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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. -
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. -
Scoundrels in Paradise
SCOUNDRELS IN PARADISE A TRUE STORY BY SCOTT ADLAI STEVENSON WITH JOHN GREENBURG COPYRIGHT 2012 ALL RIGHTS RESERVED BY SCOTT ADLAI STEVENSON AND JOHN GREENBURG FOR FILM/TV RIGHTS CONTACT: SCOTT ADLAI STEVENSON 520-255-6057 / [email protected] The events described in this book are true. Some names have been changed for purposes of privacy. PROLOGUE Even Good Stock Sometimes Has A Few Black Sheep My first childhood memory is a vision from the bottom of a swimming pool. I was two years old and playing with a few of my neighborhood friends in 1 Downey, California when I happened to fall into their backyard pool. I recall frantically trying to get my head above water, but despite my efforts, I landed on the bottom of the deep end. I stared up through the rippling water to the surface, where I could make out only the fuzzy outline of my mother. Fortunately, my older brother Michael noticed I was missing and dove in to save me. That feeling of sinking and then desperately struggling to reach the surface and keep my head above water has remained a constant companion. Ever since then, I spent a great deal of my life in over my head; nearly drowning in a deep pool of authoritarianism, materialism and greed that always seemed to surround me. Over the years, I developed an aversion to authoritarianism and materialism, and I have tried not to become a greedy, materialistic person with a rigid mindset. But in the environment I grew up in, it was like trying to remain dry while floating in a swimming pool. -
California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family. -
The Films of Andy Warhol Stillness, Repetition, and the Surface of Things
The Films of Andy Warhol Stillness, Repetition, and the Surface of Things David Gariff National Gallery of Art If you wish for reputation and fame in the world . take every opportunity of advertising yourself. — Oscar Wilde In the future everyone will be world-famous for 15 minutes. — attributed to Andy Warhol 1 The Films of Andy Warhol: Stillness, Repetition, and the Surface of Things Andy Warhol’s interest and involvement in film ex- tends back to his childhood days in Pittsburgh, Pennsylvania. Warhol was sickly and frail as a youngster. Illness often kept him bedridden for long periods of time, during which he read movie magazines and followed the lives of Hollywood celebri- ties. He was an avid moviegoer and amassed a large collection of publicity stills of stars given out by local theaters. He also created a movie scrapbook that included a studio portrait of Shirley Temple with the handwritten inscription: “To Andrew Worhola [sic] from Shirley Temple.” By the age of nine, Warhol had received his first camera. Warhol’s interests in cameras, movie projectors, films, the mystery of fame, and the allure of celebrity thus began in his formative years. Many labels attach themselves to Warhol’s work as a filmmaker: documentary, underground, conceptual, experi- mental, improvisational, sexploitation, to name only a few. His film and video output consists of approximately 650 films and 4,000 videos. He made most of his films in the five-year period from 1963 through 1968. These include Sleep (1963), a five- hour-and-twenty-one minute look at a man sleeping; Empire (1964), an eight-hour film of the Empire State Building; Outer and Inner Space (1965), starring Warhol’s muse Edie Sedgwick; and The Chelsea Girls (1966) (codirected by Paul Morrissey), a double-screen film that brought Warhol his greatest com- mercial distribution and success. -
Factory Girl Free Download
