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CANDY DARLING: DRAWINGS & MUSINGS 1969/1972
CANDY DARLING [1:31 min] Cut-up of footage taken from the film "Women in Revolt"
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Candy Darling (1944-1974), was born James Lawrence Slattery in Forest Hills, NY, and became part of Andy Warhol's Factory scene, making two feature films for him, Flesh (1968) and Women In Revolt (1971). A fixture on Off-Off Broadway, and the New York/European art scene. Candy made two films for German director Werner Schroeter, as well as a number of avant-garde feature films for American directors.
She was photographed by major photographers from Richard Avedon to Sir Cecil Beaton, Peter Hujar, Robert Mapplethorpe, Francesco Scavullo, etc. The Rolling Stones mentions Candy in Citadel, and in two important Lou Reed songs, Walk on the Wild Side and Candy Says.
An award-winning feature documentary entitled Beautiful Darling directed by James Rasin and produced by Jeremiah Newton, has since its release, been featured in over 80 film festivals all over the world to rave reviews.
Two books have been published about Candy's life and times; one being Ed Hardy's 1996 book, My Face For the World to See, and the second published by Francesco Clemente, entitled Candy Darling Diaries, and heavily contains Candy's drawings taken from her diary/notebook which she used from 1969-1972, and reflected her thoughts and musings through her doodles and words.
Some of these extremely rare original musings and drawings, from the Jeremiah Jay Newton Collection, will be on display and for sale in the show. The remainder of the Candy Darling archives are on permanent display at the Andy Warhol Museum in Pittsburgh, PA.
This is a rare opportunity for the general public to own for themselves a genuine piece of exciting avant-garde history.
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PREVIEW by Rozalia Jovanovic
CANDY DARLING’s DRAWINGS AND MUSINGS FOR SALE
Published in: Gallerist NY on May 29, 2012
Tomorrow evening, the Clayton Patterson Gallery & Outlaw Art Museum on the Lower East Side will open the exhibition “Candy Darling: Drawings & Musings 1969/1972.” The show features works by Candy Darling, the late transgender artist and muse of Andy Warhol, Lou Reed and Salvador Dalì. The show will consist of 17 drawings along with photographs and a large painting from Darling’s estate, the only one she ever created.
In 2009, Jeremiah Newton, a close friend of Darling’s and the executor of her estate, donated the last of two installments of a large archive of Darling’s work including diaries, letters and photographs, as well as Darling’s cremated remains, to the Andy Warhol Museum, in Pittsburgh.
“I didn’t think I had anything anymore,” said Mr. Newton during a phone conversation with Gallerist this morning. “But it turned out I did.”
Since he donated the Candy Darling archives, many people have been asking Mr. Newton if he has other works by Darling for sale. “A new generation,” said Mr. Newton. “These are people in their 20s and 30s who weren’t alive when Candy was alive.” These drawings, each of which is original and one-of-a-kind, are from Darling’s journals that are separate from the work donated to the museum. They will be on sale from $700 to $1,000.
Darling, who was born James Lawrence Slattery in 1944, moved to the West Village from Long Island in the late 60′s where he reinvented himself as Candy Darling, a glamorous woman who became one of Andy Warhol’s superstars, starring in several of his films and regularly holding court at Max’s Kansas City. Mr. Newton lived with Darling in Manhattan and Brooklyn until her death in 1974, from Hodgkin’s lymphoma. He produced a documentary about Darling’s life, Beautiful Darling: The Life and Times of Candy Darling, Andy Warhol Superstar, which premiered at the Berlin Film Festival in 2010 and starred Chloe Sevigny reading from Darling’s journals.
“Candy was brilliant at ad libbing,” said Mr. Newton. “When you made a Warhol film,” he said, “the camera was on you, and Andy would say, ‘Why don’t you talk about women’s rights?’ If you were clever, the camera would stay on you. If you weren’t clever, the camera would move away to somebody else, who was cleverer.”
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REVIEW by Colin Moynihan
FROM THE ARCHIVES, A PORTRAIT OF A POP-ART MUSE
published in: The New York Times on February 24, 2009
She was baptized James Lawrence Slattery in 1944 but reinvented herself as Candy Darling in the late 1960s after leaving suburban Long Island for the streets of the West Village, a place in the back room at Max’s Kansas City and a role as muse.
