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THE REAL EDIE SEDGWICK
MARCH 31-APRIL 8, 2007
Edie Sedgwick was downtown New York’s “It girl” of 1965, when she was inseparable from Andy Warhol; they were “the king of Pop and his star.” Sedgwick appeared in nearly all of Warhol’s films that year. “Edie was incredible on camera—just the way she moved,” said Warhol. “She was all energy. She didn’t know what to do with it when it came to living her life, but it was wonderful to film.”
All films are 16mm, and directed by Andy Warhol, unless noted. All films by Andy Warhol are from The Museum of Modern Art.
Poor Little Rich Girl
Saturday, March 31, 2:00 p.m.
1965, 67 mins. A two-reel documentary portrait; in the first reel, out of focus, Edie does her morning routine, applying make-up and exercising. The second reel, in focus, feels like a revelation: Edie smokes pot, tries on clothes, and talks with an off-screen Chuck Wein.
Restaurant
Saturday, March 31, 3:30 p.m.
1965, 34 mins. Edie Sedgwick and friends drink and talk as they await a meal.
Followed by Screen Test Reel #10 1964-6, 40 mins. This reel of Warhol's Factory screen tests includes Edie Sedgwick, Jane Holzer, Lou Reed, John Ashbery, Jonas Mekas, and Paul Morrissey.
Vinyl
Saturday, March 31, 5:00 p.m.
1965, 70 mins. Warhol's adaptation of A Clockwork Orange, filmed in a corner of the Factory, stars Gerard Malanga as Alex. But Edie Sedgwick, a non-speaking extra, steals the show.
Space
Saturday, March 31, 6:30 p.m.
1965, 70 mins. Warhol's constantly moving camera roams around its characters, in a mélange of talking, food fights, and folk singing.
Preceded by Match Girl 1966, 25 mins. Directed by Andrew Meyer. Sedgwick is mythologized by Vivian Kurz, who plays the self-destructive "Match Girl" in this allegorical film, narrated by Warhol.
Outer and Inner Space
Double-Screen Projection
Sunday, April 1, 3:00 p.m.and 6:00 p.m.
1965, 70 mins. In this split-screen extravaganza, Sedgwick smokes and speaks about subjects including outer space, medication, and her family while seated next to her image on a television monitor.
Preceded by Lupe 1965, 36 mins. Loosely based on the planned suicide of Lupe Velez, this film, presented in its original double-screen format, shows Sedgwick as she listens to music, dances, plays with a kitten, takes pills, and eats supper.
Kitchen
Saturday, April 7, 2:00 p.m.
1965, 70 mins. Sedgwick applies make-up, exercises her legs, is seduced by Mickey Trudeau, and discusses coffee. Written as a showcase for Sedgwick, Ronald Tavel's situational and episodic script was described by Warhol as "illogical, without motivation or character-completely ridiculous."
Preceded by Restaurant 1965, 34 mins. Edie Sedgwick and friends drink and talk as they await a meal.
Afternoon
Saturday, April 7, 4:00 p.m.
1965, 105 mins. Made from footage that was cut from Chelsea Girls at Edie Sedgwick's request, Afternoon is part of Warhol's intended "Poor Little Rich Girl" saga, along with Restaurant and Face.
Beauty #2
Saturday, April 7, 6:30 p.m.
1965, 70 mins. In her most complex, playful performance, Sedgwick flirts in bed with Gino Piserchio—and the camera—while responding to jealous insults from an off-screen Chuck Wein; Gerard Malanga looms by the bed, watching.
Preceded by Poem Posters 1967, 24 mins. Directed by Charles Henri Ford. Sedgwick is the life of the party in this priceless record of a star-studded art gallery opening, with appearances by William Burroughs, Jayne Mansfield, and Jack Smith.
Horse
Sunday, April 8, 4:30 p.m.
1965, 105 min. Sedgwick had a small part in this Western parody, her first Warhol film, which does indeed star a horse. The film is an important transition in Warhol's move towards ironic treatment of Hollywood genres.
Ciao! Manhattan
Sunday, April 8, 6:30 p.m.
1972, 84 mins. 35mm. Directed by John Palmer and David Weisman. Sedgwick died just weeks after making this quasi-biographical film, which combines footage from her Factory days with scenes of “Susan Superstar” looking back on the ruins of her life.
Preceded by fragment from Lulu 1967, 8 mins., video. Directed by Richard Leacock. U.S. Premiere. This expressionistic footage of Sedgwick was filmed for an opera.
