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Andy Warhol directed or produced nearly 150 films. [1] Fifty of the films have been preserved by the Museum of Modern Art. [2] In August 2014, the Museum of Modern Art began a project to digitize films previously unseen and to show them to the public. [3]
- Sleep, 1963
- Empire, 1964
- Screen Tests, 1964–1966
- Vinyl, 1965
- Poor Little Rich Girl, 1965
- Outer and Inner Space, 1965
- Chelsea Girls, 1966
- Lonesome Cowboys, 1968
- Blue Movie (Fuck), 1969
One of the first things Warhol filmed with his new 16mm camera was this just under five-and-a-half-hour film of the poet John Giorno sleeping in the nude. Like many of his early silent films, Sleep takes a basic function—others included Kiss, Eat, and Haircut—and stretches it out to mimic watching in real time. That it was boring was the point. War...
The pinnacle of Warhol’s durational experiments, Empire is an eight-hour static view of the Empire State Building with very little change. The effect is of delayed satisfaction, the process of waiting, and waiting some more, replaces the traditional viewing experience. In the end, nothing happens. It’s hard to imagine more recent time-based works s...
The longest film project Warhol worked on was the series of Screen Testshe made of various artists, celebrities, collaborators, or whoever happened to walk in the door of his studio. In front of the camera, the subject was told to sit still, not blink; often they disobeyed. Together, the series serves as a kind of mission statement—a celebration of...
A condensed adaptation of A Clockwork Orange, predating Stanley Kubrick’s version by six years, this marked the beginning of a move toward scripted films—via a collaboration with playwright Ronald Tavel—and a greater use of Warhol’s growing entourage. There’s also an amplification of chaos, with an uneasy slippage between real and fake violence. Ge...
Sedgwick, a fashion model and actress, would soon become a primary feature of some of Warhol’s films. But it’s this portrait, shot in her apartment, that best captures her attraction. The closest Warhol ever came to a traditional documentary, the camera watches Sedgwick as she dresses, exercises in bed, and smokes. The first half of the film is del...
Warhol’s first work of expanded cinema and his first use of video, this double-screen portrait of Sedgwick marked another turning point. Using video’s capabilities to multiply and layer images, he presents the actress in a conversation with herself, a mock interview. This experiment would be one of the last films to feature the actress, and directl...
The one that broke it all open. Warhol’s portrait of the goings-on in various rooms at the Chelsea Hotel—some of which was actually filmed elsewhere—consists, in its original form, of two movies, projected simultaneously next to each other with the sound alternating. Here you find the apotheosis of Warhol’s moving-image work to date: portraiture, d...
In the late 1960s, Warhol began to transition to what is commonly called his “sexploitation” period. Lonesome Cowboys, a campy western where all the characters are trying to sleep with one another, appears to be filmed on an abandoned Hollywood set. The scenes are frantic, with little sense of succession, built around improvised or half-acted scene...
Filmed four months after Warhol was shot by Valerie Solanas, Blue Movie is commonly thought of as the final film the artist made. His subsequent works, including a string of films with higher production values, such as Flesh, Trash, and Heat, were produced by Warhol and directed by Paul Morrissey. Despite the implications of its extended, parenthet...
Some of his best-known works include the silkscreen paintings Campbell's Soup Cans (1962) and Marilyn Diptych (1962), the experimental films Empire (1964) and Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable (1966–67).
Between 1963 and 1968, Warhol created almost 650 films, encompassing numerous feature-length productions, short films and hundreds of screen tests in a variety of distinct styles. “The films are every bit as significant and revolutionary as Warhol's paintings.” Patrick Moore, Deputy Director of the Warhol Museum.
In the summer of 1966, Warhol's film Chelsea Girls (1966) became the first underground film to be shown at a commercial theater. In 1967, Chelsea Girls opened in Los Angeles and San Francisco, and six of his Self Portraits were shown at Expo 67 in Montreal, Quebec, Canada.
- January 1, 1
- Forest City, Pennsylvania, USA
- January 1, 1
- New York City, New York, USA
Their many acts-both lascivious and mundane-are documented in a film that has come to be regarded as one of the most notorious of Warhol's early works. Across the course of the film we encounter such figures as poets Allen Ginsberg and Gregory Corso, the writer Jack Kerouac, and perennial New York figure Taylor Mead.
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From 1963 through 1968, Warhol produced nearly 650 films, including hundreds of Screen Tests, or portrait films, and dozens of full-length movies, in styles ranging from minimalist avant-garde to more commercial productions.
