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Robinson, Jack (1928-1997) by Dan Oppenheimer ; Claude J
Robinson, Jack (1928-1997) by Dan Oppenheimer ; Claude J. Summers Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2006 glbtq, Inc. Jack Robinson as a Reprinted from http://www.glbtq.com young man. Image provided by The Jack Mississippi-born photographer Jack Robinson came to prominence in the 1960s as a Robinson Archive. Image courtesy Jack result of the stunning fashion and celebrity photographs he shot for such magazines as Robinson Archive. Vogue and Vanity Fair. He created striking images of the era's cultural icons, Image Copyright © Jack particularly young actors, artists, and musicians as diverse as Peter Allen, Warren Robinson Archive. Beatty, Richard Chamberlain, Joe Dallesandro, Clint Eastwood, Elton John, Liza Minnelli, Melba Moore, Jack Nicholson, Nina Simone, Sonny and Cher, Michael Tilson Thomas, Lily Tomlin, Tina and Ike Turner, Andy Warhol, and The Who, among many others. Robinson captured the particular feel and spirit of the tumultuous 1960s, but by 1972 he was burned out, himself a victim of the era's excesses. Having reached the pinnacle of his profession, he abruptly retreated from New York to pursue a quieter life in Memphis. After 1972, he took no more photographs, though he found a creative outlet in the design of stained glass windows. Jack Uther Robinson, Jr. was born in Meridian, Mississippi on September 18, 1928 to Jack Robinson, Sr. and Euline Jones Robinson. He grew up in Clarksdale, Mississippi, the literal heart of the Mississippi Delta, an area famous for racial injustice, the Blues, and social and religious conservatism. His father was a mechanic and auto parts dealer. -
Wednesday, December 18, 2019 NEW YORK DOYLE+DESIGN® MODERN and CONTEMPORARY ART and DESIGN
Wednesday, December 18, 2019 NEW YORK DOYLE+DESIGN® MODERN AND CONTEMPORARY ART AND DESIGN AUCTION Wednesday, December 18, 2019 at 10am EXHIBITION Saturday, December 14, 10am – 5pm Sunday, December 15, Noon – 5pm Monday, December 16, 11am – 6pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalog: $25 THE ESTATE OF SYLVIA MILES Doyle is honored to offer artwork and It was Miles’ association with Andy Miles’ Central Park South apartment, memorabilia from the Estate of Sylvia Warhol as a close friend and one of which she occupied from 1968 until her Miles (1924-2019). Twice nominated the so-called “Warhol Superstars” that death earlier this year, was filled with for an Academy Award, Miles is best cemented her status as a New York icon. memorabilia from her career and artwork PAINTINGS, SCULPTURE, remembered for her strong performances Miles had a starring role in Warhol’s gifted by her talented group of friends, in diverse works ranging from Midnight 1972 film Heat, the third in a trilogy that particularly Warhol. Cowboy to Sex and the City, as a bona parodied Sunset Boulevard, alongside PHOTOGRAPHS & PRINTS fide “Warhol Superstar,” and as a Joe Dallesandro. Property from the Estate of Sylvia Miles prominent and frequent figure on comprises lots 18, 21, 34-36, 62-65, 67, the Manhattan party scene. 73, 90, 99, 102, 103, 105, 127-131, 144, 146, 166. INCLUDING PROPERTY FROM THE ESTATES OF CONTENTS Elsie Adler Paintings 1-155 Evelyn Berezin Prints 156-171 Arthur Brandt Furniture & Decorative Arts 172-253 Miriam Diner Silver 254-270 Steven R. -
NY ACKER Awards Is Taken from an Archaic Dutch Word Meaning a Noticeable Movement in a Stream
1 THE NYC ACKER AWARDS CREATOR & PRODUCER CLAYTON PATTERSON This is our 6th successful year of the ACKER Awards. The meaning of ACKER in the NY ACKER Awards is taken from an archaic Dutch word meaning a noticeable movement in a stream. The stream is the mainstream and the noticeable movement is the avant grade. By documenting my community, on an almost daily base, I have come to understand that gentrification is much more than the changing face of real estate and forced population migrations. The influence of gen- trification can be seen in where we live and work, how we shop, bank, communicate, travel, law enforcement, doctor visits, etc. We will look back and realize that the impact of gentrification on our society is as powerful a force as the industrial revolution was. I witness the demise and obliteration of just about all of the