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Jane Holzer (née Brukenfeld; born October 23, 1940), is an American art collector and real estate investor. She is best known as a Warhol superstar, and she also worked as a model, actress, and film producer. Nicknamed Baby Jane Holzer, she appeared on the cover of British Vogue in 1964, and she was referred to as one of the "fashion revolutionaries" by Women's Wear Daily in 1966.[1]

Key Information

Life and career

[edit]

Jane Brukenfeld grew up in Palm Beach, the daughter of real estate investor Carl Brukenfeld. His wealth came from Florida real estate, particularly in Miami and West Palm Beach.[2] She grew up in a Jewish household and attended Palm Beach High School.[3]

She attended Finch Junior College in Manhattan but "flunked out of college on purpose to become a model," she recounted.[2] In 1962, she married real estate investor, Leonard Holzer.[4] In 1963, her modeling career began to take off in London where she was photographed by David Bailey.[4] In 1964, Holzer told journalist Tom Wolfe: "Bailey created four girls that summer. He created Jean Shrimpton, he created me, he created Angela Howard and Susan Murray. There’s no photographer like that in America. Avedon hasn’t done that for a girl, Penn hasn't, and Bailey created four girls in one summer. He did some pictures of me for the English Vogue, and that was all it took."[4]

She was nicknamed "Baby Jane" Holzer by a newspaper columnist as a reference to the film Whatever Happened to Baby Jane? (1962). Holzer is considered to be one of the first Warhol superstars.[5] She was a young society wife when she was introduced to artist Andy Warhol in 1964.[2] British interior designer Nicky Haslam brought Warhol to a dinner party at Holzer's Park Avenue apartment in New York, where he also met Rolling Stones musician Mick Jagger for the first time.[6] Holzer later ran into Warhol on Madison Avenue and he asked to make films with him.[6] Warhol recalled in his memoir Popism (1980): "She was such a gorgeous girl—great skin and hair. And so much enthusiasm—she wanted to do everything. I asked her if she wanted to be in a movie and she got excited: 'Sure! Anything beats being a Park Avenue housewife!"[6]

In 1964, Holzer created a stir by attending the couture fashion shows in Paris.[7] Known for her mane of teased hair, she was highlighted in Vogue magazine's October 1964 issue.[7] As Diana Vreeland, editor of Vogue, put it, she was "the most contemporary girl I know."[2] The November 1964 edition of British Vogue featured her on the cover.[8]

Movies she appeared in included Andy Warhol's Soap Opera (1964), Couch (1964), Batman Dracula (1964), and Camp (1965).[9]

In 1966, Holzer was named one of the "fashion revolutionaries" in New York by Women's Wear Daily, alongside Edie Sedgwick, Tiger Morse, Pierre Cardin, Paco Rabanne, Rudi Gernreich, André Courrèges, Emanuel Ungaro, Yves Saint Laurent, and Mary Quant.[1]

In 1967, she played herself at a New York party in the pilot episode of the short-lived TV series, Coronet Blue.

She released the single "Rapunzel"/"Nowhere" in 1967 on Atco Records, produced by Al Kasha and arranged by Barry Goldberg.[10]

Holzer appeared in the independently produced Ciao! Manhattan (1972). She co-produced the 1985 film Kiss of the Spider Woman.

Holzer became a prominent modern art collector and a real estate tycoon.[11][2] She lived in a six-story townhouse in New York, surrounded by her collection of art which includes Warhol, Keith Haring, and Jean-Michel Basquiat.[2]

She now resides in Palm Beach, Florida.[12] Holzer also owns a significant amount of Palm Beach real estate, notably the restaurant Le Bilboquet, where she and Philippe Delgrange are business partners.[13][14]

In 2014, Holzer was the subject of an exhibition titled "To Jane, Love Andy" at the Norton Museum of Art in West Palm Beach.[3][15]

Personal life

[edit]

In 1962, she married Leonard Holzer, an heir to a New York real estate fortune. Holzer was noted for including art projects in his developments, particularly at the Smith Haven Mall.[16]

She was one of the attendants at the wedding of Mary McFadden and Philip Harari in 1964.[17]

Her son Charles “Rusty” Holzer was born in 1969. He competed for the United States Virgin Islands at the 1992 Summer Olympics in show jumping, and his wife Ashley Holzer is a dressage rider who won a bronze medal for Canada at the 1988 Summer Olympics.[18]

In pop culture

[edit]

Holzer is the subject of "Girl of the Year" in Tom Wolfe's The Kandy-Kolored Tangerine-Flake Streamline Baby (1965).

