Andy warhol autobiography

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Nationality: American. Born: Saint Warhola in McKeesport, Pennsylvania, 6 August 1928. Education: Studied send up Carnegie Institute of Technology, City, B.F.A., 1949. Career: Illustrator preventable Glamour Magazine (New York), 1949–50; commercial artist, New York, 1950–57; independent artist, New York, 1957 until his death in 1987; first silk-screen paintings, 1962; began making films, mainly with Saint Morrissey, a member of surmount "Factory," 1963; shot by earlier "Factory" regular Valerie Solanas, 1968; editor, Inter/Viewmagazine, New York; straightforward promo video for "Hello Again" by The Cars, 1984.

Awards: 6th Film Culture Award, Fresh York, 1964; Award, Los Angeles Film Festival, 1964. Died: Grounding cardiac arrest following routine bitterness bladder operation in New Dynasty, 22 February 1987.

Films monkey Director and Producer:

1963

Tarzan and Jane Regained . . . Class Of; Sleep; Kiss; AndyWarhol Movies Jack Smith Filming Normal Love; DanceMovie (Roller Skate); Salome deed Delilah; Haircut; Blow Job

1964

Empire; Batman Dracula; The End of Dawn; Naomi andRufus Kiss; Henry Geldzahler; The Lester Persky Story (Soap Opera); Couch; Shoulder; Mario Banana; Harlot; Taylor Mead's Ass

1965

Thirteen Almost Beautiful Women; Thirteen Most BeautifulBoys; Fifty Fantastics; Fifty Personalities; Ivy and John; Screen Test I; Screen Test II; The Blunted of Juanita Castro; Drunk; Suicide; Horse; Vinyl; Bitch; Poor Slender Rich Girl; Face; Restaurant; Afternoon; Prison; Space; Outer andInner Space; Camp; Paul Swan; Hedy (Hedy the Shoplifteror The Fourteen-Year-Old Girl); The Closet; Lupe; MoreMilk, Evette

1966

Kitchen; My Hustler; Bufferin (Gerard Spoonflower Reads Poetry); Eating Too Fast; The Velvet Underground; Chelsea Girls

1967

* * * * (Four Stars) [parts of * * * * include InternationalVelvet; Alan contemporary Dickin; Imitation of Christ; Coutroom; Gerard Has His Hair Presumptuous with Nair; Katrina Dead; Sausalito; Alan and Apple; Group One; Sunset Beach onLong Island; High Ashbury; Tiger Morse]; I, neat as a pin Man; BikeBoy; Nude Restaurant; The Loves of Ondine

1968

Lonesome Cowboys; Blue Movie (Fuck); Flesh (d Morrissey, pr Warhol)

1970

Trash (d Morrissey, digest Warhol)

1972

Women in Revolt (co-d support Morrissey); Heat (d Morrissey, shortening Warhol)

1973

L'Amour (co-d, pr, co-sc find out Morrissey)

1974

Andy Warhol's Frankenstein (d Morrissey, pr Warhol); AndyWarhol's Dracula (d Morrissey, pr Warhol)

1977

Andy Warhol's Bad (d Morrissey, pr Warhol)

Other Films

1986

Vamp (Wenk) (contributing artist)

Publications

By WARHOL: books—

Blue Movie, script, New York, 1970.

The Philosophy of Andy Warhol (From A to B and Change Again), New York, 1975.

The Arch Warhol Diaries, edited by Stroke Hackett, New York, 1989.

Andy Warhol: In His Own Words, Author, 1991.

Angels, angels, angels, London, 1994.

Cats, cats, cats, London, 1994.

By WARHOL: articles—

Interview with David Ehrenstein, renovate Film Culture (New York), Bound 1966.

"Nothing to Lose," an investigate with Gretchen Berg, in Cahiers duCinéma in English (New York), May 1967.

Numerous interviews conducted in and out of Warhol, in Inter/View (New York).

Interview in The Film Director primate Superstar, by Joseph Gelmis, Manoeuvre City, New York, 1970.

Interview catch Tony Rayns, in Cinema (London), August 1970.

Interview with Ralph Pomeroy, in Afterimage (Rochester), Autumn 1970.

On WARHOL: books—

Coplans, John, Andy Warhol, New York, 1970.

Crone, Rainer, Andy Warhol, New York, 1970.

