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In bed with Andy: David Bailey’s banned ‘Warhol’ documentary

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Among the reasons given for the banning of David Bailey’s documentary on Andy Warhol were: its possibly breach of the Vagrancy Act and a suggested sex act that was not “conducive to road safety.” These were the stated opinions of lawyer and judge Lord Justice Lawton and the sports journalist and broadcaster Ross McWhirter.

McWhirter was one-half of the famous twin brothers Ross and Norris McWhirter who compiled, wrote and edited the Guinness Book of Records. It was McWhirter who initiated the bizarre events that led to Bailey’s film being pulled from broadcast in January 1973, and temporarily banned until March of the same year. McWhirter was responding to the press previews for Bailey’s film that appeared in the Sunday papers on January 14th that described the film as “shocking,” “revolting,” and “offensive,” with the worst scene (erroneously) described by the Daily Mail as showing:

...a fat female artist [who] dyes her breasts and then rolls about on canvas ‘painting’...

This was Brigid Berlin making one of her famous “Tit Prints,” which was cited by Lord Lawton as a possible source of offense.
 
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Director and subject.
 
David Bailey had spent about a year working on his documentary about Andy Warhol—it was the last of three films Bailey made for Lew Grade’s television company ATV, the other two were profiles of photographer Cecil Beaton and director Luchino Visconti—and he had spent considerable time with the often monosyllabic and elusive artist, and had interviewed many of Warhol’s Factory entourage including Candy Darling, Paul Morrissey, Fred Hughes, Jane Holzer and art dealer Leo Castelli. Bailey had given over directing duties to William Verity, while he spent his time asking questions and getting close to the film’s subject.

When ATV gave a press screening for Bailey’s Warhol, little did they consider that the negative response of the press would lead to the film being banned. When Ross McWhirter read the press previews, he was sufficiently disgusted that he saw an opportunity to strike a blow for the silent majority—for whom he believed himself to be the obvious spokesman. In fact, he was over-reacting to some hearsay about a film he had not seen.
 
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On Monday 15th, McWhirter prepared to take out an injunction against the Independent Broadcasting Authority—the TV watchdog—for allowing Bailey’s film to be screened. On Tuesday January 16th, he issued a writ against the documentary to stop it being broadcast. However, McWhirter’s writ was dismissed during a one-minute High Court hearing. Like all zealots, McWhirter was not one to have the law stop him, and he appealed the High Court’s decision.

McWhirter’s actions gained support from an unlikely quarter: one of the ITV broadcast regions Anglia decided, after is chairman Lord Townshend and two members of the channel’s planning committee had watched the documentary, not to screen the documentary as Bailey’s film was:

...not of sufficient interest or quality.

McWhirter’s appeal was heard at 17:00hours on Tuesday January 16th, the day Warhol was set for broadcast. The Appeal Court consisted of Lord Justice Cairns, Lord Justice Lawton, and was presided over by Lord Denning. Although he had not seen the programme, McWhirter claimed in his writ that the press previews were sufficient to suggest the show would cause considerable offense. Any programme that was considered to be offensive to “good taste and decency” was to be banned under the guidelines of the Television Act of 1964.

Causing offense to the viewing public was not McWhirter’s only concern over Bailey’s film as his writ went on to describe some of its possible dangers:

At one point there is a conversation between a man dressed as a Hell’s Angel and a girl. In that piece, the girl discusses sex with the man and says she would like to have sex with him on the back of a motorcycle doing 60 miles an hour. Apart from anything else, that does not sound as though it is conducive to road safety.

Like McWhirter, none of the Lords had seen Bailey’s film, however this didn’t stop them pontificating about its possible criminal intent. According to the Guardian newspaper, Lord Justice Lawton was deeply concerned over Brigid Berlin’s breast painting:

...the viewers of Britain were to be shown pictures of a fat lady doing something that sounded to him very much like a breach of the Vagrancy act, apart from anything else…

 
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The offending “tit printing” scene.
 
However, it was the IBA who received the greatest criticism from Lord Denning for their perceived failure to view the documentary before transmission. This, as it later turned out, was a major oversight by Denning and co. as they had failed to ascertain whether anyone from the IBA had actually watched the film—which in fact they had. IBA General Director Brian Young, Head of Programmes Joe Wellman, together with their deputies, had all watched Bailey’s film and suggested cuts and had even insisted on the addition of an introductory voice-over.

Still this did not stop the appeal judges voting 2-1 in favor of an interim injunction that temporarily banned the film from being screened on television—a documentary on craftwork was broadcast instead.

Watch David Bailey’s ‘Warhol’ after the jump…

Posted by Paul Gallagher | Leave a comment
And then Andy Warhol took another one of Man Ray
03.17.2015
12:11 pm

Topics:
Art

Tags:
Andy Warhol
Man Ray


Andy Warhol, Portrait of Man Ray
 
This is easily the best thing I’ve seen all day. In 1976 Andy Warhol was conducting a photo shoot in the Paris apartment of the legendary photographer Man Ray. A camera crew was present and asked for a description of the goings-on, which were apparently fairly recursive in nature. Warhol in his semi-witting way, uncorked a mesmerizing batch of verbiage. It’s truly something to behold.
 

