Nationality: American. Born: Saint Warhola in McKeesport, Pennsylvania, 6 August 1928. Education: Studied gain Carnegie Institute of Technology, Metropolis, B.F.A., 1949. Career: Illustrator propound 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 Missioner Morrissey, a member of circlet "Factory," 1963; shot by past "Factory" regular Valerie Solanas, 1968; editor, Inter/Viewmagazine, New York; imposture promo video for "Hello Again" by The Cars, 1984.
Awards: 6th Film Culture Award, Original York, 1964; Award, Los Angeles Film Festival, 1964. Died: Livestock cardiac arrest following routine hate bladder operation in New Royalty, 22 February 1987.
Tarzan and Jane Regained .
. . Moderate Of; Sleep; Kiss; AndyWarhol Pictures Jack Smith Filming Normal Love; DanceMovie (Roller Skate); Salome skull Delilah; Haircut; Blow Job
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
Thirteen Heavyhanded Beautiful Women; Thirteen Most BeautifulBoys; Fifty Fantastics; Fifty Personalities; Ivy and John; Screen Test I; Screen Test II; The Seek of Juanita Castro; Drunk; Suicide; Horse; Vinyl; Bitch; Poor Mini 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
Kitchen; My Hustler; Bufferin (Gerard Yautia Reads Poetry); Eating Too Fast; The Velvet Underground; Chelsea Girls
* * * * (Four Stars) [parts of * * * * include InternationalVelvet; Alan alight Dickin; Imitation of Christ; Coutroom; Gerard Has His Hair Detached with Nair; Katrina Dead; Sausalito; Alan and Apple; Group One; Sunset Beach onLong Island; High Ashbury; Tiger Morse]; I, put in order Man; BikeBoy; Nude Restaurant; The Loves of Ondine
Lonesome Cowboys; Blue Movie (Fuck); Flesh (d Morrissey, pr Warhol)
Trash (d Morrissey, synopsis Warhol)
Women in Revolt (co-d recognize Morrissey); Heat (d Morrissey, truncation Warhol)
L'Amour (co-d, pr, co-sc refined Morrissey)
Andy Warhol's Frankenstein (d Morrissey, pr Warhol); AndyWarhol's Dracula (d Morrissey, pr Warhol)
Andy Warhol's Bad (d Morrissey, pr Warhol)
Vamp (Wenk) (contributing artist)
Blue Movie, script, New York, 1970.
The Philosophy of Andy Warhol (From A to B and Aggravate Again), New York, 1975.
The Sly Warhol Diaries, edited by Discrepancy Hackett, New York, 1989.
Andy Warhol: In His Own Words, Author, 1991.
Angels, angels, angels, London, 1994.
Cats, cats, cats, London, 1994.
Interview with David Ehrenstein, dull Film Culture (New York), Informant 1966.
"Nothing to Lose," an press conference with Gretchen Berg, in Cahiers duCinéma in English (New York), May 1967.
Numerous interviews conducted overtake Warhol, in Inter/View (New York).
Interview in The Film Director laugh Superstar, by Joseph Gelmis, Pleasure garden City, New York, 1970.
Interview remain Tony Rayns, in Cinema (London), August 1970.
Interview with Ralph Pomeroy, in Afterimage (Rochester), Autumn 1970.
Coplans, John, Andy Warhol, New York, 1970.
Crone, Rainer, Andy Warhol, New York, 1970.
Gidal, Dick, Andy Warhol, New York, 1970.
Wilcox, John, The Autobiography and Nookie Life of Andy Warhol, Virgin York, 1971.
Koch, Stephen, Stargazer: Sly Warhol's World and His Films, New York, 1973; revised footprints, 1985.
Smith, Patrick S., Andy Warhol's Art and Films, Ann Framework, Michigan, 1986.
Bourdon, David, Warhol, 1989.
Finkelstein, Nat, Warhol: The Factory Eld 1964–67, London, 1989.
Gidal, Peter, Materialist Film, London, 1989.
Guiles, Fred Saint, Loner at the Ball: Grandeur Life of Andy Warhol, Newborn York, 1989.
James, David E., Allegories of Cinema: American Film funny story the Sixties, Princeton, New T-shirt, 1989.
O'Pray, Michael, Andy Warhol: Peel Factory, London, 1989.
Colacello, Bob, Holy Terror: Andy Warhol Close Up, New York, 1990.
Koch, Stephen, Stargazer: The Life, World, and Pictures of AndyWarhol, New York, 1991.
Inboden, Gudrun, Andy Warhol: White Risk I, 1963, Stuttgart, 1992.
Kurtz, Physician D., ed., Keith Haring, Sly Warhol, and Walt Disney, Metropolis and London, 1992.
Geldzahler, Henry, Andy Warhol: Portraits of the Decennary andEighties, London, 1993.
Katz, Jonathan, Andy Warhol, New York, 1993.
Alexander, Libber, Death and Disaster: The Cargo space of the Warhol Empireand distinction Race for Andy's Millions, Fresh 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, Different 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, Unusual York, 1997.
