The Perch Café
FOLLOWED BY OPEN MIC
March 27-Paul Oppenheimer is the author of twelve books, three of which are poetry: Before a Battleand Other Poems (Harcourt); Beyond the Furies: New Poems (Editions Faust, Paris) and The Flame Charts: New Poems (Spuyten Duyvil Press). His poetry has appeared widely, in such places as Literary Imagination, The Quarterly Review of Literatureand, The New York Times. He teaches at The Graduate Center and The City College of The City University of New York as well as, frequently, as an exchange professor at University College London.
F/R Train to 4th Avenue/9th Street (btwn 5th and 6th St.)
EDIE SEDGWICK RETROSPECTIVE FOCUSES ON HER ANDY WARHOL FILMS March 31-April 8, 2007 Edie Sedgwick was downtown New York’s “It girl” of 1965, when she was inseparable from Andy Warhol and appeared in nearly all of his films. As Warhol said, “Edie was incredible on camera—just the way she moved. She was all energy. She didn’t know what to do with it when it came to living her life, but it was wonderful to film.” The Museum of the Moving Image will present the retrospective The Real Edie Sedgwick from March 31 through April 8, 2007, offering a rare opportunity to see all of Sedgwick’s extant films directed by Warhol, including rare double-projector screenings of the films Outer and Inner Space and Lupe. In all of the Warhol films, the camera runs continuously, capturing Sedgwick on her own, or hanging out with such members of the Warhol crowd as Gerard Malanga, Chuck Wein, and Ondine. The films are very loosely scripted, but are basically slices of life made during the heyday of the Warhol Factory scene. Among the Warhol films to be shown are Beauty #2, Space, Afternoon, Restaurant, and Kitchen. The sixteen-film retrospective also includes the U.S. premiere of footage of Sedgwick shot by documentary filmmaker Richard Leacock for a production of the opera Lulu, and the feature documentary Ciao! Manhattan, which was made shortly before Sedgwick died at the age of 28. Sedgwick was portrayed by Siena Miller in the recently released biopic Factory Girl. “With her radiant beauty, and her equally charismatic and oddly eccentric personality, Edie Sedgwick was a perfect subject for Warhol’s unflinching camera,” said David Schwartz, the Museum’s Chief Curator. “There was a unique combination of presence and absence with Sedgwick, that meshed perfectly with Warhol’s sensibility.” Warhol himself had planned to organize an Edie Sedgwick retrospective in February 1966, but plans fell through when his relationship with Sedgwick cooled off. Organized by David Schwartz, Chief Curator. Special thanks to Callie Angell, M. M. Serra, David Weisman, and Richard Leacock, and to Anne Morra, Charles Silver, and Mary Keene of The Museum of Modern Art.
SCHEDULE All films are 16mm, and directed by Andy Warhol, unless otherwise noted. All films by Andy Warhol are from The Museum of Modern Art.
Poor Little Rich Girl , Saturday, March 31, 2:00 p.m. 1965, 67 mins. A two-reel documentary portrait; in the first reel, out of focus, Edie does her morning routine, applying make-up and exercising. The second reel, in focus, feels like a revelation: Edie smokes pot, tries on clothes, and talks with an off-screen Chuck Wein. Restaurant Saturday, March 31, 3:30 p.m. 1965, 34 mins. Edie Sedgwick and friends drink and talk as they await a meal. Followed by Screen Test Reel #10 (1964-6, 40 mins.) This reel of Warhol's Factory screen tests includes Edie Sedgwick, Jane Holzer, Lou Reed, John Ashbery, Jonas Mekas, and Paul Morrissey.
Vinyl Saturday, March 31, 5:00 p.m. 1965, 66 mins. Warhol's adaptation of A Clockwork Orange, filmed in a corner of the Factory, stars Gerard Malanga as Alex. But Edie Sedgwick, a non-speaking extra, steals the show.
Space Saturday, March 31, 6:30 p.m. 1965, 66 mins. Warhol's constantly moving camera roams around its characters, in a mélange of talking, food fights, and folk singing. Preceded by Match Girl (1966, 25 mins. Directed by Andrew Meyer.) Sedgwick is mythologized by Vivian Kurz, who plays the self-destructive "Match Girl" in this allegorical film, narrated by Warhol. Outer and Inner Space Double-Screen Projection Sunday, April 1, 3:00 p.m.and 6:00 p.m. 1965, 33 mins. In this split-screen extravaganza, Sedgwick smokes and speaks about subjects including outer space, medication, and her family while seated next to her image on a television monitor. Preceded by Lupe (1965, 36 mins.) Loosely based on the life and death of Lupe Velez, this film, presented in its original double-screen format, shows Sedgwick as she listens to music, dances, plays with a kitten, takes pills, and eats supper.
Kitchen Saturday, April 7, 2:00 p.m. 1965, 66 mins. Sedgwick applies make-up, exercises her legs, is seduced by Mickey Trudeau, and discusses coffee. Written as a showcase for Sedgwick, Ronald Tavel's situational and episodic script was described by Warhol as "illogical, without motivation or character-completely ridiculous." Preceded by Restaurant (1965, 34 mins.) Edie Sedgwick and friends drink and talk as they await a meal. Afternoon Saturday, April 7, 4:00 p.m. 1965, 105 mins. Made from footage that was cut from Chelsea Girls at Edie Sedgwick's request, Afternoon is part of Warhol's intended "Poor Little Rich Girl" saga, along with Restaurant and Face. Beauty #2 Saturday, April 7, 6:30 p.m. 1965, 66 mins. In her most complex, playful performance, Sedgwick flirts in bed with Gino Piserchio—and the camera—while responding to jealous insults from an off-screen Chuck Wein; Gerard Malanga looms by the bed, watching. Preceded by Poem Posters (1967, 24 mins. Directed by Charles Henri Ford.) Sedgwick is the life of the party in this priceless record of a star-studded art gallery opening, with appearances by William Burroughs, Jayne Mansfield, and Jack Smith. Horse Sunday, April 8, 4:30 p.m. 1965, 105 min. Sedgwick had a small part in this Western parody, her first Warhol film, which does indeed star a horse. The film is an important transition in Warhol's move towards ironic treatment of Hollywood genres.
Ciao! Manhattan Sunday, April 8, 6:30 p.m. 1972, 84 mins. 35mm. Directed by John Palmer and David Weisman. Sedgwick died just weeks after making this quasi-biographical film, which combines footage from her Factory days with scenes of “Susan Superstar” looking back on the ruins of her life. Preceded by fragment from Lulu (1967, 8 mins., video. Directed by Richard Leacock.) U.S. Premiere. This expressionistic footage of Sedgwick was filmed for an opera.
MUSEUM INFORMATION Hours: Wednesdays & Thursdays, 11:00 a.m. to 5:00 p.m. Fridays, 12:00 to 8:00 p.m. Saturdays & Sundays, 11:00 a.m. to 6:30 p.m. (Tuesday, school groups only by appointment.) Film Screenings: See schedule above for schedule. Museum Admission: $10.00 for adults; $7.50 for persons over 65 and for students with ID; $5.00 for children ages 5-18. Children under 5 and Museum members are admitted free. Admission to the galleries is free on Fridays, 4:00 to 8:00 p.m. Paid admission includes film screenings (except for special ticketed events) Location: 35 Avenue at 36 Street in Astoria. Subway: R or V trains (R or G on weekends) to Steinway Street. N or W trains to 36 Avenue. Program Information: Telephone: (718) 784-0077; Website: www.movingimage.us