One day in 1964, a performance artist by the name of Dorothy Podber strode into Andy Warhol’s New York studio and demonstrated why she deserved her ‘wild child’ reputation. Dressed in black motorcycle leathers and accompanied by her Great Dane, Carmen Miranda, Podber spotted a stack of four large, striking artworks of Marilyn Monroe propped against a wall and asked if she could shoot them. Warhol, assuming she intended to photograph the pictures, gave his assent.
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