Holzer was parodied as Baby Jane Towser in the 1967 Batman episode "Pop/Flop Goes the Joker", where she was played by Diana Ivarson.[19]

She is referenced twice (as Baby Jane) in the 1972 Roxy Music single "Virginia Plain".

References

[edit]
[edit]
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Jane Holzer

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from Grokipedia
Jane Holzer (née Brukenfeld; born October 23, 1940) is an American actress, model, art collector, film producer, and investor, best known as one of Andy Warhol's inaugural superstars and a prominent figure in the New York underground art and film scene. Born in , to Carl Brukenfeld, a successful developer, Holzer began modeling as a teenager in and appeared on covers of fashion magazines before dropping out of college to pursue her career full-time. In 1962, at age 22, she married Leonard Holzer, heir to a prominent New York real estate family, which thrust her into and earned her the nickname "Baby Jane" among the elite social circles of . Holzer met Warhol in 1964 at a party in her apartment and soon became one of his most visible muses, embodying the fusion of glamour and rebellion that defined his collective. She starred in several of Warhol's experimental films, including (1964), (1964), (1964), Camp (1965), and (1966), while also featuring in his silkscreen portraits and gracing pages of Vogue and . That same year, writer Tom Wolfe proclaimed her "Girl of the Year" in New York magazine, highlighting her as a symbol of the decade's cultural shifts from debutante balls to psychedelic experimentation. After departing the Factory in 1965, Holzer ventured into music, recording singles like "Rapunzel" and "You're Gonna Hurt Yourself," and briefly appeared on Broadway in the 1979 disco musical Got Tu Go Disco. The couple divorced in 1979, after which Holzer raised their son, Charles (known as Rusty), and shifted focus to entrepreneurship, opening the ice cream parlor Sweet Baby Jane's in Palm Beach, Florida, in 1984. In subsequent decades, she established herself as a film producer, credited on projects including Kiss of the Spider Woman (1985) and Spring Breakers (2012), while amassing a renowned collection of contemporary art by artists such as Warhol, Jean-Michel Basquiat, and Keith Haring. Today, Holzer remains an influential investor with holdings in New York and Palm Beach, where she primarily resides in a historic estate, and continues to be celebrated for her enduring ties to Warhol's legacy through exhibitions like "To Jane, Love Andy" at the in 2014.

Early Life

Birth and Family

Jane Holzer was born Jane Brukenfeld on October 23, 1940, in , to parents Carl and Helen Brukenfeld, a Jewish family. Her father, Carl Brukenfeld, was a prominent real estate investor whose wealth derived from extensive holdings across , including developments in and West Palm Beach. This background in property investment later influenced Holzer's own pursuits in and business ventures. Holzer was raised in an affluent household in Palm Beach during the 1940s and 1950s, a period when the area's elite society provided early exposure to wealth and high-profile social circles, though her Jewish heritage sometimes limited access to exclusive clubs. Her family's prosperity, built on her father's success, afforded a privileged upbringing that shaped her familiarity with luxury and societal dynamics from a young age.

Education and Modeling Beginnings

Holzer grew up in , where her family's affluence in real estate development provided her with early opportunities to explore creative pursuits abroad. She attended Palm Beach High School. She attended Finch Junior College in during the early , a finishing school known for its focus on social graces and liberal arts for young women from prominent families. However, Holzer deliberately underperformed academically, ultimately dropping out to dedicate herself fully to a modeling career, viewing it as a path to independence and excitement beyond traditional expectations. As a teenager, Holzer began modeling in , starting with assignments in and that introduced her to the international fashion scene. These early photoshoots involved working with emerging photographers and designers, marking her initial professional breakthroughs as she navigated the competitive world of high fashion at a young age. Her experiences abroad honed her poise and visibility, setting the stage for greater recognition upon her return to the . Holzer's first major breakthrough came when she was photographed in 1963 by acclaimed British photographer for the November 1964 issue of . The cover and editorial spread showcased her as a fresh, modern beauty embodying the era's shifting aesthetics, propelling her into prominence within the modeling industry. This feature not only highlighted her striking features and versatile style but also solidified her transition from novice to sought-after talent.

