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4601 | gave each shoe a temperament of its own, a sort of sly, Toulouse-Lautrec kind of sophistication, but the shape and the style came through accurately and the buckle was always in the right place. The kids in the apartment [which Andy shared in New York – note by Coplans] noticed that the vamps on Andy's shoe drawings kept getting longer and longer but [Israel] Miller didn't mind. Miller loved them. Warhol's "whimsical" ink drawings of shoe advertisements figured in some of his earliest showings at the Bodley Gallery in New York. Warhol was an early adopter of the silk screen | "Andy Warhol" | [
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4602 | printmaking process as a technique for making paintings. A young Warhol was taught silk screen printmaking techniques by Max Arthur Cohn at his graphic arts business in Manhattan. While working in the shoe industry, Warhol developed his "blotted line" technique, applying ink to paper and then blotting the ink while still wet, which was akin to a printmaking process on the most rudimentary scale. His use of tracing paper and ink allowed him to repeat the basic image and also to create endless variations on the theme, a method that prefigures his 1960s silk-screen canvas. In his book "", Warhol | "Andy Warhol" | [
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4603 | writes: "When you do something exactly wrong, you always turn up something." Warhol habitually used the expedient of tracing photographs projected with an epidiascope. Using prints by Edward Wallowitch, his 'first boyfriend' the photographs would undergo a subtle transformation during Warhol's often cursory tracing of contours and hatching of shadows. Warhol used Wallowitch's photograph "Young Man Smoking a Cigarette" (c.1956), for a 1958 design for a book cover he submitted to Simon and Schuster for the Walter Ross pulp novel "The Immortal", and later used others for his dollar bill series, and for "Big Campbell's Soup Can with Can Opener | "Andy Warhol" | [
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4604 | (Vegetable)", of 1962 which initiated Warhol's most sustained motif, the soup can. With the rapid expansion of the record industry, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials. He began exhibiting his work during the 1950s. He held exhibitions at the Hugo Gallery and the Bodley Gallery in New York City; in California, his first West Coast gallery exhibition was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked his West Coast debut of pop art. Andy Warhol's first New York solo pop art exhibition | "Andy Warhol" | [
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4605 | was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works "Marilyn Diptych", "100 Soup Cans", "100 Coke Bottles", and "100 Dollar Bills". At the Stable Gallery exhibit, the artist met for the first time poet John Giorno who would star in Warhol's first film, "Sleep", in 1963. It was during the 1960s that Warhol began to make paintings of iconic American objects such as dollar bills, mushroom clouds, electric chairs, Campbell's Soup Cans, Coca-Cola bottles, celebrities such as Marilyn Monroe, Elvis Presley, Marlon Brando, Troy Donahue, Muhammad Ali, and Elizabeth Taylor, as well as newspaper | "Andy Warhol" | [
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4606 | headlines or photographs of police dogs attacking African-American protesters during the Birmingham campaign in the civil rights movement. During these years, he founded his studio, "The Factory" and gathered about him a wide range of artists, writers, musicians, and underground celebrities. His work became popular and controversial. Warhol had this to say about Coca-Cola: New York City's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists such as Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. | "Andy Warhol" | [
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4607 | A pivotal event was the 1964 exhibit "The American Supermarket", a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it—from the produce, canned goods, meat, posters on the wall, etc.—was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public | "Andy Warhol" | [
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4608 | with both pop art and the perennial question of what art is. As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; this was particularly true in the 1960s. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with the production of silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, | "Andy Warhol" | [
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4609 | Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations). During the 1960s, Warhol also groomed a retinue of bohemian and counterculture eccentrics upon whom he bestowed the designation "Superstars", including Nico, Joe Dallesandro, Edie Sedgwick, Viva, Ultra Violet, Holly Woodlawn, Jackie Curtis, and Candy Darling. These people all participated in the Factory films, and some—like Berlin—remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films (many premiering at the New | "Andy Warhol" | [
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4610 | Andy Warhol Garrick Theatre and 55th Street Playhouse) of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time. Less well known was his support and collaboration with several teen-agers during this era, who would achieve prominence later in life including writer David Dalton, photographer Stephen Shore and artist Bibbe Hansen (mother of pop musician Beck). On June 3, 1968, radical feminist writer Valerie Solanas shot Warhol and Mario Amaya, art critic and curator, at Warhol's studio. Before the shooting, Solanas had been a marginal figure in the Factory scene. She authored in 1967 the | "Andy Warhol" | [
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4611 | "S.C.U.M. Manifesto", a separatist feminist tract that advocated the elimination of men; and appeared in the 1968 Warhol film "I, a Man". Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script had apparently been misplaced. Amaya received only minor injuries and was released from the hospital later the same day. Warhol was seriously wounded by the attack and barely survived: surgeons opened his chest and massaged his heart to help stimulate its movement again. He suffered physical effects for | "Andy Warhol" | [
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4612 | the rest of his life, including being required to wear a surgical corset. The shooting had a profound effect on Warhol's life and art. Solanas was arrested the day after the assault, after turning herself in to police. By way of explanation, she said that Warhol "had too much control over my life." She was subsequently diagnosed with paranoid schizophrenia and eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene heavily increased security, and for many the "Factory 60s" ended. Warhol had this to say about the attack: "Before I | "Andy Warhol" | [
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4613 | was shot, I always thought that I was more half-there than all-there—I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television—you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television." Compared to the success and scandal of | "Andy Warhol" | [