 
There’s a transcript of the interview in Kenneth Goldsmith, ed., I’ll Be Your Mirror: The Selected Andy Warhol Interviews, 1962-1987, which I’ve taken and brushed up just a touch here and there. Here’s the chunk of the video that’s been embedded below:
 

And then he took a picture of me again and I took another Polaroid of him and then we had the Super X… the camera 70… Super 70-X uh… And then I took one of um… ahhh… And then I took another picture of Man Ray and then I took another one of Man Ray and then I took another one of Man Ray. Then I took another with my uh… uh… with my funny camera, what’s it called? The funny camera? It’s called the uh… the portrait camera. And so I took another one of Man Ray and I took another one of Man Ray and I took another one of Man Ray. And then I think he signed one… one of them, and then I took another one of Man Ray. I took another picture of Man Ray, another Polaroid portrait of Man Ray and another Polaroid portrait of Man Ray, another Polaroid portrait of Man Ray and then another Polaroid portrait of Man Ray and then I took another Polaroid portrait of Man Ray and then I took another Polaroid portrait of Man Ray. And then I took another portrait. And then I think he took another portrait of me and then he signed that one for me and I put it in my sss… my Brownie shopping bag.

 
Amazingly, this is only a small portion of what he said…. you can see a full transcript of Warhol’s remarks here.

Just watch it, you won’t regret it.
 

 

Posted by Martin Schneider | Leave a comment
‘My life couldn’t fill a penny post card’: A glimpse of Andy Warhol’s early correspondence
03.11.2015
09:47 am

Topics:
Art
Media

Tags:
Andy Warhol


 
In its December 1949 issue Harper’s published a short story by John Cheever—the story was called “Vega,” and it was illustrated by a young artist named Andy Warhol, who was all of 21 years old at the time.

The editor of Harper’s at the time was Russell Lynes, and at some point he wrote Warhol asking him for some biographical information. Warhol responded with an unmistakably Warholian document, featuring a cute drawing, an upbeat greeting, and a bare minimum of upper-case letters (there are five in all). Perhaps fittingly, Warhol plays the humble card, insisting that his “life couldn’t fill a penny post card” and that he has spent the previous few months “moving from one roach infested apartment to another.” (Warhol lived in at least two such apartments with his old school chum Philip Pearlstein.)

The short letter dates from an interesting time in Warhol’s life. He was fresh out of college, and the alacrity with which he secured some high-profile illustrating gigs may have been a sign of future successes to come. He illustrated two album covers, A Program of Mexican Music by Carlos Chávez and a recording of Prokofiev’s Alexander Nevsky by the Philadelphia Orchestra. He worked as a commercial artist for Glamour, Vogue, and Seventeen and also, we get this tidbit from the Tate Modern in London: “Infatuated with the writer Truman Capote, Andy inundates him with fan letters and telephone calls until Capote’s mother asks him to stop.”

Here’s a transcript of Warhol’s letter:

Hello mr. lynes
thank you very much
biographical information

my life couldn’t fill a penny post card i was born in pittsburgh in 1928 (like everybody else — in a steel mill)

i graduated from carnegie tech now i’m in NY city moving from one roach infested apartment to another.

Andy Warhol.

 
The letter comes from the Archives of American Art, Smithsonian Institution. It appears in the dazzling new book More Than Words by Liza Kirwin, published by Princeton Architectural Press (for more information about the archives, visit aaa.si.edu). It’s highly recommended, as it’s jammed with visual treasures just like this one.

(Click on the image for a larger image.)
 

 

Posted by Martin Schneider | Leave a comment
There are Andy Warhol Chuck Taylors now
02.12.2015
07:09 am

Topics:
Art
Fashion

Tags:
Andy Warhol
Converse
Chuck Taylor


 
The Chuck Taylor All-Star is an iconic American shoe that comes pre-loaded with rebel cache, so it’s kind of astonishing that Andy Warhol never made a series of drawings or screen prints celebrating it—at least none I’ve been able to find, and the man drew PLENTY of shoes. But though Warhol is no longer with us, the Warhol Foundation and Converse have teamed up to do the inverse, and now you can get Chucks emblazoned with iconic Warhol works for $70-$90 a pair. (Indulge me in an alter-kaker moment—these used to be such an attractive sartorial option not just because they look perfectly timeless, but because they were cheap as dirt. Nike took over the Converse company in 2003, and suddenly the simple canvas wonders cost as much as any sneaker. Also: sweatshops!) My favorite pair, the Black Bean Soup high top, is a bit cheaper on Amazon, so I’m fairly tempted, as my current pair of Chucks is starting to fall apart. Though they may still have a decent year left in them—like blue jeans and concert tees, I’ve always felt like Chucks looked all the cooler once they got to be a bit thrashed.
 