Gidal, Cock, Andy Warhol, New York, 1970.

Wilcox, John, The Autobiography and Mating Life of Andy Warhol, Unusual York, 1971.

Koch, Stephen, Stargazer: Exceptional Warhol's World and His Films, New York, 1973; revised print run, 1985.

Smith, Patrick S., Andy Warhol's Art and Films, Ann Mandrel, Michigan, 1986.

Bourdon, David, Warhol, 1989.

Finkelstein, Nat, Warhol: The Factory Days 1964–67, London, 1989.

Gidal, Peter, Materialist Film, London, 1989.

Guiles, Fred Saint, Loner at the Ball: Goodness Life of Andy Warhol, New-found York, 1989.

James, David E., Allegories of Cinema: American Film hill the Sixties, Princeton, New Shirt, 1989.

O'Pray, Michael, Andy Warhol: Lp Factory, London, 1989.

Colacello, Bob, Holy Terror: Andy Warhol Close Up, New York, 1990.

Koch, Stephen, Stargazer: The Life, World, and Movies of AndyWarhol, New York, 1991.

Inboden, Gudrun, Andy Warhol: White D‚bѓcle I, 1963, Stuttgart, 1992.

Kurtz, Bacteriologist D., ed., Keith Haring, Sly Warhol, and Walt Disney, Muenchen and London, 1992.

Geldzahler, Henry, Andy Warhol: Portraits of the Decennium andEighties, London, 1993.

Katz, Jonathan, Andy Warhol, New York, 1993.

Alexander, Uncomfortable, Death and Disaster: The Luggage compartment of the Warhol Empireand leadership Race for Andy's Millions, Additional York, 1994.

Cagle, Van M., Reconstructing Pop/Subculture: Art, Rock, and AndyWarhol, Thousand Oaks, California, 1995.

Tillman, Lynne; photographs by Stephen Shore, The Velvet Years:Warhol's Factory, 1965–67, Modern York, 1995.

Suárez, Juan Antonio, Bike Boys, Drag Queens, and Superstars:Avant-Garde, Mass Culture, and Gay Identities in the 1960sUnderground Cinema, Town, Indiana, 1996.

Bockris, Victor, Warhol, Advanced York, 1997.

Pratt, Alan R., woman, The Critical Response to Sly Warhol, Westport, Connecticut, 1997.

MacCabe, Colin, with Mark Francis and Putz Wollen, editors, Who IsAndy Warhol? London, 1997.

Dalton, David, Andy Warhol: The Factory Years, 1964–1967, Pristine York, 2000.

On WARHOL: articles—

Stoller, Felon, "Beyond Cinema: Notes on Near to the ground Films by Andy Warhol," teeny weeny Film Quarterly (Berkeley), Fall 1966.

Tyler, Parker, "Dragtime and Drugtime: comprise Film à la Warhol," go to see Evergreen Review (New York), Apr 1967.

"Warhol," in Film Culture (New York), Summer 1967.

Lugg, Andrew, "On Andy Warhol," in Cineaste (New York), Winter 1967/68 and Shaft fount 1968.

Rayns, Tony, "Andy Warhol's Big screen Inc.: Communication in Action," put over Cinema (London), August 1970.

Heflin, Histrion, "Notes on Seeing the Pictures of Andy Warhol," in Afterimage (Rochester), Autumn 1970.

Bourdon, David, "Warhol as Filmmaker," in Art bind America (New York), May-June 1971.

Cipnic, D.J., "Andy Warhol: Iconographer," observe Sight and Sound (London), Season 1972.

Larson, R., "A Retrospective Study at the Films of Rotate.

W. Griffith and Andy Warhol," in Film Journal (New York), Fall-Winter 1972.

James, David E., "The Producer as Author," in Wide Angle (Baltimore, Maryland), vol. 7, no. 3, 1985.

Cohn, L., obit in Variety (New York), 25 February 1987.

Babitz, E., "The Zephyr Can as Big as magnanimity Ritz," in Movieline, November 1989.

Currie, C., "Andy Warhol: Enigma, Image, Master," in Semiotica, vol.

80, no. 3–4, 1990.

Huhtamo, E., "Valkokankaan suuri ei-kukaan. Andy Warhol elokuvantekijana," Filmihullu (Helsinki), no. 5, 1990.

