hustler "With film you just turn on the camera and 1965, 16 mm-sound, 67 minutes. Directed by photograph something. I leave the camera Chuck Wein; featuring , Ed Hood, running until it runs out of film because that John MacDermott, Genevieve Charbin, Joseph way I can catch people being themselves. It's Campbell, Dorothy Dean. better to act naturally than to set up a scene Sleep and act like someone else. You get a better 1963, 16mm-silent, 42 minute excerpt from the picture of people being themselves instead of six hour original screened at 16 frames per trying to act like they're themselves." second. Directed by Andy Warhol; featuring -Andy Warhol John Giorno. All Warhol films will be presented in the Walker Art Center Auditorium. Karen Finley We Keep Our Victims Ready

8pm Thursday, 11 January 10 pm Friday and Saturday, 12 and 13 January Walker Art Center Auditorium

We Keep Our Victims Ready is written, performed, and directed by Karen Finley

Dick and Urinal 8pm Friday, 12 January Walker Art Center Auditorium

Dick Directed by Jo Menell 1989, 15 minutes; original score by John Cale.

Urinal Directed by John Greyson 1988, 100 minutes; Camera: Adam Swica, Almerinda Travassos; Sound: Marg Moores, Bill Lasovich; Editors: David Mcintosh, John Greyson; Assistant Director: Leena Raudvee; Set Design: Colin Campbell. Cast: Pauline Carey (Frances Loring), Paul Bettis (Sergei Eisenstein), George Spelvin (Langston Hughes), Keltie Creed (Florence Wyle), Olivia Rojas (Frida Kahlo), David Gonzales (Yukio Mishima) Karl Beveridge (Sergeant Smith), Clive Robertson (Inspector Jones), Lance Eng (Dorian Gray)

OWT and David Linton

8pm Saturday, 13 January Walker Art Center Auditorium

Zeena Parkins, electric harp David Linton, amplified drum

All compositions are by Zeena Parkins and David Linton. Titles of works in this program will be announced from the stage.

Good as Gold, the debut album by OWT is available on Homestead Records. John Kelly Looking for Langston and Born with the Moon in Cancer Flaming Creatures

8pm 8pm Thursday, 18 January Friday, 19 January 10 pm Ruby's Cabaret Friday and Saturday 19 and 20 January Looking for Langston Ruby's Cabaret Directed by Isaac Julien 1989, 42 minutes. Producer: Nadine Marsh­ Edwards, Director of Photography: Nina Born with the Moon in Cancer Kellgren, Art Direction: Derek Brown, Editor: D'Amor Sull 'Ali Rosee Robert Hargreaves. Featuring poetry by Essex Verdi Hemphill and music by Blackberri. Cast: Ben Ellison (Alex), Matthew Baido (Beauty). John 0 He's Mild Wilson (Gary), Akim Mogaji (James). Dencil Se Tu M'Ami, Se Sospiri Williams (Marcus), Guy Burgess (Dean), Simon Pergolesi Fogg (Jez), James Dublin (Carlos), Harry Donaldson (leatherboy). Pigskin Option Habanera Flaming Creatures Bizet Directed by Jack Smith 1963, 45 minutes, 16 mm-sound Burning The Candle Stride Ia Vam pa "It's very interesting being legendary when Verdi you can't even make a living and the public's never heard of you." Death of Dagmar -Jack Smith Arabian Dance Tchaikowsky Shelley Hirsch and Spring Lake David Weinstein River Joni Mitchell 8pm Saturday, 20 January I Have Become Lost to the World Ruby's Cabaret lch Bin der Welt Abhanden Gekommen Mahler Shelley Hirsch, vocals/texts David Weinstein, sampling and keyboards Here and Now Mon Coeur S'Ouvre a ta Voix Saint-Saens Klezmart (a song based on Yiddish dance music)

Born with the Moon in Cancer begins with a Ball and Chain blindfolded young man, born into a world of (an urban-ethnic conflagration) myriad options. The downward pointed fingers represent the here and now; the cradle pose, Bonbons his childhood and innocent nature; the angular (a series of miniatures) arms, the adolescent into manhood; and the wings, the option to take flight into the Power Muzak unknown. Born with the Moon in Cancer was (celebration and subversion of sentimentality premiered in at Performance Space for voice and tape) 122 in June of 1986. This April, it will travel to Caracus and Bogota. Special thanks to Art Self-Interrupting Waltzes Matters, Inc., and Fernando Torm. (solo keyboards)