 

 

 

 

 
via Tasting Table

Posted by Ron Kretsch | Leave a comment
Richard Pryor’s ‘Dynamite Chicken’ is a raunchy, NSFW time capsule of the hippie era


 
Sorting out who is and who isn’t in the 1971 “comedy” movie Dynamite Chicken, written and directed by Ernest Pintoff, is no easy matter. The montage-heavy movie relies so much on found footage that it’s accurate to say that John Lennon, Yoko Ono, Lenny Bruce, Malcolm X, Humphrey Bogart, and Richard Nixon “appear” in the movie even if they were scarcely aware of it or, in some cases, were long since deceased at the time. Not to put too fine a point on it, the makers of the movie were verging pretty close to fraud here.

Richard Pryor they definitely had, as well as a lot of countercultural figures like Paul Krassner, Tuli Kupferberg, Joan Baez, Sha-Na-Na, Peter Max, and a comedy troupe called Ace Trucking Co. that featured a young Fred Willard. The movie’s a bit like Kentucky Fried Movie, only far more political in intent; it’s chock-a-block with skits, snippets of musical performance, political debate, a strip-tease or two, and whatever else popped into the noggins of the filmmakers at the time. There’s tons of quick-cutting montage of newspaper clippings and just a ton of random footage.
 

 
The full title,  “Dynamite Chicken: A Contemporary Probe and Commentary of the Mores and Maladies of Our Age … with Schtick, Bits, Pieces, Girls, Some Hamburger, a Little Hair, a Lady, Some Fellas, Some Religious Stuff, and a Lot of Other Things,” is an accurate reflection of what the movie is like. The emphasis here is squarely on free expression; the movie starts with a scroll explaining, in a way we today associate more with Lenny Bruce, that Richard Pryor had been witnessed “in the late ‘60’s” by a policewoman saying the words “bullshit, shit, motherfucker, penis, asshole” during a public performance. The distance between “free expression” and “annoying the audience for the sake of it” is pretty small, and in addition to some salubrious footage of women in various states of disrobe, we also get a pointless and somewhat sickening exegesis of a comic book about slicing women in two with a buzzsaw. Early on, I had been thinking that Chicken Dynamite is an almost perfect cinematic equivalent of SCREW Magazine, when who should materialize on the screen but Al Goldstein and Jim Buckley themselves.

Andy Warhol was one of the few luminaries who apparently did consent to be filmed, for a short sequence in which Ondine reads aloud from Warhol’s book a: A Novel while Warhol looks on. John and Yoko weren’t involved; their bit is just a statement about peace from the Montreal Bed-In a couple years earlier. The link to National Lampoon, mostly a spiritual one, is made explicit with a clip of Michael O’Donoghue, then one of the chief writers at the magazine, in a spoof of a cigarette commercial. There’s a bit towards the end in which Ron Carey (known to me primarily as a bit player on Barney Miller) dresses up as a priest and does some soft-shoe in front of Saint Patrick’s Cathedral on 5th Ave., scored to Lionel Goldbart’s “God Loves Rock and Roll” that is pretty delightful.

The footage with Pryor was shot outdoors in a single day; Pryor riffs on a bunch of raunchy material while messing with a basketball somewhere in the projects. At this point in Pryor’s career, the similarities with Dave Chappelle were (in hindsight) particularly strong. After Pryor became a big movie star in the early 1980s, he apparently became annoyed with his association with Chicken Dynamite, as he successfully sued to bar “the distributors of the film ... from emphasizing his role in the film,” according to an issue of Jet from December 1982.
 

 
In the end, Chicken Dynamite was probably a little bit dated even when it came out. It’s a movie made by people who are waaaaay too “serious” to be funny, for the most part. It’s the kind of movie that even if you are “enjoying” it, you might choose to turn it off before reach the end of its 75-minute running time, just because it wears you out. Still, some parts are pretty entertaining, and it’s worth a look for those who missed the era and those who didn’t.
 

 

Posted by Martin Schneider | Leave a comment
Artistic masterpieces rendered in Pantone swatches


Vincent van Gogh, “Self-Portrait”
 
Just the other day, Pantone named Marsala the color of 2015, and the decision, er, “has critics seeing red.” The only thing that gets art and design people more worked up than Pantone swatches is the rampant overuse of Comic Sans. Art and design people LOVE Pantone. ... thus it was inevitable that someone would do what London artist Nick Smith did, and create quasi-“pixelated” versions of famous art masterpieces, only using Pantone swatches.

Smith currently has an exhibition called “Psycolourgy” at the Lawrence Alkin Gallery near Covent Garden. The show runs through February 20. Here’s the poster—you HAD to know this was coming:
 

 
Here are the two Warhols side by side:
 

 
Prints of the two versions of Warhol’s Marilyn were once available at ArtRepublic, and the Van Gogh is currently available.

My favorite thing is to look at a bit up close, where you can’t even tell what the context is anymore, like this:
 

 

‎Edvard Munch, “The Scream”
 

René Magritte, “Son of Man”
 

Leonardo da Vinci, “La Gioconda”
 

Andy Warhol, “Marilyn Monroe (Green)”
 

Andy Warhol, “Marilyn Monroe (Pink)”
 

David Hockney, “A Bigger Splash”
 

George Stubbs, “Whistlejacket”

Posted by Martin Schneider | Leave a comment
Andy Warhol shoots and paints Farrah Fawcett

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If it’s true that all’s fair in love and war, then it’s the share of the spoils after death and divorce that cause the most problems.

