Andy Warhol (1928 - 1987)
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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. -
Affective Temporalities in Gob Squad’S Kitchen (You’Ve Never Had It So Good)
56 ANA PAIS AFFECTIVE TEMPORALITIES IN GOB SQUAD’S KITCHEN (YOU’VE NEVER HAD IT SO GOOD) In this article I will be drawing upon affect theory to unpack issues of authenticity, mediation, participation in the production Gob Squads’s Kitchen, by Gob Squad. English/German collective reconstructed Andy Warhol’s early film Kitchen, shot 47 years before, in the flamboyant Factory, starring ephemeral celebrities such as Eve Sedgwick. Alongside Eat (1964), Sleep (1963) and Screen Test (1964-66). Although it premièred in Berlin, in 2007, the show has been touring in several countries and, in 2012, it received the New York Drama Desk Award for Unique Theatrical Experience.I will be examining how the production’s spatial dispositive creates a mediated intimacy that generates affective temporalities and how their performativity allows us to think of the audience as actively engaged in an affective resonance with the stage. Intimacy creates worlds (Berlant 2000). It brings audience and performer closer not only to each other but also to the shifting moment of Performance Art’s capture by institutional discourses and market value. Unleashing affective temporalities allows the audience to embody its potency, to be, again, “at the beginning”.Drawing upon André Lepecki’s notion of reenactments as activations of creative possibilities, I will be suggesting that Gob Squads’s Kitchen merges past and present by disclosing accumulated affects, promises and deceptions attached to the thrilling period of the sixties in order to reperform a possibility of a new beginning at the heart of a nowthen time. In conclusion, this article will shed new light on the performative possibilities of affect to surmount theatrical separation and weave intensive attachments. -
Masculinism, Resistance, and Recognition in Vietnam
NORMA International Journal for Masculinity Studies ISSN: 1890-2138 (Print) 1890-2146 (Online) Journal homepage: https://www.tandfonline.com/loi/rnor20 Recognising shadows: masculinism, resistance, and recognition in Vietnam Paul Horton To cite this article: Paul Horton (2019): Recognising shadows: masculinism, resistance, and recognition in Vietnam, NORMA, DOI: 10.1080/18902138.2019.1565166 To link to this article: https://doi.org/10.1080/18902138.2019.1565166 © 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 11 Jan 2019. Submit your article to this journal Article views: 110 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rnor20 NORMA: INTERNATIONAL JOURNAL FOR MASCULINITY STUDIES https://doi.org/10.1080/18902138.2019.1565166 Recognising shadows: masculinism, resistance, and recognition in Vietnam Paul Horton Department of Behavioural Sciences and Learning, Linköping University, Linköping, Sweden ABSTRACT ARTICLE HISTORY Pride parades, LGBT rights demonstrations, and revisions to the Received 9 July 2017 Marriage and Family Law highlight the extent to which norms and Accepted 12 November 2018 values related to gender, sexuality, marriage, and the family have KEYWORDS recently been challenged in Vietnam. They also illuminate the Vietnam; LGBT; masculinism; gendered power relations being played out in the socio-cultural recognition; power; context of Vietnam, and thus open up for a more in-depth resistance consideration of the ways in which LGBT people have experienced and resisted these relations in everyday life. Drawing on ethnographic fieldwork conducted in Vietnam’s two largest cities, Hanoi and Ho Chi Minh City, in 2012, this article discusses the relations between these power relations, the dominant Vietnamese discourse of masculinity, or masculinism, and the politics of recognition. -
Andy Warhol and the Dawn of Modern-Day Celebrity Culture 113
Andy Warhol and the Dawn of Modern-Day Celebrity Culture 113 Alicja Piechucka Fifteen Minutes of Fame, Fame in Fifteen 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, flourished 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). The 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. This 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. The aim of this essay is to analyze Warhol’s portraits of famous people in terms of how they anticipate the celebrity-obsessed culture in which we now live. -
Andy Warhol Shadows Exhibition Brochure.Pdf
Andy Warhol Shadows On Tuesday I hung my painting(s) at the Heiner Friedrich gallery in SoHo. Really it’s presentation. Since the number of panels shown varies according to the available and altered through the abstraction of the silkscreen stencil and the appli- one painting with 83 parts. Each part is 52 inches by 76 inches and they are all sort size of the exhibition space, as does the order of their arrangement, the work in cation of color to reconfigure context and meaning. The repetition of each of the same except for the colors. I called them “Shadows” because they are based total contracts, expands, and recalibrates with each installation. For the work’s famous face drains the image of individuality, so that each becomes a on a photo of a shadow in my office. It’s a silk screen that I mop over with paint. first display, the gallery accommodated 83 panels that were selected and arranged stand-in for non-individuated and depersonalized notions of celebrity.5 The I started working on them a few years ago. I work seven days a week. But I get by Warhol’s assistants in two rooms: the main gallery and an adjacent office. replication of a seemingly abstract gesture (a jagged peak and horizontal the most done on weekends because during the week people keep coming by extension) across the panels of Shadows further minimizes the potential to talk. The all-encompassing (if modular) scale of Shadows simultaneously recalls to ascribe any narrative logic to Warhol’s work. Rather, as he dryly explained, The painting(s) can’t be bought. -
I1465 I SHOT ANDY WARHOL (USA, 1996) (Other Titles: Ho Sparato a Andy Warhol)
I1465 I SHOT ANDY WARHOL (USA, 1996) (Other titles: Ho sparato a Andy Warhol) Credits: director, Mary Harron ; writers, Mary Harron, Daniel Minahan. Cast: Lili taylor, Jared Harris, Stephen Dorff, Martha Plimpton. Summary: Biographical melodrama set in 1960s New York City. A journey into the cultural whirlwind of events surrounding Valerie Solanas’ shooting of pop-art superstar Andy Warhol. Solanis (Taylor) arrived in mid-‘60s New York City with a single-minded mission: to spread the word on female superiority. While feverishly putting her radical ideas down on paper, she becomes a fringe member of the psychedelic entourage surrounding Andy Warhol (Harris). But when her feminist zeal grows too bizarre and violent, even for this avant-garde circle, the consequences are explosive. Includes passing references to the anti-Vietnam War movement. Adams, Thelma. [I shot Andy Warhol] New York post (May 1, 1996), p. 39. [Reprinted in Film review annual 1997] Alexander, Al. “‘Warhol’ a fascinating look at a tragedy” Patriot ledger [Quincy, MA] (May 18, 1996), p. 36. Alleva, Richard. “Insane times: ‘Warhol’ & ‘Anne Frank’” Commonweal 123 (Jul 12, 1996), p. 21-2. Andersen, Soren. “Review: Fact-based ‘I shot Andy Warhol,’ is fascinating film” News tribune [Tacoma, WA] (Jun 14, 1996), SoundLife, p. SL6. Ansen, David. “When the fun ended” Newsweek 127/19 (May 6, 1996), p. 78. [Reprinted in Film review annual 1997] Artner, Alan G. “Andy Warhol: His 15 minutes never ended” Chicago tribune (May 19, 1996), Arts & entertainment, p. 1. B., L. “I shot Andy Warhol” Art in America 84 (Sep 1996), p. 40-41. -
Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27Th, 2019
Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27th, 2019 www.stanfordauctioneers.com | [email protected] 1: RUDOLF KOPPITZ - Zwei Bruder USD 1,200 - 1,500 Rudolf Koppitz (Czech/Austrian, 1884-1936). "Zwei Bruder [Two Brothers]". Original vintage photometalgraph. c1930. Printed 1936. Stamped with the photographer's name, verso. Edition unknown, probably very small. High-quality archival paper. Ample margins. Very fine printing quality. Very good to fine condition. Image size: 8 1/8 x 7 7/8 in. (206 x 200 mm). Authorized and supervised by Koppitz shortly before his death in 1936. [25832-2-800] 2: CLEMENTINE HUNTER - Zinnias in a Blue Pot USD 3,500 - 4,000 Clementine Hunter (American, 1886/1887-1988). "Zinnias in a Blue Pot". Gouache on paper. c1973. Signed lower right. Very good to fine condition; would be fine save a few very small paint spots, upper rght. Overall size: 15 3/8 x 11 3/4 in. (391 x 298 mm). Clementine Reuben Hunter, a self-taught African-American folk artist, was born at Hidden Hill, a cotton plantation close to Cloutierville, Louisiana. When she was 14 she moved to the Melrose Plantation in Cane River County. She is often referred to as "the black Grandma Moses." Her works in gouache are rare. The last auction record of her work in that medium that we could find was "Untitled," sold for $3,000 at Sotheby's New York, 12/19/2003, lot 1029. [29827-3-2400] 3: PAUL KLEE - Zerstoerung und Hoffnung USD 800 - 1,000 Paul Klee (Swiss/German, 1879 - 1940). -
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. -
Andy Warhol Who Later Became the Most
Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15. -
A Day in the City of Pittsburgh
