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Janet Susan Mary Hoffmann|
August 23, 1938
Syracuse, New York, US
|Residence||Palm Springs, California|
Michel Auder |
(m. 1970; div. ????]
|Children||Two, including Gaby Hoffmann|
Life and career
She was born Janet Susan Mary Hoffmann in Syracuse, New York, the daughter of Mary Alice (née McNicholas) and Wilfred Ernest Hoffmann. Hoffmann was the eldest of nine children born into a family of strict Roman Catholics. Her father was a prosperous attorney, and her parents were fervent supporters of the Army–McCarthy hearings held to expose Communist government infiltration. The Hoffmann children were required to watch the televised proceedings. Raised in devout Catholicism, she considered becoming a nun.
Viva began her career in entertainment as a model and painter. She retired from both professions however, claiming that she believed painting to be a dead medium, and describing her time as a model as "...a period of my life I would rather forget." She was given the name Viva by Andy Warhol before the release of her first film but later used her married last name (Auder). She appeared in several of Warhol's films and was a frequent guest at the Factory.
Viva's film career began in 1967, when she began filming Ciao! Manhattan, which was not completed until 1972. Viva approached Andy Warhol about being in one of his films, on the suggestion of her friend, actress Abigail Rosen McGrath. Warhol agreed, but only on the condition that Viva take off her blouse for the role. Viva responded by adhering bandaids to her breasts and visiting Andy at The Factory.
Viva appeared in many of Warhol's films. The first, Tub Girls, consists of Viva lying in a bathtub with various people of both sexes, including Brigid Berlin and Rosen McGrath. She also appeared in Bike Boy, a film centered around a motorcyclist trying to find himself; and The Nude Restaurant, in which she played a waitress, opposite Taylor Mead.
By far, Viva's most controversial role was in Blue Movie, a seminal film in the Golden Age of Porn that helped inaugurate the "porno chic" phenomenon in modern American culture. Viva played opposite Louis Waldon. The film consists of improvised dialogue between Viva and Waldon about a multitude of topics, including The Vietnam War, President Nixon, and various mundane tasks. These conversations are interrupted by the main event of the film, in which Viva and Waldon actually perform sexual acts in front of the camera. The film was seized by New York City Police for obscenity, and the theater manager, projectionist, and ticket-seller at the New Andy Warhol Garrick Theatre arrested for possession of obscene materials.
Viva was on the phone with Andy Warhol when he was shot by Valerie Solanas in 1968. Following Solanas' attempt on Warhol's life, Viva developed a close, personal friendship with Warhol's mother, Julia Warhola. Returning from the hospital, however, Andy accused Viva of utilizing his absence to spy on his work and his mother, creating a rift in a relationship that was never repaired. Viva never saw Mrs. Warhola again after that.
Viva's first starring role in a non-Warhol film was in Agnès Varda's Lions Love in 1969. The film features Viva in a ménage à trois with Gerome Ragni and James Rado. On November 1, 1968, Viva appeared on The Tonight Show on an evening that was guest-hosted by Woody Allen. Four years later Allen cast her in his 1972 film Play It Again, Sam in the role of Jennifer.
After she began making films for other directors she also began writing. Her first book, Superstar, was an insider's look at the Factory scene, a partly fictional autobiographical account of her time there. It was distinguished from other "tell-all" memoirs by virtue of her writing, which incorporated various stylistic effects, including the use of taped conversations. She also wrote for various publications, including The Village Voice and New York Woman.
Viva incorporated the use of video tapes into her second book The Baby. These tapes were later released by her former husband, video artist Michel Auder, as Chronicles: Family Diary in three parts.
She was the narrator for Carla Bley's 1971 experimental jazz composition Escalator over the Hill. Viva was one of the early pioneers in video art. During the 1970s Viva was a guest participant in Shirley Clarke's Teepee Video Space Troupe, which she formed in the early 1970s.
With former husband Michel Auder, Viva made and kept film diaries which included the birth of her first daughter, Alexandra (Alex) Auder. She was briefly engaged to the actor Anthony Herrera. They had one child together, the actress Gaby Hoffmann.
