Tag Archives: Andy Warhol Foundation for the Visual Arts

THE DISAPPEARANCE OF MY MOTHER

I live in a world now where everything is “delegated” to photography. Nothing is left to memory, your own memory. What I’m interested in, instead, are things that can’t be seen, not those that can be… I have always labored under the illusion—but I also think it was true—that nobody ever photographed me. Because my face is not for sale. The real me is not photographable.Benedetta Barzini, to Beniamino Barrese

Beniamino Barrese is the son of Benedetta Barzini—the first Italian model to appear on the cover of American Vogue—and his mother’s obsessive interlocutor throughout his documentary THE DISAPPEARANCE OF MY MOTHER, one of the year’s best.

Summoned by Diana Vreeland in the mid-1960s to come to New York for a few weeks, Barzini stayed for a few years, a sought-after subject of Richard Avedon, Bert Stern, and Andy Warhol, a confident of Gerard Malanga and Salvador Dalí, and an acquaintance of Marcel Duchamp.

Barzini was a double-rebel. Modeling in Manhattan put a necessary distance between Barzini and her parents—heiress Giannalisa Feltrinelli and writer Luigi Barzini, Jr., author of The Italians. But the trajectory of second-wave feminism in the 1970s opened Barzini’s eyes to the ornamental condition of women, and she returned to Italy and became an activist and left-wing academic.

I asked myself this question: Why do we have prototypes of beauty? Why are models at the bow of the ship and the other women are squashed together into the stern? Why? Because men invent women… Maybe it would be better if female bodies disappeared from men’s imaginations.Benedetta Barzini

Barzani explains to her son that the camera is a dangerous liar because within its capture of arbitrary moments, it “freezes” life “within a limited boundary,” contaminating thought and inscribing conformity. “I don’t like frozen things… I don’t know if you’ve noticed, but there are a hundred million photos of sunsets. Frankly, they’re all the same. But they weren’t the same when you saw them.”

Barzini is by turns loving and exasperated with her son and his never-ending investment in images and their documentation. Yet Barzini still models herself—recently appearing in Simone Rocha‘s Fall-Winter 2017 show in London. Nothing if not contradictory, Barzini wants to remove herself from a world she finds deplorable, railing against ambiguity yet unsure which entrance to the void she should walk through. She explains to Barrese that their work together on this film is an act of “separation.” The filmmaker sees it differently, and together they find a sense of an ending.

THE DISAPPEARANCE OF MY MOTHER

Now playing.

Laemmle Monica Film Center

1332 2nd Street, Santa Monica.

Quad Cinema

34 West 13th Street, New York City.

Beniamino Barrese, The Disappearance of My Mother (2019), from top: Benedetta Barzini (3); Barrese and Barzini (2); Richard Avedon spread of Barzini in American Vogue; Barzini on the cover of Vogue Italia, September 1967; Simone Rocha Fall-Winter 2017 show, London; Andy Warhol, Benedetta Barzini Screen Test, 1966; Barzini and Marcel Duchamp, filmed at the artist’s Cordier and Ekstrom Gallery opening by Warhol, 1966 (2); The Disappearance of My Mother U.S. poster; Barzini (5). Images courtesy and © the filmmaker, the photographers, Benedetta Barzini, the Andy Warhol Foundation for the Visual Arts, Condé Nast, and Kino Lorber.

DONNA DE SALVO ON WARHOL

As part of the Warhol Lecture Series, Donna De Salvo—curator of the exhibition ANDY WARHOL—FROM A TO B AND BACK AGAIN, organized by the Whitney and now at the Art Institute of Chicago—will talk about the artist’s impact and importance, followed by a reception and dinner on the Near North Side.

DONNA DE SALVO

Wednesday, November 20, at 6 pm.

Art Institute of Chicago, Fullerton Hall

111 South Michigan Avenue, Chicago.

Reception and Dinner

Luxbar

18 East Bellevue Place, Chicago.

Andy Warhol—From A to B and Back Again, Art Institute of Chicago, October 20– January 26, 2020, from top: Self-Portrait, 1966, Art Institute of Chicago; Gun, 1981–82, San Francisco Museum of Modern Art; Nine Jackies, 1964, Whitney Museum of American Art, New York; Ladies and Gentlemen (Marsha P. Johnson), 1975, Museum Brandhorst, Munich; Green Coca-Cola Bottles, 1962, Whitney Museum of American Art, New York; Skull, 1976, collection Larry Gagosian; Big Electric Chair, 1967–1968, Art Institute of Chicago; Shot Orange Marilyn, 1964. Images courtesy and © the lenders and the Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

WARHOL ON BASQUIAT

Andy Warhol’s last years were often spent in the company of his friend and collaborator Jean-Michel Basquiat.

The new book Warhol on Basquiat—edited by Michael Dayton Hermann—looks at this relationship through Warhol’s photographs, archival media, excerpts from Warhol’s diaries, and examples of the artworks they created together.

WARHOL ON BASQUIAT: THE ICONIC RELATIONSHIP TOLD IN ANDY WARHOL’S WORDS AND PICTURES (Cologne: Taschen, 2019).

From top: Jean Michel and Andy at The Rockefeller Center, September 19, 1985, photograph; Jean Michel outside the Mary Boone Gallery on West Broadway, March 9, 1985, photograph; Andy and Jean Michel painting Problems at Andy’s studio at 860 Broadway, March 27, 1984, photograph; page layouts from Warhol on Basquiat (3); book cover; Jean Michel painting Untitled at Andy’s studio at 860 Broadway, April 16, 1984, photograph. Images courtesy and © The Andy Warhol Foundation for the Visual Arts, Inc. and Taschen.

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.

ERIC MITCHELL’S KIDNAPPED

Preserved by Anthology Film Archives, with support from the National Film Preservation Foundation and the Andy Warhol Foundation for the Visual Arts, KIDNAPPEDEric Mitchell’s 1978 remake of Warhol’s Vinyl—is a downtown saga starring Anya PhillipsPatti Astor, Duncan Smith, Gordon Stevenson, and the director, and screens in conjunction with the MoMA exhibition CLUB 57: FILM, PERFORMANCE, AND ART IN THE EAST VILLAGE, 1978–1983.

“The film’s visually off-kilter conversations about sex, unfocused social commentary, and frenzied dance scene culminate in casual acts of recreational sadism.”*

 

KIDNAPPED, Wednesday, January 31, at 7 pm.

TITUS 2 THEATER, MUSEUM OF MODERN ART, 11 West 53rd Street, New York City.

moma.org/calendar/event

CLUB 57: FILM, PERFORMANCE, AND ART IN THE EAST VILLAGE, 1978–1983, through April 1.
MUSEUM OF MODERN ART, 11 West 53rd Street, New York City.

moma.org/exhibition

Kidnapped (1978), original poster. Image credit: Gallery 98.

Image result for eric mitchell kidnapped

Kidnapped