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Edie Sedgwick delivers review of As It Turn Out

Edie Sedgwick delivers review of As It Turn Out

 


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From March 1965 to January 1966, New York City was seduced by an unexpected couple. A bewildered Andy Warhol, odd-looking with his pale skin and silver wig, stands out as the leading practitioner of Pop Art. Waiflike, modern Edie Sedgwick with her pixie haircut and hoop earrings was described as a debutante, heiress and member of the Boston Brahmins (none of which was actually true).

During their time together in the spotlight, which started in earnest when they appeared at a preview of Three Centuries of American Painting at the Metropolitan Museum of Art and received more press attention than first lady Lady Bird Johnson , they dominated Manhattan’s social scene. . As Merv Griffin said of them when they appeared on his TV show, No party in New York is considered a success unless they’re there.

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Although the pair did some glamorous photos, their fame was based on more than media coverage. During these 10 months, Edie was an integral part of the films that Warhol was making. Her films were often just never-before-seen recreations of everyday life, like a person sleeping or people kissing, but those featuring Edie, especially Poor Little Rich Girl, were actual portrayals of a subject. beautiful and engaging. As Warhol would later write, The fascination I felt was probably very close to a certain type of love.

Their collaboration is at the heart of As It Turn Out: Thinking About Edie and Andy, by Alice Sedgwick Wohl, Edie’s older sister. The book is a family memoir with Edie as the main focus. Unwavering in its honesty, Wohl’s memoir offers an ominous glimpse into a privileged class family in the Americas, a family worthy of scrutiny because one of its members whose presence brightly survives in his films remains a source of fascination more than 50 years after his death. .

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Edies’ parents, Alice de Forest and Francis (Fuzzy) Sedgwick, have been warned by a psychiatrist not to have children. They had eight. Edie was second to last. At the time of his birth, the family had moved from a mansion in Cold Spring Harbor on Long Island to a ranch near Santa Barbara. When oil was discovered there, Fuzzy moved her offspring to a larger ranch, San Francisco’s Rancho La Laguna, where Edie spent her formative years. His main activity was horseback riding.

As for Edie’s mother, Wohl says, I never saw my mother lift a finger except to saddle her horse. She avoided both housework and child-rearing. The father, a member of no less than seven private clubs, was a hardcore racist who made sexual advances to his daughters. When Edie arrived in New York, writes Wohl, she told everyone that she had been the victim of Fuzzy’s sexual advances since she was seven years old.

One day when Edie came across her dad having sex with a beautiful young woman we all knew, he assaulted her and called the doctor and said she was crazy. Edie told her mum what had happened, but, according to Wohl, mum wouldn’t believe her and after that she was kept in a dark room half drugged the whole time.

It’s no surprise that during her teens and early twenties, Edie suffered from bulimia, terminated an unwanted (then illegal) pregnancy, and had stints at Silver Hill, a psychiatric hospital in New York. Canaan, Connecticut, and the modern incarnation of the former Bloomingdale’s Insane Asylum in White Plains, NY, where she received electroconvulsive therapy treatments.

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So Edie was anything but a simple young woman when she was introduced to Warhol on March 26, 1965, at a party hosted by film producer Lester Persky at his Central Park South penthouse. Warhol was smitten Ooooh, she’s so bee-you-ti-ful, he cooed and invited her to the Factory, his studio. Unfazed by her stardom, Edie was dating Bob Dylan, she went the next day, and the pair began a collaboration that produced some of Warhol’s most memorable films, including Vinyl, Poor Little Rich Girl, Restaurant, Kitchen and Afternoon.

One fact about Afternoon saddens me, writes Wohl, explaining that the third reel would have been the opening segment of Chelsea Girls, the most successful of all Warhols films, had only Edie pulled it off. Under contract to Dylans’ agent, Edie believed she was headed for Hollywood, so she wanted to cut back on her involvement in Warhol films. This explains why, in the future, she was set to be a character in Warhols a: A Novel, a book based on events in the lives of various Warholites, recorded on 12 tapes but appeared in few films. The best was Outer and Inner Space, which, Wohl observes, is a really great piece of art, and it kills me that Edie had no idea what it meant to be its subject.

The pinnacle of the Warhol-Sedgwick alliance came on October 8, 1965, the night they attended the opening of curator Sam Greens Warhol retrospective in Philadelphia. A room that held 400 people was overrun with 4,000 excited fans eager to catch a glimpse of the couple. Unbeknownst to Edie and others present, Wohl writes that “even Andy couldn’t have felt it, it was the absolute highlight of his life and Edie Sedgwick’s apotheosis.

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The collaboration ended at the end of January 1966 after a dinner at Ginger Man in Manhattan. As Wohl describes the scene, Edie complained to Warhol, with everyone at the table watching, that he wouldn’t let her near him, and suddenly she said she didn’t want anyone anymore. he shows his films of her because they made her look ridiculous. Soon Dylan arrived, Edie left with him, and Warhol had nothing to do with her anymore.

Edie’s dream of a career in Hollywood never materialized, and on November 16, 1971, she died of a barbiturate overdose in California. What remains, Wohl observes in his sensitive and elegantly written memoirs, is the work, the films themselves, which represent the age of the image, which had just been born.

She adds that Andy anticipated it. Like, perhaps, in her own way, Edie.

Paul Alexander has published eight books, including Death and Disaster: The Rise of the Warhol Empire and the Race for Andys Millions. He teaches at Hunter College.

Thinking of Edie and Andy

Farrar, Straus and Giroux. 272 pages. $28

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