“Film was the perfect medium for Andy Warhol,” said David Schwartz, the Museum’s Chief Curator, who organized the series. “He was fascinated with everything about the medium, from the camera’s ability to mechanically create images, to the opportunity to be in control as a director while also being an observer. From 1963 to 1968, he virtually reinvented the medium, going from short silent films to creating his own star system and avant-garde version of a Hollywood studio in his midtown Factory.”
The series includes his early silent films, such as Eat, Haircut #1, and Kiss, as well as excerpts from his famous epic-length films Empire and Sleep. These films belie the false notion that Warhol’s films were simplistic. For example, Eat, a 35-minute film of artist Robert Indiana eating a mushroom, is an exquisitely lit, beautifully composed film that wittily jumps around in time.
In his sound films, Warhol created an underground star system, drawing on such memorable performers as poet Gerard Malanga, drag queen Mario Montez, Ondine, Edie Sedgwick, Viva, Taylor Mead, and many more. He occasionally spoofed Hollywood genres, such as westerns and musicals, and he invoked Hollywood mythology with movies about Hedy Lamarr, Lana Turner, and Jean Harlow. His films also serve as time capsules of the 1960s; the uncompleted film Since reenacts the assassinations of John Kennedy and Lee Harvey Oswald, and the 1967 movie Nude Restaurant evokes the anti-war movement of the Summer of Love.
Although Warhol made more than forty films and shot hundreds of rolls of film starting in 1963, he withdrew his films from circulation in 1972. Shortly after his death in 1987, the Andy Warhol Film Project was created, and since then his films have been gradually restored and made available for public screening.
On the opening weekend of the series, on October 21, a discussion with Callie Angell, curator of the Andy Warhol Film Project and film critic Amy Taubin, moderated by David Schwartz, will address the artistic significance of Warhol’s films, the social and cultural milieu surrounding their production, and the history of their reception and their restoration. During the final weekend of the series, on November 10, the Museum will present a preview screening of Esther Robinson’s A Walk into the Sea: The Danny Williams Story about the experimental filmmaker and Warhol’s onetime lover—and Robinson’s uncle—followed by a conversation with the director. Also on November 10, filmmaker James Rasin will present a 30-minute segment from his documentary in progress about Candy Darling, a fixture at Warhol’s Factory in the late 1960s and early 1970s, featuring revealing interviews and priceless archival footage.
“Though the films, often comprised of long, unedited reels shot with the camera running nonstop for 33 minutes, had the veneer of objectivity, Warhol’s main subject was deeply personal,” said David Schwartz. “In one form or another, his films are implicitly or explicitly about sex: sex as performance or power play. And they raise fascinating questions about observation and participation, implicating the viewer as well as the filmmaker.”
SCHEDULE FOR ‘WARHOL’S WORLD’
Organized by Chief Curator David Schwartz. All film are 16mm sound prints from The Museum of Modern Art, and directed by Andy Warhol, unless noted.
Haircut #1 and Kiss
Saturday, October 20, 2:00 p.m.
The exquisitely homoerotic Haircut #1 (1963, 24 mins., silent) records a “hair-cutting salon” at Billy Name’s apartment. Kiss (1963, 54 mins., silent), originally shown in weekly four-minute installments, is a series of shots of kissing couples, straight and gay.
Couch and Harlot
Saturday, October 20, 4:00 p.m.
Couch (1964, 52 mins., silent. With Gerard Malanga, Naomi Levine, Allen Ginsberg, Jack Kerouac) is one of Warhol’s most explicit films, a series of erotic encounters that take place on or near the Factory’s old red couch. In Harlot (1964, 66 mins.), drag queen extraordinaire Mario Montez vaguely impersonates Jean Harlow while eating banana after banana.
Blow Job and Tarzan and Jane Regained, Sort Of…
Saturday, October 20, 6:30 p.m.
In Blow Job (1964, 35 mins., silent), Warhol films a young man from shoulders up, with the eponymous sexual act left to the imagination. Tarzan and Jane… (1963, 80 mins. With Naomi Levine, Taylor Mead), Warhol’s first feature, is a rambling spoof in which Tarzan swings both ways and Jane jumps naked into John Houseman’s swimming pool.
Screen Tests: Reel 16 and Sleep (excerpt) and Soap Opera
Sunday, October 21, 2:00 p.m.
