Rene Ricard

Rene Ricard

Nascimento : 1946-07-23, Boston, Massachusetts, USA

Morte : 2014-02-01

História

Rene Ricard was an American poet and painter who achieved status in the art world dating back to his involvement with Andy Warhol, appearing in several of his films such as Kitchen and Chelsea Girls. Well known for his influential essays in Artforum, Ricard held a major role in helping to establish the careers of Keith Haring and Jean-Michel Basquiat.

Perfil

Rene Ricard

Filmes

Asthma
Juan
A young musician takes a beautiful tattoo artist on a ride in a stolen classic car.
Jean-Michel Basquiat: The Radiant Child
Self
Biografia do artista Jean-Michel Basquiat que é considerado um dos mais importantes pintores negros do século XX. Sua vida curta e morte inesperada aos 27 anos fizeram dele um ícone cultural.
You Wont Miss Me
Allen B. Poor
A kaleidoscopic film portrait of Shelly Brown, a twenty-three year-old alienated urban misfit recently released from a psychiatric hospital.
Underground U.S.A.
Kenneth
The Sunset Blvd. of underground cinema, and a suitably ambivalent retrospect on the star-game casualties of New York's upper depths, with Patti Astor statuesquely hysterical as a 20-year-old Norma Desmond, made up to recall Edie Sedgwick and surrounded by Warhol's lost children. We've been here before, but without the hindsight: a camera cruise along a hustler's meat-rack, kitchen-talk over cold canned spaghetti, Taylor Mead grimacing in a spastic dance, the silent stud a sullenly passive observer. Mitchell's ear for campy native wit and eye for figures in a loft-scape happily keep at bay the otherwise contagious NY ennui.
Red Italy
Second feature film by the French-born director is a Bertolucci-style story of a bored, rich woman looking for romance and adventure. She meets an American G.I., dumps him, then falls for a Communist worker.
Joan of Arc
The story of Joan of Arc as applied to the present revolution in arts and more. The Gothic is applied to the War in Vietnam. The film is experimental in the sense that in it the visual becomes tactile.
★★★★
Photographed entirely in color, Four Stars was projected in its complete length of nearly 25 hours (allowing for projection overlap of the 35-minute reels) only once, at the Film-Makers' Cinematheque in the basement of the now-demolished Wurlitzer Building at 125 West 41st Street in New York City. The imagery in the film is dense, wearying and beautiful, but ultimately hard to decipher, for, in contrast to his earlier, and more famous film Chelsea Girls, made in 1966, Warhol directed that two reels be screened simultaneously on top of each other on a single screen, rather than side-by-side.
Hall of Mirrors
This film is an outgrowth of one of Sonbert's film classes at NYU, in which he was given outtakes from a Hollywood film photographed by Hal Mohr to re-edit into a narrative sequence. Adding to this found footage, Sonbert filmed Warhol's superstars Rene Ricard and Gerard Malanga in more private and reflective moments. -- Jon Gartenberg
Kitchen
Instructed by Warhol to write a vehicle for Edie Sedgwick in a “completely white” setting, scenarist Ronald Tavel created one of Warhol’s most iconic films. Here a group of performers of all stripes – the sink and litter basket receive equal billing to the human actors – are forced into Warhol and Tavel’s cruelly comical theatre of the absurd. Inside this cramped domestic space, boredom, confusion and a sense of existential dread hang heavy in the air. Warhol and Tavel transform the modern 1960s kitchen – replete with the latest gadgets and conveniences – into a chaotic laboratory for self-creation and interpersonal conflict.
The Andy Warhol Story
Andy Warhol
Andy Warhol (Rene Ricard) invites a friend (Edie Sedgwick) over to his apartment one evening to discuss his career. As they talk, the truth about how Warhol uses and then throws people away comes out. The woman begins to come undone and reveals to Warhol how he ruined her life with drugs and false promises of fame.
Andy Warhol Screen Tests
Self
The films were made between 1964 and 1966 at Warhol's Factory studio in New York City. Subjects were captured in stark relief by a strong key light, and filmed by Warhol with his stationary 16mm Bolex camera on silent, black and white, 100-foot rolls of film at 24 frames per second. The resulting two-and-a-half-minute film reels were then screened in 'slow motion' at 16 frames per second.