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| andy warhol film portraits: Our Kind of Movie Douglas Crimp, 2012-03-02 A celebrated writer on contemporary art and queer culture argues that Andy Warhol's films enable us to see differently, and to see a different world. “We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'” —Andy Warhol Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With Our Kind of Movie Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in forty years—and the first since the films were put back into circulation. In six essays, Crimp examines individual films, including Blow Job, Screen Test No. 2, and Warhol's cinematic masterpiece The Chelsea Girls (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise—films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinéma-vérité documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In Our Kind of Movie Crimp shows how Warhol's films allow us to see against the grain—to see differently and to see a different world, a world of difference. |
| andy warhol film portraits: An Analysis of the Effects of Contextual Representation: Andy Warhol’s “Screen Tests” in an Exhibition and in Book Form Sarah Doerfel, 2013-01-22 Essay from the year 2011 in the subject Art - Photography and Film, grade: 62, University of Westminster (Media, Arts and Design), course: Contemporary Photographic Practices, language: English, abstract: In 1964 Pop artist Andy Warhol started to take his “Screen Tests”, short portrait films of his colleagues and friends who visited him in his famous studio, the “Factory” in New York. Today, more than forty years after the last test was taken, fascination with the films still motivates people to look at them in exhibitions and books. They still catch us with their complex character as time witnesses and social documents, combined with a strong effect as extraordinarily personal pieces of art. In the following essay, I will illustrate in which way these complex films and their meanings are shaped in different contexts of representation: installed in an exhibition and printed in book form. At first when dealing with this question, it needs to be clear what the Screen Tests are: The films are not screen tests in the conventional sense of the word. The term usually means short test films taken of actors on castings to decide if they get a part in a film. In Warhol’s Screen Tests, the sitter was instructed to look straight into the camera, without movement or emoting, and if possible even without blinking over the three minutes of recording time. People were recorded in close- ups, deprived of the chance to hide even the smallest movement of their faces (Angell, 2006). The “Stillies”, as Warhol called them in the beginning, were often produced spontaneously and with casual rapidity. The conceptual sophistication of these films as a whole makes this long- term project a central piece of Warhol’s work as a portrait artist in the medium of both film and painting. They can be seen as the “stem cells of Warhol’s portraiture” (Angell, 2006, p.12): Giving us an overview over the world of fame and glamour in the 1960s scene, with almost exclusively well- known sitters, they deal with the same objects – celebrities – as Warhol’s paintings do. Like all of Warhol’s early films, they are taken on his first film camera “Bolex” in black- and- white and on silent speed (16 instead of 24 frames per second). It is especially the combination of the slow silent speed, the almost- stillness of the obedient sitters and the unusual lack of sound in the films, which makes these portraits “hybrid art images” (Sokolowski, 2004, p. 9), on the borderline between still photography and the moving image. |
| andy warhol film portraits: The Black Hole of the Camera J. J. Murphy, 2012-04-03 Andy Warhol, one of the twentieth century’s major visual artists, was a prolific filmmaker who made hundreds of films, many of them—Sleep, Empire, Blow Job, The Chelsea Girls, and Blue Movie—seminal but misunderstood contributions to the history of American cinema. In the first comprehensive study of Warhol’s films, J.J. Murphy provides a detailed survey and analysis. He discusses Warhol’s early films, sound portraits, involvement with multimedia (including The Velvet Underground), and sexploitation films, as well as the more commercial works he produced for Paul Morrissey in the late 1960s and early 1970s. Murphy’s close readings of the films illuminate Warhol’s brilliant collaborations with writers, performers, other artists, and filmmakers. The book further demonstrates how Warhol’s use of the camera transformed the events being filmed and how his own unique brand of psychodrama created dramatic tension within the works. |