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4614 | Warhol's work in the 1960s, the 1970s were a much quieter decade, as he became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions—including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, and Brigitte Bardot. Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, "Interview" magazine, and published "The Philosophy of Andy Warhol" (1975). An idea expressed in the book: "Making money | "Andy Warhol" | [
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4615 | is art, and working is art and good business is the best art." Warhol socialized at various nightspots in New York City, including Max's Kansas City; and, later in the 1970s, Studio 54. He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square." In 1979, along with his longtime friend Stuart Pivar, Warhol founded the New York Academy of Art. Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who | "Andy Warhol" | [
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4616 | were dominating the "bull market" of 1980s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi. Before the 1984 Sarajevo Winter Olympics, he teamed with 15 other artists, including David Hockney and Cy Twombly, and contributed a Speed Skater print to the Art and Sport collection. The Speed Skater was used for the official Sarajevo Winter Olympics poster. By this time, graffiti artist Fab Five Freddy paid homage to Warhol when he painted an entire train with Campbell soup cans. | "Andy Warhol" | [
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4617 | This was instrumental in Freddy becoming involved in the underground NYC art scene and becoming an affiliate of Basquiat. By this period, Warhol was being criticized for becoming merely a "business artist". In 1979, reviewers disliked his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. They also criticized his 1980 exhibit of 10 portraits at the Jewish Museum in Manhattan, entitled "Jewish Geniuses", which Warhol—who was uninterested in Judaism and Jews—had described in his diary as "They're going to sell." In hindsight, however, | "Andy Warhol" | [
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4618 | some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s." Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic." In 1984, Warhol immortalized the singer Prince by creating one of his final portraits, "Orange Prince (1984)", a commission from Vanity Fair to accompany an article to celebrate the success of Prince's album | "Andy Warhol" | [
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4619 | and movie entitled "Purple Rain". Referencing the many celebrity portraits produced by Warhol across his career, "Orange" "Prince (1984)" was created using a similar composition to the Marilyn "Flavors" series from 1962, among some of Warhol's very first celebrity portraits. Prince is depicted in a pop color palette commonly used by Warhol, in bright orange with highlights of bright green and blue. The facial features and hair are screen-printed in black over the orange background. In the "Andy Warhol Diaries", Warhol recorded how excited he was to see Prince and Billy Idol together at a party in the mid 1980s, | "Andy Warhol" | [
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4620 | and he compared them to the Hollywood movie stars of the 1950s and '60s who also inspired his portraits: "... seeing these two glamour boys, its like "boys" are the new Hollywood glamour girls, like Jean Harlow and Marilyn Monroe". By the beginning of the 1960s, pop art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early | "Andy Warhol" | [
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4621 | paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Marilyn Monroe was a pop art painting that Warhol had done and it was very popular. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first pop art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced. It was the gallerist Muriel Latow who came up with the ideas for both the | "Andy Warhol" | [
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4622 | soup cans and Warhol's dollar paintings. On November 23, 1961, Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, "Pop, The Genius of Warhol", was payment for coming up with the idea of the soup cans as subject matter. For his first major exhibition, Warhol painted his famous cans of Campbell's soup, which he claimed to have had for lunch for most of his life. A 1964 "Large Campbell's Soup Can" was sold in a 2007 Sotheby's auction to a South American collector for £5.1 million ($7.4 million). He loved celebrities, so he painted them | "Andy Warhol" | [
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4623 | as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the handmade from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations. In 1979, Warhol was commissioned by BMW to paint a Group-4 race version of the then "elite supercar" | "Andy Warhol" | [
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4624 | BMW M1 for the fourth installment in the BMW Art Car Project. It was reported at the time that, unlike the three artists before him, Warhol opted to paint directly onto the automobile himself instead of letting technicians transfer his scale-model design to the car. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car. Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques—silkscreens, reproduced serially, and often painted with bright colors—whether he painted celebrities, everyday objects, or images | "Andy Warhol" | [
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4625 | of suicide, car crashes, and disasters, as in the 1962–63 "Death and Disaster" series. The "Death and Disaster" paintings included "Red Car Crash", "Purple Jumping Man", and "Orange Disaster." One of these paintings, the diptych "Silver Car Crash", became the highest priced work of his when it sold at Sotheby's Contemporary Art Auction on Wednesday, November 13, 2013, for $105.4 million. Some of Warhol's work, as well as his own personality, has been described as being Keatonesque. Warhol has been described as playing dumb to the media. He sometimes refused to explain his work. He has suggested that all one | "Andy Warhol" | [
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4626 | needs to know about his work is "already there 'on the surface'." His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works—and their means of production—mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings": Warhol's first portrait of "Basquiat" (1982) is a black photo-silkscreen over an oxidized copper "piss | "Andy Warhol" | [
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4627 | painting". After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of more than 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986. Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work. Andy Warhol was commissioned in 1984 by collector and gallerist Alexander Iolas to produce work based on Leonardo da Vinci's "The Last Supper" for an exhibition at the old refectory of the Palazzo delle Stelline in Milan, opposite from the Santa Maria | "Andy Warhol" | [