THE REAL EDIE SEDGWICK
MARCH 31-APRIL 8, 2007
Edie Sedgwick was downtown New York’s “It girl” of 1965, when she was inseparable from Andy Warhol; they were “the king of Pop and his star.” Sedgwick appeared in nearly all of Warhol’s films that year. “Edie was incredible on camera—just the way she moved,” said Warhol. “She was all energy. She didn’t know what to do with it when it came to living her life, but it was wonderful to film.”
All films are 16mm, and directed by Andy Warhol, unless noted. All films by Andy Warhol are from The Museum of Modern Art.
Poor Little Rich Girl
Saturday, March 31, 2:00 p.m.
1965, 67 mins. A two-reel documentary portrait; in the first reel, out of focus, Edie does her morning routine, applying make-up and exercising. The second reel, in focus, feels like a revelation: Edie smokes pot, tries on clothes, and talks with an off-screen Chuck Wein.
Restaurant
Saturday, March 31, 3:30 p.m.
1965, 34 mins. Edie Sedgwick and friends drink and talk as they await a meal.
Followed by Screen Test Reel #10 1964-6, 40 mins. This reel of Warhol's Factory screen tests includes Edie Sedgwick, Jane Holzer, Lou Reed, John Ashbery, Jonas Mekas, and Paul Morrissey.
Vinyl
Saturday, March 31, 5:00 p.m.
1965, 70 mins. Warhol's adaptation of A Clockwork Orange, filmed in a corner of the Factory, stars Gerard Malanga as Alex. But Edie Sedgwick, a non-speaking extra, steals the show.
Space
Saturday, March 31, 6:30 p.m.
1965, 70 mins. Warhol's constantly moving camera roams around its characters, in a mélange of talking, food fights, and folk singing.
Preceded by Match Girl 1966, 25 mins. Directed by Andrew Meyer. Sedgwick is mythologized by Vivian Kurz, who plays the self-destructive "Match Girl" in this allegorical film, narrated by Warhol.
Outer and Inner Space
Double-Screen Projection
Sunday, April 1, 3:00 p.m.and 6:00 p.m.
1965, 70 mins. In this split-screen extravaganza, Sedgwick smokes and speaks about subjects including outer space, medication, and her family while seated next to her image on a television monitor.
Preceded by Lupe 1965, 36 mins. Loosely based on the planned suicide of Lupe Velez, this film, presented in its original double-screen format, shows Sedgwick as she listens to music, dances, plays with a kitten, takes pills, and eats supper.
Kitchen
Saturday, April 7, 2:00 p.m.
1965, 70 mins. Sedgwick applies make-up, exercises her legs, is seduced by Mickey Trudeau, and discusses coffee. Written as a showcase for Sedgwick, Ronald Tavel's situational and episodic script was described by Warhol as "illogical, without motivation or character-completely ridiculous."
Preceded by Restaurant 1965, 34 mins. Edie Sedgwick and friends drink and talk as they await a meal.
Afternoon
Saturday, April 7, 4:00 p.m.
1965, 105 mins. Made from footage that was cut from Chelsea Girls at Edie Sedgwick's request, Afternoon is part of Warhol's intended "Poor Little Rich Girl" saga, along with Restaurant and Face.
Beauty #2
Saturday, April 7, 6:30 p.m.
1965, 70 mins. In her most complex, playful performance, Sedgwick flirts in bed with Gino Piserchio—and the camera—while responding to jealous insults from an off-screen Chuck Wein; Gerard Malanga looms by the bed, watching.
Preceded by Poem Posters 1967, 24 mins. Directed by Charles Henri Ford. Sedgwick is the life of the party in this priceless record of a star-studded art gallery opening, with appearances by William Burroughs, Jayne Mansfield, and Jack Smith.
Horse
Sunday, April 8, 4:30 p.m.
1965, 105 min. Sedgwick had a small part in this Western parody, her first Warhol film, which does indeed star a horse. The film is an important transition in Warhol's move towards ironic treatment of Hollywood genres.
Ciao! Manhattan
Sunday, April 8, 6:30 p.m.
1972, 84 mins. 35mm. Directed by John Palmer and David Weisman. Sedgwick died just weeks after making this quasi-biographical film, which combines footage from her Factory days with scenes of “Susan Superstar” looking back on the ruins of her life.
Preceded by fragment from Lulu 1967, 8 mins., video. Directed by Richard Leacock. U.S. Premiere. This expressionistic footage of Sedgwick was filmed for an opera.
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