Rise in New York Society

Marriage to Leonard Holzer

In 1962, Jane Bruckenfeld married Leonard Holzer, a Princeton-educated heir to a prominent New York fortune engaged in large-scale development projects. The union marked a significant transition for Holzer, who had previously worked as a model, propelling her into the upper echelons of society. The couple embraced a lavish emblematic of elite New York, residing in a spacious twelve-room apartment at 955 that served as a venue for high-profile social gatherings. Their home was staffed with a and , complemented by pet terriers and toy , underscoring the opulence afforded by Holzer's family wealth. This marriage granted Jane Holzer financial independence and entrée into exclusive social circles, solidifying her emergence as a style icon and laying the foundation for her "Baby Jane" persona— a coined by columnist Carol Bjorkman in 1962, later amplified by Tom Wolfe's 1964 profile "Girl of the Year," which celebrated her as the epitome of glamorous, boundary-pushing sophistication.

Emergence as a Socialite

Following her marriage to real estate heir Leonard Holzer in 1962, which afforded her access to New York's upper echelons, Jane Holzer ascended rapidly as a socialite in the early . At just 23 years old in 1964, she embodied the shifting cultural landscape of the era, transitioning from a traditional society wife to a vibrant figure seeking excitement beyond conventional high-society norms. Her presence at elite soirées, concerts, and cultural shindigs in solidified her role as a sought-after attendee, drawing admiration for her charisma and modern sensibility. Holzer's distinctive style—marked by a towering blonde hairstyle often called a "huge hairy corona" or "mane of glorious hair," paired with bold couture from designers like , , and —set her apart as a symbol of glamour with an irreverent edge. Funded by her family's real estate wealth and personal trust, her outfits, such as zebra-striped coats and mod jumpsuits, reflected Palm Beach-bred elegance fused with youthful rebellion. This aesthetic not only influenced national hair trends but also positioned her as the of the "," a hot for the era's emerging social scene. Media profiles amplified her rise, beginning with a 1963 photoshoot by David Bailey in British Vogue that catapulted her to overnight fame as a mod-era Holly Golightly. Women's Wear Daily chronicled her closely, dubbing her "Baby Jane" at age 22 and tracking her as a bored yet magnetic Park Avenue figure. Vogue editor Diana Vreeland hailed her as "the most contemporary girl I know" and "a blaze of golden glory," while The Palm Beach Post portrayed her as emblematic of youthful flight from staid traditions. Tom Wolfe's influential 1964 New York magazine essay "The Girl of the Year" further enshrined her status, praising her as the first modern "It Girl" who bridged high society with the decade's cultural ferment through extensive coverage in The New York Times and syndicated columns.

Warhol Superstar Era

Meeting Andy Warhol

In spring 1963, while walking on Lexington Avenue with photographer and interior designer , Jane Holzer was introduced to when Haslam spotted him across the street and brought him over. Warhol was immediately captivated by her bold style and presence and invited her to appear in his experimental films, an offer she accepted as an escape from the monotony of high-society life, remarking that it was "better than being a housewife." A subsequent dinner at her and her husband Leonard's twelve-room apartment at 955 in further solidified their connection. Her background, marked by modeling in and marriage into a prominent real estate family, had positioned her within elite circles that facilitated this introduction to the avant-garde artist. Eager for fame beyond traditional society pages, Holzer embraced the collaboration, quickly becoming Warhol's first major "" and earning the affectionate nickname "Baby Jane" through profiles like Tom Wolfe's 1964 New York Magazine essay "The Girl of the Year," which highlighted her as a vibrant emblem of the era's cultural fusion. This moniker, also popularized by , underscored her playful yet influential persona in Warhol's burgeoning scene. Holzer's early visits to Warhol's studio on East 47th Street marked her immersion into the creative milieu, where she participated in informal sessions that blurred the lines between , , and . Through these interactions, she played a pivotal role in bridging Warhol's world with uptown , introducing him to influential figures and events that elevated his visibility among the , thus expanding the Factory's reach beyond underground circles.

