Tag Archives: Andy Warhol

MERCE CUNNINGHAM — CLOUDS AND SCREENS

MERCE CUNNINGHAM—CLOUDS AND SCREENS, part of many upcoming worldwide celebrations of the choreographer’s centenary, will be up at LACMA into 2019.

The exhibition includes video installations by Charles Atlas and Andy Warhol, as well as two video projections of early dances by Cunningham.

 

MERCE CUNNINGHAM—CLOUDS AND SCREENS

Through March 31.

LACMA, 5905 Wilshire Boulevard, Los Angeles.

Above: Merce Cunningham and John Cage in an image from the 2017 exhibition catalog Merce Cunningham—Common Time. Image credit: Walker Art Center, MCA/Chicago, and LACMA.

Below: Charles AtlasMC⁹, 2012, Walker Art Center. Photograph by Gene Pittman, © Charles Atlas, courtesy Walker Art Center.

JILL JOHNSTON DANCING

In 1963 and 1964, Andy Warhol captured dancer-choreographers Lucinda Childs, Yvonne Rainer, and Freddy Herko, and Village Voice dance critic Jill Johnston with his Bolex—performing in lofts, on rooftops, and at Judson.

These cinematic time capsules will be screened this weekend and next at the Whitney, and in early December at MOMA.

The films include Jill Johnston Dancing, Freddy Herko, Jill and Freddy Dancing, Lucinda Childs, and Shoulder.

 

DO IT YOURSELF—WARHOL AS BALLETOMANE

Saturday, November 17, at 7 pm.

Friday, November 23, at 2 pm.

ANDY WARHOL—FROM A TO B AND BACK AGAIN

Through March 31.

Whitney Museum of American Art

99 Gansevoort Street, New York City.

 

ANDY WARHOL AT JUDSON

Tuesday, December 4, at 7:30.

Saturday, December 8, at 4:30 pm.

JUDSON DANCE THEATER—THE WORK IS NEVER DONE

Through February 3.

Museum of Modern Art

11 West 53rd Street, New York City.

Above: Andy WarholJill Johnston Dancing, 1964.

Below: Andy Warhol, Jill and Freddy Dancing, 1963.

Image credit: © 2018 The Andy Warhol Museum, Pittsburgh, a museum of Carnegie Institute. All rights reserved.

IRVING BLUM IN CONVERSATION

“Warhol didn’t make a mark on American culture. He became the instrument with which American culture designated itself.” — Peter Schjeldahl

In conjunction with the Whitney show ANDY WARHOL—FROM A TO B AND BACK AGAIN, Irving Blum—whose Ferus Gallery in Los Angeles was the first to exhibit Warhol’s post-advertising artwork, the Campbell’s soup-can paintings—will talk about working with the artist.

Blum will be joined by Bob ColacelloInterview editor throughout the 1970s—and Vincent Fremont, the former executive manager of Warhol’s studio and a co-founder of the Andy Warhol Foundation for the Visual Arts.

Exhibition curator Donna De Salvo will moderate the conversation.

MY LIFE WITH WARHOL

Friday, November 16, at 6:30 pm.

ANDY WARHOL—FROM A TO B AND BACK AGAIN

Through March 31.

Whitney Museum of American Art, 99 Gansevoort Street, New York City.

From top:

Andy Warhol, Irving Blum, Polaroid.

Andy Warhol, from the Campbell’s Soup Can series, 1962. © The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol’s Exposures (1979), edited by Bob Colacello.

Warhol (left) and Irving Blum.

CONTACT WARHOL — PHOTOGRAPHY WITHOUT END

Drawing from over 130,000 photographic images taken by Andy Warhol and his entourage over the last decade of the artist’s life, CONTACT WARHOL—PHOTOGRAPHY WITHOUT END, at Stanford University, presents a backstage view of Warhol’s working and social life from 1976 to 1987.*

CONTACT WARHOL—PHOTOGRAPHY WITHOUT END

Through January 6.

Cantor Arts Center, Stanford University, 328 Lomita Drive, Stanford.

 

CONTACT WARHOL—PHOTOGRAPHY WITHOUT END exhibition catalogue

(Cambridge, MA: MIT Press/Stanford, CA: Cantor Arts Center, 2018).

*The photographs that also feature Warhol as subject were likely taken by Bob Colacello, editor of the 1979 book Andy Warhol’s Exposures.

Top: Andy Warhol, photo study for Jane Fonda portrait, 1982.

Above: Two unidentified male models photographed by Warhol for Querelle (Rainer Werner Fassbinder, 1982) film poster.

Below: Andy Warhol, Keith Haring and Jean-Michel Basquiat, 1984.

SUSANNE BARTSCH ON TOP

“Bartsch picked up where Warhol left off.” — RuPaul

History is made at night. In her capacity as party-throwing club-kid den mother and AIDS fundraiser par excellence, Susanne Bartsch provided a sanctuary of free expression for those pushed to society’s margins while engaging in what Ingrid Sischy called “the most serious political action of our time.”

Sischy was referring to the 1989 Love Ball at Roseland, a Design Industry Foundation for AIDS event that brought Harlem’s vogue balls to midtown Manhattan, introduced Madonna to the uptown cultural practice, and raised $400,000 to help fight the disease that was decimating Bartsch’s circle.

Prior to hosting events in clubs all over town, Bartsch was the proprietor of the eponymous SoHo boutique that was the first in town to import the clothes of Vivienne Westwood and John Galliano. As one of the most imaginative exemplars of sartorial self-adornment of the last half-century, Bartsch was honored with a 2015 Fashion Institute of Technology exhibition Fashion Underground—The World of Susanne Bartsch.

The riveting documentary SUSANNE BARTSCH—ON TOP (directed by Anthony Caronna and Alexander Smith) brings this only-in-New York story to the screen with new interviews, extensive documentary footage, and home movies of Bartsch’s family life at the Chelsea Hotel.

Bartsch—whose personal aesthetic and Swiss accent recall a Dada/Weimar-era ballet mécanique—was the leader of a very fast pack, and this cinematic tribute is a moving critique of gender norms and an inspiration for boundary-breakers everywhere.

 

SUSANNE BARTSCH—ON TOP

Through September 13.

Monica Film Center, 1332 2nd Street, Santa Monica.

VOD release on September 11.

See: New York is Burning

and: Fashion Underground—The World of Susanne Bartsch

Top: Susanne Bartsch (right) and RuPaul at the opening of Fashion Underground—The World of Susanne Bartsch.

Above: Bartsch and her husband, fitness entrepreneur David Barton.

Below: Bartsch applying an eyepiece. Image credit: The Orchard.