Warhol’s “screen tests” are three-minute portraits of the Factory’s illustrious visitors. This 40-minute reel includes Susan Sontag, Lou Reed, and Jack Smith. Sleep (1963, 42 minute excerpt), famously known as “an eight-hour-long movie that shows nothing but a man sleeping” is in fact highly edited, made from four-minute film rolls of poet John Giorno in bed. In Soap Opera (1964, 46 mins. With Baby Jane Holzer) Warhol intercuts parodic footage of domestic dramas with actual TV commercials for products including Pillsbury Cake Mix, Easter Seals, and Beauty Set Shampoo.
PANEL DISCUSSION: “The Warhol Gaze”
With Callie Angell and Amy Taubin, moderated by David Schwartz
Sunday, October 21, 5:00 p.m.
Callie Angell, curator of the Andy Warhol Film Project, and film critic Amy Taubin will discuss the artistic significance of Warhol’s films, the social and cultural milieu surrounding their production, and the history of their reception and their restoration. Chief Curator David Schwartz will moderate the conversation.
Eat and Screen Test #2
Sunday, October 21, 7:00 p.m.
In the exquisitely lit Eat (1964, 35 mins., silent), Robert Indiana eats one mushroom, slowly, during nine short rolls of film which are shown out of sequence. In Screen Test #2 (1965, 66 mins.), Mario Montez gamely auditions for a starring role in a remake of The Hunchback of Notre Dame, subjecting himself to the offscreen taunting of playwright Ronald Tavel.
Empire (excerpt) and Vinyl
Saturday, October 27, 1:30 p.m.
Empire (1964, 46 minute excerpt., silent), a continuous eight-hour shot of the Empire State Building, is Warhol’s ultimate meditation on duration. Long before Stanley Kubrick, Warhol adapted Anthony Burgess’s novel A Clockwork Orange in Vinyl (1965, 66 mins.) with Gerard Malanga’s Alex overshadowed by a silent Edie Sedgwick.
Kitchen and Beauty #2
Saturday, October 27, 4:00 p.m.
In Kitchen (1965, 66 mins.), with an absurdist script by Ronald Tavel that evokes Edward Albee and Samuel Beckett, Edie Sedgwick tends to domestic chores while being seduced. In her quintessential performance, in Beauty #2 (1965, 66 mins.), Edie flirts in bed with a near-stranger while sparring verbally with an offscreen interrogator.
Camp and The Velvet Underground and Nico
Saturday, October 27, 7:00 p.m.
Camp (1965, 66 mins. With Gerard Malanga, Mario Montez, Jack Smith) is an impromptu vaudeville show conceived as a response to Susan Sontag’s essay “Notes on Camp.” In The Velvet Underground and Nico (1965, 55 mins.) a jam session at the Factory is interrupted by a visit from the police.
Paul Swan and Hedy
Sunday, October 28, 4:30 p.m.
In Paul Swan (1965, 66 mins.), the eponymous dancer, a contemporary of Isadora Duncan, dons elaborate costumes (“Woolworth’s finest!”) and tries to perform while Warhol’s camera records the preparations and false starts. In Hedy (1966, 66 mins.), Mario Montez enacts scenes from the life of Hedy Lamarr, including a shoplifting arrest and plastic surgery.
Poor Little Rich Girl and I, A Man
Sunday, October 28, 7:00 p.m.
The first reel of Poor Little Rich Girl (1965, 66 mins. With Edie Sedgwick) is out of focus; the second reel, in focus, feels like a revelation: Edie smokes pot, tries on clothes, and talks on the phone. I, A Man (1967, 95 mins. With Tom Baker) follows a young man’s attempted trysts with a series of women, including a staircase encounter with Valerie Solanas, the woman who shot Warhol in 1968.
Outer and Inner Space and More Milk Yvette and Lupe
Saturday, November 3, 2:00 p.m.
For Outer and Inner Space (1966, 33 mins.), Warhol filmed Edie Sedgwick watching herself on videotape; the result is a mesmerizing four-headed portrait. In the color Lupe (1965, 33 mins.), Sedgwick reenacts the last meal and attempted suicide of Hollywood actress Lupe Velez. In More Milk Yvette (1966, 33 mins.), Mario Montez plays Lana Turner, eating lunch with her daughter and trying on sweaters while a Dylan look-alike plays harmonica.
The Chelsea Girls
Saturday, November 3, 5:00 p.m.
1966, 210 mins. With Ondine, Gerard Malanga, Brigid Berlin, Marie Menken, Mary Woronov, Ingrid Superstar. Music by The Velvet Underground. This epic portrait of the New York underground, played out in eight rooms of the Chelsea Hotel, had a successful commercial run, is now a monument of the 1960s avant-garde.