Haiku Lingo (an eccentric musical travelogue) Douglas Dunn Three from Apparatus Haole (1988) 8pm 8pm Friday 26 January Thursday, 25 January Walker Art Center Auditorium Walker Art Center Auditorium

He Once Was Choreographed and performed by Douglas Directed and written by Mary Hestand Dunn 1989, 15 minutes, color. Cinematographer: Steve Kazmierski; Production Designer: David Nelson; Original Music: Alan Tubbs; Editor: Selections from music composed by Niles Barry Elsworth. Cast: Todd Adams (Davey), Sal Eldrege and lan Tattersall; Brian Eno; Thoinot Barone (Dad), Susan Norman (Sally), Emma Arbeau; Claude Debussy; Bob Dylan; Giacomo Strahs (Mom), Melissa Gardner (Shirley), Todd Puccini; Francesco Cavalli; Captain Tobias Haynes (Randy), Julia Haltigan (the Bear); Hume; Wolfgang Amadeus Mozart; and Charles Voices: Cyril Autin, Alan Tubbs, George Kaipo Wittman, Susan Norman, Melissa Gardner, Rob LaBelle. Mitchell Bogard, lighting design La Divina Directed by Brooke Dammkoehler Haole, taken from a Hawaiian word referring to 1989, 33 minutes. Screenplay: Maria Rainer someone who is not Hawaiian, is a series of von Liliencron; Cinematographer: Jacques solos for dancer/choreographer Douglas Dunn. Boyreau; Film Editor: Esther Duran. Cast: The dance covers a wide range of material Michelle Sullivan (La Divina), Christopher from pure movement studies to outrageously Renstrom (The Male Matinee Idol), Valda humorous character studies, sometimes danced Drabla (The Cinematic Spectre), Don Damico to music, sometimes in silence. In Haole, Dunn (The Movie Mogul), Robert Manenti (The dances a deadpan hula, auctions off parts of his Dragon), Nicky Eiseman (Miss Sessions), Nancy body (while speaking in gibberish), and Gerstman and Emily Russo (The Glamour Team) approximates images of bathing beauties and Nijinsky's Spectre de Ia Rose. The 20th Anniversary Reunion Concert of Big Character Poster Dunn's original inspirations for the piece were Directed by Melissa Cahill and Alvin Eng the romantic, opulent character dances of the 1989, 10 minutes. Written by Alvin Eng; early American Dance Pioneers (such as Ruth Cinematography: Steven Sanderson; Editors: St. Denis and Ted Shawn). And Haole does Melissa Cahill and Adrian Truini; Art Direction: include Dunn's own ironic versions of what Bing Lee, Costumes: Laura Lee; Music: Herman music visualizations today might be - set to Eng, Mihoko Suzuki and Timothy Cramer. Cast: such diverse choices as country western music Ray Wong, Steve Ning, Valorie Lee, Alvin Eng, and an aria by Bach. Dunn also parodies Ed Chuang (Band), Bing Lee (Teacher), Dawn different styles of dance (from classical ballet Saito, Simon Sik (Red Guards), Ed Cahill to creative dance), and yet his characters take (Double Chin), Melissa Cahill (poster paster), us beyond the concerns of the dance world into Lorraine Volz, Willi Hinners (girls at party) a larger look at the human condition.

Apparatus, formed by filmmakers Barry Ellsworth (Natural History), Todd Haynes (Superstar: The Karen Carpenter Story), and Christine Vachon (The Way of the Wicked), is a New York-based, non-profit film production company committed to the work of emerging filmmakers. Guillermo G6mez-Peiia Border Brujo

