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Photographer: David Rodríguez Photography
Model: David Herrera
Photographer instagram: @david.rodriguez.photography
www.instagram.com/david.rodriguez.photography/
David Herrera instagram: @davidher96
Shot in El Alquián, Almería (Spain).
#photography #model #modelo #fotografia #abandoned #grey #blue #colors #nice #grunge #industrial #urban #boy #young #joven #art #arte #pretty #beautiful #fashion #grmy #grimey #warehouse #almeria #graffiti #youth #bad #wild
Today was Transgender Day of Remembrance.
TransAction did a lot of events for TDOR and today we met up for the TDOR rally. It was freezing outside and raining on and off, yet about maybe 120 people showed up to listen and show their support. My best friend came to interpret for me [and anyone else who needed someone to sign, I think it was only me though]. The poor girl's hands nearly froze as she interpreted. I really appreciated her being there and I just generally felt really grateful for many things.
I've always had issues with my own body, feeling upset that it changed into something that I did not want after puberty hit. It has taken many years for me to really understand why I had a such hard time connecting with my own body... and well I guess even to this day I don't completely understand it. But I know this much, meeting all the amazing genderqueers, trans*, queers, butches, femmes, androgynes, and so many more people of various identities [and/or no identities] in the rainbow and becoming a part of the community has helped me SO much. When I started this project I didn't even have one gender variant friend in person and now 199 days later I have so many. It's definitely one of the reasons why I can look at myself, feel proud to be who I am, and know it'll be alright. I honestly cannot even really explain how much changes this has brought to me, but for the first time in a long time I'm feeling a lot more content with myself, and it's a really nice feeling.
Thanks everybody. <3
p.s I must also thank Sarah for interpreting all night long. That meant SO much to me, thank you.
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Children detail: Alabaster & marble wall monument which has not fared well over time:
"Here lies buried the most virtuous Lady Catherine Graham wife of Sir Richard Graham of Netherby in the county of Cumberland, knight and Bart, daughter of Thomas Musgrove of Cumcach Esq and Susanna his wife. Well beloved in her country as being a very hospitable and charitable matron, she died March 1649 in the 48th year of her age leaving behind her 2 sons and 4 daughters namely George, Richard, Mary, Elizabeth, Susanna and Henrietta Maria."
Richard, bc.1583 was the 2nd son of Fergus Graham 1625 of Plump, Kirkandrews-upon-Esk and Sybil daughter of William Bell of Scotsbrig, Middlebie, Dumfries & Brockethouse by Elizabeth Bowmont
He was knighted on 9th January 1629 and created a baronet on 29th March 1629
He was groom to George, 1st Marquess (later Duke) of Buckingham by 1617, gentleman of the horse 1619-28;8 joint. clerk of customs bills 1619-21;9 equerry, King’s Stables 1629-?44; master of the harriers 1644- Member, Council in the North 1629-41 .......
Sir Richard came from one of the more obscure branches of a border clan, notorious for its participation in violent raiding, that settled at Plump by the middle of the sixteenth century His elder brother was deported to the Low Countries after a particularly audacious week of pillage in 1603, and his ‘debatable lands’ were granted to George Clifford, 3rd earl of Cumberland. Sir Richard himself ‘came on foot to London and got entertained into ... Buckingham’s service, having some spark of wit, and skill in moss-trooping and horse-coursing’. Despite a temporary loss of office in 1620 after a duel with his employer’s kinsman, a younger son of Basil Feilding*, he was able to lay out £3,955 on the purchase of property in Lincolnshire in 1621-2. As a part-time resident in Cumberland, he endeavoured to reform vice there by building a church and educating the young Appointed customer of Carlisle in 1623, he was granted permission to execute the office by deputy on account of his attendance at Court. In the same year, with Sir Francis Cottington* and Endymion Porter†, he accompanied Buckingham and Prince Charles on their ill-fated journey to Spain to woo the Infanta.