Though artistically successful, Viva was never very successful financially. In 1993, she was taken to housing court by the Chelsea Hotel, where she lived with her two daughters, for not paying her $920 a month rent for two years. Her daughter, Gaby, reflects, “We lived in a classless society. We’d spend a summer at Gore Vidal’s house in Italy, but we were on and off welfare.”
- News From Nowhere (2010) Viva
- The Feature (as Viva Superstar) (2008)
- The Man Without a Face (1993) Mrs. Cooper
- Paris, Texas (1984) Woman on TV (as Viva Auder)
- The State of Things (1982) Kate
- Forbidden Zone (1982) Ex-Queen
- Flash Gordon (1980) Cytherian Girl
- New Old (1979)
- Seduction of Patrick (short) (1979)
- Play It Again, Sam (1972) Jennifer
- Ciao! Manhattan (1972) Diana – Vogue editor
- Cisco Pike (1972) Merna
- Necropolis (1970) Countess Bathory (as Viva Auder)
- Cleopatra (1970) Cleopatra
- Lions Love (1969) Viva
- Blue Movie (1969) Girl in Bed
- Sam's Song (1969) Girl with the Hourglass
- Midnight Cowboy (1969) Gretel McAlbertson – The Party
- Keeping Busy (1969)
- Trapianto, consunzione e morte di Franco Brocani (1969)
- Lonesome Cowboys (1968) Ramona D'Alvarez
- San Diego Surf (1968) Susan Hoffman
- The Loves of Ondine (August 1968) Girl in Bed
- The Nude Restaurant (1967) The Waitress
- Bike Boy (October 1967) Girl on couch
- Tub Girls (1967)
- Superstar (1970)
- The Baby (1974)
- Flatley, Guy (November 9, 1968). "How to Be Very Viva—A Bedroom Farce. D7. Print. (behind paywall)". New York Times. Retrieved December 29, 2015.
- "Viva Viva Viva". Women's Wear Daily [New York] February 29, 1968: 10. Print.
- "Ciao Manhattan" IMDb. IMDb.com, n.d. Web. August 2015.
- "Tub Girls" IMDb. IMDb.com, n.d. Web. August 2015.
- "'Bike Boy' Opens at the Hudson Theater." The New York Times October 6, 1967: 31. Print.
- Viva Hoffman. "Warhol Superstar Viva Remembers Andy, His Mother & The Artist's Early Brush With Death." Bio.com. A&E Networks Television, n.d. Web. August 11, 2015.
- Canby, Vincent (July 22, 1969). "Movie Review - Blue Movie (1968) Screen: Andy Warhol's 'Blue Movie'". New York Times. Retrieved December 29, 2015.
- Canby, Vincent (August 10, 1969). "Warhol's Red Hot and 'Blue' Movie. D1. Print. (behind paywall)". New York Times. Retrieved December 29, 2015.
- Staff. "Blue Movie (1969)". IMDB. Retrieved December 29, 2015.
- Blumenthal, Ralph (January 21, 1973). "Porno chic; 'Hard-core' grows fashionable-and very profitable". The New York Times Magazine. Retrieved February 8, 2016.
- Corliss, Richard (March 29, 2005). "That Old Feeling: When Porno Was Chic". Time. Retrieved January 27, 2016.
- The Shot That Shattered The Velvet Underground Village Voice June 3, 1968 Archived May 26, 2010, at the Wayback Machine.
- Armes, Roy. "Three Women Directors." London Magazine February 1, 1970: 104-08. Print.
- "Obituary". San Antonio Express-News. July 3, 2011. Retrieved August 4, 2012.
- Kennedy, Dana (March 25, 1994). "30 Minutes of Fame". Entertainment Weekly. Retrieved August 4, 2012.
- "Anthony Herrera Obituary". San Antonio Express-News. July 3, 2011. Retrieved August 4, 2012.
- "Anthony Herrera Obituary". Stone County Enterprise. July 28, 2011. Retrieved August 4, 2012.
- Speers, W. "Basinger Told to Pay $8.9 Million for Quitting Film." Philadelphia Inquirer March 25, 1993: n. pag. Print.
- Brodesser-Akner, Taffy. "The Chelsea Hotel Had Its Own Eloise." The New York Times July 8, 2013: n. pag. Print.