Filmmaker Tom Kalin, Whitney’s Warhol expert Claire Henry in Miami to discuss Warhol’s films

November 19, 2014

John Coplans catalogue, 1970, from the MBC Archive

John Coplans catalogue, 1970, from the MBC Archive

We at Independent Ethos are extremely supportive of the Miami Beach Cinematheque and its Speaking In Cinema series, which would not be possible without funding from the John S. and James L. Knight Foundation. The series has brought some excellent filmmakers to Miami since it began earlier this year, and we helped out with its inaugural event (An Interview with ‘Hide Your Smiling Faces’ Filmmaker Daniel Patrick Carbone in ‘Miami New Times’). We’ve covered them all because, frankly, it is damn exciting to consider movies thoughtfully for an hour (sometimes longer) in such a setting with some amazing guests.

This month and next — the month known in Miami Beach for one of the biggest art festivals in the world: Art Basel – Miami Beach — the Cinematheque has begun screening some rare films by Andy Warhol thanks to The Andy Warhol Museum, Pittsburgh, PA at the Carnegie Institute. The four films are all about Golden Age Hollywood starlets and their scandals recreated in the experimental and exploratory way only Warhol could have made. The Velvet Underground, Edie Sedgewick and famous drag queens are all collaborators. The films include Harlot (1964), Lupe (1965), More Milk Yvette (1965), and Hedy (1966)*.

Discussing the films with depth and knowledge will be our old Miami friend and compatriot on WordPress Alfred Soto (check out his terrific blog Humanizing the Vacuum). He will lead a discussion with director/producer Tom Kalin and Claire K. Henry, Senior Curatorial Assistant and project manager of the Andy Warhol Film Project at the Whitney Museum of American Art. I corresponded with the out-of-town experts via email ahead of their visit and wrote an article for the art and culture blog of the Miami New Times, “Cultist.” Among other topics, we discussed common misconceptions of Warhol’s film work, and I even asked them for a personal favorite of the the four Warhol films screening at the MBC (it turned out to be unanimous). You can read the result by jumping through the link below:

cultist banner

But, as always, there was more. Asked what mainstream filmmakers can learn from the work of Warhol, Henry declared that indeed they have already learned a tremendous amount. “The commercial success of The Chelsea Girls in 1966-67 paved the way for more radical filmmaking,” she notes, “both in subject matter — Midnight Cowboy (1969); A Clockwork Orange (1971); Pink Flamingos (1972) — and in technique — Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles (1975); Memento (2001).”

She deferred to Kalin for more on this notion. Though he was rushing to board his plane to Miami, he offered, “Sometimes in mainstream cinema a pop star crosses over and becomes a screen star. This blurring of the lines — the synergy between music and movies for instance is very Warholian. The Exploding Plastic Inevitable was ahead of its time and the boundary pushing of his expanded cinema like Chelsea Girls still resonates in this era of ‘multiplatform storytelling.’ Also Warhol’s superstars, mere mortals transformed by the magic lens, anticipate today’s preoccupation with reality, real faces.”

Tom Kalin 2

Finally, since Speaking In Cinema also tries to go off topic to discuss film in general, it was worth asking Kalin, what he is up to as a filmmaker, considering this writer is only familiar with his work as a feature filmmaker of 1992’s Swoon and 2007’s Savage Grace. “In addition to my feature narrative work, my films and videos include short experimental work, installations and collaborations,” notes Kalin, who is also a professor at Columbia University. “Recently, I have been collaborating with musician Thomas Bartlett (Doveman) on a series of projects. We premiered My Silent One at REDCAT in Los Angeles in July. You can read a bit about it here and here.”

He also pauses to note Warhol’s own influence on his work. “Of course Warhol famously was a key figure in the combination of film and live music in his work with The Velvet Underground, and like many filmmakers, I have been inspired by this work. I also have just made a new short film for Visual AIDS’ 25th Anniversary of Day Without Art. The film is called ‘Ashes’ and features the voice of Justin Vivian Bond.”

Finally, for those curious about his feature work, Kalin offers: “I’m developing two new features, one of which is about a crime in a small town, my first feature set in present time.  I will shoot summer 2015.”

Hans Morgenstern

Director/producer Tom Kalin will join Claire K. Henry, Senior Curatorial Assistant of the Andy Warhol Film Project at the Whitney Museum of American Art and “Humanizing the Vacuum” critic Alfred Soto for the Knight Foundation-sponsored series “Speaking In Cinema” to discuss the films on Thursday, November 20, at 7 p.m. A meet-and-greet party at the Sagamore Hotel ends the night. Tickets for all the Warhol screenings and the event can be found by visiting mbcinema.com.

*The films in the retrospective are from the Collection of The Andy Warhol Museum, Pittsburgh. Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © 2014 The Andy Warhol Museum, Pittsburgh, PA., a museum of Carnegie Institute. All rights reserved.

(Copyright 2014 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

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