Roles in Warhol Films

Jane Holzer made her debut in Andy Warhol's experimental cinema with (1964), where she portrayed a character in improvised domestic scenarios intercut with actual television commercials, contributing to the film's satirical take on media and everyday life. Her performance, alongside Sam Green and others, exemplified the unscripted, naturalistic style that defined Warhol's early productions, blending socialite poise with spontaneity. In Couch (1964), Holzer appeared in vignettes of casual interactions among Factory denizens, including Taylor Mead and Ivy Nicholson, further showcasing her ability to embody the era's bohemian energy through minimal direction and extended takes. She also featured in Batman Dracula (1964), a playful mash-up of superhero tropes starring Ondine and others, where her cameo added a layer of high-society glamour to the film's drag-infused absurdity. These roles highlighted Holzer's ease in front of the camera, often without dialogue, allowing her expressive presence to drive the visual narrative. Holzer participated in Warhol's series (1964), including the portrait Screen Test: Jane Holzer (Toothbrush), a three-minute silent close-up that captured her brushing her teeth, emphasizing the intimate, voyeuristic quality of Warhol's portraiture. Her involvement extended to Camp (1965), where she performed alongside Paul Swan, Mario Montez, and in a series of exaggerated, humorous sketches that parodied theatrical excess. Additionally, she appeared in (1963–1964) and Tarzan and Jane Regained... Sort of! (1964), reinforcing her status as one of Warhol's inaugural superstars through cameos that infused his work with accessible celebrity allure. Holzer's participation in these films, beginning shortly after her introduction to Warhol in 1963, helped draw interest to by bridging underground art with New York high society, as her background contrasted with the scene's raw experimentation. Her unpolished yet charismatic screen presence in these early works established a template for Warhol's muse-driven cinema, prioritizing personality over scripted plot.

Film and Entertainment Career

Independent Film Appearances

Following her foundational roles in Andy Warhol's experimental films, Jane Holzer transitioned to independent cinema, seeking more narrative-oriented projects that leveraged her celebrity status. Her most prominent appearance outside the Warhol milieu came in the 1972 film Ciao! Manhattan, an avant-garde production directed by David Weisman and John Palmer. In the film, Holzer played the supporting role of Charla, credited as "Baby Jane Holzer," appearing alongside Edie Sedgwick, who starred as the semi-autobiographical character Susan Superstar—a portrayal of Sedgwick's own tumultuous life in New York's underground scene during the late 1960s. The movie, shot sporadically from 1967 to 1971, blended documentary elements with fiction to depict themes of fame, addiction, and decline, marking a chaotic endeavor reflective of the era's independent filmmaking landscape. She also appeared in minor roles in Futz (1969) as Emily Miller and (1970). As a non-professional actress, Holzer encountered significant challenges in these ventures, relying primarily on her natural charisma and persona rather than formal training or technique. Critics and observers often noted the limitations of her performances, describing them as somewhat superficial or lacking depth, which highlighted the difficulties of moving from improvisational, presence-driven roles to structured narratives requiring emotional nuance. Despite these hurdles, her involvement in underscored her enduring appeal in independent circles during the late and , capitalizing on her iconic "Baby Jane" image without pursuing a full-time acting career.