My Hustler and Loves of Ondine
Sunday, November 4, 2:00 p.m.
In My Hustler (1965, 66 mins. With Paul America), a male hustler is pursued by men and women alike at a Fire Island beach house. In The Loves of Ondine (1968, 85 mins. With Viva), Ondine plays a gay man who tries to go straight by staging encounters with different women.
Bufferin and Ari and Mario
Sunday, November 4, 5:00 p.m.
In Bufferin (1966, 33 mins.), poet Gerard Malanga reads from his journals, substituting names with the word “bufferin.” In Ari and Mario (1966, 67 mins.), Mario Montez, in bright blue drag, tries to babysit a rambunctious child who is goaded by an offscreen Warhol.
Sunday, November 4, 7:00 p.m.
1967, 100 mins. With Brigid Berlin, Julian Burrough, Taylor Mead, Allen Midgette. Viva talks about her early sexual experiences, Taylor Mead argues with an anti-war activist, and a group of Warhol stars cavort in a restaurant in G-strings in this Summer of Love time capsule.
Since and Salvador Dali
Saturday, November 10, 2:00 p.m.
The portrait film Salvador Dali (1966, 22 mins.) was made for projection at multimedia shows. The recently restored Since (1966, 66 mins.) is a loopy reenactment of the Kennedy assassination and the murder of Lee Harvey Oswald, filmed in a colorful makeshift Factory set with Ondine as LBJ, Mary Woronov as JFK, and Ingrid Superstar as “Looney Bird” Johnson.
Saturday, November 10, 4:00 p.m.
Bike Boy: 1967, 109 mins. With Joseph Spencer. A young motorcyclist has a series of erotic encounters with a series of Warhol stars, finding himself out of his depths against the witty Brigid Berlin, Ingrid Superstar, and Viva.
A Walk into the Sea: The Danny Williams Story
Director Esther Robinson in person
Saturday, November 10, 6:30 p.m.
2007, 75 mins. Directed by Esther Robinson. Danny Williams was a gifted young filmmaker, Warhol’s onetime lover, and a bright star of the Factory scene. Esther Robinson’s lyrical portrait of Williams—her uncle—is an absorbing inside look at the Warhol world, a family odyssey, a revelation of a neglected filmmaker, and an inquiry into Williams’ mysterious disappearance at age 27.
WORK IN PROGRESS SCREENING
Director James Rasin in person
Saturday, November 10, 8:30 p.m.
Directed by James Rasin. Produced by Jeremiah Newton. The actress Candy Darling, born James Slattery in a Long Island suburb in 1944, became one of the main figures in Andy Warhol’s circle in the late 1960s and early 1970s, and starred in the Paul Morrissey-directed films Flesh and Women in Revolt. Director James Rasin will show a half-hour selection of priceless archival and interview footage from his feature documentary in progress.
Sunday, November 11, 2:00 p.m.
1968, 111 mins. With Viva, Taylor Mead, Joe Dallesandro, Louis Waldron. Very loosely based on Romeo and Juliet, Lonesome Cowboys is a laconic and homoerotic satire of the Western genre starring Viva as a temptress, and filmed on a rented movie set near Tucson.
Mrs. Warhol and Sunset
Sunday, November 11, 5:00 p.m.
Warhol’s 74-year-old mother plays an aging movie star in Mrs. Warhol (1966, 66 mins.); Warhol’s real-life boyfriend plays her current husband. The painterly Sunset (1967, 33 mins.) with voiceover of Nico reading her poetry, was part of a series of films commissioned for a planned Chapel.
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: Saturday and Sunday afternoons, and additional as scheduled.
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
with an open mic
THE PERCH CAFE
365 5th Avenue
Brooklyn, NY 718-788-2830
Paranormal and Supernatural Night
TUESDAY, OCTOBER 23, 2007 at 7:00PM
TWO BOOTS PIONEER THEATER
155 E. 3rd Street, near corner of Avenue A
* Purchase Online at www.twoboots.com/pioneer or call
212-591-0434 Limited Supply of 25 CWNY discount tix available at $6.50.
RSVP to firstname.lastname@example.org to reserve.
Whitney Hamilton, Director
Narrative Short, 12 mins.
Jeff Breggman works for the NSA. He leaves for a quiet weekend at his upstate farm, but it is anything but quiet when strange things begin to happen. All satellite communication is severed; phones, cable, the internet. Chalk drawing of crop circle designs manifest in the basement. Mysterious photos begin to appear accusing Jeff of sinister experiments. When a strange craft lands in one of his fields justice seems to be meted out as beings begin to hunt the accused.