When Charlie’s Angels actress Farrah Fawcett died in June 2009, her will donated all of her art collection to the University of Texas—her old alma mater where she had studied before becoming an actress. Amongst Farrah’s treasured possessions was a portrait painted by Andy Warhol in 1980. This was in fact one of two paintings Warhol had made of the actress—the second was very soon to become the focus of a trial between the University of Texas and Fawcett’s ex-lover, the actor Ryan O’Neal.

O’Neal’s claim to the second painting rested on his testimony that he had first introduced Farrah to Warhol and had asked him to paint Fawcett’s portrait. He also claimed he had asked Warhol to make a second portrait so he and Farrah could have one each.
 
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Andy Warhol shoots Farrah Fawcett.
 
In 1997, Fawcett split-up with O’Neal after she caught him in bed with another woman. O’Neal kept his portrait of Farrah above his bed, but as his girlfriends found the picture a tad off-putting, he asked Fawcett to hold on to it for him.

This Fawcett did until her death, when O’Neal removed the 40-inch by 40-inch silkscreen from her house. This action led to a trial between O’Neal and the University in December 2013 as to who was the rightful owner of the Warhol painting.
 
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During the trial lawyers acting on behalf of the University of Texas attempted to discredit O’Neal’s story by using an edition ABC’s 20/20 where Fawcett is apparently seen asking Warhol to paint her portrait and is later filmed by the ABC news crew as Warhol snaps thirty Polaroid pictures of the actress in preparation for making the portrait.

O’Neal did not dispute that one of the Warhol’s belonged to his former long-term partner, it was the second painting that he claimed was his. Without any evidence to dispute this claim, the University were unlikely to win the case. O’Neal upped the ante by telling the jury he spoke to Farrah’s portrait every day:

“I talk to it. I talk to her. It’s her presence in my life and her son’s life. We lost her. It would seem a crime to lose it.”

O’Neal was on an operating table having a skin cancer removed when he heard the jury’s verdict that he was the rightful owner of the painting by nine jurors to three. Though the painting has an estimated worth of $12 million, O’Neal said he would never sell the picture as it meant too much to him, and it will be handed-down to their son Redmond after he dies.

This is that episode of 20/20 which featured so prominently in the trial. Originally made as a profile of Andy Warhol this short documentary does give some insight into the pop artist’s working techniques and has some typically Warholian moments.
 

 
Part II after the jump…

Posted by Paul Gallagher | Leave a comment
Hyperrealistic sculptures of Andy Warhol, Salvador Dali and Abraham Lincoln

Warhol Sculpture Close up
 
These almost unbelievably realistic sculptures of Andy Warhol, Salvador Dali and Abraham Lincoln are imbued with a downright menacing level of detail. The extremely uncanny likenesses created by former Hollywood special effects makeup artist, Kazuhiro Tsuji are designed to bring about an intense intimacy not available in reality.

Here’s an excerpt from Tsuji’s 2015 artist statement on his website:

Face to face, viewers approach the giant heads, which are two times life size. The stillness and detail allow for close examination of each pore with a level of scrutiny not even permitted to lovers. The sculptures permit an impossibly close, shared moment with the celebrated.

Tsuji, a Kyoto, Japan native, worked with director Akira Kurosawa in the production of Rhapsody in August and on a variety of Hollywood films after founding one of the first companies of its kind in Japan called Makeup and Effects Unlimited. Since 2008, Tsuji has devoted himself entirely to sculpture and his work has been exhibited widely. 

Take a look at some of the artist’s absolute masterpieces below. I think the photos of these sculptures speak for themselves. And what I mean by that is that they really do look like they almost could…actually…speak…for themselves.

Below the images, you’ll find a brief interview hosted by Aline Pimentel with Tsuji inside his Burbank, California studio. In it, Tsuji says that each sculpture takes him three to four months, and that he works up to sixteen hours a day. 

You can read more about the incredible, SELF TAUGHT artist on his website.
 
Two Warhols
 
Dali Head
 
Lincoln Scultpture Close-up
 
Dali on Pedestal
 
Lincoln on Pedestal
 
Warhol and Tsuji
 

Posted by Jason Schafer | Leave a comment
Three DVD box set pays tribute to Lou Reed, Velvets, Iggy, Bowie and punk


 
Seemingly just as Lou Reed left this earth, I noticed this box set on Amazon called Lou Reed Tribute from Chrome Dreams, a UK company that has put out some cool DVDs (this one, Frank Zappa, Keith Richards, etc.) and some stuff that puzzles me (Springsteen, Prince, Britney Spears?).