10 pm Friday and Saturday Border Brujo is a performance artist, but he is also a 26 and 27 January cultural prisoner, a refugee, a migrant poet, a homeless shaman, and the village fool. Walker Art Center Auditorium His performance language has no artifice whatsoever. His sole instruments consist of an alter­ BORDER BRUJO jacket, a hat, a wig, a table, a ghetto blaster, and a Written, directed, and performed by Guillermo megaphone. There's no backstage magic. G6mez-Pelia Border Brujo practices the aesthetics of poverty and Border Brujo is a ritual, linguistic, and performative the culture of recyclement so characteristic of Latin journey across the U.S.-Mexico border. America. Not one performance is ever the same. New texts, props, and voices are constantly Border Brujo first crossed the border in costume in integrated into the ongoing process. June of 1988. Border Brujo performs indistinctly inside and outside Border Brujo unfolds into 15 different personas, each the artworld. He has appeared in New York (DTW, speaking a different border language. And the Museo del Barrio, and BAM), Chicago (Randolph relationship between these personas is symbolic of Street Gallery), (Mass. College of Arts), the one between North and South; Anglo and Latin Seattle (COCA and Intimate Theatre), Montreal America; myth and social reality; legality and (Theatre Elysee), San Francisco (Pro Arts, Galeria de illegality; performance art and life. Ia Raza, Capp Street Project, and SFS University), Los Nageles (Macondo and Highways), Boulder The structure is disnarrative and modular, like the (Colorado Dance Festival), Miami (The Strand), and border experience. England (Birmingham Film and Television Festival). He has performed at youth centers, migrant worker It fuses postmodern techniques with popular voices centers, high schools, community events, political and dialectical forms borrowed from a dozen rallies, and performance pilgrimages. sources, such as media, tourism, pop culture, Pachuco and pinto slang, and political jargon. These Border Brujo was awarded the "Prix du Ia Parole" at voices are intertwined with metacommentary and the International Theatre Festival of the Americas epic poetry. The epic tone reflects the epic (Montreal 1989) and the Bessie for outstanding experience of contemporary Mexican American. achievement ( 1989).

Border Brujo speaks in Spanish to Mexicans, in Border Brujo was filmed by Isaac Artenstein in Spanglish to Chicanos, in English to Anglo October 1989. Americans, and in tongues to other brujos and border crossers. Only the perfectly bicultural can be in Border Brujo is another strategy to let you know we complicity with him. are here to stay, and we'd better begin developing a pact of mutual cultural understanding. Border Brujo exorcises with the word the demons of the dominant cultures of both countries. G6mez-Pena Border Brujo articulates fear, desire, trauma, desde le herida infectada. sublimation, anger, and misplacement.

Border Brujo suffers in his own flesh the pain of his ruptured community. Kathy Acker Border Brujo puts a mirror between the two countries and then breaks it in front of the audience. 8pm Saturday, 27 January Border Brujo loves and hates his audience; loves and Walker Art Center Auditorium hates himself.

Border Brujo creates a sacred space to reflect on the painful relationship between self and other. He Tonight's reading will include selections from dances between self and other. He becomes self previous books including Blood and Guts in and other, with himself. High School, My Death My Life by Pier Paolo Pasolini, Don Quixote, and her new novel, Border Brujo negotiates several artistic traditions, Empire of the Senseless. A book-signing including performance art, Chicano theatre, ritual theatre, border poetry, and Latin American literature. immediately follows the event in the Center Book Shop. Border Brujo is a character, but he is also an alternative chronicler of life in a community. Cultural Infidels Biographical Notes