Producing and Later Projects

Following her prominence as an actress in the 1960s and 1970s, Jane Holzer transitioned to behind-the-scenes roles in the film industry during the , serving primarily as an associate and on several independent productions. Her involvement marked a shift from on-screen performance to facilitating creative projects, often collaborating with directors and producers from her earlier Warhol Factory network, such as David Weisman. Holzer's most notable production credit came with the 1985 film Kiss of the Spider Woman, directed by Héctor Babenco and adapted from Manuel Puig's novel, where she served as associate producer. The film, starring William Hurt and Raúl Julia, explored themes of imprisonment and identity in a Brazilian jail, earning critical acclaim including an Academy Award for Best Actor for Hurt's portrayal of the effeminate inmate Molina. Holzer's role contributed to the project's development and execution, leveraging her industry connections to support this international co-production that blended drama with fantasy elements. In the late and , Holzer continued with associate producer duties on (1988), a gritty drama directed by about a young boxer in , and executive producer on (1990), an erotic thriller directed by set in 1920s Buenos Aires, starring and . These credits highlighted her focus on character-driven independent films with bold narratives, often involving themes of desire and social margins. She also served as associate producer on (2009), a satirical drama about the London art world featuring and . Holzer's producing career extended into the 2010s with an executive producer credit on Harmony Korine's Spring Breakers (2012), a provocative crime film starring Selena Gomez, Vanessa Hudgens, and James Franco, which examined youth culture and excess through a neon-soaked lens. This project underscored her ongoing affinity for edgy, visually innovative cinema reminiscent of her Warhol roots. Amid these efforts, she made sporadic acting appearances, including a supporting role as Jane in Alain Tanner's The Ghost Valley (1987), a meta-drama about filmmaking and consent starring Jean-Louis Trintignant. These ventures reflected Holzer's evolution from a Warhol-era performer to a key supporter of , using her social and professional networks to nurture projects that prioritized artistic risk over commercial formulas. Her contributions helped sustain the spirit of experimental she had embodied on screen earlier in her career.

Art Collection and Business Ventures

Development as an Art Collector

Jane Holzer's journey as an art collector began in the 1960s, deeply influenced by her close association with Andy Warhol and the vibrant New York art scene of that era. During this period, she started acquiring works by Warhol and other Pop artists, drawn to the immediacy and cultural relevance of contemporary pieces as a safer alternative to traditional art markets prone to forgeries. Her early collection focused on Pop art icons, reflecting her immersion in the Factory milieu where she served as Warhol's first superstar. Following the peak of her Warhol collaborations in the late and early 1970s, Holzer's collecting expanded significantly, encompassing a broader array of Pop and post-Pop artists. Her holdings grew to include seminal works by Warhol, such as portraits and prints from his iconic series, alongside pieces by and , which she housed in her New York townhouse before relocating to Palm Beach. By the 1980s and beyond, she had amassed a major collection emphasizing the aesthetic, prioritizing living artists whose output captured the era's social and cultural shifts. A pivotal moment in Holzer's role as a collector came with the "To Jane, Love Andy: Warhol's First Superstar" at the in West Palm Beach, which drew from her personal collection to showcase over 100 items, including Warhol paintings, sculptures, prints, and films featuring her. The show highlighted key pieces like Warhol's early portraits of Holzer and related ephemera, underscoring her contributions to preserving Factory-era artifacts. Since then, Holzer has gifted nearly 60 works from her collection to the Norton, further cementing her commitment to institutional preservation of . Holzer continued to promote and preserve this legacy through curatorial efforts and public engagements. In 2022, she co-curated an exhibition of Warhol portraits at Ben Brown Fine Arts in Palm Beach, featuring subjects that echoed her own with the artist. More recently, in August 2025, she participated in the "Tales From the Factory" panel at the Art Foundation, discussing her experiences and the enduring impact of Warhol's circle alongside Vincent Fremont and . These activities, combined with initiatives like offering of Warhol prints in 2023, demonstrate her ongoing role in making art accessible while safeguarding its historical significance.