| andy warhol film portraits: Andy Warhol Screen Tests Callie Angell, 2006-04 The films that Andy Warhol made in the 1960s are now recognized as among the most important works of his career. One of the most ambitious projects of Warhol's cinema is the Screen Tests, a series of 472 short, black-and-white portraits of Warhol's friends, colleagues, and acquaintances filmed over a period of three years, from 1964 through 1966. Taken as a whole, the Screen Tests are a conceptual portrait of a New York era - the complex, interconnected avant-garde art world of the mid-1960s. They also offer a reflected portrait of Warhol himself - his friendships and connections, his egalitarianism and his ambition, his fascination with personality and the human face, his eye for talent and for beauty, his mastery of the photographic, cinematic image.--BOOK JACKET. |
| andy warhol film portraits: Image Machine Joseph D. Ketner (II), 2012 'Image Machine' examines the role of the photograph in Andy Warhol's art, its relationship to his portrait painting and his late paintings and prints, and his rigorous documentation of his social life. |
| andy warhol film portraits: Andy Warhol's The Chelsea Girls Geralyn Huxley, Greg Pierce, 2018 Andy Warhol's The Chelsea Girls had its premiere at the Film-Maker's Cinémathèque on 15 September 1966. It sold out a 200-seat theatre and went on to become the first film to move from the underground to commercial cinema. Since 1972, when Warhol pulled all of his films out of distribution, the public has had extremely limited access to The Chelsea Girls , outside of museum screenings. In honour of the 20th Anniversary of The Andy Warhol Museum and what would have been Warhol's 85th birthday, hundreds of Warhol's films - some never seen before - have been converted to a digital format with the partnership of The Andy Warhol Museum, The Museum of Modern Art, New York, and the Moving Picture Company (MPC), a Technicolor Company. This book is an in-depth look at Warhol's most famous film. It includes all newly digitized film stills, never-before-published transcripts, unpublished archival materials, and expanded information about each of the individual films that comprise the three- plus hour film. As the film alternates sound between the left and right screens, the book reproduces the transcript in complete form as one hears it, with imagery from the corresponding reels. There is also a full transcription of the unheard reels in the back of the book. This is a substantial contribution to the scholarship on Warhol's complex and most commercial film. |
| andy warhol film portraits: Portraits and Philosophy Hans Maes, 2019-11-20 Portraits are everywhere. One finds them not only in museums and galleries, but also in newspapers and magazines, in the homes of people and in the boardrooms of companies, on stamps and coins, on millions of cell phones and computers. Despite its huge popularity, however, portraiture hasn’t received much philosophical attention. While there are countless art historical studies of portraiture, contemporary philosophy has largely remained silent on the subject. This book aims to address that lacuna. It brings together philosophers (and philosophically minded historians) with different areas of expertise to discuss this enduring and continuously fascinating genre. The chapters in this collection are ranged under five broad themes. Part I examines the general nature of portraiture and what makes it distinctive as a genre. Part II looks at some of the subgenres of portraiture, such as double portraiture, and at some special cases, such as sport card portraits and portraits of people not present. How emotions are expressed and evoked by portraits is the central focus of Part III, while Part IV explores the relation between portraiture, fiction, and depiction more generally. Finally, in Part V, some of the ethical issues surrounding portraiture are addressed. The book closes with an epilogue about portraits of philosophers. Portraits and Philosophy tangles with deep questions about the nature and effects of portraiture in ways that will substantially advance the scholarly discussion of the genre. It will be of interest to scholars and students working in philosophy of art, history of art, and the visual arts. |
| andy warhol film portraits: Andy Warhol Photography : the Andy Warhol Museum, Pittsburgh, Hamburg Kunsthalle Andy Warhol, Candice Breitz, 1999 Billed as the first book to examine Warhol's use of photography as inspiration, artistic resource, and documentary means, this book features contributions from a variety of authors, including Callie Angel, Hubertus Butin, Mark Francis, and Margery King. 300 duotone and 110 color plates. |