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4628 | delle Grazie where Leonardo da Vinci's mural can be seen. Warhol exceeded the demands of the commission and produced nearly 100 variations on the theme, mostly silkscreens and paintings, and among them a collaborative sculpture with Basquiat, the "Ten Punching Bags (Last Supper)". The Milan exhibition that opened in January 1987 with a set of 22 silk-screens, was the last exhibition for both the artist and the gallerist. The series of "The Last Supper" was seen by some as "arguably his greatest," but by others as "wishy-washy, religiose" and "spiritless." It is the largest series of religious-themed works by any | "Andy Warhol" | [
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4629 | U.S. artist. Artist Maurizio Cattelan describes that it is difficult to separate daily encounters from the art of Andy Warhol: "That's probably the greatest thing about Warhol: the way he penetrated and summarized our world, to the point that distinguishing between him and our everyday life is basically impossible, and in any case useless." Warhol was an inspiration towards Cattelan's magazine and photography compilations, such as "Permanent Food, Charley", and "Toilet Paper". In the period just before his death, Warhol was working on "Cars", a series of paintings for Mercedes-Benz. A self-portrait by Andy Warhol (1963–64), which sold in New | "Andy Warhol" | [
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4630 | York at the May Post-War and Contemporary evening sale in Christie's, fetched $38.4 million. On May 9, 2012, his classic painting "Double Elvis (Ferus Type)" sold at auction at Sotheby's in New York for US$33 million. With commission, the sale price totaled US$37,042,500, short of the $50 million that Sotheby's had predicted the painting might bring. The piece (silkscreen ink and spray paint on canvas) shows Elvis Presley in a gunslinger pose. It was first exhibited in 1963 at the Ferus Gallery in Los Angeles. Warhol made 22 versions of the "Double Elvis", nine of which are held in museums. | "Andy Warhol" | [
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4631 | In November 2013, his "Silver Car Crash (Double Disaster)" diptych sold at Sotheby's Contemporary Art Auction for $105.4 million, a new record for the pop artist (pre-auction estimates were at $80 million). Created in 1963, this work had rarely been seen in public in the previous years. In November 2014, "Triple Elvis" sold for $81.9m (£51.9m) at an auction in New York. Warhol worked across a wide range of media—painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films, plus some 500 short black-and-white "screen test" portraits | "Andy Warhol" | [
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4632 | of Factory visitors. One of his most famous films, "Sleep", monitors poet John Giorno sleeping for six hours. The 35-minute film "Blow Job" is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, "Empire" (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film "Eat" consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called "Trio for Strings" and | "Andy Warhol" | [
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4633 | subsequently created his famous series of static films including "Kiss", "Eat", and "Sleep" (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance. "Batman Dracula" is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the "Batman" series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The | "Andy Warhol" | [
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4634 | film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary "Jack Smith and the Destruction of Atlantis". Warhol's 1965 film "Vinyl" is an adaptation of Anthony Burgess' popular dystopian novel "A Clockwork Orange". Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film "Camp". His most popular and critically successful film was "Chelsea Girls" (1966). The film was highly innovative in that it consisted of | "Andy Warhol" | [
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4635 | two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s. Warhol was a fan of filmmaker Radley Metzger film work and commented that Metzger's film, "The Lickerish Quartet", was "an outrageously kinky masterpiece". "Blue Movie"—a film in which Warhol superstar Viva makes love in bed with Louis Waldon, another Warhol superstar—was Warhol's last film as director. The film, a seminal | "Andy Warhol" | [
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4636 | film in the Golden Age of Porn, was, at the time, controversial for its frank approach to a sexual encounter. "Blue Movie" was publicly screened in New York City in 2005, for the first time in more than 30 years. After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with "Flesh", "Trash", and "Heat". All of these films, including the later "Andy Warhol's Dracula" and "Andy Warhol's Frankenstein", | "Andy Warhol" | [
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4637 | were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro—more of a Morrissey star than a true Warhol superstar. In the early 1970s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD. In the mid-1960s, Warhol adopted the band the Velvet Underground, making them a | "Andy Warhol" | [
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4638 | crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). While managing The Velvet Underground, Andy would have them dressed in all black to perform in front of movies that he was also presenting. In 1966 he "produced" their first album "The Velvet Underground & Nico", as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader | "Andy Warhol" | [
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4639 | Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended. In 1989, after Warhol's death, Reed and John Cale re-united for the first time since 1972 to write, perform, record and release the concept album "Songs for Drella", a tribute to Warhol. Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, "This Is John Wallowitch!!!" (1964). He designed the cover art for The Rolling Stones' albums "Sticky Fingers" (1971) and "Love You Live" (1977), and the John Cale albums "The Academy in Peril" | "Andy Warhol" | [
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4640 | (1972) and "Honi Soit" in 1981. One of Warhol's last works was a portrait of Aretha Franklin for the cover of her 1986 gold album "Aretha", which was done in the style of the "Reigning Queens" series he had completed the year before. Warhol strongly influenced the new wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album "Hunky Dory". Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, and this version was released on | "Andy Warhol" | [
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4641 | the "VU" album in 1985. Bowie would later play Warhol in the 1996 movie, "Basquiat". Bowie recalled how meeting Warhol in real life helped him in the role, and recounted his early meetings with him: Beginning in the early 1950s, Warhol produced several unbound portfolios of his work. The first of several bound self-published books by Warhol was "25 Cats Name Sam and One Blue Pussy", printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink | "Andy Warhol" | [
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4642 | washes. Most of these were given by Warhol as gifts to clients and friends. Copy No. 4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987, and the original was auctioned in May 2006 for US$35,000 by Doyle New York. Other self-published books by Warhol include: Warhol's book "A La Recherche du Shoe Perdu" (1955) marked his "transition from commercial to gallery artist". (The title is a play on words by Warhol on the title of French author Marcel Proust's "À la recherche du temps perdu".) After gaining fame, Warhol | "Andy Warhol" | [