recogniz- able parts of my community, including so much of our history. I be- lieve if we do not save our own history, then who will. The NY ACKERS are one part of a much larger vision and ambition. A vision and ambition that is not about me but it is about community. Our community. Our history. The history of the Individuals, the Outsid- ers, the Outlaws, the Misfits, the Radicals, the Visionaries, the Dream- ers, the contributors, those who provided spaces and venues which allowed creativity to flourish, wrote about, talked about, inspired, mentored the creative spirit, and those who gave much, but have not been, for whatever reason, recognized by the mainstream. -
Proposed 13-Weeksemesternow Underinvestigation Committeef;Onnedto Analyzeprosandcons
.'-:;),)1 \'.~ 0.:'· ... '...... '..t:» '~... ~ ~, ....: -_.- - ' . .. 1932 * The Students' Voice for 50 Years ·1982 .. Volume 83 No.4 Baruch College, CUNY October 25, 1982 Proposed 13-WeekSemesterNow UnderInvestigation CommitteeF;onnedto AnalyzeProsandCons. Committee members are con 198~. .By S~ven Appenzeller of Bragen pointed out that, tacting their colleagues at the in to compensate for the shorter se stitutions operating under the new A committee of faculty mem mester, class length and!or class schedule, and will present their bers and administration officials meeting frequency may be in findings at a committee meeting at is considering a proposal that creased. Classes presently meet the end of this month. A vote will would shorten the academic se ing twice a week may meet three be taken to decide the matter on mester at Baruch from 14 to 13 or four times a week.: January 6th. The committee is weeks. The 13-week semester is Dr. Ronald Aaron, Associate presently in use at four responsible for deciding whether Dean of Students, is concerned CUNY schools-Hostos Com to proceed with the plan, but not that, "presently some students munity, Kingsborough Communi for the actual implementation. have all their classes scheduled < 'Student input is important in ty, Manhattan Community, and for two days. As an educator. I deciding this issue," Dr. Henry Hunter Colleges. The impetus for don't think that is ideal." Wilson, Dean of Students, said at the change came from the CUNY At Hunter College where the Council of Faculty Senate a meeting of student representa program has already been in ef tives, where faculty and adminis Presidents, which recommended fect for a year, the students are ProfessorTracy Bragen will chair committee which will decide whetber to im tration representatives were also plement a 13-week semester. -
Anton Perich
ANTON PERICH Born near Dubrovnik, Croatia. Lives and works in New York SELECTED INDIVIDUAL EXHIBITIONS 2016 Painting in the Machine, Gallery 151, New York 2014 Electric Paintings 1978-2014, Postmasters Gallery, New York 2009 Akron Art Museum, Ohio 2008 Galleria Acquario, Rome Andy Warhol Museum, Pittsburgh Augen Gallery, Portland, Oregon 2007 Gallery DeNovo, Sun Valley Wouter van Leeuwen Gallery, Amsterdam Kasia Kay Projects, Chicago Queensland Art Museum, Australia 2006 Video Retrospective – Anthology Film Archives, New York Dorkbot NYC – Location One Soho, New York Fotografisk Center, Copenhagen Fondazione Triennale de Milano, Italy Video Movies – Ocularis, Brooklyn, New York Agnes b Gallery, London Agnes b Gallery, Tokyo Staley Wise, New York 2005 Istanbul Biannual – Istanbul, Turkey Agnes b Gallery, Paris Staley Wise, New York Photography – Gallerie du Jour, Paris Paintings and Video – Fischerspooner/Daitch, Brooklyn, New York Photography – Forografisk Center, Copenhagen Paintings – The Tank, New York Photography, Video, Paintings – Nikolaj, Copenhagen 2004 Video – Malmo Konsthall, Sweden Photography – Sperone Westwater, New York 2003 Photography – Sperone Westwater, New York 2002 Night Magazine – Malmo Konsthall, Sweden Neke Carson Presents – Gershwin Hall, New York Pittura Clandestina – Mentelanico, Italy 2000 Photography – Candace Perich Gallery, Katonah, New York Paintings – The Silo Gallery, New Milford, Connecticut Ecole Superieure des Beaux Arts, Marsaille The Gershwin Gallery, New York Neke Carson Presents – The Gershwin Hotel, New York 1999 Gnac-Inter/Prise – Paris 1998 Maison des Artistes – Cagnes-sur-Mer, France MA/13 – Gershwin Hotel, New York Video – Anthology Film Archives, New York 1997 Serge Sorokko Gallery, New York Serge Sorokko Gallery, San Fransisco 1996 La Quadriennale, Rome Mcgrath Gallery, New York Govinda Gallery, Washington, D.C. -