In 1624 the year of his marriage, Richard bought Norton Conyers from his wife’s father (whose own father had purchased it from the Crown in 1593 ) with 'all messuages, granges, mills, lands, tenements, tithes, waters, warrens, leet lawdays, views of frankpledge' and other liberties for £6,500.28 During the autumn he fought a duel with another follower of Buckingham, Sackville Crowe*, but again escaped serious consequences Graham took the credit for persuading Lord Robartes to buy a peerage for £3,000 in 1625, and Edward Clarke* heard that he had been rewarded with a suit valued at £500 a year.
He m 1624 Catherine daughter of Thomas Musgrove 1600 of 1600 of Cumcatch Manor, Brampton, Cumberland & Susanna Thwaites
Children
1. George 2nd Bart c1624-58 married Mary daughter of James Johnstone 1st Earl of Hartfell and 1st wife Margaret daughter of William Douglas, 1st Earl of Queensberry & Isabel Kerr
2. Richard 1635 - 1711 was made a baronet in 1662 for services to the royal cause in the Civil War . He m Elizabeth daughter of Chichester Fortescue & Elizabeth Slingsby
Elizabeth was the grand-daughter of William Slingsby www.flickr.com/photos/52219527@N00/6123004013/ and had a son Reginald 1728 who married Frances Bellingham
3. Mary m Edward 1st baron Musgrave 1673 of Hayton Castle, Cumberland
4. Elizabeth m (1st wife) Sir Cuthbert Heron of Chipchase Castle
5. Susanna
6. Henrietta Maria
Sir Richard was first elected MP for Carlisle, ten miles from his Cumbrian estate, in 1626, during the mayoralty of his kinsman Edward Aglionby*, who acted as returning officer. He left no trace on the records of the second Caroline Parliament, though he may have heard his transaction with Robartes mentioned in Sir John Eliot’s* report on 24 Mar. 1626 of the charges of corruption levelled against Buckingham. Graham attended his master on the expedition to the Ile de Ré in 1627, and with John Ashburnham* helped to rally a faltering regiment at the landing He was re-elected in 1628, but again went unnoticed in the parliamentary records. On 8 July he re-purchased Nicholl Forest and other ‘debatable lands’ formerly confiscated from his family, from the Cliffords at the favourable price of £7,050.33 After his Buckingham’s assassination he was granted a market and fair on his Cumberland estate, and rebuilt Kirkandrews church in 1637, though in a thoroughly shoddy manner.
Richard was created a baronet in 1629.
He fought on the side of Charles I at the Battle of Edgehill in 1642, where he was severely wounded and lived in the York garrison until 1 July when the city was relieved by Prince Rupert of the Rhine. However Rupert and Newcastle were defeated the next day at the decisive Battle of Marston Moor, where Richard suffered 26 wounds returning home on horseback more dead than alive .
Later taken prisoner while on his way from Oxford to Newark in November 1645, he promptly submitted to Parliament and was thus able to compound for his delinquency at a favourable rate, paying £2,385 on an estate of just under £1,250 a year.
Sir Richard made his will on 26 March 1653, leaving a portion of £1,500 for his only unmarried daughter , named after the queen, Henrietta Maria, and an annuity of £20 for a cousin at whose house in Newmarket he died on 28th January 1654 and was buried here at Wath.
His Cumberland property had been settled on his elder son George who died before the 1660 Restoration of King Charles ll , however his grandson Sir Richard Grahame reeped the rewards for their loyalty to the Crown, and was given a Scottish peerage and represented the county under James II.
His younger son Richard founded another branch of the family at Norton Conyers where they still live . He was created 1st Baronet Graham of Norton Conyers for his loyal services in the Civil War,
(The descendants of George & William seem to have intermarried in the 17c & 18c www.flickr.com/gp/52219527@N00/88Rn92 )
Monument repaired by Sir Bellingham Graham Bart 1783 "
A brass inscription placed on the wall underneath, is said by Longstaffe to refer to Katherine - "..Enobled virtue lyes within this tombe, whose life & death inferiour was to none. Her soules in heaven, this tombe is but a tent. Her endless worth is her owne monument" www.flickr.com/gp/52219527@N00/877569
www.histparl.ac.uk/volume/1604-1629/member/graham-richard... www.geni.com/people/Sir-Richard-Graham-of-Esk-1st-Baronet...