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4643 | "wrote" several books that were commercially published: Warhol created the fashion magazine "Interview" that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces. Although Andy Warhol is most known for his paintings and films, he authored works in many different media. He founded the gossip magazine "Interview", a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which | "Andy Warhol" | [
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4644 | were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from "Love Boat" to "Saturday Night Live" and the Richard Pryor movie "Dynamite Chicken"). In this respect Warhol was a fan of "Art Business" and "Business Art"—he, in fact, wrote | "Andy Warhol" | [
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4645 | about his interest in thinking about art as business in "The Philosophy of Andy Warhol from A to B and Back Again". Warhol was gay. Interviewed in 1980, he indicated that he was still a virgin. Biographer Bob Colacello, who was present at the interview, felt it was probably true and that what little sex he had was probably "a mixture of voyeurism and masturbation—to use [Andy's] word "abstract"". Warhol's assertion of virginity would seem to be contradicted by his hospital treatment in 1960 for condylomata, a sexually transmitted disease. It has also been contradicted by his lovers, including Warhol | "Andy Warhol" | [
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4646 | muse BillyBoy, who has said they had sex to orgasm: "When he wasn't being Andy Warhol and when you were just alone with him he was an incredibly generous and very kind person. What seduced me was the Andy Warhol who I saw alone. In fact when I was with him in public he kind of got on my nerves...I'd say: 'You're just obnoxious, I can't bear you." Billy Name also denied that Warhol was only a voyeur, saying: "He was the essence of sexuality. It permeated everything. Andy exuded it, along with his great artistic creativity...It brought a joy | "Andy Warhol" | [
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4647 | to the whole art world in New York." "But his personality was so vulnerable that it became a defense to put up the blank front." Warhol's lovers included John Giorno, Billy Name, Charles Lisanby, and Jon Gould. His boyfriend of 12 years was Jed Johnson, whom he met in 1968, and who later achieved fame as an interior designer. The fact that Warhol's homosexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist and is an issue that Warhol himself addressed in interviews, in conversation with his contemporaries, and | "Andy Warhol" | [
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4648 | in his publications ("e.g.", "Popism: The Warhol 1960s"). Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli, Judy Garland, and Elizabeth Taylor, and films such as "Blow Job", "My Hustler" and "Lonesome Cowboys") draw from gay underground culture or openly explore the complexity of sexuality and desire. As has been addressed by a range of scholars, many of his films premiered in gay porn theaters, including the New Andy Warhol Garrick Theatre and 55th Street Playhouse, in the late 1960s. The first works that Warhol submitted to | "Andy Warhol" | [
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4649 | a fine art gallery, homoerotic drawings of male nudes, were rejected for being too openly gay. In "Popism", furthermore, the artist recalls a conversation with the film maker Emile de Antonio about the difficulty Warhol had being accepted socially by the then-more-famous (but closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In response to this, Warhol writes, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't | "Andy Warhol" | [
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4650 | want to change anyway, that I didn't think I 'should' want to change ... Other people could change their attitudes but not me". In exploring Warhol's biography, many turn to this period—the late 1950s and early 1960s—as a key moment in the development of his persona. Some have suggested that his frequent refusal to comment on his work, to speak about himself (confining himself in interviews to responses like "Um, no" and "Um, yes", and often allowing others to speak for him)—and even the evolution of his pop style—can be traced to the years when Warhol was first dismissed by | "Andy Warhol" | [
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4651 | the inner circles of the New York art world. Warhol was a practicing Ruthenian Catholic. He regularly volunteered at homeless shelters in New York City, particularly during the busier times of the year, and described himself as a religious person. Many of Warhol's later works depicted religious subjects, including two series, "Details of Renaissance Paintings" (1984) and "The Last Supper" (1986). In addition, a body of religious-themed works was found posthumously in his estate. During his life, Warhol regularly attended Liturgy, and the priest at Warhol's church, Saint Vincent Ferrer, said that the artist went there almost daily, although he | "Andy Warhol" | [
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4652 | was not observed taking Communion or going to Confession and sat or knelt in the pews at the back. The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Roman Rite church crossing himself "in the Orthodox way" (right to left instead of the reverse). His art is noticeably influenced by the Eastern Christian tradition which was so evident in his places of worship. Warhol's brother has described the artist as "really religious, but he didn't want people to know about that because [it was] private". Despite the private nature of | "Andy Warhol" | [
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4653 | his faith, in Warhol's eulogy John Richardson depicted it as devout: "To my certain knowledge, he was responsible for at least one conversion. He took considerable pride in financing his nephew's studies for the priesthood". Warhol was an avid collector. His friends referred to his numerous collections, which filled not only his four-story townhouse, but also a nearby storage unit, as "Andy's Stuff." The true extent of his collections was not discovered until after his death, when the Andy Warhol Museum in Pittsburgh took in 641 boxes of his "Stuff." Warhol's collections included a Coca-cola memorabilia sign, and 19th century | "Andy Warhol" | [
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4654 | paintings along with airplane menus, unpaid invoices, pizza dough, pornographic pulp novels, newspapers, stamps, supermarket flyers, and cookie jars, among other eccentricities. It also included significant works of art, such as George Bellows's "Miss Bentham". One of his main collections was his wigs. Warhol owned more than 40 and felt very protective of his hairpieces, which were sewn by a New York wig-maker from hair imported from Italy. In 1985 a girl snatched Warhol's wig off his head. It was later discovered in Warhol's diary entry for that day that he wrote: "I don't know what held me back from | "Andy Warhol" | [
