#susan bottomly 1960s

[internatlvelvet]

Susan Bottomly in Midnight Cowboy (1969).

[erosioni]

Susan Bottomly, Andy Warhol, 1966. Photo: Carl Fischer.

[60sfactorygirl]

Susan Bottomly, 1960s.

[edie-says1965]

International Velvet (Susan Bottomly) 

1966

[rrrauschen]

Andy Warhol, {1966} Screen Test: Susan Bottomly

[dearmistermuse]

Susan Bottomly and David Croland, somewhere in the 1960s

[artyjesseblog]

[suzylwade]

The Chelsea Girls “I never liked the idea of picking out certain scenes and pieces of time and putting them together, because it ends up being different from what really happened­ – it’s just not life.” - Andy Warhol, Artist. As a new book celebrates the artist’s seminal 1960s movie, a closer look at the film that made the everyday lives of his inner circle into works of art. During the summer of 1966, while hanging out in the famed backroom of ‘Max’s Kansas City’ Andy Warhol took a napkin and began to draw a line down the middle. On one side, he wrote ‘B’ and on the other ‘W’. From this simple sketch the concept of a split screen film which would become ‘Chelsea Girls’ was born. A true radical in the avant-garde cinema community, Warhol’s first major film was ‘Sleep’ (1963) a five-hour, 20-minute silent film of John Giorno, his boyfriend at the time. It could be described as an endurance test for nothing much happened. Warhol took this idea of the still camera and the unedited reel of film, combined it with the faux-documentary sensibility of cinéma vérité, added his ‘Superstars’ into the mix. He set them in a simple scenario and let them do their thing. The result was ‘Chelsea Girls’ was born a split-screen film featuring 22 different 33-minute reels featuring appearances by Nico, International Velvet, Eric Emerson, Brigid Berlin, Mario Montez, Ondine, Gerard Malanga, Susan Bottomly and Ingrid Superstar that became Warhol’s first commercially successful film – due in no small part to the classic cocktail of sex, drugs and drama. The concept for each scene was basic enough to allow the ‘Superstars’ the freedom to perform for the camera. In one reel, Nico and Randy Bourcheidt sit inside a closet at Panna Grady’s apartment at the ‘Dakota’ pretending to be two children living in this intimate space. In another Brigid Berlin takes on the role of ‘The Dutchess”'a real-life dope dealer and speed freak. She describes her appearance as thus, “I looked like a 700-pound canary.” Andy Warhol’s ‘The Chelsea Girls’ by Geralyn Huxley and Greg Pierce is out now, published by 'Distributed Art Publishers' and ‘The Andy Warhol Museum’.

[internatlvelvet]

Susan Bottomly and David Croland photographed by Melvin Sokolsky.

[internatlvelvet]

Susan Bottomly and Mary Woronov in The Chelsea Girls (1966)

[internatlvelvet]

Susan Bottomly and Allen Midgette in **** (1967).

[internatlvelvet]

[internatlvelvet]

Susan Bottomly in The Chelsea Girls (1966)

[internatlvelvet]

Feb 1967: US Vogue. Susan Bottomly

[internatlvelvet]

Susan Bottomly and David Croland, 1960s. Photographed by Lillian Bassman.