- Church of St Mary, Wath, Yorkshire
Maybe you have noticed that I haven't been around much lately on Flickr. Next to the computer crash which took me off-line for nearly two weeks, at work, we had been working on a transaction that caused an extreme workload for the past year or so. Especially the last two months were exhausting and stressful. It not only affected me, but of course also Hans. So, Friday a week ago, when all signatures were finally placed, immediately after getting home, Hans and I packed our bags, started up the "Tembo" and were off for the Biesbosch; my favorite Dutch Nature area.
The Biesbosch is like a natural tranquilizer. Took me 3 whole days to de-stress (and the pictures I took in those days were not much to look at) but finally I could shake off work.
We saw the most beautiful things. An Osprey with fish (really rare in Holland), Purple herons (equally rare), a row-deer buck swimming and dozens of Kingfishers. But with those, being in a wobbly rubber boat with the water swept up by quite some wind doesn’t help to capture these beautiful but tiny and shy little birds. It took a lot of shots and even more patience (normally not one of my virtues :-)) but finally I managed to get a few shots right.
This one was taken with the last possible light, with the 100-400 handheld at 1/40sec. Guess luck had a lot to do with it :-)
[4/14/14: NOTE: another copy of this same image in this same size has recently been acquired that is in very slightly better condition. Therefore, this particular copy is offered on eBay or via a private transaction (preferred method) - - - SOLD - - -. Contact me via FlickrMail if you are interested in owning one of only 4 known copies (3 are in my collection) of this 1971 Milton Glaser advertising poster. Serious inquiries only. This poster actually has less fading in the brown lower half than the newer one that I am keeping.]
- - - 1 OF ONLY 4 KNOWN COPIES. - - -
33"x20" poster by Milton Glaser
There is a minor amount of paper loss on the left edge and a stain in the bottom left and bottom right corners.
This was folded at some point and it was displayed stapled to a wall in the Midwest for decades so there are small holes in all 4 corners, but I'd say it fared exceptionally well considering the circumstances.
The dimpling pattern you see up close is from the pegboard vacuum table used during the photo shoot. Being much smaller than the billboard panels I built the device for, the suction was higher which caused the temporary dimpling.
An ad like the one the original owner would have used to order it can be seen in the link below (Design #9 in the yellow poster offer from 1972.). This image was listed as available in all 4 sizes. Original cost: for this small size was $0.75. The subway or bus stop size was $1.50. It's escalated to $1,500 since then:
www.flickr.com/photos/30559980@N07/5809333595/in/set-7215...
www.dpvintageposters.com/cgi-local/content.cgi?sc=3
Although VERY RARE, other copies of this poster do exist in more than one size. At this time I only know of two 60"x36" and two 33"x20" copies total anywhere. Three of the 4 are in my collection.
60"x36" version ($1.50 in 1972) of the same image (with more info):
www.flickr.com/photos/30559980@N07/7951119176/in/photostream
These color renditions are very close to the actual poster.
TV ad on YouTube opening with this image:
www.youtube.com/watch?NR=1&v=WkaPrAGX4dQ
Learn more details about giant 7Up UnCola billboards and posters like this in my "7Up Billboard" set (right, or link below):
www.flickr.com/photos/30559980@N07/sets/72157623502964435/
The artist was Milton Glaser who co-founded Push pin Studios. In March, 2014 he issued the promotional poster for the final Season 7 of Mad Men (see my other photos). Documentation that this image was done by Milton Glaser: www.miltonglaser.com
See page 59 for verification:
www.glaserarchives.org/fa/mgfa.pdf
He also created the famous "I [heart] NY" logo 6 years after this illustration along with a long list of other accomplishments.
www.youtube.com/watch?v=Ck3MRdeph5o
Another album on Flicker of Glaser's sketches for 7Up (posted by Milton Glaser Design Study Center and Archives):
www.flickr.com/photos/mgdsca/sets/72157649197849840
Here's a page from an early 1970's magazine showing a billboard version of this image pasted on a wall:
www.flickr.com/photos/30559980@N07/5343730408/in/set-7215...