| andy warhol film portraits: Warhol Blake Gopnik, 2020-04-28 The definitive biography of a fascinating and paradoxical figure, one of the most influential artists of his—or any—age To this day, mention the name “Andy Warhol” to almost anyone and you’ll hear about his famous images of soup cans and Marilyn Monroe. But though Pop Art became synonymous with Warhol’s name and dominated the public’s image of him, his life and work are infinitely more complex and multi-faceted than that. In Warhol, esteemed art critic Blake Gopnik takes on Andy Warhol in all his depth and dimensions. “The meanings of his art depend on the way he lived and who he was,” as Gopnik writes. “That’s why the details of his biography matter more than for almost any cultural figure,” from his working-class Pittsburgh upbringing as the child of immigrants to his early career in commercial art to his total immersion in the “performance” of being an artist, accompanied by global fame and stardom—and his attempted assassination. The extent and range of Warhol’s success, and his deliberate attempts to thwart his biographers, means that it hasn’t been easy to put together an accurate or complete image of him. But in this biography, unprecedented in its scope and detail as well as in its access to Warhol’s archives, Gopnik brings to life a figure who continues to fascinate because of his contradictions—he was known as sweet and caring to his loved ones but also a coldhearted manipulator; a deep-thinking avant-gardist but also a true lover of schlock and kitsch; a faithful churchgoer but also an eager sinner, skeptic, and cynic. Wide-ranging and immersive, Warhol gives us the most robust and intricate picture to date of a man and an artist who consistently defied easy categorization and whose life and work continue to profoundly affect our culture and society today. |
| andy warhol film portraits: The Face on Film Noa Steimatsky, 2017-01-03 The human face was said to be rediscovered with the advent of motion pictures, in which it is often viewed as expressive locus, as figure, and even as essence of the cinema. But how has the modern, technological, mass-circulating art revealed the face in ways that are also distinct from any other medium? How has it altered our perception of this quintessential incarnation of the person? The archaic powers of masks and icons, the fashioning of the individual in the humanist portrait, the modernist anxieties of fragmentation and de-figuration--these are among the cultural precedents informing our experience in the movie theatre. Yet the moving image also offers radical new confrontations with the face: Dreyer's Passion of Joan of Arc, Donen's Funny Face, Hitchcock's The Wrong Man, Bresson's enigmatic Au hasard Balthazar, Antonioni's Screen Test, Warhol's filmic portraits of celebrity and anonymity are among the key works explored in this book. In different ways these intense encounters manifest a desire for transparency and plenitude, but--especially in post-classical cinema--they also betray a profound ambiguity that haunts the human countenance as it wavers between image and language, between what we see and what we know. The spectacular impact of the cinematic face is uncannily bound up with an opacity, a reticence. But is it not for this very reason that, like faces in the world, it still enthralls us? |
| andy warhol film portraits: Andy Warhol Screen Tests Callie Angell, 2006-04 The films that Andy Warhol made in the 1960s are now recognized as among the most important works of his career. One of the most ambitious projects of Warhol's cinema is the Screen Tests, a series of 472 short, black-and-white portraits of Warhol's friends, colleagues, and acquaintances filmed over a period of three years, from 1964 through 1966. Taken as a whole, the Screen Tests are a conceptual portrait of a New York era - the complex, interconnected avant-garde art world of the mid-1960s. They also offer a reflected portrait of Warhol himself - his friendships and connections, his egalitarianism and his ambition, his fascination with personality and the human face, his eye for talent and for beauty, his mastery of the photographic, cinematic image.--BOOK JACKET. |
| andy warhol film portraits: Motion(less) Pictures Justin Remes, 2015-02-24 Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol's Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature. Analyzing four categories of static film--furniture films, designed to be viewed partially or distractedly; protracted films, which use extremely slow motion to impress stasis; textual films, which foreground the static display of letters and written words; and monochrome films, which display a field of monochrome color as their image--Remes maps the interrelations between movement, stillness, and duration and their complication of cinema's conventional function and effects. Arguing all films unfold in time, he suggests duration is more fundamental to cinema than motion, initiating fresh inquiries into film's manipulation of temporality, from rigidly structured works to those with more ambiguous and open-ended frameworks. Remes's discussion integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and will appeal to students of film theory, experimental cinema, intermedia studies, and aesthetics. |