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4655 | pushing her over the balcony." Another item found in Warhol's boxes at the museum in Pittsburgh was a mummified human foot from Ancient Egypt. The curator of anthropology at Carnegie Museum of Natural History felt that Warhol most likely found it at a flea market. Warhol died in Manhattan at 6:32 a.m. on February 22, 1987 at age 58. According to news reports, he had been making a good recovery from gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative irregular heartbeat. Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder | "Andy Warhol" | [
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4656 | problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication. The malpractice case was quickly settled out of court; Warhol's family received an undisclosed sum of money. Shortly before Warhol's death, doctors expected Warhol to survive the surgery, though a revaluation of the case about thirty years after his death showed many indications that Warhol's surgery was in fact riskier than originally thought. It was widely reported at the time that Warhol died of a "routine" surgery, though | "Andy Warhol" | [
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4657 | when considering factors such as his age, a family history of gallbladder problems, his previous gunshot wounds, and his medical state in the weeks leading up to the procedure, the potential risk of death following the surgery appeared to have been significant. Warhol's brothers took his body back to Pittsburgh, where an open-coffin wake was held at the Thomas P. Kunsak Funeral Home. The solid bronze casket had gold-plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was laid out holding a small prayer book and a | "Andy Warhol" | [
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4658 | red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono and John Richardson were speakers. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of "Interview" magazine, an "Interview" T-shirt, and a | "Andy Warhol" | [
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4659 | bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. A memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York. Warhol's will dictated that his entire estate—with the exception of a few modest legacies to family members—would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million. In 1987, in accordance with Warhol's will, | "Andy Warhol" | [
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4660 | the Andy Warhol Foundation for the Visual Arts began. The foundation serves as the estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature." The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills. The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh. Additionally, the Andy Warhol Foundation for the Visual Arts has agreements | "Andy Warhol" | [
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4661 | in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource. The Andy Warhol Foundation released its "20th Anniversary Annual Report" as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program. The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S. Many of Warhol's works and possessions are on display at The Andy Warhol Museum in Pittsburgh. The foundation donated more than 3,000 works of art to the museum. | "Andy Warhol" | [
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4662 | Warhol appeared as himself in the film "Cocaine Cowboys" (1979) and in the film "Tootsie" (1982). After his death, Warhol was portrayed by Crispin Glover in Oliver Stone's film "The Doors" (1991), by David Bowie in Julian Schnabel's film "Basquiat" (1996), and by Jared Harris in Mary Harron's film "I Shot Andy Warhol" (1996). Warhol appears as a character in Michael Daugherty's opera "Jackie O" (1997). Actor Mark Bringleson makes a brief cameo as Warhol in "" (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Warhol's life. Sean Gregory Sullivan depicted Warhol in the film | "Andy Warhol" | [
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4663 | "54" (1998). Guy Pearce portrayed Warhol in the film "Factory Girl" (2007) about Edie Sedgwick's life. Actor Greg Travis portrays Warhol in a brief scene from the film "Watchmen" (2009). In the movie "Highway to Hell" a group of Andy Warhols are part of the "Good Intentions Paving Company" where good-intentioned souls are ground into pavement. In the film "Men in Black 3" (2012) Andy Warhol turns out to really be undercover MIB Agent W (played by Bill Hader). Warhol is throwing a party at The Factory in 1969, where he is looked up by MIB Agents K and J | "Andy Warhol" | [
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4664 | (J from the future). Agent W is desperate to end his undercover job ("I'm so out of ideas I'm painting soup cans and bananas, for Christ sakes!", "You gotta fake my death, okay? I can't listen to sitar music anymore." and "I can't tell the girls from the boys."). Andy Warhol (portrayed by Tom Meeten) is one of main characters of the 2012 British television show "Noel Fielding's Luxury Comedy". The character is portrayed as having robot-like mannerisms. In the 2017 feature "The Billionaire Boys Club" Cary Elwes portrays Warhol in a film based on the true story about Ron | "Andy Warhol" | [
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4665 | Levin (portrayed by Kevin Spacey) a friend of Warhol's who was murdered in 1986. In September 2016, it was announced that Jared Leto would portray the title character in "Warhol", an upcoming American biographical drama film produced by Michael De Luca and written by Terence Winter, based on the book "Warhol: The Biography" by Victor Bockris. In 2002, the U.S. Postal Service issued an 18-cent stamp commemorating Warhol. Designed by Richard Sheaff of Scottsdale, Arizona, the stamp was unveiled at a ceremony at The Andy Warhol Museum and features Warhol's painting "Self-Portrait, 1964". In March 2011, a chrome statue of | "Andy Warhol" | [
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4666 | Andy Warhol and his Polaroid camera was revealed at Union Square in New York City. Andy Warhol Andy Warhol (; born Andrew Warhola; August 6, 1928 – February 22, 1987) was an American artist, director and producer who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture, and advertising that flourished by the 1960s, and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best known works include the silkscreen paintings "Campbell's Soup Cans" (1962) and "Marilyn Diptych" (1962), the | "Andy Warhol" | [
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4667 | Alp Arslan Alp Arslan (honorific in Turkish meaning "Heroic Lion"; in ; full name: "Diya ad-Dunya wa ad-Din Adud ad-Dawlah Abu Shuja Muhammad Alp Arslan ibn Dawud" ; 20 January 1029 – 15 December 1072), real name Muhammad bin Dawud Chaghri, was the second Sultan of the Seljuk Empire and great-grandson of Seljuk, the eponymous founder of the dynasty. As Sultan, Alp Arslan greatly expanded Seljuk territory and consolidated power, defeating rivals to his south and northwest. His victory over the Byzantines at the Battle of Manzikert in 1071 ushered in the Turkish settlement of Anatolia. For his military prowess | "Alp Arslan" | [