Please let me know if you have have any UnCola images. I am always interested in expanding my collection or trading away extra copies. Please provide me a "first look" at any UnCola posters you might be about to market in return for my research, purchase & sharing of these images.
3/8/14: Here's the only other 7Up UnCola billboard that was done by Milton Glaser - "Like No Cola Can":
www.flickr.com/photos/30559980@N07/13024755023/in/set-721...
Transaction | Street Moment | Dalat - Dalat or Daled is a small town in Sarawak and the majority of the population here are Melanau beside Chinese and Iban. Salty fish is one of my favourite Melanau dish.
Addict buying drugs, Church and Shuter Streets, Toronto.
Note: For obvious reasons, personal safety being first on the list, I don't recommend street photographers photographing illegal drug transactions.
However, walking by this scene, I only saw the man's butt sticking out, and thought it would make an interesting shot. A few seconds later, I realized what was really going on, and quickly strolled away - hoping I wasn't noticed. Turns out, I wasn't, but this could've gone south very quickly.
____________
As a departure from my usual landscapes and travel, I'll be posting some of my street documentary photos for a while. Most will be B&W, but there'll also be some color.
And, a mix of film and digital as well.
Also, I share my street photos directly from Flickr to a different Instagram account where I go by "VIEW [ + ] FINDER", so that's why the different watermark.
Camera: Olympus PEN-F
Lens: Panasonic Lumix G 20mm f/1.7 II
Exposure: ISO80, f/3.2, 1/320 sec
■ Please don't use my images for any purpose, including on websites or blogs, without my explicit permission.
■ S.V.P ne pas utiliser cette photo sur un site web, blog ou tout autre média sans ma permission explicite.
© Tom Freda / All rights reserved - Tous droits réservés
An Ideal Husband is an 1895 comedic stage play by Oscar Wilde which revolves around blackmail and political corruption, and touches on the themes of public and private honour. The action is set in London, in "the present", and takes place over the course of twenty-four hours. "Sooner or later," Wilde notes, "we shall all have to pay for what we do." But he adds that, "No one should be entirely judged by their past." Together with The Importance of Being Earnest, it is often considered Wilde's dramatic masterpiece. After Earnest it is his most popularly produced play.[1]
Background
In the summer of 1893, Oscar Wilde began writing An Ideal Husband, and he completed it later that winter. His work began at Goring-on-Thames, after which he named the character Lord Goring, and concluded at St. James Place. He initially sent the completed play to the Garrick Theatre, where the manager rejected it, but it was soon accepted by the Haymarket Theatre, where Lewis Waller had temporarily taken control. Waller was an excellent actor and cast himself as Sir Robert Chiltern. The play gave the Haymarket the success it desperately needed.
After opening on 3 January 1895, it continued for 124 performances. In April of that year, Wilde was arrested for 'gross indecency' and his name was publicly taken off the play. On 6 April, soon after Wilde's arrest, the play moved to the Criterion Theatre where it ran from 13–27 April. The play was published in 1899, although Wilde was not listed as the author. This published version differs slightly from the performed play, for Wilde added many passages and cut others. Prominent additions included written stage directions and character descriptions. Wilde was a leader in the effort to make plays accessible to the reading public.
Themes
Many of the themes of An Ideal Husband were influenced by the situation Oscar Wilde found himself in during the early 1890s. Stressing the need to be forgiven of past sins, and the irrationality of ruining lives of great value to society because of people's hypocritical reactions to those sins, Wilde may have been speaking to his own situation, and his own fears regarding his affair (still secret).[2] Other themes include the position of women in society. In a climactic moment Gertrude Chiltern "learns her lesson" and repeats LORD GORING's advice "A man's life is of more value than a woman's." Often criticized by contemporary theatre analyzers as overt sexism, the idea being expressed in the monologue is that women, despite serving as the source of morality in Victorian era marriages, should be less judgemental of their husband's mistakes because of complexities surrounding the balance that husbands of that era had to keep between their domestic and their worldly obligations.[3][4] Further, the script plays against both sides of feminism/sexism as, for example, Lord Caversham, exclaims near the end that Mabel displays "a good deal of common sense" after concluding earlier that "Common sense is the privilege of our sex."