A Day in the City of PGH Commitment Pittsburgh MeetPITTSBURGH, a division of VisitPITTSBURGH, is proud to present the Pittsburgh Global Health (PGH) & Safety Commitment, which highlights the wide range of health and safety commitments put forward by our local hospitality and tourism communities. Now, more than ever, these communities are aligned, prioritizing the health and wellbeing of our residents and visitors. This mutual pledge demonstrates that our region is committed to exceeding the highest expectations when it comes to health and safety. As you move forward with plans for meetings and events in 2021 and beyond, continue to consider Pittsburgh. And remember - you have our commitment. The PGH Commitment. Explore Outdoors! Pittsburgh is full of outdoor adventure. Whether you choose to hike, bike, walk or simply relax and enjoy our spectacular outdoor views, there’s something for every outdoor enthusiast in Pittsburgh. See Pittsburgh from two wheels and take advantage of the city’s 24 miles of riverfront trails. Get a fantastic view from Pittsburgh’s famous three rivers aboard Gateway Clipper Fleet’s riverboat cruises. Looking for more adventure? Rent a kayak from Kayak Pittsburgh Downtown near PNC Park and the Roberto Clemente Bridge. The City of Pittsburgh also is home to 165 parks, ranging from regional parks to small neighborhood parklets. Point State Park, a National Historic Landmark at the confluence of the three rivers, has 36 acres to stroll and unbelievable views. Enjoy an Only-in-Pittsburgh Attraction There are countless reasons why Pittsburgh often makes the list of the world’s best places to visit, though the top spots are often reserved for our many Only-in-Pittsburgh attractions. -
The Progressive Pittsburgh 250 Report
Three Rivers Community Foundation Special Pittsburgh 250 Edition - A T I SSUE Winter Change, not 2008/2009 Social, Racial, and Economic Justice in Southwestern Pennsylvania charity ™ TRCF Mission WELCOME TO Three Rivers Community Foundation promotes Change, PROGRESSIVE PITTSBURGH 250! not charity, by funding and encouraging activism among community-based organiza- By Anne E. Lynch, Manager, Administrative Operations, TRCF tions in underserved areas of Southwestern Pennsylvania. “You must be the change you We support groups challeng- wish to see in the world.” ing attitudes, policies, or insti- -- Mohandas Gandhi tutions as they work to pro- mote social, economic, and At Three Rivers Community racial justice. Foundation, we see the world changing every day through TRCF Board Members the work of our grantees. The individuals who make up our Leslie Bachurski grantees have dedicated their Kathleen Blee lives to progressive social Lisa Bruderly change. But social change in Richard Citrin the Pittsburgh region certainly Brian D. Cobaugh, President didn’t start with TRCF’s Claudia Davidson The beautiful city of Pittsburgh (courtesy of Anne E. Lynch) Marcie Eberhart, Vice President founding in 1989. Gerald Ferguson disasters, and nooses show- justice, gay rights, environ- In commemoration of Pitts- Chaz Kellem ing up in workplaces as re- mental justice, or animal Jeff Parker burgh’s 250th birthday, I was cently as 2007. It is vital to rights – and we must work Laurel Person Mecca charged by TRCF to research recall those dark times, how- together to bring about lasting Joyce Redmerski, Treasurer the history of Pittsburgh. Not ever, lest we repeat them. change. By doing this, I am Tara Simmons the history that everyone else Craig Stevens sure that we will someday see would be recalling during this John Wilds, Secretary I’ve often heard people say true equality for all. -
The Warhol: Press Release
the warhol: press release Contact FOR IMMEDIATE RELEASE Jessica Warchall THE WARHOL LAUNCHES INCLUSIVE AUDIO GUIDE 412-237-8351 [email protected] Pittsburgh, PA, October 25, 2016 — warhol.org/museum/pressroom The Andy Warhol Museum announces the launch of its inclusive audio guide Out Loud developed in collaboration with the Innovation Studio at Carnegie Museums of Pittsburgh. Out Loud is available for free in the App Store, and it launches on site October 25, 2016. Out Loud is designed to be inclusive of museum visitors across abilities. For users who are blind or have low vision, it offers location-based content, screen reader optimization, and enlargeable text. It includes visual descriptions of Andy Warhol artworks and stories about Warhol’s life and art from scholars, curators, museum staff, and Warhol’s friends and family members, including archival audio. It also includes full audio transcripts. Image: Museum visitor using Out Loud “We’re excited to launch this app that is the direct result of working with community at The Warhol. members with visual impairments,” says Desi Gonzalez, The Warhol's manager of digital engagement. “Before we put a single design on paper or wrote a line of code, we talked to community partners who are blind or have low vision about what makes a good museum experience—and a good digital experience. We developed several prototypes along the way and brought in our partners to test them, allowing the feedback to shape the final product.” “I am very proud to live in a city where a gem, like The Andy Warhol Museum, takes accessibility for all individuals to the next level,” says Erika Arbogast, president of Blind & Vision Rehabilitation Services of Pittsburgh.