| andy warhol film portraits: The (Moving) Pictures Generation V. Dika, 2012-03-14 Beginning in the late 1970s, a number of visual artists in downtown New York City returned to an exploration of the cinematic across mediums. Vera Dika considers their work within a greater cultural context and probes for a deeper understanding of the practice. |
| andy warhol film portraits: Andy Warhol: The Impossible Collection Eric Shiner, 2017-09-01 Andy Warhol’s explosive Pop Art and sharp commentary on advertising and celebrity culture are renowned and deeply relevant even decades after their creation. Though Warhol himself could be a polarizing figure both personally and professionally, there is no doubt that he was a pioneer of the Pop movement, and today, as a result, his works regularly fetch astronomical prices. In this evocative addition to Assouline’s Ultimate Collection, Warhol expert and former Andy Warhol Museum director Eric Shiner curates the 100 quintessential, unique works that define the evolution of this illustrious artist, tracing Warhol’s dynamic career from the late forties to the end of the eighties and creating a stunning compendium whose pieces, due to their rarity, value, and prestige as part of a museum or other collection, could simply never all be acquired by a single collector. Casual art lovers know Campbell’s Soup Cans and the Marilyn Diptych, but Andy Warhol: The Impossible Collection goes deeper, revealing and revisiting some less ubiquitous yet equally powerful pieces, spanning paintings, prints, sculpture, films, and photography, from Warhol’s astonishing oeuvre. |
| andy warhol film portraits: Andy Warhol: 365 Takes Staff of Andy Warhol Museum, 2004-05-12 After the artist's death, The Andy Warhol Museum became the repository for numerous Time Capsules, along with some of the paintings, prints, sculptures, photographs, and films for which Warhol is best known. For this project, the museum has gathered together the highlights of its collection to create a book that is as comprehensive as its holdings. |
| andy warhol film portraits: About Face Andy Warhol, Nicholas Baume, Richard Meyer, Douglas Crimp, 1999 i>About Face, which accompanies an exhibition organizedby the Wadsworth Atheneum, presents the first overview of Warhol'sportraiture to embrace all periods and media. |
| andy warhol film portraits: Andy Warhol, Portraits of the 70s Andy Warhol, Robert Rosenblum, David Whitney, 1979 Includes one hundred twenty of Warhol's portraits of sixty Beautiful People of the 1970s |
| andy warhol film portraits: Andy Warhol Wayne Koestenbaum, 2015-02-17 An intimate depiction of the visionary who revolutionized the art world A man who created portraits of the rich and powerful, Andy Warhol was one of the most incendiary figures in American culture, a celebrity whose star shone as brightly as those of the Marilyns and Jackies whose likenesses brought him renown. Images of his silvery wig and glasses are as famous as his renderings of soup cans and Brillo boxes—controversial works that elevated commerce to high art. Warhol was an enigma: a partygoer who lived with his mother, an inarticulate man who was a great aphorist, an artist whose body of work sizzles with sexuality but who considered his own body to be a source of shame. In critic and poet Wayne Koestenbaum’s dazzling look at Warhol’s life, the author inspects the roots of Warhol’s aesthetic vision, including the pain that informs his greatness, and reveals the hidden sublimity of Warhol’s provocative films. By looking at many facets of the artist’s oeuvre—films, paintings, books, “Happenings”—Koestenbaum delivers a thought-provoking picture of pop art’s greatest icon. |
| andy warhol film portraits: A Line of Sight Paul Arthur, 2005-01-01 Arthur (English and film studies, Montclair State U.) balances close analysis of major and lesser-known films with detailed examinations of their production, distribution and exhibition. He addresses the avant-garde's cultural significance and reexamines accepted critical categories and artistic options. Rather than treating American avant-garde ci |
| andy warhol film portraits: Andy Warhol's Art and Films Patrick S. Smith, 1986 An inside peek at the persona of the Pop artist and his famous Factory as revealed by 125 interviews with Warhol himself, his associates, and his friends.--Back cover. |
| andy warhol film portraits: Andy Warhol's Time Capsule 21 Andy Warhol, 2003 Essays by John W. Smith, Mario Kramer and Matt Wrbican. Introduction by Thomas Sokolowski and Udo Kittelmann. |
| andy warhol film portraits: Stargazer; Andy Warhol's World and His Films Stephen Koch, 1973 |