A third theme expresses anti-upper class sentiments. Lady Basildon, and Lady Markby are consistently portrayed as absurdly two-faced, saying one thing one moment, then turning around to say the exact opposite (to great comic effect) to someone else. The overall portrayal of the upper class in England displays an attitude of hypocrisy and strict observance of silly rules.[4]
Dramatis Personae
The Earl of Caversham, K.G.
Lord Goring, his son. His Christian name is Arthur.
Sir Robert Chiltern, Bart., Under-Secretary for Foreign Affairs
Vicomte De Nanjac, Attaché at the French Embassy In London
Mr. Montford, secretary to Sir Robert
Mason, butler to Sir Robert Chiltern
Phipps, butler to Lord Goring
James, footman to the Chilterns
Harold, footman to the Chilterns
Lady Chiltern, wife to Sir Robert Chiltern
Lady Markby, a friend of the Chilterns'
The Countess of Basildon, a friend of the Chilterns'
Mrs. Marchmont, a friend of the Chilterns'
Miss Mabel Chiltern, Sir Robert Chiltern's sister
Mrs. Cheveley, blackmailer, Lady Chiltern's former schoolmate
Plot
An Ideal Husband opens during a dinner party at the home of Sir Robert Chiltern in London's fashionable Grosvenor Square. Sir Robert, a prestigious member of the House of Commons, and his wife, Lady Chiltern, are hosting a gathering that includes his friend Lord Goring, a dandified bachelor and close friend to the Chilterns, his sister Mabel Chiltern, and other genteel guests. During the party, Mrs. Cheveley, an enemy of Lady Chiltern's from their school days, attempts to blackmail Sir Robert into supporting a fraudulent scheme to build a canal in Argentina. Apparently, Mrs. Cheveley's dead mentor and lover, the Austro-Hungarian Baron Arnheim, convinced the young Sir Robert many years ago to sell him a Cabinet secret, a secret that suggested he buy stocks in the Suez Canal three days before the British government announced its purchase. Sir Robert made his fortune with that illicit money, and Mrs. Cheveley has the letter to prove his crime. Fearing the ruin of both career and marriage, Sir Robert submits to her demands.
When Mrs. Cheveley pointedly informs Lady Chiltern of Sir Robert's change of heart regarding the canal scheme, the morally inflexible Lady Chiltern, unaware of both her husband's past and the blackmail plot, insists that Sir Robert renege on his promise. For Lady Chiltern, their marriage is predicated on her having an "ideal husband"—that is, a model spouse in both private and public life that she can worship: thus Sir Robert must remain unimpeachable in all his decisions. Sir Robert complies with the lady's wishes and apparently seals his doom. Also toward the end of Act I, Mabel and Lord Goring come upon a diamond brooch that Lord Goring gave someone many years ago. Goring takes the brooch and asks that Mabel inform him if anyone comes to retrieve it.
In the second act, which also takes place at Sir Robert's house, Lord Goring urges Sir Robert to fight Mrs. Cheveley and admit his guilt to his wife. He also reveals that he and Mrs. Cheveley were formerly engaged. After finishing his conversation with Sir Robert, Goring engages in flirtatious banter with Mabel. He also takes Lady Chiltern aside and obliquely urges her to be less morally inflexible and more forgiving. Once Goring leaves, Mrs. Cheveley appears, unexpected, in search of a brooch she lost the previous evening. Incensed at Sir Robert's reneging on his promise, she ultimately exposes Sir Robert to his wife once they are both in the room. Unable to accept a Sir Robert now unmasked, Lady Chiltern then denounces her husband and refuses to forgive him.