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. -
CAN a BOY BE TOO ATTRACTIVE? Michael Ferguson Joe Dallesandro
CAN A BOY BE TOO ATTRACTIVE? Michael Ferguson Joe Dallesandro has never understood all the excitement. On a makeshift stage at a club in Chicago in 1998, where Flesh had just been screened, he took questions from the attendees, one of whom wondered why the actor thinks the films continue to interest audiences. “I never understood why someone would sit through them once, let alone come back for more.” The crowd laughed, perhaps in part because they appreciated his honesty, or maybe it was refreshing to see an actor uneasy with his work, even mystified by it, rather than the egocentric or self-effacing replies typical at festivals, conventions, and tributes. I couldn’t disagree with him more, and he knows it. I discover nuances in the Warhol and Morrissey films each time I see them. Joe doesn’t fully appreciate his enormous potency as an image, either. That probably has a lot to do with personal overkill and a contempt that derives from familiarity, but it also stems from an understandable lack of objectivity. To Joe, the films “were what they were.” And now they’re over and done with. His cult status as an iconic figure of the so-called underground film, even as the first nude male film star, is deserved and reason enough to pay homage, but how comfortable can it be for this man to know that his unclad form is the key to his adulation, to say nothing of a now middle-aged man forced to confront his naked youth time and time again? His avant-garde display as male sex symbol, offered up for objectification in a fashion historically reserved for women in the cinema, has left him disconnected from a sense of real accomplishment. -
Raymond Macrino, “Jackie Curtis: the Victory Isn't Vain
"1IJIAUI Section 2. Poge5 .-- TheatreMacrino, Raymond. “Jackie Curtis: The Victory Isn't Vain.” The Herald: The lune 6. 1971 Manhattan News and Entertainment Weekly (6 June 1971): s.2, 5. Jackie Curtis: The victory isn't vai n • \/ y <01ttnb111,.,,, to "W<l•·tt,,-J .. .,,.,.. II ,,._,. f'#,_ lrQ·•. R eally sc 11tn1 in• de Jae.be C\lrtb • • wry d ilf k ull thmg: 10 do. JO muc.h scc:m1I0 be lud dcn and cnllttly 1naecetabl t. 11111 C'CnJtant tu ptNw ;arcnca o r c-0¥U'Onmcn1 al1d pmm cd tch cd u.lc matt 11 nollil to tmpot!Qble 10 enpac h lffl ,n :11convnwI10n o n one l' p,CICLfK po tt>I to, any more Oun • few bnd mo rnc-n1s Outwardly, Jacbe t« ffl J to be extrtmcly duordcrcd. bul tfltr sorne ~ roful ob9CAallOn 11 bc,comes quUe dear th:at he 1$ overloo t1n1 notblna anJ 1s wry c.a~ Je of c■ rrym1 on xwenl COI.\WJsahons aDd K l1•.t1Ct ~multaMOU:11)" J U'IUC) ftC lhal tS bow ht: aceomplllhtti IO much In such bn d hlM 1pan1. Rc«nlty, I t1oppe<I at Jacloc"s aparlment to act ,ome Informati o n from him Whde IJ-"lnl m~ the nccc.,p.ry d.ata, he alto eng,.acd mc ind tns ncJllt•haftd man . Denn■ Sp;a.Uuu1 In , con vtral lOn at tb t t;affft time ..-slcb"'f ""' Q)f'l'l fD(:rl.l\nt ·oa H o\rl fflO'rlC OD the tck:WdiOn., ma\:.1n,.coffee nd btu ldl.Jl and ct\\lfl& d,c.ed \0 1-0 OU\ "e.hanchon, hke lb• au 11,y •n<l far \n\o the me.ht, wo1lian1 on •n•n.y levels '-Ont.11nd1. -
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. -
Gay Gotham Exhibition Reveals How New Y... Underground Changed
OUTWARD EXPANDING THE LGBTQ CONVERSATION NOV. 2 2016 1:42 PM Gay Gotham Reveals How a City’s Queer Underground Changed American Culture By Miz Cracker From left: Whitney Elite, Ira Ebony, Stewart and Chris LaBeija, Ian and Jamal Adonis, Ronald Revlon. House of Jourdan Ball, New Jersey, 1989. Chantal Regnault Last month, The Museum of the City of New York mounted Gay Gotham, an exhibition that tells the story of New Yor k City’s thriving and influential queer cultural underground. Encompassing more than eight decades of history, Gay Gotham gathers a rt works, printed matter like novels and newsletters, and other ephemera to reveal how queer artists and queer social networks have impacted the cultural landscape of both the city and America more broadly. Presenting period-specific maps and documentary photographs, the exhibition locates and draws