#bob colacello

[twixnmix]

Pat Cleveland and her fiancé Sterling St. Jacques dancing at a party at Halston's home in New York City, 1976.

Photos by Bob Colacello

[leggerezza-dell-essere]

_____ Bob Colacello

[bitter69uk]

“At four in the afternoon, Elizabeth Taylor sauntered onto the set, followed by her secretary, her hairdresser and her wardrobe mistress. She didn’t look puffy; she wasn’t that short and her eyes really were purple. She was already costumed in the one dress her character wears throughout the movie, a pink, green, yellow, orange and blue print Valentino that more than met the script’s requirement for something “garish and vulgar” and was said to have cost $22,000 including four copies to rotate during shooting. Her hair was teased up and out – the script again – but she still looked beautiful, “really beautiful”, as Andy put it. Her secretary and her hairdresser were a pair of Mediterranean musclemen named Ramon and Gianni, in matching tight white t-shirts and tight white trousers, accessorized with red patent leather belts, shoes and shoulder bags. Every so often between takes Ramon would pull a mirror out of his bag and hold it up in front of Elizabeth’s face; then Gianni would pull a teasing comb out of his bag and hand it to Elizabeth, who would fitfully tease her own hair higher. She looked almost mad when she did that, though one couldn’t be sure if she was just in character or almost mad.” From Bob Colacello’s juicy account of the tempestuous production of Italian-made psychodrama The Driver’s Seat in his book Holy Terror: Andy Warhol Close Up (1990), in which his then-boss – cadaverous pop art visionary Andy Warhol – makes a memorable guest star appearance as “a rich creep of undisclosed nationality and occupation” (dubbed with an incongruous British-accented voice!). The Driver’s Seat (aka Identikit) was released fifty years ago today (20 May 1974) and remains mesmerizingly strange. Suffering whiplash mood swings as a woman with a “date with death”, Taylor gives one of her definitive performances. The Driver’s Seat dates from my favourite Elizabeth Taylor era in the late sixties and early seventies when she was gutsily portraying variations of women-having-a-nervous-meltdown in oddball “failed art movies” (like Boom! (1968), Secret Ceremony (1968) and X, Y and Zee (1972)). Taylor goes full blast cray-cray in The Driver’s Seat and it’s awesome to observe.

[fashionbooksmilano]

Bob Colacello's Out

Bob Colacello

Introduction Ingrid Sischy, Design by Sam Shaid

Edition 7L Steidl, Göttingen 2007, 232 pages, 30x21,4cm, ISBN 9788654034

euro 50,00

email if you want to buy booksinprogressmilano@yahoo.it

Out documents a social era that seems so close and yet so far away: that wild, glamorous, disco-and-drugs-driven decade between the end of the Vietnam war and the advent of AIDS, when every night was a party night and such distinctions as uptown and downtown, gay and straight, black and white were momentarily cast aside. As the editor of Andy Warhol's Interview from 1971 to 1983, Bob Colacello was perfectly placed to record the scene, which he did in his monthly "Out" column, a diary of the frenetic social life that took him from art openings to movie premieres, from cocktail parties to dinner parties, from charity balls to after-hours clubs, often all in the course of a single evening. Although Colacello started writing his column in 1973, it didn't occur to him to take his own pictures for it until two years later, when the Swiss art dealer Thomas Ammann gave him one of the first miniature 35-mm cameras to come on the market, a black plastic Minox small enough to hide in his jacket pocket.

With their skewed angles, multilayered compositions, and arbitrary lighting effects, Colacello's pictures have an immediacy, a veracity, and an aesthetic not often found in the work of professional party photographers. He wasn't standing at the door pairing up celebrities and telling them to smile; he was in the middle of the action - "an accidental photographer", he likes to say, catching his "subjects" off-guard. And what subjects he had: Diana Vreeland, Jack Nicholson, Raquel Welch, Mick Jagger, Yves Saint Laurent, Nan Kempner, Gloria Swanson, Anita Loos, Willy Brandt, Joseph Beuys, Robert Rauschenberg and Warhol himself, at his most relaxed and private. Here as well are those who didn't survive the endless party - Truman Capote, Halston, Studio 54's Steve Rubell, Egon von Furstenberg and Tina Chow. Because space in Interview was limited, only a handful of Colacello's pictures were published each month, so most of these images have never been seen before. They bring to life a carefree but reckless moment in history when social mobility and personal expression were played out to the limits.

23/12/23

[romanbymarta]

Roman Polanski and Bob Colacello photographed by Andy Warhol, 1973

[limedollar]

[vqtblog]

Gloria Crespo Maclennan: ‘New York Memories’ Un español en Nueva York las fotografías de David Jiménez para evocar la ciudad de Bob Colacello

[atna2-34-75]

Bob Colacello

[mykristeva]

Jessica Lange in the conference room at 860 Broadway with Fran Lebowitz, 1979. Photo by Andy Warhol.

Bob Colacello & Warhol interview Lange, the rising star. Read here.

Colacello seems dumb, poor Jessica. Warhol is ok. And Fran is Fran:

Jessica: I like your book a lot, Fran.

Fran: Thank you. I haven't read it yet.

[twixnmix]

Andy Warhol's boyfriend Jed Johnson and Bob Colacello in Rome, 1973.

