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Home , Amos Poe, Anya Phillips, B movie, Colab, Diego Cortez, Edo Bertoglio

A DEFINING PERIOD IN THE HISTORY OF THE : RELATIONSHIP BETWEEN NO WAVE CINEMAFILM, ART AND MUSIC Cover image: from , [1976, 16mm], photo: Fernando Natalici. Courtesy of . This page: Unmade Beds, [1977, 16mm], photo: Fernando Natalici. Courtesy of Amos Poe.

The Cast: Blondie (Debbie Harry, ), , The , , Jean-Michel Basquiat, Glenn O’Brien, David McDermott, Patty Astor, James Nares, Eric Mitchell, Amos Poe, , Kenny Sharf, Julian Schnabel, , King Kreole and the Coconuts, and DNA, James White and the Blacks, The Plastics, Duncan Hannah, , , George Clinton, , Danny Rosen, , Vivienne Dick, , , , Tom DiCillo, , Lee Quinones, Vincent Gallo, and many, many more… Clockwise, from top left: The Blank Generation, [1976, 16mm]. Debbie Harry from The Foreigner, [1978, 16mm]. The Foreigner, [1978, 16mm]. Photos: Fernando Natalici. Courtesy of Amos Poe.

BACKGROUND From the mid 1970s to the early , New However, was in 1975 when Amos Poe, an York City’s East Village was the home, studio Israeli-born photographer, and Ivan Kral, the and playground to an eclectic group of young guitarist with Patti Smith Group, set out to arrivals, hailing from all parts of America as well direct and produce a 16mm film on the punk as Europe. Although from disparate backgrounds, scene. The result was the cult classic, THE these newcomers shared similar interests and BLANK GENERATION. The film depicts seminal passions about music, art, film and performance. performances from the Ramones, Patti Smith Coupled with the neighbourhood’s low rents Group, Blondie, Television, Talking Heads and and vibrant club scene, the East Village proved and proved to be an important to be an invaluable partner to this small group launching point for the development of No Wave who would go on to alter the course of film history Cinema: ‘what these artists did for music, this by defining the movement. film did for cinema’.1

No Wave Cinema, in many ways, was the result of the ever-evolving relationships and interchangeable roles between the East Village artists. Beginning in the mid 1970s with the Punk/New Wave movement, this scene provided a platform for collaborative experimentation: filmmakers created projected works for gigs; musicians composed sounds for artworks; artists/writers/filmmakers were in bands (James Nares and Jim Jarmusch in Del-Byzanteens; Glenn O’Brien in Konerad; Vivienne Dick in Beirut Slump).

Above: The Long Island Four, [1979, Super 8mm] Courtesy of the estate of Anders Grafstrom and Majka Lamprecht

1 Notes from East Village USA Festival programme, New Museum of Contemporary Art, New York, 2004. Above: Jean-Michel Basquiat in , [1981/2000, 35mm], photo: Courtesy Glenn O’Brien and Maripol. Below: David McDermott as Caligula in Rome 78, [1978, Super 8mm] Courtesy of James Nares.

NO WAVE CINEMA The movement (1976 – 1984) reflected the interests, Their exhibition was equally distinctive. Rather lifestyles and modest means of its participants. than use conventional theatres, the films were These traits were integral to identifying common exhibited in the in-between spaces frequented links amongst this East Village group, and by their makers as well as their group of faithful highlighting the differences between themselves supporters: in lofts, gigs and other alternative and nearly every other filmmaker of this period. spaces in the East Village. With this independent As the first generation to grow up with television, approach, the No Wave directors were free from they had a strong desire to to tell stories that were the constraints experienced by other filmmakers not being portrayed in mainstream American who needed access to studio distribution as well cinema. These young filmmakers embraced the as funding. In other words, they made the films B-Movie , the avant garde and French they wanted to make without fear of censorship. New Wave as their ideal cinematic forms.

The films, for the most part, were shot on Super 8mm sound film (in some cases 16mm). This decision was for pragmatic reasons – they could afford to buy and develop it. As a result, the majority of the films shared distinctly identifiable visuals and sound. Below, left: Glenn O’Brien and David McDermott on the set of Glenn O’Brien’s TV Party, [1978 – 1982], photo: Bobby Grossman. Courtesy of Glenn O’Brien. Below, right: Eric Mitchell and Lydia Lunch in Rome 78, [1978, Super 8mm] Courtesy of James Nares.