| andy warhol film portraits: Andy Warhol Portraits Andy Warhol, 2007-03-19 To the general public, Andy Warhol is known as a painter of famous faces - from Liz and Marilyn to his own ever-changing self-portrait. Less familiar are the portraits Warhol made throughout his career of socialites, art dealers, collectors, politicians, and a variety of contemporary cult figures, mostly commissioned work that helped finance his other wide-ranging artistic activities. Featuring more than 300 portraits made from the early 1960s until the artist's death in 1987, Andy Warhol Portraits is the first book to provide a comprehensive view of this overlooked body of work, which includes such well-known twentieth-century icons as Jackie Kennedy, Mick Jagger, Liza Minnelli, and Queen Elizabeth, as well as many paintings largely unknown even to avid Warhol followers. With contextualizing essays by longtime Warhol collaborator Tony Shafrazi and art critics Carter Ratcliff and Robert Rosenblum, Andy Warhol portraits is a face-book of the amazing cast of characters that populated Warhol's fascinating, star-studded, and, at times, sordid world. - inside front cover. |
| andy warhol film portraits: Andy Warhol Donna M. De Salvo, Jessica Beck (Art museum curator), 2018-01-01 A unique 360‐degree view of an incomparable 20th-century American artist One of the most emulated and significant figures in modern art, Andy Warhol (1928-1987) rose to fame in the 1960s with his iconic Pop pieces. Warhol expanded the boundaries by which art is defined and created groundbreaking work in a diverse array of media that includes paintings, sculptures, prints, photographs, films, and installations. This ambitious book is the first to examine Warhol's work in its entirety. It builds on a wealth of new research and materials that have come to light in recent decades and offers a rare and much-needed comprehensive look at the full scope of Warhol's production--from his commercial illustrations of the 1950s through his monumental paintings of the 1980s. Donna De Salvo explores how Warhol's work engages with notions of public and private, the redefinition of media, and the role of abstraction, while a series of incisive and eye-opening essays by eminent scholars and contemporary artists touch on a broad range of topics, such as Warhol's response to the AIDS epidemic, his international influence, and how his work relates to constructs of self-image seen in social media today. |
| andy warhol film portraits: Musical Portraits Joshua S. Walden, 2017-12-05 Joshua S. Walden's Musical Portraits: The Composition of Identity in Contemporary and Experimental Music explores the wide-ranging but under-examined genre of musical portraiture. It focuses in particular on contemporary and experimental music created between 1945 and the present day, an era in which conceptions of identity have changed alongside increasing innovation in musical composition as well as in the uses of abstraction, mixed media, and other novel techniques in the field of visual portraiture. In the absence of physical likeness, an element typical of portraiture that cannot be depicted in sound, composers have experimented with methods of constructing other attributes of identity in music, such as character, biography, and profession. By studying musical portraits of painters, authors, and modern celebrities, in addition to composers' self-portraits, the book considers how representational and interpretive processes overlap and differ between music and other art forms, as well as how music is used in the depiction of human identities. Examining a range of musical portraits by composers including Peter Ablinger, Pierre Boulez, Morton Feldman, Philip Glass, György Ligeti, and Virgil Thomson, and director Robert Wilson's on-going series of video portraits of modern-day celebrities and his portrait opera Einstein on the Beach, Musical Portraits contributes to the study of music since 1945 through a detailed examination of contemporary understandings of music's capacity to depict identity, and of the intersections between music, literature, theater, film, and the visual arts. |
| andy warhol film portraits: The Black Hole of the Camera J. J. Murphy, 2012 Andy Warhol, one of the twentieth century's major visual artists, was a prolific filmmaker who made hundreds of films, many of them--Sleep, Empire, Blow Job, The Chelsea Girls, and Blue Movie--seminal but misunderstood contributions to the history of American cinema. In the first comprehensive study of Warhol's films, J.J. Murphy provides a detailed survey and analysis. He discusses Warhol's early films, sound portraits, involvement with multimedia (including The Velvet Underground), and sexploitation films, as well as the more commercial works he produced for Paul Morrissey in the late 1960s and early 1970s. Murphy's close readings of the films illuminate Warhol's brilliant collaborations with writers, performers, other artists, and filmmakers. The book further demonstrates how Warhol's use of the camera transformed the events being filmed and how his own unique brand of psychodrama created dramatic tension within the works. |