FACTORY GIRL FREE DOWNLOAD Pamela Oldfield | 160 pages | 03 Jan 2011 | Scholastic | 9781407116723 | English | London, United Kingdom Factory Girl (Rolling Stones song) Sign up here. The film is framed by Edie Sedgwick Sienna Miller being interviewed in a hospital several years after her time as an Andy Warhol superstar. Help Learn to edit Community portal Recent changes Upload file. We want to hear what you have to say but need to verify your account. Certified Fresh Picks. Beggars Banquet. Was this review helpful to you? Waiting Factory Girl a girl who's got curlers in her hair Waiting for Factory Girl girl, she has no money anywhere Factory Girl get buses everywhere, waiting for a factory girl. Micheal Compton. Andy Warhol dove into most things artistic; shaping Pop Art, producing The Velvet Underground, and making his own films. Namespaces Article Talk. In Factory Girl, a jumbled account of the short life and photogenic hard times of the first Andy Warhol superstar, Edie Sedgwick, Sienna Miller makes Sedgwick into an archetypal over-confident blond with a mannered young Kathleen Turner croak. Best Horror Movies. Add Article. Andy Warhol: You're the boss, applesauce! By the end of the film, I didn't think I learned anything true. We want to hear what you have to say but need to verify your email. Log in here. June 15, Clear your history. Sienna Miller defended the film against Dylan's allegations, saying in an interview with the Guardian, Factory Girl blames Warhol more than anyone, because he did abandon her Regal Coming Soon. -
Andy Warhol's Factory People
1 Andy Warhol’s Factory People 100 minute Director’s Cut Feature Documentary Version Transcript Opening Montage Sequence Victor Bockris V.O.: “Drella was the perfect name for Warhol in the sixties... the combination of Dracula and Cinderella”. Ultra Violet V.O.: “It’s really Cinema Realité” Taylor Mead V.O.:” We were ‘outré’, avant garde” Brigid Berlin V.O.: “On drugs, on speed, on amphetamine” Mary Woronov V.O.: “He was an enabler” Nico V.O.:” He had the guts to save the Velvet Underground” Lou Reed V.O.: “They hated the music” David Croland V.O.: “People were stealing his work left and right” Viva V.O.: “I think he’s Queen of the pop art.” (laugh). Candy Darling V.O.: “A glittering façade” Ivy Nicholson V.O.: “Silver goes with stars” Andy Warhol: “I don’t have any favorite color because I decided Silver was the only thing around.” Billy Name: This is the factory, and it’s something that you can’t recreate. As when we were making films there with the actual people there, making art there with the actual people there. And that’s my cat, Ruby. Imagine living and working in a place like that! It’s so cool, isn’t it? Ultra Violet: OK. I was born Isabelle Collin Dufresne, and I became Ultra violet in 1963 when I met Andy Warhol. Then I turned totally violet, from my toes to the tip of my hair. And to this day, what’s amazing, I’m aging, but my hair is naturally turning violet. -
Andy Warhol's Exploding Plastic Inevitable
Jean Wainwright Mediated Pain: Andy Warhol’s Exploding Plastic Inevitable ‘Warhol has indeed put together a total environment. But it is an assemblage that actually vibrates with menace, cynicism and perversion. To experience it is to be brutalized, helpless…The Flowers of Evil are in full bloom with the Exploding, Plastic, Inevitable’.1 The ‘Exploding Plastic Inevitable’ (EPI) was Andy Warhol’s only foray into a total inter-media experience.2 From 1966 to 1967 the EPI, at its most developed, included up to three film projectors3, sometimes with colour reels projected over black and white, variable speed strobes, movable spots with coloured gels, hand-held pistol lights, mirror balls, slide projectors with patterned images and, at its heart, a deafening live performance by The Velvet Underground.4 Gerard Malanga’s dancing – with whips, luminous coloured tape and accompanied by Mary Woronov or Ingrid Superstar – completed the assault on the senses. [Fig.9.1] This essay argues that these multisensory stimuli were an arena for Warhol to mediate an otherwise internalised interest in pain, using his associates and the public as baffles to insulate himself from it. His management of the EPI allowed Warhol to witness both real and simulated pain, in a variety of forms. These ranged from the often extreme reactions of the viewing audience to the repetition on his background reels, projected over the foreground action.5 Warhol had adopted passivity as a self-fashioning device.6 This was a coping mechanism against being hurt, and a buffer to shield his emotional self from the public gaze.7 At the same time it became an effective manipulative device, deployed upon his Factory staff. -