LONG ISLAND FOUR UNMADE BEDS DOWNTOWN 81 1979, Super 8mm transferred to DVD, 1977, 16mm transferred to DVD, 1981/2000; 35mm transferred to DVD, colour, 76 mins b/w, 77 mins colour, 72 mins Written and directed by Anders Grafstrom Written, directed and produced by Amos Poe Directed by Edo Bertoglio Cast includes: David McDermott, Lance Music by Ivan Kral Written and co-produced by Glenn O’Brien Loud, Bradley Fields, Cast: Duncan Hannah, Eric Mitchell, Patti Co-produced by Maripol with Eric Mitchell, Patty Astor, Klaus Nomi Astor, Robert Gordon and Debbie Harry Cast includes: Jean-Michel Basquiat, and Tina L’hotsky Courtesy of Amos Poe Debbie Harry, Arto Lindsay, Danny and Courtesy of the estate of Anders Grafstrom Lisa Rosen, Fab Five Freddy, Amos Poe, and Majka Lamprecht THE FOREIGNER Daniela Morera, David McDermott, Glenn 1978, 16mm transferred to DVD, O’Brien, Maripol, Cookie Mueller, King ROME 78 b/w, 95 mins Creole and the Coconuts, The Plastics, 1978, Super 8mm transferred to DVD, Written, directed and produced by Amos Poe Michael Holman, Diego Cortez, Bradley colour, 80 mins Screenplay by Amos Poe and Eric Mitchell Field, Walter Steding, James White and Written, directed and produced by Music by Ivan Kral the Blacks and many more James Nares Cast: Eric Mitchell, , Duncan Courtesy of Glenn O’Brien and Maripol Cast includes: David McDermott, Kristian Hannah, Terens Severine, Debbie Harry Hoffman, Tina L’hotsky, Lydia Lunch, Eric and Glenn O’Brien’s TV PARTY Mitchell, Patty Astor, John Lurie, Bradley Courtesy of Amos Poe 1978 – 1982, DVD, Fields, , Anya Phillips and b/w & colour, 94 mins UNDERGROUND USA Presented and produced by Glenn O’Brien Courtesy of James Nares 1980, 16mm transferred to DVD, Directed by Amos Poe colour, 73 mins Co-hosted by Chris Stein THE BLANK GENERATION Produced and directed by Eric Mitchell Camera by Edo Bertoglio, Fred Braithwaite, 1976, 16mm transferred to DVD, Cast: Eric Mitchell, Patti Astor, Rene Lisa Rosen b/w, 56 mins Ricard, Cookie Mueller, John Lurie, Taylor TV PARTY Orchestra directed by Walter Directed and produced by Amos Poe and Mead, and Tom Wright Steding Ivan Kral Courtesy of Eric Mitchell Featuring: Debbie Harry, David McDermott, Featuring: The Ramones, Blondie, Talking Jean-Michel Basquiat, John Lurie, Klaus Heads, Patti Smith Group, Television, Nomi, Art Lindsay, Mick Jones of , Wayne County and Dolls Clash, Steven Meisel, and Courtesy of Amos Poe George Clinton Courtesy of Glenn O’Brien Below: Unmade Beds, [1977, 16mm], photo: Fernando Natalici. Courtesy of Amos Poe.

FILM PROGRAMME For the Irish ’s New York: Poe quickly followed this with THE FOREIGNER No Wave film programme, I have made a selection (16mm) in 1977 with simliar casting (Mitchell, of films which I hope will relay not only a sense Harry, Hannah, Astor and Poe himself) and Kral of the time but an understanding of how these again composing the score. Mitchell takes the dynamic artists worked together. My rationale lead as Max Menace, a secret agent from an in selecting these films is to identify several unnamed country who arrives in New York on an members, familiar and of interest to Irish , unspecified mission and finds himself in the midst from the period, who, within the programme’s of undefined mystery and intrigue. ‘This is the entirety, will hopefully reveal an interesting story of of the other side of the American Dream, story. They include: writer and cultural icon, the foreigner who does not make it,’ writes Glenn O Brien; Blondie’s Debbie Harry and Poe. Downtown New York plays a dramatic part Chris Stein; artist, Jean-Michel Basquiat; and – with such landmarks as the Chelsea Hotel, Dublin’s own David McDermott of the celebrated , and the streets and lofts of Soho serving artist duo, McDermott & McGough. as additional characters.