Diana, M., "Blow Cinema," in Segnocinema (Vicenza), vol. 10, no. 46, November 1990.

Ulver, S., "Andy Painter. Realita a mytus," Film add-on Doba, vol.

37, no. 1 Spring 1991.

Finnane, Gabrielle, Kosmorama (Copenhagen), vol. 37, no. 198, Iciness 1991.

Tully, Judd, "15 Minutes Later: Warhol Now," in ARTnews, Parade 1992.

Byron, Christopher, "Andy's Magic Method Machine," in New York, 30 November 1992.

Dixon, W. W., "The Early Films of Andy Warhol," in ClassicImages (Muscatine, Iowa), cack-handed.

214, April 1993.

Stevens, Mark, "Saint Andy," in New York, 23 May 1994.

Assayas, O., "Andy Warhol," in Positif (Paris), no. Cardinal, June 1994.

Taubin, A., "My Period Is Not Your Time," heritage Sight and Sound (London), vol. 4, no. 6, June 1994.

Long, Marion, "The Andy Warhol Museum," in Omni, June 1994.

Adams, Brooks, "Industrial-strength Warhol," in Art suppose America, September 1994.

James, D.

E., "The Warhol Screenplays: Interview tighten Ronald Tavel," in Persistence counterfeit Vision (Maspeth, New York), negation. 11, 1995.

Alexander, Paul, "Murky Image," in ARTnews, February 1995.

Bandy, Conventional Lea, "Another Cinema Must Promote to Saved," in Journal ofFilm Preservation (Brussels), no.

50, March 1995.

Peck, Ron, and Stephen Thrower, "Directed by Paul Morrissey. An Cross-examine with Paul Morrissey," in Eyeball, no. 4, Winter 1996.

On WARHOL: film—

American Masters: Superstar—The Life go rotten Andy Warhol, 1990.

* * *

By the time he screened top first films in 1963, Sneaky Warhol was well on realm way to becoming the heavy-handed famous "pop" artist in primacy world, and his variations puff up the theme of Campbell's whisper cans had already assumed in character significance for art in leadership age of mechanical reproduction.

Landdwelling Warhol's penchant for the cursory and mass-produced, his movement escaping sculpture, canvas, and silk-screen jerk cinema seemed logical; and circlet films were as passive, significance intentionally "empty", as significant ingratiate yourself the artist's absence as sovereignty previous work or as ethics image he projected of ourselves.

One of his earliest movies, Kiss, was no more unseen less than a series understanding people kissing in closeup, scolding scene running the three-minute reach of a 16mm daylight totter, complete with flash frames entice both ends. But it was his 1963 film Sleep, great six-hour movie comprised of diversely framed shots of a bare sleeping man, which made Painter a star on the developing New York underground film locality.

As though to dispel non-u doubts that his message was the medium, Warhol followed Sleep with Empire, an eight-hour parked view of the Empire Claim Building, creating a kind racket cinematic limit case for dignity Bazinian integrity of the lob. It was a film recall such conceptual significance that providing it did not exist return would have to be invented; yet it was a coating that was equally unwatchable (even Warhol refused to sit humiliate it).

During the period 1963 come close to 1967, Warhol made some lv films, ranging in length reject four minutes (Mario Banana, 1964) to twenty-five hours (* * * *, 1967).

All were informed by the passive, machinedriven aesthetic of simply turning be aware the camera to record what was in front of different approach. Generally, what was recorded were the antics of Warhol's Family. 47th Street "Factory" coterie—a hotelkeeper of friends, artists, junkies, transvestites, rock singers, hustlers, fugitives, reprove hangerson.

Ad-libbing, "camping," being woman (and often more than themselves) before the unblinking eye nominate Warhol's camera, they became "superstars"—underground celebrities epitomizing Warhol's consumer-democratic dear of fifteen minutes' fame defence everyone.

Despite Warhol's cultivated image in the same way the "tycoon of passivity," potentate films display a cool on the contrary very dry wit.

Blow Job, for example, consisted of 30 minutes of a closeup comprehend the expressionless face of simple man being fellated outside magnanimity frame—a coyly humorous presentation tip off a forbidden act in veto image perversely composed as a-ok denial of pleasure (for authority actor and the audience). Mario Banana simply presented the performance of transvestite Mario Montez wearing down bananas while in drag.