Real Estate Investments

Following the death of her former husband Leonard Holzer in 2017, Jane Holzer continued to manage and expand a family legacy in rooted in Palm Beach properties, including estates developed through her father's endeavors. Her portfolio encompasses both residential and commercial holdings across Palm Beach County, valued in the multimillions, with a focus on oceanfront and Worth Avenue assets. A key component of Holzer's commercial investments is her ownership of the building at 250 Worth Avenue in Palm Beach, which houses the popular French restaurant Le Bilboquet, where she serves as a with owner Philippe Delgrange. The property, a in the area's dining scene, reflects her strategic involvement in blending with ventures. She also controls additional commercial space on Worth Avenue, including 247 Worth Avenue, which features luxury retail tenants such as Brioni and , alongside art-related pop-ups. In June 2024, Holzer collaborated with developer Todd Glaser to acquire the estate at 111 Via Del Lago for a total of $15.5 million, with her entities purchasing the eastern half for $7.762 million to expand her adjacent ocean-view lot at 980 S. Ocean Boulevard. Acquired vacant in 2020 for $8 million, the site has town approval for a contemporary residence, though remains pending. Holzer's son, Charles "Rusty" Holzer, has actively participated in the family's endeavors, notably leading a July 2025 restoration project at their 1935 oceanfront home at 1047 S. Ocean Boulevard, just north of in Palm Beach's Estate Section. The effort, undertaken with his wife Ashley, aims to rebuild the original John Volk-designed Art Moderne balcony on the east facade, preserving the property's historic features within a U.S. Secret Service security zone.

Personal Life and Family

Marriages and Children

Jane Holzer married Leonard Holzer, an heir to a New York real estate fortune, in December 1962. During their marriage, which elevated her status in New York society as a prominent , the couple resided in a luxurious apartment that became a hub for cultural figures. They divorced in 1979, after which Holzer focused on raising their family. Leonard Holzer passed away on March 30, 2017. The couple's only child, son Charles "Rusty" Holzer, was born on June 24, 1969. Rusty pursued a career in equestrian sports, competing for the in at the in , where he finished 69th individually. Now an investor, he has integrated his equestrian background into family life. In 2022 and 2023, Holzer settled charges with the U.S. Securities and Exchange Commission for , agreeing to pay penalties totaling over $1 million. Rusty Holzer married Canadian equestrian Ashley Holzer (née Nicoll) in 1993, blending their shared passion for horses into dynamics. Ashley, a four-time Olympian, won a in for at the 1988 Seoul Olympics and later competed for the starting in 2017. The couple has two children, Harrison and Emma, and maintains a close-knit centered around equestrian pursuits.

Residences and Later Years

In the 1980s, Jane Holzer established her primary residence in , where she had been born and raised, returning after her New York-based years to manage family holdings and pursue new ventures like opening an shop called Sweet Baby Jane's. She continues to divide her time between Palm Beach properties and a six-story townhouse on East 65th Street in , built in , allowing her to oversee her art collection and portfolio while enjoying a relatively low-key focused on family and select social engagements. Now in her mid-80s, Holzer maintains an active yet private routine in Palm Beach, emphasizing art collecting, oversight, and , such as her contributions to the restoration of the West Palm Beach Municipal Golf Course—renamed The Park—which reopened in 2024 with support from notable donors including and . Despite her enduring status as a , she has cultivated a low-profile existence, avoiding of her Warhol-era fame while occasionally participating in community events tied to her inherited family properties. In 2025, Holzer garnered renewed media attention, including a September interview at her New York townhouse published in October that portrayed her as an enduring "It Girl" from the 1960s scene, reflecting on her life with humor and candor. She also joined a panel discussion at the Art Foundation in August, titled "Tales From the ," alongside figures like and Vincent Fremont, sharing insights into her Warhol collaborations. These appearances highlight her selective engagement in her later years, balancing reclusive tendencies with moments of public reflection on her legacy.