Writer Kathy Acker was raised in New York York State Council on the Arts, the John Simon City. Acker, now over forty, is heavily tattooed Guggenheim Memorial Foundation and other and a bodybuilder. She studied at Brandeis, at sources. He has made dances on commission UCSD, and CCNY and was initially trained as a for Repertory Dance Theatre of Salt Lake City, poet. While her fellow college students in the Ballet Theatre Francais de Nancy, New Dance sixties were intent on the "sexual revolution," Ensemble, and twice for the Opera Ballet. she tested the meaning of this ideal by One of the Paris Opera Ballet commissions performing on 42nd Street, an experience resulted in the full-length Pulcine/la, to a score which led to her first published work Politics. by Igor Stravinsky. Like William Burroughs, who greatly influenced her, Acker has embraced the stance of cultural In 1983, the Institute of Contemporary Art in outlaw not only in her narratives, but has Boston commissioned Mr. Dunn, in adopted it for her life. collaboration with sculptor Jeffrey Schiff and composer John Driscoll, to present a special Similiar to the motives of artist Sherrie Levine, "museum event," in which sound, sculpture, who creates nearly identical replicas of well­ performers, and audience intermingled. Also in known art and photography, Acker's novels are 1983, Susan Dowling of WGBH in Boston profoundly political. Her interest in poetry, commissioned Secret of the Waterfall, a video­ language, and theory are obvious; her fiction dance made in collaboration with videographer has been called sensational, experimental, Charles Atlas and poets Anne Waldman and shocking, and brilliant. Acker's narratives, in Reed Bye. their subversive appropriations of master text, (everything from Shakespeare and Latin poetry In 1986, Mr, Dunn collaborated with artist to Beckett and Cervantes) along with their David Ireland and composer Alvin Lucier on aggressive assertions of criminal perspectives, Dances for Men, Women, and Moving Door, an relentless interrogations of art, culture, evening-length work for nine performers. The government, and sexual relations, are designed piece was premiered in New York City at to be jaws steadily devouring-often to Marymount College, and later invited to the readers' horror and certainly to their discomfort Festival d'Automne in Paris. In the spring of (which is part of the strategy)-the mindset, if 1989, Mr. Dunn presented Sky Eye at St. not the mind, of Western culture. Her surfaces Mark's Church in New York City. The evening­ are almost anti-literary, despite their length dance for six, with set and costumes by allusiveness, deliberately assaultive and overt. Mimi Gross, was co-commissioned by She hopes to make the abstract material Danspace and the Festival d'Automne. physical. Kathy Acker currently lives in Marking Douglas Dunn and Dancers' fourth , England, where she is a media figure appearance as part of Festival d'Automne, Sky called upon to represent the extreme fringe by Eye was presented at the Pompidou Centre in which the public measures its distance from the Paris October 1989. edge. Karen Finley received her MFA in Douglas Dunn danced with Merce performance/video from the San Francisco Art Cunningham and Dance Company, 1969-73, Institute. She travels extensively throughout with Yvonne Rainer and Group, 1968-70, and North America and Europe. Her latest solo with Grand Union, 1970-76. In 1971, he began piece, We Keep Our Victims Ready, explores presenting his own work: solo and group societal abuse including rape, alcoholism, dances, films, and performance exhibits. In children with AIDS, Roe vs. Wade, censorship, 1976, he invited ten dancers to participate in and the daily oppression of women. Karen has Lazy Madge, a two-year "ongoing also kept busy with other projects including The choreographic project." Theory of Total Blame, a play which she wrote, directed, and performs with a cast of six; In Since 1978, Mr. Dunn has maintained a Between Lives, a feature film by Joe Gibbons company performing annually in New York City in which she plays an art terrorist; an and touring Europe and the . Mr. exhibition of her paintings in San Francisco; a Dunn has been the recipient of grants from the number of recordings, including her album, The National Endowment for the Arts, the New Truth Is Hard To Swallow (Pow Wow Art International) and the 12" dance singles "Tales Since 1986, Shelley Hirsch and David of Taboo" (Pow Wow), "Lick It" (Pow Wow), Weinstein have co-composed and performed a "Jump In The River" (with Sinead O'Connor; number of works, including Power Muzak, Chrysalis), "Drop That Ghetto Blaster" (with Mr. Haiku Lingo, and numerous songs and smaller Big Mouse; Nettwerk); and a new compilation works. Their collaboration has generated from Giorno Poetry Systems that includes extraordinary possibilities for vocal and Karen, due out this month. Future projects orchestral settings in a variety of styles and include a film collaboration with San Francisco­ genres. Together, they performed at the New based artist Tony Labat, a book of her writings, Music America Festival in Miami and have more exhibitions of her paintings, and tours of toured widely throughout Europe. Excerpts , Scandinavia, and England. from their works have appeared on MTV and HBO. Their work will be included on an John Greyson is a Toronto-based artist whose upcoming electronic compilation disk, 15 tapes and films include The AIDS Epidemic, Imaginary Landscapes, released by Nonesuch. and Moscow Does Not Believe in Queers. He recently co-curated (with Bill Horrigan) the Shelley Hirsch is a vocalist-composer­ home video compilation "Video Against AIDS." performer whose music incorporates John Greyson currently teaches at CaiArts. extended techniques, real and imaginary language, diverse international styles, Born and raised in Mexico City, stream of consciousness, characterization, interdisciplinary artist and writer Guillermo improvisation, movement, and decor. She G6mez-Peiia came to the U.S. for the first has presented her music across the United time in 1978. He lives and works in the border States, Canada, and Europe. She has region of San Diego and Tijuana, which he uses written and performed a number of staged as an artistic laboratory and source of theatrical works, including The Beach Is Her inspiration. Since the mid 70s, he has been Home, All-Well Used Plumbing, Occidental involved with the use of multiple mediums: Dreams of a Giesha, and Celebration of the performance, audio art, book art, experimental Obvious, which was commissioned by the bi-lingual texts, journalism, video, and multi­ State Opera of Stuttgart. Hirsch performs media altars. He is co-editor of the bi-lingual in a number of bands and ensembles, arts magazine The Broken Line/La Linea including Odd Job with Nes Rothenberg, Quebrada; a founding member of the Border Samm Bennett, and David Weinstein; X­ Arts Workshop (BAW-TAFO; an associate of Communication, a multi-national Post-Arte, the network of Latin American improvising octet; and the vocal project conceptual artists and poets; a writer for Direct Sound, founded by David Moss. She newspapers and magazines in Mexico, the has collaborated with many distinguished U.S., and Spain; a regular contributor to the musicians as an improvisor, and in written national radio program "Crossroads"; and a works by artists such as , collaborator on two award-winning films. , Butch Morris, and Richard Teitelbaum. Hirsch has released His performance work focuses on U.S.-Mexico records of her own work: Shelley Hirsch relations and border issues, and has been Singing with percussionists Samm Bennett presented extensively throughout the U.S. and and David Simons on Apollo Records, Room Europe. With a View with John Rose on Hot Records, and the new Haiku Lingo with G6mez-Pena has participated in the First, David Weinstein on Review Records. She Second, and Third "Bienal lnternacional de also appears on John Zorn's Big Gundown, Poesio Concreta y Arte Experimental" (Mexico Jim Stanley's Mumbo Jumbo, 's City), the exhibition "The Demons of Los Land of the Yahoos, and other recordings. Angeles" (France and Spain) and the recent Hirsch has received a number of grants, "1989 Bienal de Ia Havana." awards, and residencies for her compositions, and she is currently working G6mez-Pena is currently putting together an on a major commission for a theatrical anthology of critical writings on border culture piece, which will be presented at Dance and working on a new performance trilogy for Theater Workshop in New York in May 1990. 1990. David Weinstein is a composer and Jo Menell is an independent documentary keyboardist who works with electronic filmmaker. A former BBC current affairs instruments, sampling, and digital producer and Director General of Chilean technology. He studied music with Television under Allende, Menells previous composers Ben Johnston and Salvatore work was the critically acclaimed Haiti Dreams Martirano at the University of Illinois. His of Democracy (co-directed with Jonathan recent works include Musical Literature of Demme) that premiered at Walker in 1987. the State, a series of subversive orchestrations of national anthems; Self­ OWT is the duo of drummer David Linton Interrupting Waltzes for multiple keyboards; (Carbon, Scanners, Midi Drum Evil) and electric and Assassins in Paradise for computer­ harpist Zeena Parkins (Skeleton Crew, No driven electronic instruments, in addition to Safety). David and Zeena are well known in his works with Hirsch. He performs the international new music community, both frequently with John Zorn in group projects for their solo records and collaborations with such as Cobra and Naked City, and appears others, but OWT represents the first recorded on a number of Zorn disks, including work they've done as a duo. Spillane and The Big Gundown. Since 1979, Weinstein has been a director of Zeena Parkins is a composer/improvisor Roulette in New York, which presents multi-instrumentalist (acoustic