Amos Poe, who is considered by many to be In 1978, British abstract painter and musician, ‘father’ of the modern American cinema James Nares, directed the classic ROME 78 made his first feature film, UNMADE BEDS (Super 8mm). Featuring performance artist, (16mm), a homage to Godard’s Breathless David McDermott, as Caligula; Lydia Lunch and the , in 1976. As Poe (of the band, Teenage Jesus and the Jerks); explains, ‘I wanted to start where Godard started, downtown socialite, Anya Phillips as the Queen to go back to basics: innocence, romanticism, of Sheba; as well as the ever popular, Mitchell bohemianism, all things that made up New York and Astor, the film is an ironic remake of the City for me at that time’.2 He cast a remarkable spectacle film. Nares was one of the founding group who, for the most part, had never acted members of – an artist collective who, before: Debbie Harry from Blondie; Duncan amongst other things, set up New Cinema – a Hannah, artist; and recent arrivals, Patty Astor, short-lived alternative space on St Marks Place who, with her Jayne Mansfield body, would go dedicated to screening many of the first No on to feature in several No Wave films and Wave films. eventually open the groundbreaking in the East Village (first Gallery to show Jean- Michel Basquiat, Keith Haring and Kenny Sharf); and French-born filmmaker, Eric Mitchell, who also would feature in many films, as well as write and direct his own. The score was composed by Ivan Kral – Poe’s collaborator on THE BLANK GENERATION.

2 Pierson, John, Spike, Mike, Slackers and Dykes, /Hyperion, 1995 Below, left to right: The Blank Generation, [1976, 16mm]. Unmade Beds, [1977, 16mm]. Eric Mitchell as The Foreigner, [1978, 16mm]. Photos: Fernando Natalici. Courtesy of Amos Poe.

The year, young Swedish art director, Another highly ambitious film about the downtown Anders Grafstrom directed his first feature, scene at this time was DOWNTOWN 81. Writer LONG ISLAND FOUR (1979, Super 8mm) which and cultural commentator, Glenn O’Brien was was based on a true story from World War II. approached by Edo Bertoglio, a photographer Four German spies arrive on Long Island by at Interview and Maripol, the art director from submarine to complete a mission; after two , to write a script for a New Wave film. decadent weeks in Manhattan, they are arrested In a single day he wrote a scenario depiciting a by the FBI and subsequently executed. Cast fairytale day in the life of his young, but unknown, members include: David McDermott, Lance artist friend, Jean-Michel Basquiat. Unbelievably, Loud, Bradley Fields, Kristian Hoffman (as the they received the sum of $250,000 from backers Four) as well as Astor and Mitchell and an to make the film. The cast consisted of Debbie appearance by downtown performance artist Harry and Chris Stein; Arto Lindsay; graffiti artists, extraordinaire, Klaus Nomi. Unfortunately Fab Five Freddie Brathwaite and Lee Quinones; Grafstrom died in a road accident in Mexico David McDermott; Danny and Lisa Rosen; curator soon after the film was released. Diego Cortez; Amos Poe; journalist, Daniela Morera as well as Glenn and Maripol. In 1980, Eric Mitchell directed, wrote and starred Performances from bands from the local scene in one the most ambitious films of the No Wave (DNA, James White and the Blacks, The Plastics, movement, UNDERGROUND USA (16mm). etc.) were also included. Ironically, this film Working with the themes of alienation and was never released at the time – it took nearly displacement, and reminiscent of Warhol’s 17 years to sort out a series of legal problems films from the 1960s it featured Patty Astor before post-production could begin. However, as Vicky, an aging actress who still thinks of the fact that it was even made was an indication herself as young and attractive and, in her that the No Wave movement was evolving into the vulnerability, falls for a hustler (played by next stage. Some were ready for it, others weren’t. Mitchell). With by Tom DiCillo, sound by Jim Jarmusch and the authentic locations of the East Village art scene, it was not a commercial success but did succeed in bringing in a whole new . It was also one of the first films to look at the scene itself and, for some, could be considered the beginning of the end. Below, left to right: The Blank Generation, [1976, 16mm]. Eric Mitchell as The Foreigner, [1978, 16mm]. Unmade Beds, [1977, 16mm]. Photos: Fernando Natalici Courtesy of Amos Poe. Glenn O’Brien and David Byrne on the set of Glenn O’Brien’s TV Party, [1978 – 1982], photo: Bobby Grossman. Courtesy of Glenn O’Brien.