| andy warhol film portraits: Brigid Berlin: Polaroids , 2016-11-22 The deluxe edition of Brigid Berlin: Polaroids is limited to 100 signed and numbered copies only, and is presented in a bespoke slipcase. It includes an archival pigment print of Andy Warhol, stamped, hand-initialed and numbered on the verso by Brigid Berlin, exclusive to this edition. The book is numbered and signed by Berlin. Brigid Berlin (born 1939) was one of the most prominent and colorful members of Andy Warhol's Factory in the 1960s and '70s. Her legendary personal collection of Polaroids is collected here for the first time and offers an intimate, beautiful, artistic, outrageous insight into this iconic period. This wild photographic odyssey features a foreword by cult filmmaker John Waters, who writes: Brigid was always my favorite underground movie star; big, often naked, and ornery as hell.... The Polaroids here show just how wide Brigid's world was; her access was amazing. She was never a groupie, always an insider. |
| andy warhol film portraits: The Films of Andy Warhol, Part II Callie Angell, 1994 Sleep (1963) -- Haircut (No. 1) (1963) -- Eat (1964) -- Empire (1964) -- Guide to Empire -- Henry Geldzahler (1964) -- Poor little rich girl (1965) -- Paul Swan (1965) -- Lupe (1965) -- Velvet underground and Nico (1966) -- Bufferin (1966) -- I, a man (1967-68) -- Loves of Ondine (1967-68) -- Bike boy (1967-68) -- Flesh (1968-69) -- Blue movie (1968). |
| andy warhol film portraits: Documenting the Visual Arts Roger Hallas, 2019-12-06 Bringing together an international range of scholars, as well as filmmakers and curators, this book explores the rich variety in form and content of the contemporary art documentary. Since their emergence in the late 1940s as a distinct genre, documentaries about the visual arts have made significant contributions to art education, public television, and documentary filmmaking, yet they have received little scholarly attention from either art history or film studies. Documenting the Visual Arts brings that attention to the fore. Whether considering documentaries about painting, sculpture, photography, performance art, site-specific installation, or fashion, the chapters of this book engage with the key question of intermediality: how film can reframe other visual arts through its specific audio-visual qualities, in order to generate new ways of understanding those arts. The essays illuminate furthermore how art documentaries raise some of the most critical issues of the contemporary global art world, specifically the discourse of the artist, the dynamics of documentation, and the visuality of the museum. Contributors discuss documentaries by filmmakers such as Frederick Wiseman, Lynn Hershman Leeson, Jia Zhangke, and Trisha Ziff, and about artists such as Michael Heizer, Ai Weiwei, Do Ho Suh, and Marina Abramović. This collection of new international and interdisciplinary scholarship on visual art documentaries is ideal for students and scholars of visual arts and filmmaking, as well as art history, arts education, and media studies. |
| andy warhol film portraits: This is a Portrait If I Say So Anne Collins Goodyear, Jonathan Frederick Walz, Kathleen Merrill Campagnolo, Dorinda Evans, 2016-01-01 The first in-depth exploration of the rise and evolution of abstract, symbolic, and conceptual portraiture in American art This groundbreaking book traces the history of portraiture as a site of radical artistic experimentation, as it shifted from a genre based on mimesis to one stressing instead conceptual and symbolic associations between artist and subject. Featuring over 100 color illustrations of works by artists from Charles Demuth, Marcel Duchamp, Marsden Hartley, and Georgia O'Keeffe to Janine Antoni, Felix Gonzalez-Torres, Roni Horn, Jasper Johns, and Glenn Ligon, this timely publication probes the ways we think about and picture the self and others. With particular focus on three periods during which non-mimetic portraiture flourished--1912-25, 1961-70, and 1990-the present--the authors investigate issues related to technology, sexuality, artist networks, identity politics, and social media, and explore the emergence of new models for the visual representation of identity. Taking its title from a 1961 work by Robert Rauschenberg--a telegram that stated, This is a portrait of Iris Clert if I say so--this book unites paintings, sculpture, photography, and text portraits that challenge the genre in significant, often playful ways and question the convention, as well as the limits, of traditional portrayal. |
| andy warhol film portraits: A Andy Warhol, 2009 In the late 1960s, Andy Warhol set out to turn an ordinary book into a piece of pop art. He said that he wanted to create a 'bad' novel 'because doing something the wrong way always opens doors'. The result was this astonishing account of the famously influential group of artists, superstars, addicts and freaks who made up the world of Warhol's Factory. It begins with the fabulous Warhol superstar Ondine popping pills and follows its characters as they converse with inspired, speed-driven wit and cut swathes through the clubs, coffee shops, hospitals and whorehouses of 1960s Manhattan. |