I wasn’t sure about it but it had three DVDs in a nicely designed box and it was so inexpensive that I had to get it. I had just learned about another product of theirs that looked great, a double DVD documentary about Zappa and Beefheart called When Don Met Frank: Beefheart Vs. Zappa, only to read in the reviews that it was a total ripoff and that it was two old documentaries repackaged in one set without any mention of this anywhere on the product. I was prepared for the worst.
 
z.s:d,gchm
 
Surprisingly, these were actually pretty good! First up is The Velvet Underground Under Review—yes, the awful title sounds like a science project, but inside is a concise and interesting documentary featuring interviews with at least one person I’d never seen interviewed before (Norman Dolph, who did their first demo acetate that’s been floating around the last few years and is, in fact, on eBay now for $65,000). I really liked the Billy Name segments as he was actually there on the inside in those early days, which they go into pretty deeply, including the pre-Velvets Pickwick Records budget-goofy rock ‘n’ roll recordings Lou was doing, which I love (and which were not all goofy as there was some true garage greatness in there as well). Also great are the Moe Tucker and Doug Yule interviews.

It had a good approach and really, I can watch stuff like this all day.
 
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The second DVD is The Sacred Triangle: Bowie Iggy & Lou 1971-1973. I really enjoyed this one, though as I started to realize, Chrome Dreams is a bit of a “quickie” company and similar people were overlapped in this and the other DVDs making me realize that these were probably not originally intended to be watched back to back. This also has some amazing interviews, and again really delves into the early days of Bowie’s more whimsical period in the sixties when he was already obsessed and ripping off (and covering) The Velvet Underground, having been given one of the first and only pre first album demo acetates in 1965 or ‘66.

It goes into great detail about Bowie’s “cool beginnings” when the cast of Andy Warhol’s play Pork were in London and looking for bands to see and decided to go see an unknown David Bowie because he was wearing a dress on his then-current album cover. These people (Tony Zanetta, Cherry Vanilla, Wayne County and Leee Black Childers) all became Mainman Ltd., the bizarre company that ran most of Bowie’s affairs and mutated him into Ziggy Stardust in no time. Seeing Leee Black Childers (R.I.P.) interviewed, with him in his rockabilly best and with a big Band-aid® on his forehead said it all as far as who he was and how much he gave a fuck, one of the first true punk rockers, ever.

Similarly but multiplied by a hundred is Wayne, now Jayne County (“now” meaning for the last 35 years or so!) who is amazing in a huge red chair with a wild matching red outfit, makeup and her trademark fishnet stockings over her arms like long gloves, talking matter of factly about what really went down. Everyone knows Jayne County as a glam and then punk rock innovator, but we forget (or some don’t know) that Jayne was a real Warhol Superstar along with Candy Darling, Holly Woodlawn and Jackie Curtis. And Jayne starred in Warhol’s Pork (as Vulva, a characterization of Viva). The interviews with Angie Bowie, as always, are insane and classic. This DVD was really great and informative about my favorite small moment in rock n roll. The only annoyance is that they didn’t know who Cherry Vanilla is, and they talk about her a lot as she starred in Pork but kept showing a photo of someone else every time they referred to her!
 
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The last DVD, Punk Revolution NYC: The Velvet Underground, The New York Dolls and the CBGB Set 1966-1974 is also really great, surprisingly. Believe me, with a title like this, where I come from this should be a real groaner, but it wasn’t. Not to discredit some of the interviewees, but I think that a lot of bigger names wouldn’t talk to Chrome Dreams, or couldn’t, so they had to dig deeper and get some people that did not become famous, but certainly are people I know that most definitely deserve to be interviewed and put a new spin on a now pretty tired subject. So it actually worked in their favor.

A good “for instance” is Elda Stiletto (Gentile), someone I knew and someone who is the perfect bridge to the exact time frame of this documentary. Elda was married to Warhol Superstar Eric Emerson. Emerson started pretty much the first glitter band in NYC, The Magic Tramps, only to be steamrolled by the New York Dolls and all that came in their path. Eric Emerson was also the upside down figure on The Velvet Underground and Nico LP’s back cover, who sued hoping to get some quick dough, but was foiled when he just caused the LP to be delayed, first with a big sticker covering him, then with his image being airbrushed out of the photo entirely. (Why none of this was mentioned is beyond me.) Elda Stiletto then went on to form The Stilettos with Debbie Harry and Chris Stein, a sort of “glitter doo wop” group that morphed into Blondie after all the other girls were gotten rid of. Two of the other gals in The Stilettos were Tish and Snooky who would go on to sing in The Sic Fucks and founded Manic Panic, a small punk store (that is now a large corporation—I was their first employee!) on St. Marks Place (just a few doors down from where The Dom was, where The Velvets played, later to become The Electric Circus where The Stooges and many others played).

Also interviewed are Suicide’s Alan Vega, Richard Lloyd from Television, Leee Black Childers and Jayne County, this time in the most insane outfit ever! She’s on a big black couch, reclining on her back, facing the camera completely covered in a ton of black fabric so she looks like a demented floating disembodied head! Ha ha!! To top it all off she’s wearing a black witchy wig and crazy electric blue makeup that is just insane looking. She never fails to blow my mind! They also talked to Richard Hell, Ivan Julian from The Voidoids, photographer Roberta Bayley, Danny Fields and more. There was oddly, no mention of The Ramones!