and electric concerts of new, innovative music. harps, keyboards, and accordion) and performer. She was a member of Skeleton Isaac Julien is a founding member of Britians Crew (with Fred Frith and Tom Cola), is Sankofa Film and Video Collective. His founding member of the New York City previous work includes Who Killed Colin Roach, quintet No Safety, and is also a member of and Territories and The Passion of Fred Frith's Keep The Dog and Elliot Sharp's Remembrance (co-directed with Maureen Carbon. She continues her ongoing Blackwood) both of which were screened at collaboration with percussionist lkue Mori Walker in 1988. Looking For Langston has been as well as performing a variety of featured at the Berlin, Telluride, Chicago, and improvisation and dance concerts in the New York film festivals. Julien is currently at U.S. and Europe. Parkins has worked with work on a new feature, Young Soul Rebel. many other prominent musicians including Chris Cochrane, John Zorn, Pauline John Kelly has been creating solo and group Oliveros, Butch Morris, Bobby Previte, multi-media performance works for eight years. Linsay Cooper, Ann Rupel, and George The works have been premiered in New York, Cartwright. Parkins has been commissioned and subsequently performed in Minneapolis, to construct dance scores for Charleston, Aspen, San Francisco, Toronto, choroegraphers Jennifer Monson, John Montreal, Hamburg, Berlin, Munich, Rome, Jasperse, Ishmael Houston-Jones, Yvonne Reggio Emilia, Vienna, and Tokyo. Mr. Kelly Meier, Cydney Wilkes, Sally Silvers, and studied ballet at the American Ballet Theatre Stephen Petronio. Parkins was a founding School and Harkness House, and performed in member of The Janus Circus, with which the companies of Charles Weidman, Jan she performed for five years. For one year Wodynski, Martha Clarke, John Jesurun, she also performed as a member of Laura Ishmael Houston-Jones, and Ellen Stewart. Dean Dancers and Musicians. He currently studies voice with Peter Elkus. Film and video credits include works by Charles David Linton is a drummer (a.k.a. Atlas, Tom Rubnitz, and Adrian Piper. percussionist/composer). He has been making music based in New York since Mr. Kelly has received numerous awards 1979. Over the years, he has worked including a 1987 Obie award, a 1986 and a and/or collaborated with a broad range of 1988 Bessie award (New York dance and New York City artists including Rhys performance), a 1987 American Choreographer Chatham, Robert Longo, Eric Bogosian, Award, and a 1989 Guggenheim Fellowship. Karole Armitage, Jeffrey Lohn, Glenn Branca, Lee Ranaldo, Christian Marclay, Kinematic, Fred Holland, Shaliko Co., Stephen Petronio, David Parsons, Dancenoise, Elliot Sharp, Charles Atlas, Rudolph Grey, and most recently, Zeena Parkins, in addition to extensive performing as a soloist. Along with former Live Skull drummer James Lo and Yuval Gabay, David is a member of Midi Drum Evil. He has performed and recorded with Elliot Sharp's Carbon, and along with Sharp and Eno sideman Percy Jones, is a member of the New York City trio Scanners (heard most recently on the A & M Record Live at the Knitting Factory, Vol. 7 compilation). Last year, Linton gave solo concerts at Musica 88 in Strassbourg, France, and New Music America '88 in Miami. David is presently working on a commission for Madrid-based choreographer Antonio Andreu, and his second solo LP is scheduled for release in 1990 from Germany's Dossier Records.

Jack Smith was born circa 1933 in Columbus, Ohio. After studying dance with Ruth St. Denis and direction with Lee Strasberg in the early 1950s, Smith quickly became the pioneering legend of New York's film and performance scene. His work on screen and stage has influenced two generations of artists including Richard Foreman, Robert Wilson, and Karen Finley. Flaming Creatures became an immediate cause celebre when it premiered in 1963, defended by such luminaries as Jonas Mekas and Susan Sontag and remains one of the most talked about films of the decade. Rarely seen even during its heyday, Flaming Creatures has long been unavailable. This special screening was made possible through the generosity of Enno Patalas and Munich Film Archive.

More than any of his contemporaries, Andy Warhol came to personify not only the American Pop Art movement of the 1960s but also the social, political, and artistic changes marking the period. Born in 1928 in , Warhol received commercial art school training that served as the starting point for a career that included painting, printmaking, assemblage, still photography, book and magazine publication, filmmaking, and television production. But perhaps his greatest creation was himself-the archetypal cool observer of the cultural chaos that seemed to surround him and us in 1960s America. His death in February 1987 initiated the process of documenting and assessing Warhol's rich and varied output-including the restoration and re­ release of the 60-odd films he made in the mid- 1960s at his celebrated midtown- loft, .