Posts tagged factory

Richard Avedon (1923–2004) Andy Warhol and members of the Factory, New York City (Left Side) , 10-30-69 gelatin silver print triptych, flush-mounted on linen signed, numbered ‘25/50’,’48,21,68’ in ink, copyright credit reproduction limitation, title and date stamps.

Richard Avedon (1923–2004) Andy Warhol and members of the Factory, New York City (Left Side) , 10-30-69 gelatin silver print triptych, flush-mounted on linen signed, numbered ‘25/50’,’48,21,68’ in ink, copyright credit reproduction limitation, title and date stamps.

Richard Avedon (1923–2004) Andy Warhol and members of the Factory, New York City (Right Side) , 10-30-69 gelatin silver print triptych, flush-mounted on linen signed, numbered ‘25/50’,’48,21,68’ in ink, copyright credit reproduction limitation, title and date stamps.

Richard Avedon (1923–2004) Andy Warhol and members of the Factory, New York City (Right Side) , 10-30-69 gelatin silver print triptych, flush-mounted on linen signed, numbered ‘25/50’,’48,21,68’ in ink, copyright credit reproduction limitation, title and date stamps.

Sure Bets - A 1963 Warhol image of Elvis Presley is estimated to fall in the $30 million to $50 million range at auction on Wednesday, Edvard Munch’s “Scream” comes up for sale at Sotheby’s on Wednesday night, it will fetch $150 million to $200 million. Odds are, the pastel will become the most expensive artwork ever sold at auction, breaking the current record of $106.5 million set two years ago at Christie’s for Picasso’s “Nude, Green Leaves and Bust.”

Sure Bets - A 1963 Warhol image of Elvis Presley is estimated to fall in the $30 million to $50 million range at auction on Wednesday, Edvard Munch’s “Scream” comes up for sale at Sotheby’s on Wednesday night, it will fetch $150 million to $200 million. Odds are, the pastel will become the most expensive artwork ever sold at auction, breaking the current record of $106.5 million set two years ago at Christie’s for Picasso’s “Nude, Green Leaves and Bust.”

Is a Museum a Factory?

“Andy Warhol’s Factory served as model for the new museum in its productive turn towards being a “social factory.” By now, descriptions of the social factory abound. It exceeds its traditional boundaries and spills over into almost everything else. It pervades bedrooms and dreams alike, as well as perception, affection, and attention. It transforms everything it touches into culture, if not art. It is an a-factory, which produces affect as effect. It integrates intimacy, eccentricity, and other formally unofficial forms of creation. Private and public spheres get entangled in a blurred zone of hyper-production.”