Candace Tenbrick, Producer
Documentary, 72 mins.
Three friends investigate a supposedly haunted house, what they discover changes their lives and belief in supernatural activity forever. With chilling occurrences, ghostly phenomena, and eccentric interviews, Cherry Valley brings the audience along on a discovery of the boundaries that separate our world from that of the supernatural.
A look into a real ghost town, Cherry Valley, New York. The film takes the viewer back to revolutionary times when the haunting began in Cherry Valley. Citizens from young to old share their personal accounts with the supernatural spirits as the directors find themselves face to..."face?" with ghosts.
ABOUT THE FILMMAKERS
WHITNEY HAMILTON, Director, Editor, Actor
As a producer Whitney's projects include short films: Flores, Caught in Time and...go I. As a writer/director and producer: Spontaneous Human Combustion (1999), Seeing Red, The Discontent, The Delivery, which went on to the Seattle Underground Film Festival (2000), The Bellwatcher which premiered at the Film Fleadh in New York in March(2001) and Cinema 16 at The New Orleans Film Festival. Circle premiered at the Summer shorts festival 2002 and was submitted to the Project Greenlight Director's contest placing in the top fifty out of two thousand entries 2002. Circle won second place as best sci-fi short at the Dragon Con Sci-Fi Film Festival in Atlanta 2003. It was nominated as best sci-fi short at the Shockerfest film festival in California. My Brother's War, Hamilton's first feature, premiered at the Methodfest Film Festival 2005 -- and was nominated for best low-budget indie and for best actress Whitney Hamilton. It went on to the Bluegrass Independent Film Festival, Temeculah Valley Independent Film Festival and New Filmmakers series NYC at the Anthology Film Archives. Whitney has also produced short industrials and spec spots.
CANDACE TENBRINK, Producer
Ms. TenBrink founded Altos Entertainment, a production company dedicated to producing feature films with strong female content. Cherry Valley, a thrilling documentary about a truly haunted town, is Altos Entertainment's first full-length film. Prior to producing, Ms. TenBrink has had principle roles in eight films, including the highly acclaimed I Was a Teenage Mathlete Until I Met Margo Marris, two plays, and two comedy venues. She was featured in the Sundance 2005 premiere of Symbiopsychotaxiplasm: Take 2 ½," directed by Bill Greaves and executive produced by Steven Soderbergh.
Prior to entering the entertainment field, Ms. TenBrink was an equity analyst for William Blair & Co., a highly respected, global investment bank. Among her numerous accomplishments, Candace TenBrink was named "Best on the Street" by the Wall Street Journal in 2001 for earnings forecasts and number two for stock picking.
Ms. TenBrink is an elected member of New York Women in Film and Television, a founding board member and former President of the University of Michigan Entertainment Coalition, a VP on the board of the Michigan (Ross) Business School Alumni Club and is fully committed to improving her community. Candace earned an MBA from the University of Michigan, where her studies emphasized finance and corporate strategy.
CineWomen NY is a volunteer-run organization. Our screening team committee is made up of volunteers who solicit, screen, and select films made by female filmmakers from all over the world for exhibition in our monthly series at the Two Boots Pioneer Theater in Manhattan. Whenever possible, the filmmakers are present for discussion and socializing after the films. Our commitment is to provide a slate of films, by emerging female artists at all levels, celebrating the work of women in film, video, and digital media. Aside from general quality, to be included in the series films must be directed or co-directed, produced, written, edited or shot by women. CineWomen NY Screens is held the fourth Tuesday of every month except for December and August.
CWNY Screens Committee
Programming Director: Maria Pusateri
Curators/Programming: Maria Pusateri, Vicki Vasilopoulos, Myra Sito Velasquez
Guest Curators: Jessica Burstein, Kelly Shindler, Louise Fleming, Alison McMahan
Intern: Julie Praetzel
CineWomen NY is a grassroots, multicultural, multiracial organization, whose mission is to support the work and advancement of women in the film and television industries. CineWomen NY produces educational programs, networking events, and activities to encourage and nurture women's projects and artistic vision, and provides forums and opportunities for their work to be seen. The organization was established in 1994 and incorporated as a non-profit 501(c)(3) in 1996.
FAMILY MUSIC NIGHT at
THE PERCH CAFE
featuring the Charismatic Megafauna
This October 24th and playing every other Wednesday
365 5th Avenue