[alessandro55]

Moments Roxanne Lowit Photographs

Textes et dessins inédits en fin d'ouvrage par Marian McEvoy, Grace Jones, Sonia Rykiel, Bob Colacello, Yves Saint Laurent

Editions Assouline, Paris 1992 2nd Ed, 164 pages, 22x32cm, ISBN 2-908 228-08-4

euro 150,00

email if you want to buy booksinprogressmilano@yahoo.it

A record of the celebrity photographs of Roxanne Lowit including superb black and white portraits of Salvador Dali, Grace Jones, Karl Lagerfeld, Yves-Saint Laurent, Diana Vreeland, Andy Warhol, Anna Piaggi,Lou Reed etc) .

12/07/24

[bitter69uk]

Released fifty years ago today (6 November 1974) in US cinemas: Blood for Dracula (aka Andy Warhol’s Dracula). Watching it is a fun way to celebrate its director, titan of underground cinema and frequent Andy Warhol collaborator Paul Morrissey (23 February 1938 – 28 October 2024) – the man described by Glenn O’Brien as “an extreme prude making X-rated movies” – who died recently. Blood is free to stream on Amazon Prime (at least it is in the UK). It was filmed in 1973, immediately upon completion of Flesh for Frankenstein at the legendary Cinecittà Studios in Rome and co-produced with Warhol and Carlo Ponti (Sophia Loren’s husband). As Bob Colacello recounts in his essential 1990 book Holy Terror: Andy Warhol Close Up, “It was a tough schedule: Ponti had given them eight weeks and an $800,000 budget to shoot both movies back-to-back. It was the first time the Factory crew had worked in 35mm – instead of 16mm – and the first film, Frankenstein, was shot in 3D.” In the striking opening credits, we watch in close-up as ashen-faced and consumptive Count Dracula (German actor Udo Kier) morosely applies rouge and lipstick to his anemic face and jet-black dye to his brows and hair. The film’s central joke is that Dracula requires the blood of virgins (pronounced “were-gins”) to survive, so he and his manservant journey from Romania to the Catholic realm of Italy in hopes virgin blood will be more plentiful. Blood is noteworthy for the presence of directors Roman Polanski and Vittorio de Sica in small roles, and for being the last two Factory films directed by Morrissey and starring Joe Dallesandro (who, of course, appears in various stages of undress). As Colacello concludes “Dracula had its moments, but it wasn’t one of Paul’s best. It lacked the kind of pathos and biting social observation that gave the humour of Trash, Women in Revolt and Heat their depth and edge. Perhaps Paul and Andy … were too American, too Pop and camp to do justice to this Central European legend. You can’t send up what you don’t own.”

[donnahinkleystaceytroy]

Lot #507: CHER - Andy Warhol-autographed Edition of Interview Magazine Featuring Cher An autographed edition of Interview magazine featuring Cher on the front cover published in May 1982. Founded in October 1969, Interview was co-founded by artist Andy Warhol and journalist John Wilcock and is still running today. This issue includes an interview named "In Bed with. . . Cher" conducted by Warhol and editor Bob Colacello and the front is autographed in black ink by Warhol. The lot exhibits some minor wear down the spine and light creasing. Dimensions: 43 cm x 27.5 cm x 0.5 cm (17" x 10 3/4" x .25")

Estimate: £500 - 1,000

https://tinyurl.com/sbxzzdx8

[neuroticloserfreak]

candy darling mentions in holy terror by bob colacello + just kids by patti smith

[fashionbooksmilano]

Jonathan Becker 30 Years at Vanity Fair

Assouline,New York 2012, 352 pages, 28x35cm, ISBN  978-1614280798

euro 280,00

email if you want to buy booksinprogressmilano@yahoo.it

Photographer Jonathan Becker began contributing to Vanity Fair following a successful solo exhibition in 1981. His portraits featured largely in the prototype for the magazine’s relaunch in 1982. Becker’s specialty in portraits, photographed mostly on location, soon became a Vanity Fair staple: Robert Mapplethorpe, Jack Kevorkian, Jocelyn Wildenstein, and Martha Graham, as well as countless socialites, artists, and heads of state. Assignments for the magazine have dispatched Becker far and wide—from the Amazonian jungle, for firstencounter photographs of members of the Yanomami tribe, to Buckingham Palace, for the first photographs showing the Prince of Wales and Camilla Parker Bowles together. Over three decades with Vanity Fair, Jonathan Becker has photographed some of the most fascinating characters from the rarefied worlds of art, literature, politics, pop culture, and society, capturing the personality and individuality of his celebrity subjects often unseen through other lenses. Becker is known for his close collaboration with Bob Colacello, Alex Shoumatoff, and other Vanity Fair writers on stories about the denizens of worldly watering holes: the Adirondacks and Aspen, Palm Beach and Palm Springs, Capri and so forth. Over the course of three years’ work for the Rockefeller Foundation, Becker documented its funded projects on five continents. Four books of his work have been published: "Bright Young Things", "Studios by the Sea", Artists of Long Island’s East End (derived from a Vanity Fair assignment with Bob Colacello) and "Jonathan Becker: 30 Years at Vanity Fair".

14/10/23

[shaddad]

fotografia de celebridades pelo escritor bob colacello