Andy Warhol

Whitney Museum of American Art

Marilyn Monroe’s 1962 suicide reverberates not only in the serial “Marilyn” paintings Andy Warhol began making days afterward. Her death also echoes through all his movies featuring tinsel-haired Factory angel Edie Sedgwick—ending appropriately enough with Lupe, 1965, in which the drug-addled Superstar imitates the “Seconal suicide” of ’40s star Lupe Velez, eerily anticipating her own Hollywood Babylon-style overdose.

As spectacularly beautiful as it is a fascinating spectacle, Warhol’s spatially dynamic and dramatically lit film-and-video portrait of Sedgwick, Outer and Inner Space, 1965, is perhaps his most brilliant articulation of the schism between private self and public image, as well as a further exploration of the serial imagery in his paintings. Shot during the summer of 1965, publicly screened in 1966, and recently rescued from oblivion, this was his first double-screen film—The

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