Giorno began developing sound pieces in 1965, through his introduction to William Burroughs and artist and experimental writer Brion Gysin. So began Giorno Poetry Systems, a nonprofit foundation committed to opening unexplored channels. Giorno was also friend (and sometimes lover) of artists Robert Rauschenberg and Jasper Johns, and it was these creative experimenters of post-abstraction and pop (unlike the New York School of poetry, with its absorption of abstract expressionism) that influenced Giorno’s poetic trials-a “found” style pulled from the streets, enacting the language and politics of the time but also a very revolutionary interest in the means of delivery for poems, using new technologies to bring art to the listener.
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He became embroiled with Andy Warhol during his early experiments with film-Giorno is the star of the iconic black-and-white 1963 movie Sleep, in which he appears as a handsome, nude young man sleeping from various vantage points for the film’s entire five-hour run.
He moved to the city from his childhood home in Long Island to attend Columbia University in the 1950s and eventually headed downtown. At 76, Giorno hasn’t only been a New York resident for most of his life, he has also been a key artist and social lightning rod. They swirl and build and cultivate in their constant cultural rotation.
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Whether it’s his marathon poems full of insights and incidental reflections and mantra-like phrases that he regularly performs or his word paintings of fragmentary text (“JUST SAY NO TO FAMILY VALUES,” 2009 “A HURRICANE IN A DROP OF CUM,” 2009 “LIFE IS A KILLER,” 2009), his works refuse to stand still. It is striking that, for a man who has lived for so long in one place, Giorno’s prolific, polymorphous productions are so centered on movement. Burroughs, for, among other life-sustaining acts, dinners and occasional Buddhist prayer ceremonies when Giorno’s teachers and friends travel from Asia. Giorno has lived in the building for almost five decades and divides his life among its floors: one for writing one for painting and the third, “the bunker,” which originally was home to his longtime friend William S. “This is the first time that one monograph has been dedicated to comprehensively illustrating and reproducing these works.”Ībout 20 of the drawings will also feature in a forthcoming Warhol retrospective at Tate Modern in London, which opens in March.If there is a spiritual shrine in New York City devoted to the downtown art and literary worlds of the past half-century, it exists in a building below Houston Street on the Bowery, in the three lofts owned by poet, performer, painter, and legend John Giorno. It will include hundreds of drawings, of which “a good portion have previously not been seen”, Hermann said. Hermann’s forthcoming book, Andy Warhol: Early Drawings of Love, Sex and Desire, will be published by Taschen this summer. There isn’t a barrier between the artist and the subject … It’s a much more personal and intimate way to capture someone and it tells you a lot about the artist as much as the subject.” He observed that Warhol declared that he wanted to be a machine and created works which were machine-like: “When you have a drawing of someone, the artist’s hand is there. He added that they showed an “emotional vulnerability in a way that a camera just doesn’t” and that “a lot of times you don’t see in Warhol’s work”.
Michael Dayton Hermann, of the Andy Warhol Foundation for the Visual Arts, said he had been “mesmerised” by images that are a precursor to the obsessive way in which Warhol was later to capture people and moments with his Polaroid and 35mm cameras. When he tried to exhibit his drawings in 1950s New York, Warhol encountered homophobic rejection from gallery owners, the latest research reveals. Photograph: Andy Warhol/The Andy Warhol Foundation for the Visual Arts, Inc.