Coiniciding with the release of UNDERGROUND With this shift farther west, there was a predictable USA and the production of DOWNTOWN 81, scattering of the members of the No Wave scene there were significant changes happening in and the sense of community which gave the the downtown art world which played a vital movement its identity and strength. One of the part in shifting attention from the film world to reasons I wanted to include Glenn’s TV PARTY the gallery scene (and from East Village to (1978 – 1982), in the programme was that it Soho). In 1981, Swiss dealer, Bruno Bischofberger depicts the scene and its members simultaneously revolutionised the presentation and promotion of at work and play. artists and their artworks. His professional approach contributed to the successful introduction of A highly influential late night satirically-styled the three Italian painters – Francesco Clemente, show on cable access television, Glenn Sandro Chia, Enzo Cucci to New York. At the O’Brien’s TV PARTY was presented by Glenn same time, painter Julian Schnabel, who ironically with Chris Stein as co-host; Amos Poe, the was to make films a decade later, had a show’s director; Edo Bertoglio and Fab Five tremendously successful show at Mary Boone Freddy as the cameramen. Debbie Harry, David Gallery and was represented by Bischofberger McDermott and Basquiat were frequent guests in Europe. In addition, Diego Cortez was curating and there were appearances from Talking Heads, the landmark New York/New Wave at PS1 in John Lurie, George Clinton, Klaus Nomi and – a large-scale group show featuring . David Letterman has described it work from East Village graffiti artists (including ‘as the greatest show ever’.3 Free form television Basquiat) as well as artworks from musicians at its very best, the reasons it worked are the (Chris Stein, David Byrne, , etc.). It very reasons it would not happen today: access received mixed reviews but proved to be the to cheap equipment and low rent; disinterested begininning of the meteoric but shortlived career cable networks; but most importantly, a of Basquiat (he died in 1988). Keith Haring tremendously gifted group of people working and Kenny Sharf were also moving forward with together, not for financial benefit, but for fun. substantial shows planned in Soho. For the most part, the invalauble contribution of the No Wave movement has not been adequately acknowledged in the development of American independent film. I am hoping that, with programmes such as this, greater interest will be generated – not only in the content of the films, but in how these incredibly talented individuals came together and changed our understanding of art, music and film.

3 Zahm, Olivier, ‘Glenn O’Brien Never Eat Fan Mail’, in Purple Fashion, Spring/Summer 2006, p. 129 AILEEN CORKERY DIRECTORS’ BIOGRAPHIES Curator Aileen Corkery is a curator who was Anders Grafstrom: Orignally from Eric Mitchell: The French born responsible for the development and Stockholm where he worked as an writer/director/actor moved to curation of the Dublin-based outdoor art director, Grafstrom moved to New York in the early 1970s. He artist film and programme, in 1977 and began has acted in many No Wave films Temple Bar Outdoors: outside visual to make short films. At the age of (with Patty Astor) including: arts. She has commissioned/ 23, Grafstrom made his first Super UNMADE BEDS, ROME 78, THE co-produced films by Dorothy 8mm feature film – LONG ISLAND FOREIGNER, and LONG ISLAND Cross, Paddy Jolley, Gerard Byrne FOUR. Unfortunately a few months FOUR. He is best known for his and T.J. Wilcox. She has worked after the film was completed, he writing and directing of his own extensively with Matthew Barney, died in a road accident in Mexico. films: KIDNAPPED, RED , Juergen Teller, Richard Billingham, UNDERGROUND USA and THE WAY Douglas Gordon, William Klein, Amos Poe: An Israeli-born IT IS starring Steve Buscemi and Glen Luchford, Salla Tykkä, photographer, Amos Poe is considered Vincent Gallo. He currently resides McDermott & McGough and Phil the ‘father’ of modern indie cinema. in Paris. Collins. She co-curated the film He has written and directed several programme for the first Glasgow feature films including his ‘under- Glenn O’Brien: After graduating International with Francis McKee. ground trilogy’: UNMADE BEDS, from Georgetown University, THE FOREIGNER and SUBWAY O’Brien moved to New York to In 2005, she curated the inaugural RIDERS, as well as FROGS FOR attend Columbia University Film exhibition at the new contemporary SNAKES starring Barbara Hershey School. In 1970, he and Bob art space in Lismore Castle titled and . Poe also Colacello were selected by Andy individual fields with Matthew directed the legendary Glenn O’Brien’s Warhol to edit his ‘Interview Barney, Richard Billingham, Gerard TV PARTY. He has made numerous Magazine’. He left the magazine in Byrne, Michael Craig-Martin, Dorothy music and written countless the early 1970s only to return in Cross, Barry Flanagan and Richard scripts. He is currently teaching at 1977 to write his celebrated Long, as well as curating a film Tisch School of Arts at N.Y.U. music column ‘Glenn O’Brien’s programme for the Commotion film Beat’ which he continued to write series at Arnolfini Gallery, Bristol. James Nares: Nares, a British- for the next 12 years. In 1978, he For 2006, she has commissioned born artist, moved to New York City presented and produced the cult artists McDermott & McGough for in 1974. He is responsible for three classic cable network programme a new film. film projects: ROME 78 (feature), – Glenn O’Brien’s TV PARTY. The NO JAPS AT MY FUNERAL (docu- weekly programme ran until 1982. She is member of IKT – mentary) and WAITNG FOR THE In 1981, he wrote and produced International Association of WIND (short film). In addition, he the feature film, DOWNTOWN 81. Curators and is a Board member performed in two successful bands He has written for , of the Dublin-based Corn from the New Wave period – Del GQ and Italian Vanity Fair. He was Exchange Theatre Company. Byzanteens and The Contortions. the creative director for Barney’s He is successful painter who New York and responsible for Calvin Having moved from Dublin in shows regularly in New York, Los Klein and Armani ad campaigns with 2005, she is now based in Angeles and . designer Fabian Baron. In addition, London working at Hauser & Wirth he and Baron were ’s London with the artists Paul collaborators on her infamous SEX McCarthy and Jason Rhoades. book. He has published several books including Soap Box a collection of his essays, Human Nature a collaboration with the artist Richard Film Programme Coordinator: Aoife Ruane, Prince and Bald Ego magazine. Education & Community Programmes, IMMA

