Keyboard cowboy audio5/20/2023 ![]() ![]() On her awareness of her father's heroin addiction ![]() So I really thought that Gaby was a kind of destiny, our destiny. And it was just outrageous to me, not because I thought abortion was bad or gross or anything, just outrageous to me that she wouldn't have this child that was meant to be that we had both prayed for. And I would say "we" and I was absolutely certain I wanted a baby sister. didn't upset me at all in the sense that I wasn't shocked by the idea of abortion. Her saying, "Should I have an abortion?". On Viva asking Auder if she should get an abortion when she got pregnant with Auder's half-sister, Gaby So in one sense, it creates this great like confidence, I think, in little kids, because you're treated almost as an adult in some way, and then certain aspects of that can go awry. And she doesn't have a filter and she doesn't have boundaries. And that can be an amazing thing, up to a certain age. But I do think that with Viva, with children, they are an extension of her. I think that sharing a bed for so long, it's almost the environment that creates that. My mother didn't have 9-to-5 jobs, but she wrote from home. I think that a lot of single mothers have that relationship with their children, and especially if you're not wealthy and you have to work. Don't Tell Me! Andy Warhol's trash is everyone's treasure ![]() And my mother would say, 'Oh God, my feet are just freezing to death,' and I would rub one of her feet while she was driving to keep them warm."įor several years, Viva, Auder and Auder's younger half-sister, Gaby Hoffmann, lived in the Chelsea Hotel in Manhattan, which was famous for having been home to Leonard Cohen, Dylan Thomas, Virgil Thomson, and Bob Dylan, among others. "So at some point we were in the Rocky Mountains with no heat. After her parents split up when she was 5, Auder and Viva went on the road, traveling cross-country in a beat-up car with a cat they picked up along the way. As a kid, she played the daughter of a dominatrix in an underground film. Growing up in Warhol's orbit meant Auder's childhood was an unusual one. Viva appeared in the Warhol films Lonesome Cowboys and The Loves of Ondine, and she was on the phone with Warhol in 1968 when he was shot. Alexandra Auder's memoir is Don't Call Me Home.Īlexandra Auder's mother, Viva, was one of Andy Warhol's muses. ![]()
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