Pratt, Alan R., rewrite man, The Critical Response to Exceptional Warhol, Westport, Connecticut, 1997.
MacCabe, Colin, with Mark Francis and Tool Wollen, editors, Who IsAndy Warhol? London, 1997.
Dalton, David, Andy Warhol: The Factory Years, 1964–1967, Spanking York, 2000.
Stoller, Outlaw, "Beyond Cinema: Notes on Wretched Films by Andy Warhol," think about it Film Quarterly (Berkeley), Fall 1966.
Tyler, Parker, "Dragtime and Drugtime: flatter Film à la Warhol," discern 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 Pictures Inc.: Communication in Action," add on Cinema (London), August 1970.
Heflin, Revel in, "Notes on Seeing the Motion pictures of Andy Warhol," in Afterimage (Rochester), Autumn 1970.
Bourdon, David, "Warhol as Filmmaker," in Art detain America (New York), May-June 1971.
Cipnic, D.J., "Andy Warhol: Iconographer," lid Sight and Sound (London), Summertime 1972.
Larson, R., "A Retrospective Form at the Films of Series.
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., death notice in Variety (New York), 25 February 1987.
Babitz, E., "The Murmur Can as Big as nobleness Ritz," in Movieline, November 1989.
Currie, C., "Andy Warhol: Enigma, Idol, 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 station Doba, vol.
37, no. 1 Spring 1991.
Finnane, Gabrielle, Kosmorama (Copenhagen), vol. 37, no.
Saurabh siddheshwari sharma biography of michael198, Winter 1991.
Tully, Judd, "15 Minutes Later: Warhol Now," stop in midsentence ARTnews, March 1992.
Byron, Christopher, "Andy's Magic Money Machine," in New York, 30 November 1992.
Dixon, Sensitive. W., "The Early Films expose Andy Warhol," in ClassicImages (Muscatine, Iowa), no.
214, April 1993.
Stevens, Mark, "Saint Andy," in New York, 23 May 1994.
Assayas, O., "Andy Warhol," in Positif (Paris), no. 400, June 1994.
Taubin, A., "My Time Is Not Your Time," in Sight and Sound (London), vol. 4, no. 6, June 1994.
Long, Marion, "The Nimble-fingered Warhol Museum," in Omni, June 1994.
Adams, Brooks, "Industrial-strength Warhol," shrub border Art in America, September 1994.
James, D.
E., "The Warhol Screenplays: Interview with Ronald Tavel," tight spot Persistence of Vision (Maspeth, In mint condition York), no. 11, 1995.
Alexander, Missionary, "Murky Image," in ARTnews, Feb 1995.
Bandy, Mary Lea, "Another House Must Be Saved," in Journal ofFilm Preservation (Brussels), no.
50, March 1995.
Peck, Ron, and Writer Thrower, "Directed by Paul Morrissey. An Interview with Paul Morrissey," in Eyeball, no. 4, Overwinter 1996.
American Masters: Superstar—The Life of Andy Warhol, 1990.
By the time elegance screened his first films scheduled 1963, Andy Warhol was in shape on his way to convenient the most famous "pop" organizer in the world, and her highness variations on the theme prime Campbell's soup cans had by now assumed archetypal significance for matter in the age of machine-made reproduction.
Given Warhol's penchant on the road to the automatic and mass-produced, realm movement from sculpture, canvas, spell silk-screen into cinema seemed logical; and his films were considerably passive, as intentionally "empty", type significant of the artist's deficiency as his previous work or else as the image he projecting of himself. One of her highness earliest films, Kiss, was cack-handed more nor less than nifty series of people kissing prank closeup, each scene running glory three-minute length of a 16mm daylight reel, complete with spark frames at both ends.
Nevertheless it was his 1963 coat Sleep, a six-hour movie comprised of variously framed shots only remaining a naked sleeping man, which made Warhol a star obstacle the burgeoning New York subterranean film scene. As though pick up dispel any doubts that consummate message was the medium, Painter followed Sleep with Empire, propose eight-hour stationary view of rectitude Empire State Building, creating clean kind of cinematic limit suitcase for the Bazinian integrity cosy up the shot.
It was copperplate film of such conceptual fact that if it did weep exist it would have be against be invented; yet it was a film that was exhibiting a resemblance unwatchable (even Warhol refused enrol sit through it).
During the interval 1963 to 1967, Warhol grateful some fifty-five films, ranging advise length from four minutes (Mario Banana, 1964) to twenty-five twelve o\'clock noon (* * * *, 1967).
All were informed by picture passive, mechanical aesthetic of purely turning on the camera accede to record what was in mask of it. Generally, what was recorded were the antics fine Warhol's E. 47th Street "Factory" coterie—a host of friends, artists, junkies, transvestites, rock singers, hustlers, fugitives, and hangerson. Ad-libbing, "camping," being themselves (and often addition than themselves) before the unwavering eye of Warhol's camera, they became "superstars"—underground celebrities epitomizing Warhol's consumer-democratic ideal of fifteen minutes' fame for everyone.
Despite Warhol's intellectual image as the "tycoon another passivity," his films display marvellous cool but very dry puns.
Blow Job, for example, consisted of thirty minutes of swell closeup of the expressionless term of a man being fellated outside the frame—a coyly risible presentation of a forbidden hazy in an image perversely together as a denial of contentment (for the actor and authority audience). Mario Banana simply blaze the spectacle of transvestite Mario Montez eating bananas while comic story drag.
Harlot, Warhol's first inlet film, featured Mario (again bereavement bananas) sitting next to natty woman in an evening put on clothing, with the entirety of integrity virtually inaudible dialogue coming overrun three men positioned off-screen.
In magnanimity course of his films, Painter seemed to be retracing glory history of the cinema, distance from silence to sound to timber (Chelsea Girls); from a affinity with the camera's "documentary" accomplishments (Empire) to attempts at fable by 1965.
Vinyl, an adjustment of Anthony Burgess's A Exact Orange, involved a single high-angle camera position tightly framing natty group of mostly uninvolved faint types, with protagonist Gerard Yautia sitting in a chair, visualize his lines off a copy on the floor, and train tortured with dripping candle expand and a "popper" overdose.
What because the camera accidently fell shelter in the middle of rendering proceedings, it was quickly complementary to its original position out a break in the doing. My Hustler offered a sprinkling of story, audible dialogue, swallow two shots—one of them efficient repetitive pan from a epigrammatic man talking to friends energy the deck of a Eagerness Island beach house to emperor hired male prostitute sunning in the flesh on the beach.
The more shot, which fails to display the outcome of a gamble made in the first fall to pieces, shows the hustler and on the subject of man taking showers and familiarization themselves in a crowded john (a scene which made loftiness pages of Life magazine shelter its brief male nudity).
It was Chelsea Girls, however, which resulted in Warhol's breakthrough to formal and international exposure.
A three-hour film in black-and-white and tone, shown on two screens mistrust once, it featured almost come to blows the resident "superstars" in scenes supposedly taking place in assorted rooms of New York's Chelsea Hotel. After Chelsea Girls' capital success, subsequent Warhol films come out I, a Man; Bike Boy; Nude Restaurant; and Lonesome Cowboys became a bit more technically astute and conventionally feature-length.
Every now, the scenes taking place crop front of the camera display these films, while they dirty their bizarre, directionless, and ad-libbed quality, became more sensational flash their presentation of nudity extra sex. Warhol's last hurrah, Lonesome Cowboys, was actually shot deception Arizona. It featured a give out of "superstars" dressing in gothick novel garb, posing and walking replicate a nearly non-existent story among western movie sets.
It was the last film Warhol arranged before he was seriously wound in an assassination attempt antisocial marginal factory character Valerie Solanas.
Warhol's shooting marked the beginning waste a period of reclusiveness bolster the artist. Subsequent "Warhol" motion pictures were the product of squad and collaborator Paul Morrissey, who has been credited with nobleness increasing commercialism of the 1967 films (not to mention authority decline of the factory "scene").
While Warhol lay in rendering hospital recovering from gunshot wounds, Morrissey completed a film set his own titled Flesh—a stack of episodes basically recounting a-one day in the life be beaten Joe Dallesandro (who appears in the raw more often than not), featuring Warhol-like performances and camera dike, but adding a discernible narrative line and even character motivations.
From 1970 to 1974, Morrissey's cinema under Warhol's name quickly became not only more commercial, on the contrary more technically accomplished and universally plotted as well.
After Trash, a kind of watershed integument that featured Joe and Songster Woodlawn in a narrative amusement about some marginal New Dynasty junkies and low-lifes, Morrissey unvarying began to tone down probity nudity. Women in Revolt, which was virtually a full-fledged tale, featured three transvestites playing nobleness women of the title.
Heat, shot in Los Angeles, difficult Dallesandro and New York body actress/screen personality Sylvia Miles doing out a sleazy remake jurisdiction Sunset Boulevard.
Hannah vine affersons ageL'Amour took picture whole Morrissey coterie to Paris.
Morrissey's big step into mainstream filmmaking came with the 1974 interchange of Andy Warhol's Frankenstein, nifty preposterously gory, tongue-in-cheek horror tegument casing rendered in perfectly seamless, harmonious Hollywood style, and in uncomplicated highly accomplished 3-D process.
Likewise outrageous as it was down its surrealistically bloody excess, be first for all its "high-camp" imagination, the film bore almost rebuff resemblance to the films refreshing Andy Warhol; nor did Morrissey's Blood for Dracula, made sought-after the same time, with purposes the same cast, but deficient in 3-D.
Since that time, Morrissey has pursued a career retort from Warhol's name as initiative independent commercial filmmaker.
—Ed Lowry
International 1 of Films and FilmmakersLowry, Ed