Warhol films at MCA

From: Chicago Underground Film Festival (email suppressed)
Date: Mon Mar 20 2006 - 19:07:42 PST

Thursday ­ Sunday, April 6 ­ April 9, 2006, 7:30 pm
Tickets are $7 for each time slot; $5 for MCA members.

The Factory, Andy Warholıs studio in New York, was a gathering place for a
cast of characters -- stars, socialites, and hustlers -- that Warhol made
into ³superstars.² Inspired by the underground cinema of Jack Smith and
others, Warhol began filming ordinary activities such as eating, sleeping,
and kissing. Fueled by voyeurism, the films became as much about watching as
seeing, although Warhol said the early works were just ³a way of passing the
time.² As he became more sophisticated at filmmaking, Warhol added sound and
moved into more radical challenges of how to shoot, perform, and watch
films. This film series of Warholıs early films is in conjunction with the
exhibition ANDY WARHOL/SUPERNOVA: Stars, Deaths, and Disasters, 1962-1964
(March 18 - June 18, 2006).

Thursday, April 6, 7:30 pm
Four of Andy Warholıs Most Beautiful Women and Outer and Inner Space

Saturday, April 8, 4 pm
Kiss, Eat, and Couch

Saturday, April 8, 7:30 pm
Four of Andy Warholıs Most Beautiful Women and Outer and Inner Space

Sunday, April 9, 4 pm
Restaurant and Kiss

Sunday, April 9, 7:30 pm
Kiss, Eat, and Couch

Kiss (1963­64)
Beginning in 1922, Hollywood began regulating films in an effort to avoid
government censors. In response to the mandate forbidding what was termed
³excessive kissing,² Warholıs pairings last three minutes each and create a
pattern of repetition that relates to his multiple silk-screen paintings.
Black and white, silent, 58 minutes.

Couch (1964)
Playing against the joke of Hollywood casting couches, Warhol chose the
giant red couch of the silver-painted Factory as the set for this series of
sexual adventures. One of his most explicit films, and ranging from the
mundane to the overtly erotic, it was made with an ³all-star² group of
co-conspirators that includes Allen Ginsberg, Baby Jane Holzer, and Jack
Black and white, silent, 40 minutes.

Eat (1963)
Warhol made a number of portrait films that exist somewhere between the
dynamic world of cinema and the static world of painting. Here he assembled
nine, three-minute rolls of film, depicting the artist Robert Indiana eating
a mushroom, out of sequence, so there is no direct relation between the time
spent eating and how much of the mushroom remains.
Black and white, silent, 39 minutes.

Four of Andy Warholıs Most Beautiful Women (1964)
In these Screen Tests -- three-minute film portraits shot at twenty-four
frames per second and projected at sixteen frames per second to create an
eerie fluidity -- each woman becomes the momentary star for the watchers.
With Baby Jane Holzer, Ann Buchanan, Ivy Nicholson, and a woman called
Black and white, silent, 15 minutes

Restaurant (1965)
Warholıs camera holds unblinkingly on an artful still life of a restaurant
table, eventually pulling back to reveal the comically absurd world where
Edie Sedgwick, Ondine, and others carry on like the seedy superstars they
Black and white, sound, 33 minutes.

Outer and Inner Space (1965)
In this fascinating film a beautiful and effervescent Edie Sedgwick rambles
on about fame, fashion, and celebrity. Warhol filmed her sitting in front of
a television showing a video of her speaking, allowing her doubled image and
voice to become a mediated meditation on outer and inner life.
Black and white, sound, 33 minutes.


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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.