Billy Name the Silver Age
BILLY NAME THE SILVER AGE SILKSCREEN AND PHOTOGRAPHIC PRINTS 30TH SEPTEMBER – 23RD OCTOBER 2015 BILLY NAME THE SILVER AGE ‘Billy caught the energy of the Factory scene, but SILKSCREEN AND PHOTOGRAPHIC PRINTS also its sense of sanctuary – a place where the freaks and outsiders could merge with the glamorous under the democratic gaze of Andy’s Super 8’ 30TH SEPTEMBER – 23RD OCTOBER 2015 Sean O’Hagan, The Guardian, September 2015 Serena Morton II 345 Ladbroke Grove, London, W10 6AH Tel: 07904 636 910 Email: [email protected] Cover: Andy Warhol under My Hustler marquee at the Hudson Cinema, 1965 Monday-Friday 10 - 6pm Saturday 11 - 4pm Silver Espon print, 30 x 20” Edition of 5 All other times by appointment 1 - Edie Sedgwick screen test, eyes closed, 1965 2 - Edie Sedgwick screen test, eyes open, 1965 Silkscreen, 25 x 19” Silkscreen, 25 x 19” Edition of 40 Edition of 40 (Comes as a pair with no. 2 right) (Comes as a pair with no. 1 left) 3 - Andy Warhol under My Hustler marquee at the Hudson Cinema, 1965 Silver Espon print, 30 x 20” Edition of 5 4 - Andy Warhol on payphone at World’s Fair, 1964 5 - Jackie paintings at the Factory, 1964 Silver Espon print, 16 x 21” Silkscreen, 19 x 25” Edition of 5 Edition of 40 6 - Flowers paintings at the Factory, 1964 7 - The Velvet Underground, 1967 Silkscreen, 18 x 25” Silkscreen, 14 x 17.5” Edition of 40 Edition of 40 8 - Andy Warhol on payphone at the Factory, 1964 Silkscreen, 19 x 16” Edition of 80 9 - Regency cinema Chelsea Girls marquee, 1966 10 - Susan Bottomley, International Velvet #1, 1966 -
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. -
Cultural Infidels: Film and Performance for Consenting Adults 3-31 January 1990 Cultural Infidels: Film and Performance for Consenting Adults
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 Warhol Isaac Julien Flaming Creatures (film) Friday, 5 January Jack Smith lonesome Cowboys and Empire (films) John Kelly (performance) Andy Warhol 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 My Hustler 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 Chelsea Girls (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. -
Press Materials
“Some people wonder if they dare disturb the universe. Other people smash their universe to pieces just to see how it looks the next morning. For those of you who never knew her, take this book. Read her life. Be inspired to be more.” —Lincoln Reed, Addison Stone’s Former Boyfriend “I don’t believe in magic, but Addy lives right here in these pages—in the memories of all of us who knew her best.” —Lucy Lim, Childhood Best Friend “From the moment she stepped foot in NYC, Addison Stone’s subversive street art made her someone to watch. And her violent drowning left her fans and critics craving to know more. I conducted interviews with those who knew her best—including close friends, family, teachers, mentors, art dealers, boyfriends, and critics—and retraced the tumultuous path of Addison’s life. I hope I can shed new light on what really happened the night of July 28th.” —Adele Griffin 2 DAILY NEWS NEW YORK CITY’S HOMETOWN NEWSPAPER Monday, July 29 ADDISON STONE, WELL-KNOWN ARTIST, AP TOP NEWS JULY 29 AT 4:59DIES A.M. EST AT 18 NEW YORK CITY (AP) – The particularly chemical warfare. possible that these actions New York City Police Depart- A friend of the family, who were deliberate.” ment confirmed that they did not want to be identified, Stone rose to fame both are investigating the death said that Stone, who previ- through her painting and her of artist Addison Stone. Her ously lived with her family in incendiary public antics. Her body was recovered early this artwork was sold through morning in the East River near Berger Galleries, but she often the Manhattan Bridge.