In the third act, set in Lord Goring's home, Goring receives a pink letter from Lady Chiltern asking for his help, a letter that might be read as a compromising love note. Just as Goring receives this note, however, his father, Lord Caversham, drops in and demands to know when his son will marry. A visit from Sir Robert, who seeks further counsel from Goring, follows. Meanwhile, Mrs. Cheveley arrives unexpectedly and, misrecognized by the butler as the woman Goring awaits, is ushered into Lord Goring's drawing room. While she waits, she finds Lady Chiltern's letter. Ultimately, Sir Robert discovers Mrs. Cheveley in the drawing room and, convinced of an affair between these two former lovers, angrily storms out of the house.
When she and Lord Goring confront each other, Mrs. Cheveley makes a proposal. Claiming to still love Goring from their early days of courtship, she offers to exchange Sir Robert's letter for her old beau's hand in marriage. Lord Goring declines, accusing her of defiling love by reducing courtship to a vulgar transaction and ruining the Chilterns' marriage. He then springs his trap. Removing the diamond brooch from his desk drawer, he binds it to Cheveley's wrist with a hidden device. Goring then reveals how the item came into her possession. Apparently Mrs. Cheveley stole it from his cousin, Mary Berkshire, years ago. To avoid arrest, Cheveley must trade the incriminating letter for her release from the bejewelled handcuff. After Goring obtains and burns the letter, however, Mrs. Cheveley steals Lady Chiltern's note from his desk. Vengefully she plans to send it to Sir Robert misconstrued as a love letter addressed to the dandified lord. Mrs. Cheveley exits the house in triumph.
The final act, which returns to Grosvenor Square, resolves the many plot complications sketched above with a decidedly happy ending. Lord Goring proposes to and is accepted by Mabel. Lord Caversham informs his son that Sir Robert has denounced the Argentine canal scheme before the House. Lady Chiltern then appears, and Lord Goring informs her that Sir Robert's letter has been destroyed but that Mrs. Cheveley has stolen her letter and plans to use it to destroy her marriage. At that moment, Sir Robert enters while reading Lady Chiltern's letter, but as the letter does not have the name of the addressee, he assumes it is meant for him, and reads it as a letter of forgiveness. The two reconcile. Lady Chiltern initially agrees to support Sir Robert's decision to renounce his career in politics, but Lord Goring dissuades her from allowing her husband to resign. When Sir Robert refuses Lord Goring his sister's hand in marriage, still believing he has taken up with Mrs. Cheveley, Lady Chiltern is forced to explain last night's events and the true nature of the letter. Sir Robert relents, and Lord Goring and Mabel are permitted to wed.
Reception
The play proved extremely popular in its original run, lasting over a hundred performances. Critics also lauded Wilde's balance of a multitude of theatrical elements within the play. George Bernard Shaw praised the play saying "Mr. Wilde is to me our only thorough Playwright. He plays with everything; with wit, with philosophy, with drama, with actors and audience, with the whole theatre."[2]
Selected Production History
An Ideal Husband was originally produced by Lewis Waller, premiering on the 3rd of January, 1895 in Haymarket Theatre. The run lasted 124 performances. The original cast of the play was:[5]
Mr. Alfred Bishop, THE EARL OF CAVERSHAM, VISCOUNT GORING, Mr. Charles H. Hawtrey, SIR ROBERT CHILTERN, Mr. Lewis Waller, VICOMTE DE NANJAC, Mr. Cosmo Stuart, MR. MONTFORD, Mr. Harry Stanford, PHIPPS, Mr. C. H. Brookfield, MASON, Mr. H. Deane, JAMES, Mr. Charles Meyrick, HAROLD, Mr. Goodhart, LADY CHILTERN, Miss Julia Neilson, LADY MARKBY, Miss Fanny Brough, COUNTESS OF BASILDON, Miss Vane Featherston, MRS. MARCHMONT, Miss Helen Forsyth, MISS MABEL CHILTERN, Miss Maud Millet, and MRS. CHEVELEY, Miss Florence West.