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4668 | and fighting skills he obtained the name "Alp Arslan", which means "Heroic Lion" in Turkish. Alp Arslan accompanied his uncle, Tughril Bey, on campaigns in the south against the Shia Fatimids while his father, Çağrı Bey, remained in Khorasan. Upon Alp Arslan's return to Khorasan, he began his work in administration at his father's suggestion. While there, his father introduced him to Nizam al-Mulk, one of the most eminent statesmen in early Muslim history and Alp Arslan's future vizier. After the death of his father, Alp Arslan succeeded him as governor of Khorasan in 1059. His uncle Tughril died in | "Alp Arslan" | [
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4669 | 1063 and was succeeded by Suleiman, Arslan's brother. Arslan and his uncle Kutalmish both contested this succession. ("see" Battle of Damghan (1063)) Arslan defeated Kutalmish for the throne and succeeded on 27 April 1064 as sultan of Great Seljuq, thus becoming sole monarch of Persia from the river Oxus to the Tigris. In consolidating his empire and subduing contending factions, Arslan was ably assisted by Nizam al-Mulk, and the two are credited with helping to stabilize the empire after the death of Tughril. With peace and security established in his dominions, Arslan convoked an assembly of the states and in | "Alp Arslan" | [
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4670 | 1066, he declared his son Malik Shah I his heir and successor. With the hope of capturing Caesarea Mazaca, the capital of Cappadocia, he placed himself at the head of the Turkish cavalry, crossed the Euphrates, and entered and invaded the city. Along with Nizam al-Mulk, he then marched into Armenia and Georgia, which he conquered in 1064. After a siege of 25 days, the Seljuks captured Ani, the capital city of Armenia. An account of the sack and massacres in Ani is given by the historian Sibt ibn al-Jawzi, who quotes an eyewitness saying: En route to fight the | "Alp Arslan" | [
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4671 | Fatimids in Syria in 1068, Alp Arslan invaded the Byzantine Empire. The Emperor Romanos IV Diogenes, assuming command in person, met the invaders in Cilicia. In three arduous campaigns, the Turks were defeated in detail and driven across the Euphrates in 1070. The first two campaigns were conducted by the emperor himself, while the third was directed by Manuel Comnenos, great-uncle of Emperor Manuel Comnenos. During this time, Arslan gained the allegiance of Rashid al-Dawla Mahmud, the Mirdasid emir of Aleppo. In 1071 Romanos again took the field and advanced into Armenia with possibly 30,000 men, including a contingent of | "Alp Arslan" | [
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4672 | Cuman Turks as well as contingents of Franks and Normans, under Ursel de Baieul. Alp Arslan, who had moved his troops south to fight the Fatimids, quickly reversed to meet the Byzantines. At Manzikert, on the Murat River, north of Lake Van, the two forces waged the Battle of Manzikert. The Cuman mercenaries among the Byzantine forces immediately defected to the Turkish side. Seeing this, "the Western mercenaries rode off and took no part in the battle." To be exact, Romanos was betrayed by general Andronikos Doukas, son of the Caesar (Romanos's stepson), who pronounced him dead and rode off | "Alp Arslan" | [
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4673 | with a large part of the Byzantine forces at a critical moment. The Byzantines were totally routed. Emperor Romanos IV was himself taken prisoner and conducted into the presence of Alp Arslan. After a ritual humiliation, Arslan treated him with generosity. After peace terms were agreed to, Arslan dismissed the Emperor, loaded with presents and respectfully attended by a military guard. The following conversation is said to have taken place after Romanos was brought as a prisoner before the Sultan: Alp Arslan's victories changed the balance in near Asia completely in favour of the Seljuq Turks and Sunni Muslims. While | "Alp Arslan" | [
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4674 | the Byzantine Empire was to continue for nearly four more centuries, and the Crusades would contest the issue for some time, the victory at Manzikert signalled the beginning of Turkish ascendancy in Anatolia. Most historians, including Edward Gibbon, date the defeat at Manzikert as the beginning of the end of the Eastern Roman Empire. Alp Arslan's strength lay in the military realm. Domestic affairs were handled by his able vizier, Nizam al-Mulk, the founder of the administrative organization that characterized and strengthened the sultanate during the reigns of Alp Arslan and his son, Malik Shah. Military fiefs, governed by Seljuq | "Alp Arslan" | [
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4675 | princes, were established to provide support for the soldiery and to accommodate the nomadic Turks to the established Anatolian agricultural scene. This type of military fiefdom enabled the nomadic Turks to draw on the resources of the sedentary Persians, Turks, and other established cultures within the Seljuq realm, and allowed Alp Arslan to field a huge standing army without depending on tribute from conquest to pay his soldiers. He not only had enough food from his subjects to maintain his military, but the taxes collected from traders and merchants added to his coffers sufficiently to fund his continuous wars. According | "Alp Arslan" | [
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4676 | to the poet Saadi Shirazi: Suleiman ibn Kutalmish was the son of the contender for Arslan's throne; he was appointed governor of the north-western provinces and assigned to completing the invasion of Anatolia. An explanation for this choice can only be conjectured from Ibn al-Athir's account of the battle between Alp-Arslan and Kutalmish, in which he writes that Alp-Arslan wept for the latter's death and greatly mourned the loss of his kinsman. After Manzikert, the dominion of Alp Arslan extended over much of western Asia. He soon prepared to march for the conquest of Turkestan, the original seat of his | "Alp Arslan" | [
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4677 | ancestors. With a powerful army he advanced to the banks of the Oxus. Before he could pass the river with safety, however, it was necessary to subdue certain fortresses, one of which was for several days vigorously defended by the governor, Yussuf al-Kharezmi, a Khwarezmian. He was obliged to surrender, however, and was carried as a prisoner before the sultan, who condemned him to death. Yussuf, in desperation, drew his dagger and rushed upon the sultan. Alp Arslan, who took great pride in his reputation as an archer, motioned to his guards not to interfere. He drew his bow, but | "Alp Arslan" | [
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4678 | his foot slipped, the arrow glanced aside, and he received the assassin's dagger in his breast. Alp Arslan died from this wound four days later, on 25 November 1072, in his 42nd year, and he was taken to Merv to be buried next to his father, Chaghri Beg. Alp Arslan is widely regarded as having begun Anatolianism, although unintentionally. His victory at Manzikert is often cited as the beginning of the end of Byzantine power in Anatolia, and the beginning of Turkish identity there. Alp Arslan's conquest of Anatolia from the Byzantines is also seen as one of the pivotal | "Alp Arslan" | [
