TICKETS ON SALE FOR WORLD PREMIERE
JACKIE CURTIS DOCUMENTARY
Ticket orders are now being taken for the world premiere of Craig Highberger's documentary on Warhol star Jackie Curtis at the National Film Theatre in London.
Superstar in a Housedress, the Life and Legend of Jackie Curtis (narrated by Lily Tomlin), will be shown on April 2, 2004 as part of the London Lesbian and Gay Film Festival organized by the British Film Festival who also publish Sight and Sound magazine. The yearly Festival has been running for almost two decades and regularly attracts over 22,000 people to its programme of more than 150 films.
Tickets will go on sale at the box office and through the Festival's website on March 10, 2004 - however postal orders are being accepted now. Screenings at the Festival tend to sell out quickly. If you do want to see this film, book as soon as possible. The Festival's website is here.
The official website for the film is here.
NEW YORK PANEL ON RAY JOHNSON TO INCLUDE BILLY NAME
Billy Name will be one of the panelists appearing at the Artists Talk on Art panel on American artist Ray Johnson which will take place on Friday March 12, 2004 at the Soho20 Chelsea Gallery at 511 West 25th Street (near 10th Avenue), Suite 605, 6th Floor. Doors open at 7:00 pm with the panel discussion starting at 8:00 pm. Admission is $7 ($3 for students and seniors with ID, free to passholders).
In addition to Billy Name, the panel will include the Director of Acquavella Galleries, Michael Findlay and Andrew Moore, the producer and cinematographer of the documentary on Ray Johnson, How to Draw A Bunny - as well as artists Andrew Ginzel and John Willenbecher. The event is being organized by artist Tamara Wyndham. Full details are here.
A discussion of Ray Johnson's art in an article by William S. Wilson, which originally appeared in the debut issue of Art & Artists in 1966, appears here - with a new introduction.
Billy Name's photographs are currently on exhibit at the A & D Gallery in London. Full details on their website.
Billy was also recently featured on New York Beat on WNET in New York (Channel 13) - a show about the origins of the New York music scene in which he discussed the Velvet Underground.
The Andy Warhol robot is on display at the Tate Museum in Liverpool through May 2004 as part of the Mike Kelley: The Uncanny exhibition.
The robot was designed by Alvaro Villa shortly before Warhol's death for use in a stage show titled Andy Warhol: A No Man Show based on Warhol's books, The Philosophy of Andy Warhol (From A to B and Back Again) and Exposures. The production was to be produced for Broadway by Lewis Allen of Annie fame, but the project was cancelled after Warhol's death. (Mr. Allen passed away in December of last year).
Bob Colacello: "... there was a big project that Fred [Hughes] killed after Andy died. Lewis Allen, who was the producer of Annie and of Tru, the Truman Capote one-man show, had taken an option on the Philosophy of Andy Warhol and Exposures and had this wonderful idea to make the two books into something called Andy Warhol: A No Man Show. It was going to be a robot of Andy sitting on stage just gossiping and philosophizing based on the text of those two books. Peter Sellars was going to direct it. But the technology kept moving so quickly that every time Lew thought he had a robot, they'd find they could make an even more advanced robot, which would have eleven hand movements instead of three hand movements. And so he'd actually invest more money to get a better robot and then that would put the whole project back a year or two.
Andy loved this idea; he loved the fact that there was going to be this Andy Warhol robot that he could send on lecture tours. It could do talk shows for him. The idea was that the show, if it was successful in New York, could then also simultaneously be running in London, Los Angeles, Tokyo with cloned robots. And people would actually be able to ask questions of the robot, which would be programmed with a variety of answers. The whole thing was so Warholian and so perfect.
But when Andy died, Fred refused to renew the option. I owned fifty percent of Philosophy and Exposures, and Andy owned fifty percent after he died. In any case, the deal was killed. I think that Fred didn't want this Warhol robot haunting his existence. It's a shame. It really would have been the greatest thing that could have happened for Andy. It would have almost been like coming back from the dead. And he really loved the project. He sat for hours at some high-tech place in the San Fernando Valley where thy made a mold of his face and his hands... there's a whole photo session of it. (BC)
WHEN MARY MET ANDY
I have added to the articles section this month an interview that Mary Harron did with Andy Warhol in 1980 for Melody Maker magazine. Harron would later direct the film I Shot Andy Warhol which was also co-written by her and Daniel Minahan, with additional material by Jeremiah Newton.
The article covers Mary's views on the Warhol phenomenon with the interview at the end of the article. During her visit to the Factory, Mary also speaks to Fred Hughes, Gerard Malanga, Allen Midgette, Sterling Morrison and Glenn O'Brien.
Mary Harron (upon her arrival at the Factory):
"I sat down to wait. Fred Hughes... walked in. He is small, neat, impeccably dressed, but brash. I suspect that brashness is his most likeable characteristic. Hughes sat down at the telephone and smiled at me suspiciously. Did I have an appointment? I was glad that I did, because there is a potential for nastiness at the Factory. If you did not have an appointment they could make it very clear to you that you were not beautiful, rich, amusing or in any way fabulous enough to have walked in there at all..."
Waters made his first film - Hag in a Black Leather Jacket in high school in 1964. His second film, Roman Candles (1966), was projected on triple screens similar to the double screens used by Warhol in The Chelsea Girls. But Waters is best known for his films that featured the monolithic drag queen, Divine, including Pink Flamingos (1972) and Female Trouble (1974).
A keen admirer of Warhol's films, John Waters 'borrowed' some of Warhol's stars for films he made in the 90's. Joe Dallesandro appeared in Cry Baby (1990) and Brigid Berlin (his favourite Warhol star) made a brief appearance in Serial Mom (1994). His latest film, A Dirty Shame is currently in post-production and features Tracey Ullman, Mink Stole and Patricia Hearst in the cast.
To coincide with the exhibit, there will be a twelve hour marathon of his films at the Pioneer Theatre on East 3rd Street on March 6, 2004. Waters will be on hand to judge a look-alike competition at midnight.