Darkroom Print: Andy Warhol, Edie Sedgwick and Chuck Wein, New York, 1965
Burt Glinn had a gift for capturing the soul of counterculture with his lens, and his photographs from the Beatnik movement of the 50s through to the hippie movement of the 60s immortalize the style and rhythm of the period. Edie Sedgwick and her manager Chuck Wein first met Andy Warhol in early 1965, which launched a chain of events in which Sedgwick started spending time at Warholās The Factory and went on to star, that same year, in a large number of his films. They were considered to be hugely influential in pop culture at that time, and here, Glinn photographs the trio posing in a manhole in New York at the height of their collaboration.
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Darkroom Print: Andy Warhol, Edie Sedgwick and Chuck Wein, New York, 1965
Darkroom Print: Andy Warhol, Edie Sedgwick and Chuck Wein, New York, 1965
Burt Glinn had a gift for capturing the soul of counterculture with his lens, and his photographs from the Beatnik movement of the 50s through to the hippie movement of the 60s immortalize the style and rhythm of the period. Edie Sedgwick and her manager Chuck Wein first met Andy Warhol in early 1965, which launched a chain of events in which Sedgwick started spending time at Warholās The Factory and went on to star, that same year, in a large number of his films. They were considered to be hugely influential in pop culture at that time, and here, Glinn photographs the trio posing in a manhole in New York at the height of their collaboration.
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Burt Glinn had a gift for capturing the soul of counterculture with his lens, and his photographs from the Beatnik movement of the 50s through to the hippie movement of the 60s immortalize the style and rhythm of the period. Edie Sedgwick and her manager Chuck Wein first met Andy Warhol in early 1965, which launched a chain of events in which Sedgwick started spending time at Warholās The Factory and went on to star, that same year, in a large number of his films. They were considered to be hugely influential in pop culture at that time, and here, Glinn photographs the trio posing in a manhole in New York at the height of their collaboration.
