Edie Sedgwick was neither a passive source of inspiration nor a covert careerist, but a more-than-muse who understood that the self was the next great art form.
Andrew Wyeth
The devotion of the muse! A creature rewarded for her discomfort, her boredom, her occasional subjugation, by the promise of eternal attention. She might also revel in the work of creation, but her enjoyment is never seen as the point. The carnival around Testorf wasn’t about her but about what she provided Wyeth and, in turn, those who loved his work.
Sedgwick Wohl hopscotches through her family’s frosty New England Brahmin ancestry, their isolating move to a ranch outside Santa Barbara, and the “despotic” Waspishness that followed them across the country. Life in their family was strange, even punishing: in the hierarchy of their household, the eight Sedgwick kids were the bottom rung on the ladder, below the hired help; some of the children even slept in a cabin some distance from the main house.
Warhol understood the power of repetition; he knew that a dolled-up Campbell’s soup can could be reproduced into infinity. In Sedgwick, he made a repetition of himself, a doppelgänger who could accompany him out into the world to perform as part of his artist-as-the-art schtick. You could argue that their relationship was all a piece of his work. But, rather than slicing a clean divide between the two of them, Sedgwick Wohl asserts, Warhol embraced the idea of their symbiosis.
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