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4679 | precursors to the launch of the crusades. From 2002 to July 2008 under Turkmen calendar reform, the month of August was named after Alp Arslan. Alp Arslan Alp Arslan (honorific in Turkish meaning "Heroic Lion"; in ; full name: "Diya ad-Dunya wa ad-Din Adud ad-Dawlah Abu Shuja Muhammad Alp Arslan ibn Dawud" ; 20 January 1029 – 15 December 1072), real name Muhammad bin Dawud Chaghri, was the second Sultan of the Seljuk Empire and great-grandson of Seljuk, the eponymous founder of the dynasty. As Sultan, Alp Arslan greatly expanded Seljuk territory and consolidated power, defeating rivals to his south | "Alp Arslan" | [
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4680 | American Film Institute The American Film Institute (AFI) is an American film organization that educates filmmakers and honors the heritage of the motion picture arts in the United States. AFI is supported by private funding and public membership fees. The institute is composed of leaders from the film, entertainment, business, and academic communities. A board of trustees chaired by Sir Howard Stringer and a board of directors chaired by Robert A. Daly guide the organization, which is led by President and CEO, film historian Bob Gazzale. Prior leaders were founding director George Stevens, Jr. (from the organization's inception in 1967 | "American Film Institute" | [
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4681 | until 1980) and Jean Picker Firstenberg (from 1980 to 2007). The American Film Institute was founded by a 1965 presidential mandate announced in the Rose Garden of the White House by Lyndon B. Johnson—to establish a national arts organization to preserve the legacy of American film heritage, educate the next generation of filmmakers, and honor the artists and their work. Two years later, in 1967, AFI was established, supported by the National Endowment for the Arts, the Motion Picture Association of America and the Ford Foundation. The original 22-member Board of Trustees included actor Gregory Peck as chairman and actor | "American Film Institute" | [
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4682 | Sidney Poitier as vice-chairman as well as director Francis Ford Coppola, film historian Arthur Schlesinger, Jr., lobbyist Jack Valenti, and other representatives from the arts and academia. The institute established a training program for filmmakers known then as the Center for Advanced Film Studies. Also created in the early years were a repertory film exhibition program at the Kennedy Center for the Performing Arts and the AFI Catalog of Feature Films — a scholarly source for American film history. The institute moved to its current eight-acre Hollywood campus in 1981. The film training program grew into the AFI Conservatory, an | "American Film Institute" | [
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4683 | accredited graduate school. AFI moved its presentation of first-run and auteur films from the Kennedy Center to the historic AFI Silver Theatre and Cultural Center, which hosts the AFI DOCS film festival, making AFI the largest nonprofit film exhibitor in the world. AFI educates audiences and recognizes artistic excellence through its awards programs and 10 Top 10 Lists. On November 3, 2017, Ilana Bar-Din Giannini claimed that the AFI expelled her after she accused Dezso Magyar of sexual harassing her in the early 1980s. AFI educational and cultural programs include: In 1969, the institute established the AFI Conservatory for Advanced | "American Film Institute" | [
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4684 | Film Studies at Greystone, the Doheny Mansion in Beverly Hills, California. The first class included filmmakers Terrence Malick, Caleb Deschanel, and Paul Schrader. That program grew into the AFI Conservatory, an accredited graduate film school located in the hills above Hollywood, California, providing training in six filmmaking disciplines: cinematography, directing, editing, producing, production design, and screenwriting. Mirroring a professional production environment, Fellows collaborate to make more films than any other graduate level program. Admission to AFI Conservatory is highly selective, with a maximum of 140 graduates per year. In 2013, Emmy and Oscar-winning director, producer, and screenwriter James L. Brooks | "American Film Institute" | [
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4685 | ("As Good as It Gets", "Broadcast News", "Terms of Endearment") joined AFI as Artistic Director of the AFI Conservatory where he provides leadership for the film program. Brooks' artistic role at the AFI Conservatory has a rich legacy that includes Daniel Petrie, Jr., Robert Wise, and Frank Pierson. Award-winning director Bob Mandel served as Dean of the AFI Conservatory for nine years. Jan Schuette took over as Dean in 2014 and served until 2017. Film Producer Richard Gladstein became Dean on July 1, 2017. AFI Conservatory's alumni have careers in film, television and on the web. They have been recognized | "American Film Institute" | [
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4686 | with all of the major industry awards—Academy Award, Emmy Award, guild awards, and the Tony Award. Among the alumni of AFI are Andrea Arnold, ("Red Road", "Fish Tank"), Darren Aronofsky ("Requiem for a Dream", "Black Swan"), Carl Colpaert ("Gas Food Lodging", "Hurlyburly", "Swimming with Sharks"), Doug Ellin ("Entourage"), Todd Field ("In the Bedroom", "Little Children"), Jack Fisk ("Badlands", "Days of Heaven", "There Will Be Blood"), Carl Franklin ("One False Move", "Devil in a Blue Dress", "House of Cards"), Patty Jenkins ("Monster", "Wonder Woman"), Janusz Kamiński ("Lincoln", "Schindler's List", "Saving Private Ryan"), Matthew Libatique ("Noah", "Black Swan"), David Lynch ("Mulholland Drive", | "American Film Institute" | [
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4687 | "Blue Velvet"), Terrence Malick ("Days of Heaven", "The Thin Red Line", "The Tree of Life"), Victor Nuñez, ("Ruby in Paradise", "Ulee's Gold"), Wally Pfister ("Memento", "The Dark Knight", "Inception"), Robert Richardson ("Platoon", "JFK", "Django Unchained"), and many others. The AFI Catalog, started in 1968, is a web-based filmographic database. A research tool for film historians, the catalog consists of entries on more than 60,000 feature films and 17,000 short films produced from 1893–2011, as well as AFI Awards Outstanding Movies of the Year from 2000 through 2010. Early print copies of this catalog may also be found at your local | "American Film Institute" | [
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4688 | library. Each year the AFI Awards honor the ten outstanding films ("Movies of the Year") and ten outstanding television programs ("TV Programs of the Year"). The awards are a non-competitive acknowledgement of excellence. The Awards are announced in December and a private luncheon for award honorees takes place the following January. The AFI 100 Years... series, which ran from 1998 to 2008 and created jury-selected lists of America's best movies in categories such as Musicals, Laughs and Thrills, prompted new generations to experience classic American films. The juries consisted of over 1,500 artists, scholars, critics and historians, with movies selected | "American Film Institute" | [