Ultimately all three DVDs come off like extremely dry BBC docs and there is a lot of overlap, but it doesn’t totally take away from the experience. The punk DVD just suddenly says “End of Part One” and stops, which is annoying because it actually was good. Where is part two? Sprinkled throughout these documentaries are critics like Robert Christgau and Simon Reynolds, biographer Victor Bockris and other experts.

Below, here’s the lead doc, The Velvet Underground Under Review. The quality is “eh” so you might want to get the DVDs. The Lou Reed Tribute DVD box set sells for less than $20 on Amazon. Used it’s under $10.
 

Posted by Howie Pyro | Leave a comment
We Are Gumbo! Pop culture soup can art featuring Devo, The Cramps, Divine & more
10.02.2014
07:14 am

Topics:
Art
Pop Culture

Tags:
Andy Warhol
The Cramps

The Cramps pop art soup cans by Zteven
The Cramps, Lux Interior and Poison Ivy
 
I’ve been an admirer of Atlanta-based pop artist Zteven for a while now and own many pieces from his pop culture-inspired soup can series (Lemmy Kilmister-flavored Bouillabaisse anyone?). In an interview earlier this year, Zteven cited the very moment his artistic inspiration was born after he saw Andy Warhol’s appearance on The Love Boat (which incidentally aired on October 12th of 1985 during season nine/episode three). The young Zteven was instantly mesmerized by Warhol’s “awkward coolness.” He developed an insatiable appetite for comic books, music and TV magazine, as well as the occasional tabloid while accompanying his grandmother to the beauty parlor.

Zteven is an 80’s kid to the core, and his artwork celebrates the many highlights of this glorious decade that often gets a worse rap than it deserves. Sail on over to Zteven’s Popmania! Etsy shop to see more.
 
Devo pop art soup can art by Zteven
Devo
 
Marc Bolan pop art soup cans by Zteven
Marc Bolan
 

‘Strangers with Candy’
 
Polyester pop art soup can by Zteven
Divine and Edith Massey
 

‘Pink Flamingos’ triptych
 

Tura Satana
 

Little Edie and Big Edie from ‘Grey Gardens’
 

David Bowie

Posted by Cherrybomb | Leave a comment
MoMA and Warhol Museum to digitize all of Warhol’s films and videos
08.15.2014
06:45 am

Topics:
Art
Movies

Tags:
Andy Warhol


 
Yesterday the Museum of Modern Art in New York and the Warhol Museum in Pittsburgh announced a joint project to digitize all of Andy Warhol’s film and video work, including his 60 feature-length movies and his 279 screen tests. The undertaking is projected to a “multi-year project.”

On October 15th, fifteen notable works that have never had public screenings will be presented in Pittsburgh.

According The Art Newspaper,
 

The epic project—there are around 1,000 rolls of films to capture frame by frame, and 4,000 videos—is made possible by the technical expertise and sponsorship of the special effects company MPC. The technology company Adstream will provide digital asset management. The partnership will be a “multi-year project”, according to MoMA’s press statement.

The artist’s films have been cared for by MoMA since the early 1990s, and are among the most requested works in its circulating film library. Fifteen of his films, which have never been screened in public before, have already been digitised by MPC. They are due to be shown in Pittsburgh on 17 October during “Exposed: Songs for Unseen Warhol Films”.

In a statement, Eric Shiner, the director of the Warhol Museum, said the artist’s films “are as significant as his paintings”, adding that the project will mean scholars and the public will be able to see his total output.

 
It’s not stated that the movies will be available online, but we can hope that that is implied. If so, it will be a chance for movies like Chelsea Girls, Bike Boys, Flesh, Lonesome Cowboys, Trash, Since, Blue Movie, Space, Empire, Sleep, Blow Job, and many others to find a new audience (or indeed, in some cases, their first audience).

Here’s a gander at Nico in a clip from I. A Man:
 

Posted by Martin Schneider | Leave a comment
Debbie Harry, Ramones, Nick Rhodes, Courtney Love and more on MTV’s ‘Andy Warhol’s 15 Minutes’


 
In December of 2010, I visited the Andy Warhol Enterprises exhibit then being held at the Indianapolis Museum of Art. It was an excellent full-career retrospective, loaded with rare goodies, and generously tilted toward his early, pre-Factory commercial work, which I prefer to his more famous silkscreens (commence calling for my skull on a pike, I don’t care). But as much as I was enjoying the early books and the blotted-ink drawings of shoes, I was surprised by a trip down amnesia lane that came at the end of the exhibit, a video installation of one of Warhol’s last projects, the show he produced and co-hosted (with Debbie Harry) for MTV called Andy Warhol’s 15 Minutes. The name of the show referred to Warhol’s famous quip “In the future, everyone will be world-famous for 15 minutes.” Episodes of the program were actually 30 minutes in length. #themoreyouknow
 

Warhol with Debbie Harry, dressed by Stephen Sprouse.
 