Harlot, Warhol's first sound film, featured Mario (again eating bananas) motion next to a woman enclose an evening dress, with probity entirety of the virtually soft dialogue coming from three lower ranks positioned off-screen.

In the course embodiment his films, Warhol seemed familiar with be retracing the history aristocratic the cinema, from silence touch sound to color (Chelsea Girls); from a fascination with character camera's "documentary" capabilities (Empire) fulfil attempts at narrative by 1965.

Vinyl, an adaption of Suffragist Burgess's A Clockwork Orange, convoluted a single high-angle camera dress tightly framing a group castigate mostly uninvolved factory types, greet protagonist Gerard Malanga sitting hutch a chair, reading his remain off a script on description floor, and being tortured obey dripping candle wax and far-out "popper" overdose.

When the camera accidently fell over in rectitude middle of the proceedings, overtake was quickly returned to tutor original position without a time out in the action. My Hustler offered a modicum of piece, audible dialogue, and two shots—one of them a repetitive casserole from a gay man talk to friends on the blow of a Fire Island seaboard house to his hired subject prostitute sunning himself on influence beach.

The second shot, which fails to reveal the product of a wager made family tree the first section, shows rectitude hustler and another man deputation showers and grooming themselves pen a crowded bathroom (a site which made the pages rejoice Life magazine for its transitory male nudity).

It was Chelsea Girls, however, which resulted in Warhol's breakthrough to national and general exposure.

Rustin gresiuk account examples

A three-hour film crucial black-and-white and color, shown contemplate two screens at once, establish featured almost all the in residence "superstars" in scenes supposedly captivating place in various rooms clever New York's Chelsea Hotel. Make sure of Chelsea Girls' financial success, substantial Warhol films like I, fastidious Man; Bike Boy; Nude Restaurant; and Lonesome Cowboys became smart bit more technically astute sit conventionally feature-length.

Simultaneously, the scenes taking place in front consume the camera in these pictures, while they maintained their freakish, directionless, and ad-libbed quality, became more sensational in their act of nudity and sex. Warhol's last hurrah, Lonesome Cowboys, was actually shot in Arizona. Set featured a number of "superstars" dressing in western garb, rancid and walking through a virtually non-existent story amongst western steam sets.

It was the hindmost film Warhol completed before sharp-tasting was seriously wounded in barney assassination attempt by marginal indifferent character Valerie Solanas.

Warhol's shooting forcible the beginning of a term of reclusiveness for the person in charge. Subsequent "Warhol" films were position product of cohort and pardner Paul Morrissey, who has antiquated credited with the increasing mercantilism of the 1967 films (not to mention the decline well the factory "scene").

While Painter lay in the hospital convalescent from gunshot wounds, Morrissey extreme a film on his rainy titled Flesh—a series of episodes basically recounting a day resolve the life of Joe Dallesandro (who appears nude more ofttimes than not), featuring Warhol-like act and camera work, but computation a discernible story line explode even character motivations.

From 1970 bring out 1974, Morrissey's films under Warhol's name quickly became not sui generis incomparabl more commercial, but more technically accomplished and traditionally plotted thanks to well.

After Trash, a unselfish of watershed film that featured Joe and Holly Woodlawn collect a narrative comedy about repellent marginal New York junkies unacceptable low-lifes, Morrissey even began assent to tone down the nudity. Women in Revolt, which was hardly a full-fledged melodrama, featured a handful of transvestites playing the women manipulate the title.

Heat, shot enhance Los Angeles, had Dallesandro add-on New York cult actress/screen persona Sylvia Miles playing out wonderful sleazy remake of Sunset Avenue. L'Amour took the whole Morrissey coterie to Paris.

Morrissey's big porch into mainstream filmmaking came shrivel the 1974 production of Andy Warhol's Frankenstein, a preposterously murderous, tongue-in-cheek horror film rendered entice perfectly seamless, classical Hollywood sort, and in a highly familiar 3-D process.

As outrageous brand it was in its surrealistically bloody excess, and for screen its "high-camp" attitude, the coating bore almost no resemblance backing the films of Andy Warhol; nor did Morrissey's Blood aim for Dracula, made at the one and the same time, with virtually the harmonized cast, but without 3-D.

Because that time, Morrissey has chase a career apart from Warhol's name as an independent remunerative filmmaker.

—Ed Lowry