She hung out with artists like Andy Warhol and crossed paths with musicians like David Bowie. The filmmaker Paul Morrissey put her in two of his movies. Lou Reed wrote the Velvet Underground song “Candy Says” with her in mind and included a verse about her in his “Walk on the Wild Side.”
And she inspired Jeremiah Newton, now the film, television and video liaison at the Tisch School of the Arts at New York University, to begin assembling the only known archive of items associated with Candy Darling, including diaries, letters, photographs and her cremated remains. After providing the Andy Warhol Museum in Pittsburgh with part of the collection a year and a half ago, Mr. Newton delivered the rest of the items last week.
It was as a teenager in the summer of 1966 that Mr. Newton first met Candy Darling, a self-styled transgender glamour girl. He was on his first trip to the Village from his home in Flushing, Queens, when he encountered her promenading with two downtown drag queens past the old Women’s House of Detention on Greenwich Avenue, where prisoners peered through slit windows in a tower and shouted down to passers-by.
The two soon became friends and roommates, living together in Manhattan and Brooklyn until 1974, when she died of Hodgkin’s lymphoma at 29.
I realized I wanted to keep Candy alive,” Mr. Newton said during a conversation in his East Village apartment, adding that the documentary was “making her real again as a human being.”
The film was written and directed by James Rasin and produced by Mr. Newton and Gill Holland. The filmmakers interviewed figures like the director John Waters; the photographer and filmmaker Gerard Malanga, who frequently worked with Warhol; and Holly Woodlawn, who along with Candy Darling and Jackie Curtis attained fame in the Warhol years as gender-bending pop personalities.
There are also audio interviews that Mr. Newton conducted decades earlier with Tennessee Williams, who cast Candy Darling in his 1972 play “Small Craft Warnings,” and Valerie Solanas, who in 1968 shot Warhol as he entered the Factory.
The documentary intersperses recent interviews with still photographs and archival footage showing Candy Darling in the 1960s and ’70s. In several instances she is shown with Mr. Newton, and ultimately the film is as much about his interrupted relationship with her as it is about her brief trajectory.
A recent look through some of the material illustrates the path Candy Darling followed from a Long Island teenager in a shop class to an exuberant exponent of the downtown demimonde.
An “enrollment agreement” from 1961 shows that she signed up for a course at the DeVern School of Cosmetology in Baldwin, on Long Island. A Selective Service System form dated 1965 ordered her to show up for an early morning physical examination, a date Mr. Newton says he doubts she kept.
Items from the next decade include a photograph of her performing in the play “Vain Victory,” written by Jackie Curtis and produced in 1971 at La MaMa in the East Village, and a clipping of a 1973 profile in Esquire magazine by Thomas Berger titled “Candy Darling Is (Almost) All Girl.” But the archive also contains indications of the underlying anxiety and uncertainty that Mr. Newton said plagued Candy Darling, who often feared that she would never find true romantic love.
In a diary entry dated June 1972 she wrote: “I am filled with frustration and anxiety. Last night I prayed I would die and pictured myself in a coffin.”
“She was so beautiful and so feminine that people treated her with respect and some awe,” he said. Mr. Newton was never romantically involved with Candy Darling, he said, but she became an important friend and mentor.
She invited him to art openings, film premieres and theater productions. In 1972 they traveled to Wesleyan University for a screening of Mr. Morrissey’s “Women in Revolt.” Afterward she led a crowd of audience members, including the historian William Manchester, on an impromptu parade through the quiet streets of Middletown, Conn.
The first time Mr. Newton entered Max’s Kansas City, Candy Darling beckoned him into the back room, where she was sitting with members of the Warhol Factory. “Candy was like the Dorothy Parker of Max’s,” he said. “The idea of living a day without her in my life was horrible.”
For Mr. Newton, the film became a sort of memorial, and much of it contains elements of strong emotional resonance. “I like seeing those old images, but it also makes me very sad,” he said. “I’m looking at the past, and I can’t change anything that happened.”