I was an arty kid, so I knew perfectly well who Warhol was (some of my friends only learned of his existence from that show, believe it or not), and so I never missed it. Though it wasn’t too hard to catch them all—as the series was prematurely ended by Warhol’s 1987 death, there were only five episodes, the last of which was mainly a memorial. But while it was on, it was glorious. Although the program featured lots of marquee names, befitting Warhol’s obsession with celebrity and celebrities, it also highlighted NYC downtown fashion, art, and music phenomena. Mind-expanding stuff for a midwestern kid, and stuff which would have otherwise been entirely inaccessible, since Warhol’s previous television ventures, Fashion and Andy Warhol’s TV, were limited to NYC cable.

And unless you visit the Warhol Museum or a traveling retrospective, the program itself is now pretty well inaccessible. Few things have been more damnably hard to find streaming than episodes of 15 Minutes, and to my complete bafflement, the Warhol Museum store doesn’t offer a home video. Much of what little can be found is fuzzy VHS home recordings, but it gives an adequate taste of how deep the show could go—and remember, this was on MTV.
 

 

 
It gets a good bit better with this clip of Duran Duran’s Nick Rhodes taking the viewer on a tour of Manhattan nightclubs The Palladium and AREA (note future Twin Peaks actor Michael J. Anderson as the garden gnome.)
 

 
KONK were an amazing dance-punk band of the era. You may recognize the drummer, Richard Edson, an original member of Sonic Youth, and co-star of the Jim Jarmusch film Stranger Than Paradise.
 

 
This Ramones interview ends with a live, not lip-synced, performance of “Bonzo Goes To Bitburg.”

 
The last bit footage I’ve found is a jaw-dropper—an interview segment with a 21ish, pre-fame Courtney Love!
 

Posted by Ron Kretsch | Leave a comment
Donning whiteface for Warhol: Dance tribute to ‘Drella’
06.17.2014
08:38 am

Topics:
Art
Dance

Tags:
Andy Warhol
Raja Feather Kelly

Raja Feather Kelly
 
Last December the choreographer and dancer Raja Feather Kelly premiered an audacious and touching new “vogue-ballet” that honored two artists important to his work: pop artist Andy Warhol and choreographer Faye Driscoll. The title incorporated both of them; it was called “Andy Warhol’s DRELLA (I Love You Faye Driscoll).” Here is the tongue-in-cheek description of the show, somewhat in the manner of one of those interminable titles (including liberal capitalization) of a ... seventeenth-century scientific tract:
 

Andy Warhol’s DRELLA (I Love You Faye Driscoll) Is A Movement-Based Drag Performance Essay Inspired By Andy Warhol’s Alter Ego “Drella”—A Contraction Of Dracula And Cinderella, Envisioned By Warhol Superstar Ondine. Beyond The Focus On Warhol’s Legacy, Raja Feather Kelly’s Interest Is In Addressing His Concerns With Identity, Sexuality And Self-Worth. In His Vogue-Ballet, Kelly Creates A Surreal World; A Gender-Bending, Race-Shifting, Multi-Medium “Artsploitation” In Response To Today’s Consumer Culture, And Celebrity Worship. It Is The Latest In The Choreographer’s Warhol-Driven Series Leading To A Final Staging Of The Feath3r Theory Presents: ‘WHO’S AFRAID OF ANDY WARHOL?’

 
Raja Feather Kelly’s dance troupe is called feath3r theory, after a novel he wrote in 2008 while in Sydney, Australia.
 
Drella
 
In the early 1980s, Warhol famously took up the Polaroid camera as his medium of choice, producing memorable images of Debbie Harry, Dennis Hopper, Mick Jagger, Muhammad Ali, Sylvester Stallone, etc. He also turned the Polaroid on himself—but with a difference. Many of Warhol’s Polaroid self-portraits presented himself in drag, as a character named “Drella”—the name is a portmanteau of “Dracula” and “Cinderella,” made most famous by Lou Reed and John Cale in their Songs for Drella.

Among the most obvious descriptors for “Drella” would be “pale”—given the white shirt, white makeup, and platinum blond wig, it was only the bright red lipstick and tartan necktie that saved Warhol/Drella from blending into the white background altogether. So in a brazen move of identification, the African-American Kelly took up the semiotically charged method of blackface—well, “whiteface” in this case—possibly to alienate audiences mildly but, far more important, to forge a deeper connection with the nakedly performative essence of Drella.
 
Warhol/Drella
“Self-Portrait in Drag” (1981)
 
Warhol/Drella
“Self-Portrait in Drag” (1981)
 
Raja Feather Kelly as DrellaRaja Feather Kelly as Drella
 
The word “vogue” is the giveaway here. Kelly’s intentions are so obviously benign, and the outcome so joyous, that nobody could object to it. Kelly’s term for it is “artsploitation.” As he says, “I don’t know art without Andy Warhol. ... I was born into the challenge of Andy Warhol.” If you think there might be a dodge going on here in the use of racially coded/offensive blackface, note that the slogan for the recent performances (June 5/6) at the Invisible Dog Art Center in Brooklyn was “Black by Popular Demand.”

If you’re in New York, keep an eye out for future performances of this exultant and challenging work; Kelly’s already brought it back once, he may do so again.
 
