![]() ![]() "Warhol looked at your face, and then he adjusted one light, and the angle of the camera, and he said 'try not to move, try not to blink,' and then he went away." Shortly after opening his first Factory in 1963, Warhol purchased a 16mm Bolex movie camera, which he used to perform hundreds of "Screen Tests." These weren't typical Hollywood auditions, but more experiments in duration, explains film critic Amy Taubin.īack then Taubin was an actress, and one of Warhol's sitters. While the band was taking shape, nearby Andy Warhol was expanding his multimedia work and moving specifically into film, pushing the boundaries of form and content. They called themselves the Velvet Underground, their name inspired by a 1963 paperback depicting sexual subcultures. Then, Reed showed him some of the other material he was working on, gritty, confrontational songs that took drug use, sadomasochism, and existential despair as their subject matter.Ĭale says he admired Reed's abilities but thought his potential was being wasted, so they started collaborating and were soon joined by Reed's college classmate Sterling Morrison on rhythm guitar and Maureen "Moe" Tucker on drums. ![]() Pickwick thought Reed's novelty dance song "The Ostrich" had commercial potential, so together they enlisted members of Young's circle to back him at live promotional gigs, where Cale noticed that Reed was tuning all six of his guitar strings to the same note, an experiment in tonality that resembled the way he was layering and extending notes to create sonic drones. At the same time, Welshman John Cale was playing viola in minimalist composer La Monte Young's musical ensemble. He teaches cinema and writing at Albright College in Pennsylvania.In 1964, Lou Reed was turning out trendy pop singles for the budget label Pickwick records. He began his work of restoring and preserving the film legacy of Jack Smith in the early 1990s. Jerry Tartaglia is an experimental filmmaker and writer whose contribution to gay identity and queer history spans four decades. Finally, Song For Rent (16mm, 1968-69, 5 min.) showcases Smith playing his alter ego Rose Courtyard, sitting in a wheelchair in her apartment, deeply moved by God Bless America. It opens with the excerpt from No President originally called “Marsh Gas of Flatulandia” &lrquo ” several minutes of black and white footage of steam escaping from manholes which segues to an interior scene of various creatures emerging from dry ice vapours &lrquo ” then shifts to show the filmmaker, clad in a leopard-skin jump suit, attended by a nurse as he sits amidst the detritus of his duplex loft on Grand and Greene streets in Manhattan. Shot mainly during the late 1960s and edited a decade or more later, I Was a Male Yvonne DeCarlo is one of several films and slide shows that feature the filmmaker as a mock celebrity. Other works to be screened include I Was a Male Yvonne DeCarlo (16mm, 1968-70, 30 min.) starring Smith himself, which takes its title from one of his live performances “I Was a Male Yvonne DeCarlo for the Lucky Landlord Underground” staged in the early 1980s. It will feature the North American premiere of the recently restored Jack Smith Super8 Films (presented on video, 1975-85, 40 min.) and Sinbad of Baghdad (Super8 on video, 1978, 29 min.) &lrquo ” both are edited-in-camera reels documenting film-performances by Smith on the Sahara Sands at Coney Island. Tartaglia will discuss his role in preserving Smith’s film legacy, and will also introduce the programme. Jerry Tartaglia, filmmaker, archivist and co-director of the Plaster Foundation &lrquo ” a non-profit foundation dedicated to restoring Jack Smith’s films, papers and artwork &lrquo ” brings to Pleasure Dome a programme of Super8 movies by the legendary director/performance artist/ photographer/underground genius who died of AIDS in 1989. Guest Curated by Jerry Tartaglia (in Person). ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |