WARHOL'S WORLD
October 20 - November 11, 2007

"For film lovers there is no more important show in town" —Manohla Dargis, The New York Times

Film was the perfect medium for Andy Warhol. A visual artist fascinated with popular culture and mass production,
Warhol was attracted to the deceptive ease of creating images with a movie camera, and he was drawn to a
medium that allowed for voyeurism and cool detachment. Turning his studio, the Factory, into an avant-garde version
of a Hollywood soundstage, Warhol created a prolific body of work between 1963 and 1968, films that are astonishingly rich in pictorial and behavioral nuance.

Organized by Chief Curator David Schwartz.
All films, including six new prints, are 16mm sound films from The Museum of Modern Art, and directed by Andy Warhol, unless noted.

Haircut #1 and Kiss
Saturday, October 20, 2:00 p.m.

The exquisitely homoerotic Haircut #1 (1963, 24 mins., silent) records a "hair-cutting salon" at Billy Name's apartment. Kiss (1963, 54 mins., silent), originally shown in weekly four-minute installments, is a series of shots of kissing couples, straight and gay.

Couch and Harlot
Saturday, October 20, 4:00 p.m.

Couch (1964, 52 mins., silent. With Gerard Malanga, Naomi Levine, Allen Ginsberg, Jack Kerouac) is one of Warhol’s most explicit films, a series of erotic encounters that take place on or near the Factory's old red couch. In Harlot (1964, 66 mins.), drag queen extraordinaire Mario Montez vaguely impersonates Jean Harlow while eating banana after banana.

Blow Job and Tarzan and Jane Regained, Sort of...
Saturday, October 20, 6:30 p.m.

In Blow Job (1964, 35 mins., silent), Warhol films a young man from shoulders up, with the eponymous sexual act left to the imagination. Tarzan and Jane... (1963, 80 mins. With Naomi Levine, Taylor Mead), Warhol’s first feature, is a rambling spoof in which Tarzan swings both ways and Jane jumps naked into John Houseman’s swimming pool.

Screen Tests: Reel 16 and Sleep (excerpt) and Soap Opera
Sunday, October 21, 2:00 p.m.

Warhol’s "screen tests" are three-minute portraits of the Factory's illustrious visitors. This 40-minute reel includes Susan Sontag, Lou Reed, and Jack Smith. Sleep (1963, 42 minute excerpt), famously known as "an eight-hour-long movie that shows nothing but a man sleeping" is in fact highly edited, made from four-minute film rolls of poet John Giorno in bed. In Soap Opera (1964, 46 mins. With Baby Jane Holzer) Warhol intercuts parodic footage of domestic dramas with actual TV commercials for products including Pillsbury Cake Mix, Easter Seals, and Beauty Set Shampoo.

PANEL DISCUSSION: The Warhol Gaze
With Callie Angell and Amy Taubin, moderated by Chief Curator David Schwartz
Sunday, October 21, 5:00 p.m.

Callie Angell, curator of the Andy Warhol Film Project, and film critic Amy Taubin will discuss the artistic significance of Warhol’s films, the social and cultural milieu surrounding their production, and the history of their reception and their restoration.

Eat and Screen Test #2
Sunday, October 21, 7:00 p.m.

In the exquisitely lit Eat (1964, 35 mins., silent), Robert Indiana eats one mushroom, slowly, during nine short rolls of film which are shown out of sequence. In Screen Test #2 (1965, 66 mins.), Mario Montez gamely auditions for a starring role in a remake of The Hunchback of Notre Dame, subjecting himself to the offscreen taunting of playwright Ronald Tavel.

Empire (excerpt) and Vinyl
Saturday, October 27, 1:30 p.m.

Empire (1964, 46 minute excerpt., silent), a continuous eight-hour shot of the Empire State Building, is Warhol's ultimate meditation on duration. Long before Stanley Kubrick, Warhol adapted Anthony Burgess's novel A Clockwork Orange in Vinyl (1965, 66 mins.) with Gerard Malanga's Alex overshadowed by a silent Edie Sedgwick.

Kitchen and Beauty #2
Saturday, October 27, 4:00 p.m.

In Kitchen (1965, 66 mins.), with an absurdist script by Ronald Tavel that evokes Edward Albee and Samuel Beckett, Edie Sedgwick tends to domestic chores while being seduced. In her quintessential performance, in Beauty #2 (1965, 66 mins. New print.), Edie flirts in bed with a near-stranger while sparring verbally with an offscreen interrogator.

Camp and The Velvet Underground and Nico
Saturday, October 27, 7:00 p.m.

Camp (1965, 66 mins. With Gerard Malanga, Mario Montez, Jack Smith) is an impromptu vaudeville show conceived as a response to Susan Sontag’s essay "Notes on Camp." In The Velvet Underground and Nico (1965, 55 mins.) a jam session at the Factory is interrupted by a visit from the police.

Paul Swan and Hedy
Sunday, October 28, 4:30 p.m.

In Paul Swan (1965, 66 mins.), the eponymous dancer, a contemporary of Isadora Duncan, dons elaborate costumes ("Woolworth’s finest!") and tries to perform while Warhol’s camera records the preparations and false starts. In Hedy (1966, 66 mins.), Mario Montez enacts scenes from the life of Hedy Lamarr, including a shoplifting arrest and plastic surgery.

Poor Little Rich Girl and I, A Man
Sunday, October 28, 7:00 p.m.

The first reel of Poor Little Rich Girl (1965, 66 mins. With Edie Sedgwick) is out of focus; the second reel, in focus, feels like a revelation: Edie smokes pot, tries on clothes, and talks on the phone. I, A Man (1967, 95 mins. With Tom Baker) follows a young man’s attempted trysts with a series of women, including a staircase encounter with Valerie Solanas, the woman who shot Warhol in 1968.

DUAL PROJECTION
Outer and Inner Space and Lupe and More Milk Yvette
Saturday, November 3, 2:00 p.m.

For Outer and Inner Space (1966, 33 mins. New print.), Warhol filmed Edie Sedgwick watching herself on videotape; the result is a mesmerizing four-headed portrait. In the color Lupe (1965, 33 mins. New print.), Sedgwick reenacts the last meal and attempted suicide of Hollywood actress Lupe Velez. In More Milk Yvette (1966, 33 mins.), Mario Montez plays Lana Turner, eating lunch with her daughter and trying on sweaters while a Dylan look-alike plays harmonica.

DUAL PROJECTION
The Chelsea Girls
Saturday, November 3, 5:00 p.m.

1966, 210 mins. New print. With Ondine, Gerard Malanga, Brigid Berlin, Marie Menken, Mary Woronov, Ingrid Superstar. Music by The Velvet Underground. This epic portrait of the New York underground, played out in eight rooms of the Chelsea Hotel, had a successful commercial run, is now a monument of the 1960s avant-garde.

My Hustler and Loves of Ondine
Sunday, November 4, 2:00 p.m.

In My Hustler (1965, 66 mins. With Paul America), a male hustler is pursued by men and women alike at a Fire Island beach house. In The Loves of Ondine (1968, 85 mins. With Viva), Ondine plays a gay man who tries to go straight by staging encounters with different women.

Bufferin and Ari and Mario
Sunday, November 4, 5:00 p.m.

In Bufferin (1966, 33 mins.), poet Gerard Malanga reads from his journals, substituting names with the word "bufferin." In Ari and Mario (1966, 67 mins. New print.), Mario Montez, in bright blue drag, tries to babysit a rambunctious child who is goaded by an offscreen Warhol.

Nude Restaurant
Sunday, November 4, 7:00 p.m.

1967, 100 mins. With Brigid Berlin, Julian Burrough, Taylor Mead, Allen Midgette. Viva talks about her early sexual experiences, Taylor Mead argues with an anti-war activist, and a group of Warhol stars cavort in a restaurant in G-strings in this Summer of Love time capsule.

Since and Salvador Dali
Saturday, November 10, 2:00 p.m.

The portrait film Salvador Dali (1966, 22 mins.) was made for projection at multimedia shows. The recently restored Since (1966, 66 mins.) is a loopy reenactment of the Kennedy assassination and the murder of Lee Harvey Oswald, filmed in a colorful makeshift Factory set with Ondine as LBJ, Mary Woronov as JFK, and Ingrid Superstar as "Looney Bird" Johnson.

Bike Boy
Saturday, November 10, 4:00 p.m.

Bike Boy: 1967, 109 mins. With Joseph Spencer. A young motorcyclist has a series of erotic encounters with a series of Warhol stars, finding himself out of his depths against the witty Brigid Berlin, Ingrid Superstar, and Viva.

PREVIEW SCREENING
A Walk into the Sea: Danny Williams and the Warhol Factory
Director Esther Robinson in person
Saturday, November 10, 6:30 p.m.

2007, 75 mins. Video.Directed by Esther Robinson. Danny Williams was a gifted young filmmaker, Warhol’s onetime lover, and a bright star of the Factory scene. Esther Robinson’s lyrical portrait of Williams—her uncle—is an absorbing inside look at the Warhol world, a family odyssey, a revelation of a neglected filmmaker, and an inquiry into Williams’ mysterious disappearance at age 27. Screening followed by a discussion with Esther Robinson moderated by Assistant Curator Livia Bloom.

WORK IN PROGRESS SCREENING
Beautiful Darling
Director James Rasin in person
Saturday, November 10, 8:30 p.m.

Directed by James Rasin. Produced by Jeremiah Newton. The actress Candy Darling, born James Slattery in a Long Island suburb in 1944, became one of the main figures in Andy Warhol’s circle in the late 1960s and early 1970s, and starred in the Paul Morrissey-directed films Flesh and Women in Revolt. Director James Rasin will show a half-hour selection of priceless archival and interview footage from his feature documentary in progress. Screening followed by a discussion with James Rasin moderated by Assistant Curator Livia Bloom.

Lonesome Cowboys
Sunday, November 11, 2:00 p.m.

1968, 111 mins. New print. With Viva, Taylor Mead, Joe Dallesandro, Louis Waldron. Very loosely based on Romeo and Juliet, Lonesome Cowboys is a laconic and homoerotic satire of the Western genre starring Viva as a temptress, and filmed on a rented movie set near Tucson.

Mrs. Warhol and Sunset
Sunday, November 11, 5:00 p.m.

Warhol’s 74-year-old mother plays an aging movie star in Mrs. Warhol (1966, 66 mins.); Warhol’s real-life boyfriend plays her current husband. The painterly Sunset (1967, 33 mins.) with voiceover of Nico reading her poetry, was part of a series of films commissioned for a planned Chapel.


Special thanks to Callie Angell, Andy Warhol Film Project; Kitty Cleary and Charles Silver, The Museum of Modern Art; Geralyn Huxley and Greg Pierce, The Andy Warhol Museum; David Koh, Arthouse Films; Zareh Arevshatian, Joe Hunsberger, and Todd Wiener, UCLA Film & Television Archive.