connections between queer icons and the “gayborhoods” they called home, allowing us to contemplate how past generations of LGBTQ people carved out a space for the queer culture we take for granted today. I spoke with co-curator Stephen Vider about Gay Gotham, specifically why the exhibition focuses on the years between 1910 and 1995. Why not include the present moment of queer visibility, in which New York City is certainly an important player? For Vider and co- curator Donald Albrecht, there was someth ing more powerful in exploring the period when gay culture was less visible, forced underground—but still somehow shaping American life. DYKE, A Quarterlyflyer, design by Liza Cowan. 1974. Liza Cowan and Penny House Advertisement “We decided to begin in 1910, the moment when you really start to see the emergence of queer communities in two neighborhoods in New York—Greenwich Village and Harlem,” Vider explained. -
Brown 1 Dr Christopher R. Brown Homosexuality in Dog Day Afternoon
Brown 1 Dr Christopher R. Brown Homosexuality in Dog Day Afternoon (1975): televisual surfaces and a ‘natural’ man Introduction Dog Day Afternoon (1975), directed by Sidney Lumet and starring Al Pacino, has indisputable significance as ‘the first American commercial movie in which the star/identification figure turns out to be gay,’ as Robin Wood observed shortly after its release (33). Despite this, it remains neglected in academic scholarship, the exception being Fredric Jameson’s seminal 1977 article on the film (843-859), which does not discuss its representation of sexuality. This theme cannot be adequately accounted for, I will argue, without first investigating what Lumet referred to as the film’s ‘naturalistic’ aesthetic, which in visual terms is usefully defined in relation to the forms of television and documentary. But more broadly, what does ‘naturalistic’ mean, in this context, and why might this be significant as far as the representation of homosexuality in Dog Day Afternoon is concerned? The film was adapted from real-life events which had occurred on 22 August 1972, when John Wojtowicz and his accomplice Salvatore Naturile had held up a branch of the Chase Manhattan Bank in Brooklyn. The building was surrounded by more than one hundred police officers, and the eight employees of the bank consequently taken hostage at gunpoint, in a siege that would last over eight hours. Around three thousand local residents and curiosity seekers were drawn to the scene by radio and television accounts of the event. It emerged that Wojtowicz was demanding the release from hospital of Ernest Aaron, whom he had married in a drag wedding ceremony, and whose gender reassignment operation he was seeking to finance. -
Arts Commission FROM
MEMORANDUM DATE: November 11, 2016 TO: Arts Commission FROM: Siân Poeschl, Cultural Arts Manager SUBJECT: Friday Flicks Friday Flicks is scheduled for January 6, February 3 and March 3, 2017, with screenings held at [seven-degrees], 891 Laguna Canyon Road. [seven-degrees] will have a bar available starting at 6 p.m. with food available for purchase for $5. The films will be screened at 7 p.m. and will be followed by a panel discussion. Cultural Arts Department Staff reviewed a number of films with Arts Commissioner Suzi Chauvel and are recommending the following: January 6, 2017 Banksy Does New York (2016) Running Time: 79 minutes, Not Rated. Documentary chronicling the famed street artist's "31 works of art in 31 days" in New York City. February 3, 2017 Beautiful Darling (2010) Running Time: 85 minutes, Not Rated Candy Darling was a fixture in the New York Off-Broadway scene in the 60s, in Warhol films such as Women in Revolt and Flesh, and became a prominent personality in Warhol's circles, influencing such noted contemporary artists as Madonna, David Bowie and Lou Reed. March 3, 2017 Life Animated (2016) Running Time: 89 minutes, Rated PG Owen Suskind was a boy of considerable promise, until he developed autism at the age of 3. As Owen withdrew into his silent state, his parents almost lost hope that he find some way to interact with his world in some meaningful way. However, that way was found through animated films, especially those of the Walt Disney Company, which provided Owen a way to understand the world through its stories to the point of creating his own.