Andy Warhol’s DRELLA (I Love You Faye Driscoll)
 
Here’s a teaser for the performances at the Invisible Dog on June 5 and 6:


 
Here’s Raja Feather Kelly discussing the importance of Warhol on his artistic development:
 

 
via Hyperallergic

Posted by Martin Schneider | Leave a comment
Dali and Warhol’s Ultra Violet light goes out. R.I.P Superstar Ultra Violet
06.16.2014
01:08 pm

Topics:
Art
Movies
Music

Tags:
Andy Warhol
Salvador Dali
Ultra Violet


 
Born Isabelle Collin Dufresne on September 6th 1935, but later but rechristened by Andy Warhol, Ultra Violet passed away Saturday after a long battle with cancer. She was brought up in a strictly religious upper-middle-class family, but she rebelled at an early age, and was supposedly exorcised at the insistence of her parents. Isabelle studied art in France and then ran to New York to live with her older sister.

After meeting Salvador Dali in the early 1950s she became his assistant, pupil and muse. Ten years later Dali introduced Isabelle to Andy Warhol and things would never the same.
 

 
When she was asked once for a short autobiography, she wrote this:

1935 - I was born a mystical child.
1940 - I was raised in France at the Sacred Heart Catholic convent where I became rebellious.
1950 - I was exorcised at age 15.
1951 - I was sent to a correction home at the age of 16.
1968 - I burned my bra as a sign of rebellion.
1972 - I questioned the masculinity imbued in religion and scriptures.
1998 - I had absorbed and accepted the gender differences.
Present - I believe Jesus Christ to be the Messiah and the Savior of the world.

 

 
At Warhol’s suggestion she changed her name to Ultra Violet as her hair was violet colored much of the time. Ultra Violet was one of Andy’s early Superstars and appeared in several of his underground films including I, a Man, The Life of Juanita Castro and Fuck aka ****. She was also in quite a few really good, weird, but more “above ground” exploitation or B films including The Telephone Book, Midnight Cowboy, Simon, King of the Witches, The Phynx, Cleopatra, Savages and Curse of the Headless Horseman.
 
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Amazingly, you can watch The Life of Juanita Castro in its entirety via YouTube:

 
Ultra Violet narrated a very controversial “lost” film called Hot Parts, a compilation of hardcore porn scenes from vintage smokers and loops dating as far back as the turn of the century. It even had a soundtrack album released available here. The film was allowed to play as the police rushed in and busted it at its initial showing at the First Annual New York Erotic Film Festival. Still being talked about three years after the incident, this is from an article in Man to Man magazine from 1974:
 
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Not too long after this, Ultra Violet made an LP for Capital Records. It was not promoted and had little to no publicity. Every known copy has a cut out hole, meaning it went directly to sale record bins, and usually sold for 99 cents. Today it sells on eBay for up to $5,200! Some tracks are actually pretty good. Ultra Violet really sounds like her friend Yoko Ono on this track, “Cool Mac Daddy.” The entire album is available on iTunes.
 

 

 
In 1973, a near-death experience launched Ultra Violet on a spiritual quest, culminating in her baptism in 1981, bringing her full circle back to her upbringing. From 1981 until her death, she was a practicing member of The Church of Jesus Christ of Latter-day Saints. Oddly enough one year before this Ultra Violet did her own version of The Last Supper.

“The Last Supper,” a performance and film—a re-enactment of the Last Supper—was conceived for the Kitchen by Ultra Violet in 1972 and performed by New York-based female artists. Recently it was shown at a Miami Beach Cinematheque screening for Art Basel in 2007 and is included in the collection of Centre Pompidou, Paris.
 
TYYCTCH
 
Ultra Violet never showed her work until much later in life when she devoted herself to her art and mounted celebrated shows the world over. She was also the author of the books, Famous for 15 minutes, Ultra Violet: Andy Warhol, Superstar and Ultra Violet: L’Ultratique. Her first book, Famous for 15 Minutes was made into an opera called Famous! with music by David Conte and a libretto by John Stirling Walker. That is something I’d really like to see. There’s a website with some video here.
 
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Here’s a pretty in depth interview with Ultra Violet:
 

Posted by Howie Pyro | Leave a comment
The Making of an Underground Film: Edie Sedgwick, Andy Warhol and a ‘topless’ Velvet Underground


 
There is simply too much pork for the fork in this wild CBS Evening News report on the then-new phenomenon of “underground films” from New Year’s Eve of 1965/66.

Seen here are Piero Heliczer filming the Velvet Underground, along with testimony from Jonas Mekas, Stan Brakhage, Andy Warhol, a gorgeous young Edie Sedgwick, Al Aronowitz (the rock journo who introduced The Beatles to Dylan—and pot), Willard Van Dyke of the Museum of Modern Art, Chuck Wein, even shirtless and bodypainted Lou Reed and John Cale. Angus MacLise, who was still in the group when this was shot makes an appearance as well.

I think it’s safe to say that this is probably the first and so far at least, only time an excerpt from a Stan Brakhage film was ever shown on The CBS Evening News with Walter Cronkite.
 

 
Thank you Michael Simmons!

Posted by Richard Metzger | Leave a comment
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