“I am doing what I want to do, and it’s a nice feeling that somebody’s taking a picture of it!” —Jason Holliday
Hustler and nightclub artist Jason Holliday was a figure whose life intersected with the superstar scene of Warhol’s Factory. Avant-garde filmmaker Shirley Clarke filmed him all night in her penthouse at the Chelsea Hotel. With a drink in hand, Holliday delivers a series of performative monologues and the occasional cabaret number. Revolutionary and complicated, then and now, Clarke’s portrait is a potent reminder of what the world was like for an openly gay Black man in the heat of the civil rights movement and just before the Stonewall Uprising. 1967, US, 35mm, 105 min.
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Bios
Hilton Als is an award-winning journalist, critic, and curator. He has been a staff writer at The New Yorker since 1994. Prior to that, Als was a staff writer for the Village Voice and an editor-at-large at Vibe. He has received numerous awards for his work, including the Pulitzer Prize for Criticism (2017), Yale’s Windham-Campbell Literature Prize (2016), the George Jean Nathan Award for Dramatic Criticism (2002–03), and a Guggenheim Fellowship (2000). His first book, The Women, was published in 1996. His next book, White Girls, was a finalist for the National Book Critics Circle Award and the winner of the Lambda Literary Award in 2014. His most recent book My Pinup, a meditation on love and of loss, of Prince and of desire, was published in November 2022. He is currently a teaching professor at the University of California, Berkeley, and has also taught at Columbia University’s School of the Arts, Princeton University, Wesleyan University, and the Yale School of Drama.
Shirley Clarke first trained as a dancer and crossed over to make experimental dance films. Throughout the 1950s and 1960s, Clarke’s groundbreaking cinéma vérité, avant-garde, and dramatic narrative films were instrumental in the growth of the American independent film movement. She was a leader for the New York film community as cofounder (with Jonas Mekas) of Filmmakers Cooperative. Using her own film work, Clarke fought against censorship controls to advocate for new cinema reflecting changing culture and times. Clarke’s films have been shown at the New York Film Festival; the Cannes Film Festival; the Museum of Modern Art, New York (1971 retrospective); the Whitney Museum of American Art, New York (1987 retrospective); and as a part of Walker Art Center’s touring film program American New Wave 1958–1967 (1982), among many other festivals and exhibitions.
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