| andy warhol film portraits: The Black Hole of the Camera J. J. Murphy, 2012 One acclaimed filmmaker takes the measure of another! Murphy's candid and richly personal account of Andy Warhol's filmmaking is a brilliant contribution to our understanding of one of cinema's most original and prolific masters, exploring the artist's multiple forms of psychodrama with a filmmaker's insight and attention to detail. As more and more of the restored Warhol films become available, this book will remain an indispensable handbook for film historians and general moviegoers alike--especially because it is such a genuine pleasure to read.--David E. James, author of The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles. Those of us who care about independent cinema have always struggled with Andy Warhol's massive oeuvre. At long last J.J. Murphy, who has spent a lifetime making contributions to independent cinema, has undertaken the Herculean task of helping us understand Warhol's development as a filmmaker. Murphy's precision, stamina, and passion are evident in this examination of an immense body of work--as is his ability to report what he has discovered in a readable and informative manner. The Black Hole of the Camera helps us to re-conceptualize Warhol's films not simply as mythic pranks, but as the diverse creations of a prolific and inventive film artist.--Scott MacDonald, author of A Critical Cinema: Interviews with Independent Filmmakers (5 vols.). In his careful firsthand study of Andy Warhol's films, J. J. Murphy contributes to the ongoing revision of the enduring but misplaced perceptions of Warhol as a passive, remote, and one-dimensional artist. Murphy's discussions of authorship, the relation of content to form, the role of dramatic conflict, and the complexity of Warhol's camera work show these perceptions to be stubborn myths. The Black Hole of the Camera offers a clear sense of the nuances of Warhol's fascinating, prolific, and influential activities in filmmaking.--Reva Wolf, author of Andy Warhol, Poetry, and Gossip in the 1960s. |
| andy warhol film portraits: Jonas Mekas Gregory R. Smulewicz-Zucker, 2020-08-25 A refugee from post–World War II Europe who immigrated to the US in 1949, Jonas Mekas (1922–2019) became one of America's foremost champions of independent cinema and one of its most innovative filmmakers. An admired poet in his native Lithuania, Mekas began recording his life on film shortly after his arrival in New York. Through his work as the author of the Village Voice’s “Movie Journal” column, editor of Film Culture magazine, and founder of Anthology Film Archives and the Film-Makers’ Cooperative, Mekas played a vital role in the promotion of avant-garde and independent films. His early films, Guns of the Trees and The Brig, challenged the structure of traditional narrative filmmaking. He is best known for his “diary films,” including Walden (Diaries, Notes, and Sketches); Reminiscences of a Journey to Lithuania; and As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty. His films, writings, and the institutions he built have influenced generations of filmmakers, poets, artists, musicians, critics, and scholars. In Jonas Mekas: Interviews, volume editor Gregory R. Smulewicz-Zucker collects eighteen interviews covering almost sixty years of the filmmaker’s career. Mekas discusses his remarkable life as a refugee from Nazi- and Soviet-occupied Lithuania, his role as one of the major figures in the development of the American avant-garde, and his thoughts about his own work. In conversation with scholars, journalists, and other prominent artists, Mekas speaks of his passion for artistic expression and uncompromising vision for a liberated cinema. These interviews preserve Mekas’s voice so that it might speak to future generations of artists and intellectuals. |
| andy warhol film portraits: Warhol's Working Class Anthony E. Grudin, 2017-10-20 Warhol and class -- Varieties of pop -- Warhol's participatory culture -- Warhol's brand images -- Warhol, modernism, egalitarianism -- Conclusion: Warhol's neoliberalism |