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4689 | based on the film's popularity over time, historical significance and cultural impact. "Citizen Kane" was voted the greatest American film twice. AFI operates two film festivals: AFI Fest in Los Angeles, and AFI Docs (formally known as Silverdocs) in Silver Spring, Maryland, and Washington, D.C.. AFI Fest is the American Film Institute's annual celebration of artistic excellence. The festival is a showcase for the best festival films of the year and an opportunity for master filmmakers and emerging artists to come together with audiences in the movie capital of the world. AFI Fest is the only festival of its stature | "American Film Institute" | [
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4690 | that is free to the public. The Academy of Motion Picture Arts and Sciences recognizes AFI Fest as a qualifying festival for the Short Films category for the annual Academy Awards. The festival has paid tribute to numerous influential filmmakers and artists over the years, including Agnès Varda, Pedro Almodóvar and David Lynch as guest artistic directors, and has screened scores of films that have produced Oscar nominations and wins. The American Film Market (AFM) is the market partner of AFI Fest. Audi is the festival's presenting sponsor. Additional sponsors include American Airlines and Stella Artois. Held annually in June, | "American Film Institute" | [
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4691 | AFI Docs (formerly Silverdocs) is a documentary festival in Washington, D.C.. The festival attracts over 27,000 documentary enthusiasts. The AFI Silver Theatre and Cultural Center is a moving image exhibition, education and cultural center located in Silver Spring, Maryland. Anchored by the restoration of noted architect John Eberson's historic 1938 Silver Theatre, it features 32,000 square feet of new construction housing two stadium theatres, office and meeting space, and reception and exhibit areas. The AFI Silver Theatre and Cultural Center presents film and video programming, augmented by filmmaker interviews, panels, discussions,and musical performances. The Directing Workshop for Women is a | "American Film Institute" | [
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4692 | training program committed to educating and mentoring participants in an effort to increase the number of women working professionally in screen directing. In this tuition-free program, each participant is required to complete a short film by the end of the year-long program. Alumnae of the program include Maya Angelou, Anne Bancroft, Dyan Cannon, Ellen Burstyn, Jennifer Getzinger, Lesli Linka Glatter, and Nancy Malone. AFI released a set of hour-long programs reviewing the career of acclaimed directors. The Directors Series content was copyrighted in 1997 by Media Entertainment Inc and The American Film Institute, and the VHS and DVDs were released | "American Film Institute" | [
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4693 | between 1999 and 2001 on Winstar TV and Video. Directors featured included: Indian investigative journalist Rana Ayyub posed as Maithili Tyagi, a student from the institute. She stung many bureaucrats of Gujarat in an undercover investigation to reveal their views on post-2002 Gujarat riots and Police encounter killings. She has documented the verbatim transcript of these recordings in her 2016 book "Gujarat Files: Anatomy of a Cover Up". American Film Institute The American Film Institute (AFI) is an American film organization that educates filmmakers and honors the heritage of the motion picture arts in the United States. AFI is supported | "American Film Institute" | [
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4694 | Akira Kurosawa Akira Kurosawa (, "Kurosawa Akira"; March 23, 1910 – September 6, 1998) was a Japanese film director and screenwriter, who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema. Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film "Sanshiro Sugata" (a.k.a. "Judo Saga"). After the war, | "Akira Kurosawa" | [
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4695 | the critically acclaimed "Drunken Angel" (1948), in which Kurosawa cast then-unknown actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another 15 films. "Rashomon", which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa | "Akira Kurosawa" | [
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4696 | directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, such as "Ikiru" (1952), "Seven Samurai" (1954) and "Yojimbo" (1961). After the 1960s he became much less prolific; even so, his later work—including his final two epics, "Kagemusha" (1980) and "Ran" (1985)—continued to win awards, though more often abroad than in Japan. In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by "AsianWeek" magazine and CNN, cited there as being among the | "Akira Kurosawa" | [
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4697 | five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media formats. was born on March 23, 1910, in Ōimachi in the Ōmori district of Tokyo. His father Isamu (1864–1948), a member of a samurai family from Akita Prefecture, worked as the director of the Army's Physical Education Institute's lower secondary school, while his mother Shima (1870–1952) came from a merchant's family living in Osaka. Akira was the eighth and youngest child | "Akira Kurosawa" | [
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4698 | of the moderately wealthy family, with two of his siblings already grown up at the time of his birth and one deceased, leaving Kurosawa to grow up with three sisters and a brother. In addition to promoting physical exercise, Isamu Kurosawa was open to Western traditions and considered theater and motion pictures to have educational merit. He encouraged his children to watch films; young Akira viewed his first movies at the age of six. An important formative influence was his elementary school teacher Mr Tachikawa, whose progressive educational practices ignited in his young pupil first a love of drawing and | "Akira Kurosawa" | [
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4699 | then an interest in education in general. During this time, the boy also studied calligraphy and Kendo swordsmanship. Another major childhood influence was Heigo Kurosawa, Akira's older brother by four years. In the aftermath of the Great Kantō earthquake of 1923, which devastated Tokyo, Heigo took the 13-year-old Akira to view the devastation. When the younger brother wanted to look away from the human corpses and animal carcasses scattered everywhere, Heigo forbade him to do so, instead encouraging Akira to face his fears by confronting them directly. Some commentators have suggested that this incident would influence Kurosawa's later artistic career, | "Akira Kurosawa" | [
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4700 | as the director was seldom hesitant to confront unpleasant truths in his work. Heigo was academically gifted, but soon after failing to secure a place in Tokyo's foremost high school, he began to detach himself from the rest of the family, preferring to concentrate on his interest in foreign literature. In the late 1920s, Heigo became a benshi (silent film narrator) for Tokyo theaters showing foreign films, and quickly made a name for himself. Akira, who at this point planned to become a painter, moved in with him, and the two brothers became inseparable. With Heigo's guidance, Akira devoured not | "Akira Kurosawa" | [
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