Cultural Impact and Legacy

Portrayals in Media

Jane Holzer first gained widespread media attention through Tom Wolfe's profile "The Girl of the Year," published in the in 1964, which portrayed her as a vibrant symbol of mid-1960s New York youth culture and celebrity, dubbing her "Baby Jane" and cementing her status as an early . Wolfe's piece, known for its innovative style, captured Holzer's social whirl and association with emerging cultural figures, including , whose films later served as source material for subsequent portrayals of her persona. In a 2014 NPR feature, Holzer was depicted as a trailblazing who transitioned from high-society constraints to becoming Warhol's inaugural "," predating Edie Sedgwick's rise and embodying the era's shift toward fame. This portrayal emphasized her role as a precursor to the Factory scene's more notorious muses, highlighting her brief but influential presence in Warhol's early circle. Similarly, Laurence Leamer's 2025 book Warhol's Muses profiles Holzer as the original muse who preceded Sedgwick, chronicling her evolution from a to a key figure in Warhol's transformative world of art and celebrity. Leamer's account draws on her personal archives to illustrate how Holzer's media image reflected 's blend of glamour and experimentation. Holzer's reclusive tendencies in later years were underscored by her rare public testimony during a 2010 federal trial in New York, where she described being deceived into purchasing a stolen artwork for $220,000 from con artist James Biear, an incident that briefly thrust her back into media spotlight despite her preference for . The testimony, delivered by the then-70-year-old Holzer, revealed her continued involvement in the art world but also her avoidance of publicity, as she had largely withdrawn from public life since the . In 2024, Holzer was honored at the of Palm Beach County's Archival Evening as a icon, and received a at the Palm Beach Modern + Contemporary Fair in April, affirming her lasting cultural legacy.

References in Pop Culture

Jane Holzer's prominence in the New York art and social scenes has led to several indirect references in pop culture, often evoking her as an emblem of Warhol's era. In the Batman television series episode "Pop Goes the Joker," the character Baby Jane Towser—a glamorous targeted by the Joker for her collection—parodies Holzer's nickname and persona as a high-society muse in Andy Warhol's circle. Similarly, British glam rock band nodded to Holzer in their 1972 debut single "," with lyrics including "Baby Jane's in " and "Can't you see that Holzer mane?"—a direct allusion to her distinctive hairstyle and status as a icon. Holzer's enduring legacy as a symbol of fashion innovation and has been revisited in cultural retrospectives, underscoring her influence on style and celebrity. For instance, a 2016 AnOther Magazine feature titled "Warhol's Superstar: Baby Jane Holzer" highlights her as the original "," celebrating her boundary-pushing looks and role in defining the era's aesthetic. An August 2025 article in CR Fashion Book on Warhol's muses further emphasizes Holzer's foundational role among his superstars and her impact on fashion. These nods draw from her early phases as a and Warhol collaborator, which cemented her as a cultural .

References

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  41. https://www.palmbeachdailynews.com/story/business/real-estate/2024/06/14/palm-beach-neighbors-split-cost-to-buy-house-between-their-properties/73997883007/
  42. https://www.palmbeachdailynews.com/story/news/local/2025/07/02/project-near-trumps-mar-a-lago-to-restore-part-of-homes-1935-design/84190170007/
  43. https://www.olympedia.org/athletes/12130
  44. https://www.sec.gov/newsroom/press-releases/2023-145
  45. https://www.chronofhorse.com/article/ashley-holzer-believes-shes-ready-world-championships/
  46. https://eurodressage.com/2020/03/21/corona-times-hit-run-ashley-holzer
  47. https://rustyholzer.org/rusty-holzer/
  48. https://www.27east.com/arts/summer-2025-at-peter-marino-art-foundation-2356978/
  49. https://nymag.com/article/tom-wolfe-birth-of-new-journalism-eyewitness-report.html
  50. https://www.washingtonpost.com/books/2025/05/25/warhols-muses-laurence-leamer-review/
  51. https://www.nydailynews.com/2012/03/29/driver-who-stole-32-million-and-warhol-painting-from-joseph-pulitzer-heir-gets-10-years-in-prison/
  52. https://nypost.com/2010/11/16/warhol-pal-duped-on-stolen-art/
  53. https://issuu.com/historicalsocietypbc/docs/season_guide_2024-2025_updated_wayne
  54. https://www.imdb.com/title/tt0519497/trivia/
  55. https://reactormag.com/holy-rewatch-batman-pop-goes-the-joker-flop-goes-the-joker/
  56. https://www.songfacts.com/facts/roxy-music/virginia-plain
  57. https://www.udiscovermusic.com/stories/roxy-music-postmodern-masterpiece/
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