| andy warhol film portraits: Fandom as Methodology Catherine Grant, Kate Random Love, 2019-12-03 An illustrated exploration of fandom that combines academic essays with artist pages and experimental texts. Fandom as Methodology examines fandom as a set of practices for approaching and writing about art. The collection includes experimental texts, autobiography, fiction, and new academic perspectives on fandom in and as art. Key to the idea of “fandom as methodology” is a focus on the potential for fandom in art to create oppositional spaces, communities, and practices, particularly from queer perspectives, but also through transnational, feminist and artist-of-color fandoms. The book provides a range of examples of artists and writers working in this vein, as well as academic essays that explore the ways in which fandom can be theorized as a methodology for art practice and art history. Fandom as Methodology proposes that many artists and art writers already draw on affective strategies found in fandom. With the current focus in many areas of art history, art writing, and performance studies around affective engagement with artworks and imaginative potentials, fandom is a key methodology that has yet to be explored. Interwoven into the academic essays are lavishly designed artist pages in which artists offer an introduction to their use of fandom as methodology. Contributors Taylor J. Acosta, Catherine Grant, Dominic Johnson, Kate Random Love, Maud Lavin, Owen G. Parry, Alice Butler, SooJin Lee, Jenny Lin, Judy Batalion, Ika Willis. Artists featured in the artist pages Jeremy Deller, Ego Ahaiwe Sowinski, Anna Bunting-Branch, Maria Fusco, Cathy Lomax, Kamau Amu Patton, Holly Pester, Dawn Mellor, Michelle Williams Gamaker, The Women of Colour Index Reading Group, Liv Wynter, Zhiyuan Yang |
| andy warhol film portraits: Women Film Directors Gwendolyn A. Foster, 1995-11-14 Until now, there hasn't been one single-volume authoritative reference work on the history of women in film, highlighting nearly every woman filmmaker from the dawn of cinema including Alice Guy (France, 1896), Chantal Akerman (Belgium), Penny Marshall (U.S.), and Sally Potter (U.K.). Every effort has been made to include every kind of woman filmmaker: commercial and mainstream, avant-garde, and minority, and to give a complete cross-section of the work of these remarkable women. Scholars and students of film, popular culture, Women's Studies, and International Studies, as well as film buffs will learn much from this work. The Dictionary covers the careers of nearly 200 women filmmakers, giving vital statistics where available, listings of films directed by these women, and selected bibliographies for further reading. This is a one-volume, one-stop resource, a comprehensive, up-to-date guide that is absolutely essential for any course offering an overview or survey of women's cinema. It offers not only all available statistics, but critical evaluations of the filmmakers' work as well. In order to keep the length manageable, this volume focuses on women who direct fictional narrative films, with occasional forays into the area of the documentary and is limited to film production rather than video production. |
| andy warhol film portraits: Gay Shame David M. Halperin, Valerie Traub, 2009 Asking if the political requirements of gay pride have repressed discussion of the more uncomfortable or undignified aspects of homosexuality, 'Gay Shame' seeks to lift this unofficial ban on the investigation of homosexuality and shame by presenting critical work from the most vibrant frontier in contemporary queer studies. |
| andy warhol film portraits: Photography and Cinema David Campany, 2008-11-15 This account of photography and cinema shows how the two media are not separate but in fact have influenced each other since their inception. David Campany explores photographers on screen, photographic and filmic stillness, photographs in film, the influence of photography on cinema, and the photographer as a filmmaker--OCLC |
| andy warhol film portraits: Empresses and Queens in the Courtly Public Sphere from the 17th to the 20th Century Marion Romberg, 2022-02-22 This book analyzes the evolving interaction between court and media from an understudied perspective. Eight case studies focus on different European Empress consorts and Queen regnants from the seventeenth to the twentieth centuries, using a comparative, cross-media, and cross-period approach. The volume addresses a multitude of questions, ranging from how dynastic women achieved public prominence through their portraits; how their faces and bodies were moulded and rearticulated to fit varying expectations in the courtly public sphere; and the degree to which they, as female actors, engaged with or had agency within the processes of production and reception. In particular, two types of female rulership and their relationship to diverse media are contrasted, and lesser-known and under-researched dynastic women are spotlighted. Contributors: Christine Engelke, Anna Fabiankowitsch, Inga Lena Ångström Grandien, Titia Hensel, Andrea Mayr, Alison McQueen, Marion Romberg, and Alison Rowley. |
| andy warhol film portraits: Rites of Realism Ivone Margulies, 2003-03-27 DIVA collection of essays rethinking and reviving realism as a focus for film theory, particularly emphasizing the relation of the genre to issues of the body./div |
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