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Ultra Violet - Famous for 15 Minutes: My Years with Andy Warhol

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Famous for 15 Minutes: My Years with Andy Warhol: summary, description and annotation

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One of Andy Warhols superstars recalls the birth of an art movementand the death of an icon
In this audacious tell-all memoir, Ultra Violet, born Isabelle Collin Dufresne, relives her years with Andy Warhol at the Factory and all of the madness that accompanied the sometimes-violent delivery of pop art.
Starting with her botched seduction of the shy, near-blind, bald, gay albino from Pittsburgh, Ultra Violet installs herself in Warhols world, becoming his muse for years to come. But she does more than just inspire; she also watches, listens, and remembers, revealing herself to be an ideal tour guide to the assembly line for art, sex, drugs, and film that is the Factory. Famous for 15 Minutes drips with juicy details about celebrities and cultural figures in vignettes filled with surreptitious cocaine spoons, shameless sex, and insights into perhaps the most recognizable but least intimately known artist in the world.
Beyond the legendary artist himself are the throngs of Factory regularsBilly Name, Baby Jane Holzer, Brigid Polkand the more transient celebrities who make appearancesBob Dylan, Jane Fonda, Jimi Hendrix, John Lennon.
Delightfully bizarre and always entertaining, filled with colorful scenes and larger-than-life personalities, this dishy page-turner is shot through with the authors vivid imagery and piercing observations of a cultural idol and his eclectic, voyeuristic, altogether riveting world.

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Famous for 15 Minutes My Years with Andy Warhol Ultra Violet Contents - photo 3
Famous for 15 Minutes My Years with Andy Warhol Ultra Violet Contents - photo 4
Famous for 15 Minutes
My Years with Andy Warhol
Ultra Violet
Contents Disclaimer Just as Impressionist painters used strokes of color - photo 5
Contents
Disclaimer
Just as Impressionist painters used strokes of color rather than photographic techniques to portray objects, so I have taken artistic license in conveying both reality and essence in this book. I have relied on memory, diaries, tapes, recorded phone calls, press clippings, books, magazines, interviews, and conversations to document what I bear witness to. All conversations are reconstructed and are not intended, nor should they be construed, as verbatim quotes.
Dramatis Personae
THE STARS
Ultra Violet
Andy Warhol
SUPPORTING CAST
John Chamberlain
John Graham
Salvador Dali
Edward Ruscha
THE FACTORY ENTOURAGE
Tom Baker
Gerard Malanga
Brigid Berlin (Polk)
Taylor Mead
Jackie Curtis
Paul Morrissey
Joe Dallesandro
Billy Name
Eric Emerson
Nico
Andrea Wips Feldman
Ondine
Pat Hackett
Lou Reed
Baby Jane Holzer
Edie Sedgwick
Fred Hughes
Valerie Solanas
Ingrid Superstar
Velvet Underground
International Velvet
Viva
Jed Johnson
Holly Woodlawn
CAMEOS
Cecil Beaton
John Lennon
Betsy Bloomingdale
Liberace
Maria Callas
Charles Ludlum
Truman Capote
Norman Mailer
Divine
Andr Malraux
Marcel Duchamp
Maxs Kansas City (Mickey Ruskin)
Bob Dylan
Jim Morrison
Ahmet Ertegun
Tiger Morse
Mia Farrow
Si Newhouse
Jane Fonda
Barnett Newman
Milo Forman
Richard Nixon
Princess Ira von Furstenberg
Rudolf Nureyev
Greta Garbo
Aristotle Onassis
Judy Garland
Yoko Ono
Princess Grace
Lester Persky
Jimmy Hendrix
Pablo Picasso
Freddy Herko
John Richardson
Dustin Hoffman
Robert and Ethel Scull
Howard Hughes
Frank Sinatra
George Jessel
Sam Spiegel
Janice Joplin
Jon Voight
Robert Kennedy
Duke and Duchess of Windsor
Timothy Leary
Andrew Wyeth
Shoot em up David Gahr And a good time was had by all the Factory 1968 - photo 6
Shoot em up (David Gahr)
And a good time was had by all the Factory 1968 David Gahr MEMORIAL - photo 7
And a good time was had by all: the Factory, 1968 (David Gahr)
MEMORIAL
April 1, 1987: I am apprehensive about attending the memorial service for Andy Warhol at St. Patricks Cathedral. A month earlier, the Star, a gossip magazine, ran my photograph with the recklessly erroneous caption: Valerie Solanas got her moment in the spotlight when she burst into Warhols studio and shot him.
I never shot Andy. That was Valerie, a passionate revolutionary, who was sentenced to three years in prison for her crime. I am worried that today an Andy-worshiper may recognize me from that picture and take misguided revenge. Or the opposite may happen: A furious, still crazed Warhol acolyte, carelessly discarded when the master grabbed all the fame and money, may throw a bomb in the cathedral to commemorate a final happening on this April Fools Day.
In death, as in life, Warhol deals in contradictions.
Outside the steps of the cathedral, a woman is shouting, The monster is dead! The monster is finally dead! I wonder: Did this woman have a grudge against Andy? Or is she trying to become famous for fifteen minutes?
What kind of mass can you put on for Warhol? Will the Warhol public be more at ease with a black mass?
His Eminence John Cardinal OConnor has declined to celebrate the mass. Is it in fear of turning St. Patricks into a cathedral of sinners? Or to avoid being reminded of a priests recent death from AIDS? Warhol is in a way the spiritual father of AIDS, casual gay sex and equally casual needle-sharing having been daily fare at his Factory. But the cardinals cathedral has been made available for a farewell service for the shy, near-blind, bald, gay albino from an ethnic Pittsburgh ghetto who dominated the art world for two decades, hobnobbed with world leaders, and amassed an estate of $100,000,000. He streaked across the sky, a dazzling media meteor, who, in another time or place, could have been a Napoleon or a Hitler.
My face is decorated with huge, haze-crystal earrings. I am dressed for mourning as befits a Superstar, in a dramatic fake Breitschwantz fez and coat, accessorized with black stockings and long, black-laced gloves. I enter through the Fiftieth Street side of St. Patricks on the arm of a dear friend, photographer Sheila Baykal, and proceed through the south transept. I am holding a Bible in my hand.
Familiar faces are everywhere, hundreds and hundreds of them. The cathedral seats 2,500; it will be full. The in-town in crowd will not miss this in show for anything in the world.
I am surprised to see a refreshing field of orange and pink tulips and yellow forsythia inside the sanctuary. This abundance of living greenery and sunshine color mellows the rigorous Gothic of the gray stone pillars. A spring celebration appears in order. I did not expect, at this time and place, such joy and abundance of fresh flowers. I rather expected stiff plastic flowers. Plastic is Warhols style. Years ago he painted for me unreal, gigantic flowers against a background of fake black grass.
Kneeling in the wooden pew in the second row, to the right of the center aisle, my mascaraed eyes closed, I question my heart for feelings about Warhol.
Did I love Andy?
Yes, for an instant.
Did he love Ultrathe me I was then?
Who knows? It was not about love.
What was it about?
My mind goes back to the sixties, right here in New York. Andy Warhol and Ultra Violet are making news. We are creatingor so it seemed at the timethe most mind-popping scene since the splitting of the atom. We are living Art in the Making. The press calls it the Pop scene. When Andy died on Sunday, February 22, 1987, the front page of the Daily News, New Yorks picture newspaper, screamed: POP ARTS KING DIES.
But wait a minute. I met the King of Pop years ago. His name was Marcel Duchamp.
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