Koolhaus on Movie: "In the thirties - when the second Waldorf is being built - the 'Hotel' becomes Hollywood's favorite subject. In a sense, it relieves the scriptwriter of the obligation of inventing a plot. A Hotel is plot - a cybernetic universe with its own laws generating random but fortuitous collisions between human beings who would never have met elsewhere."The appeal of the Hotel to Warhol is obvious. Grand Hotel (1932) with Garbo, Barrymore (Lionel and John), Crawford, and Beery serves as the prototype for any of these plotless gatherings as film, think airport, ocean liner, department store. Warhol's Chelsea Girls (1966) with Brigid Berlin, Nico, Ondine, Ingrid Superstar, International Velvet, and Mary Woronov, takes the theme and the hotel underground. The Chelsea is the dark side of the Waldorf-Astoria.
Another locale for the plotless movie is the museum or library, which is where Grand Hotel and Chelsea Girls are now shown. Of course, the cemetery is the dark side of the museum or library, and a film like Dawn of the Dead (1978), where zombies wander aimlessly in a mall, attempts to drive a stake through the heart of the endless proliferation of Grand Hotel films and to spit on their graves.
As the remake of Dawn of the Dead (2004) proves, the attempt was unsuccessful and the Grand Hotel plot rises to screen yet again. And again. And again. Warhol would love it.
JB
MIMEO MIMEO #8: CURATORS' CHOICE features 16 bibliophiles on 6 highlights from their personal or institutional collections. Contributors include Steve Clay, Wendy Burk, Tony White, Brian Cassidy, Thurston Moore, J.A. Lee, Michelle Strizever, Adam Davis, Michael Basinski, Joseph Newland, Alastair Johnston, Tate Shaw, Michael Kasper, Steve Woodall, Molly Schwartzberg, Nancy Kuhl, James Maynard, and the Utah posse (Becky Thomas, Marnie Powers-Torrey, Craig Dworkin, Emily Tipps, Luise Poulton, & David Wolske)
MIMEO MIMEO #7: THE LEWIS WARSH ISSUE is the first magazine ever devoted in its entirety to poet, novelist, publisher, teacher, and collage artist Lewis Warsh. Warsh was born in 1944 in the Bronx, co-founded Angel Hair Magazine and Books with Anne Waldman in 1966, and went on to co-found United Artists Magazine and Books with Bernadette Mayer in 1977. He is the author of over thirty books of poetry, fiction and autobiography, the Director of the MFA program in Creative Writing at Long Island University in Brooklyn, and as you’ll soon discover, so much more. Includes an introduction by Daniel Kane, an interview conducted by Steve Clay, 10 new stories, 5 new poems, dozens of photographs and collages, and an anecdotal bibliography.
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MIMEO MIMEO #6: THE POETRY ISSUE is devoted to new work by eight poets who have consistently composed quality writing that has influenced and inspired generations since the golden era of the mimeo revolution. Contributors include Bill Berkson, John Godfrey, Ted Greenwald, Joanne Kyger, Kit Robinson, Rosmarie Waldrop, Lewis Warsh, and Geoffrey Young. Cover art by George Schneeman.
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MIMEO MIMEO #3: THE DANNY SNELSON ISSUE examines the relationship between structuralism and the poetries of the mimeo era by presenting a detailed analysis of Form (a Cambridge-UK magazine published in 1966) and Alcheringa (a journal published by Boston University in 1975), two exemplary gatherings that illuminate the historical, material and social circumstances under which theory informed art (and vice versa) in the early works of some of today's most celebrated experimental writers. Also includes a special insert, The Infernal Method, written, designed and printed by Aaron Cohick (NewLights Press).
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MIMEO MIMEO #2: features Emily McVarish on her artist's book Flicker; James Maynard on poet Robert Duncan's early experiences as an editor and typesetter; Derek Beaulieu on the relationship between the influential Canadian poetry journal Tish and Black Mountain College; and an extensive interview with Australian poet and typographer Alan Loney conducted by Kyle Schlesinger. Cover is by Emily McVarish.
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