Brochure and associated design: www.hexhibit.com ISBN Number 1-903811-66-X THURSDAY 14 SEPTEMBER

18.00 Discussion, Lecture Room A public in-conversation between Glenn O’Brien and David McDermott introduced by curator Aileen Corkery

This is followed by a wine reception in the Johnston Suite.

Booking is essential as space is limited, priority booking for IMMA Members Automatic booking line tel: +353 1 612 9948 or email [email protected] This event is free and open to the public

For this season, the films have been transferred from their original formats of Super 8mm and 16mm to DVD. This is due to the fragile state of many of the original works, many of which have not been duplicated into prints.

Admission to all screenings is free. Glenn O’Brien’s TV Party: runs on monitor

FRIDAY 15 SEPTEMBER SATURDAY 23 SEPTEMBER 11.00 – 12.30 Rome 78 12.30 – 13.30 The Blank Generation 12.30 – 14.00 Long Island Four 13.30 – 15.00 Unmade Beds 14.00 – 15.30 Rome 78 15.00 – 16.30 The Foreigner 15.30 – 17.00 Long Island Four Director Amos Poe Directors James Nares and Anders Grafstrom SUNDAY 24 SEPTEMBER SATURDAY 16 SEPTEMBER 12.30 – 14.00 Rome 78 11.00 – 12.30 Downtown 81 14.00 – 15.30 Long Island Four 12.30 – 14.00 Underground USA Directors James Nares and Anders Grafstrom 14.00 – 15.30 Downtown 81 15.30 – 17.00 Underground USA THURSDAY 28 SEPTEMBER Directors Edo Bertoglio and Eric Mitchell 11.00 – 12.30 Downtown 81 12.30 – 14.00 Underground USA SUNDAY 17 SEPTEMBER 14.00 – 15.30 Downtown 81 12.30 – 13.30 The Blank Generation 15.30 – 17.00 Underground USA 13.30 – 15.00 Unmade Beds Directors Edo Bertoglio and Eric Mitchell 15.00 – 16.30 The Foreigner Director Amos Poe FRIDAY 29 SEPTEMBER 12.30 – 13.30 The Blank Generation THURSDAY 21 SEPTEMBER 13.30 – 15.00 Unmade Beds 11.00 – 12.30 Rome 78 15.00 – 16.30 The Foreigner 12.30 – 14.00 Long Island Four Director Amos Poe 14.00 – 15.30 Rome 78 15.30 – 17.00 Long Island Four SATURDAY 30 SEPTEMBER Directors James Nares and Anders Grafstrom 11.00 – 12.30 Rome 78 12.30 – 14.00 Long Island Four FRIDAY 22 SEPTEMBER* 14.00 – 15.30 Rome 78 11.00 – 12.30 Downtown 81 15.30 – 17.00 Long Island Four 12.30 – 14.00 Underground USA Directors James Nares and Anders Grafstrom 14.00 – 15.30 Downtown 81 15.30 – 17.00 Underground USA SUNDAY 1 OCTOBER 18.00 – 19.30 Downtown 81 * 12.30 – 14.00 Downtown 81 19.30 – 21.00 Underground USA * 14.30 – 16.00 Underground USA Directors Edo Bertoglio and Eric Mitchell Directors Edo Bertoglio and Eric Mitchell * on Friday 22 September only