Oscar Wilde was arrested for "gross indecency" (homosexuality) during the run of the production. At the trial the actors involved in the production testified as witnesses against him. The production continued but credit for authorship was taken away from Wilde.[2]
An Ideal Husband was revived for a Broadway production featuring the Broadway debut of film stars Michael Denison and Dulcie Gray. Denison and Gray had earlier starred in a West End Theatre revival that had proved extremely popular for English audiences.[6]
Film, television and radio adaptations
1935 film
Main article: An Ideal Husband (1935 film)
A 1935 German film directed by Herbert Selpin and starring Brigitte Helm and Sybille Schmitz.
1947 film
Main article: An Ideal Husband (1947 film)
A lavish 1947 adaptation was produced by London Films and starred Paulette Goddard, Michael Wilding and Diana Wynyard
1998 film[edit]
Main article: An Ideal Husband (1998 film)
It was adapted for the screen in 1998. It starred James Wilby and Jonathan Firth
1999 film
Main article: An Ideal Husband (1999 film)
It was adapted once more for the screen in 1999. It starred Julianne Moore, Minnie Driver, Jeremy Northam, Cate Blanchett and Rupert Everett. The film adapts the play to some measure, the most significant departure being that the device of the diamond broach/bracelet is deleted, and instead Lord Goring defeats Mrs. Cheavley by making a wager with her: if Sir Robert capitulates and supports the scheme in his speech to the House of Commons, Goring will marry her, but if he sticks to his morals and denounces the scheme, she will give up the letter and leave England.
Television and radio
The BBC produced a version which was broadcast in 1969 as part of their Play of the Month series. It stars Jeremy Brett and Margaret Leighton and was directed by Rudolph Cartier. It is available on DVD as part of The Oscar Wilde Collection box-set.
BBC Radio 3 broadcast a full production in 2007 directed by David Timson and starring Alex Jennings, Emma Fielding, Jasper Britton, Janet McTeer and Geoffrey Palmer. This production was re-broadcast on Valentine's Day 2010.
L.A. Theatre Works produced an audio adaptation of the play starring Jacqueline Bisset, Rosalind Ayres, Martin Jarvis, Miriam Margolyes, Alfred Molina, Yeardley Smith and Robert Machray. It is available as a CD set, ISBN 1-58081-215-5.
Quotes
LORD GORING: Life is never fair, and perhaps it is a good thing for most of us that it is not.
SIR ROBERT CHILTERN: All sins except a sin against itself, love should forgive.
SIR ROBERT CHILTERN: It is not the perfect, but the imperfect, who have need of love. It is when we are wounded by our own hands, or by the hands of others, that love should come to cure us – else what use is love at all?
LORD GORING: Fashion is what one wears oneself. What is unfashionable is what other people wear. Other people are quite dreadful. The only possible society is oneself.
MRS. CHEVELEY: Morality is simply the attitude we adopt towards people whom we personally dislike.
PHIPPS: I will speak to the florist, my lord. She has had a loss in her family lately, which perhaps accounts for the lack of triviality your lordship complains of in the buttonhole.
LORD GORING: Extraordinary thing about the lower classes in England - they are always losing their relations.
PHIPPS: Yes, my lord! They are extremely fortunate in that respect.
****************************************************
This Bit comes from when the Americans were filming their version of the play “an Ideal Husband”
A couple of newspapers picked up on it at the time.
The film was shot on several sites, including an Italian waterfront.
At the end of the week it was their custom to have a “wrap” party celebrating the end of the week’s shoot.
The ball scene had been filmed that day and most of the cast attended the get-together still in costume. This included 3 of the minor actresses who had bonded during the filming.
After the revelry was dying out, these 3 decided to go it alone, leaving the stage room to hit several of the bars and a casino located on the riverfront. Making a decidedly poor decision, they opted to wear the elegant gowns and shimmering jewelry they had donned for the stylish ball act( much of which was later cut from thye movie, including their roles) .
Needless to say the young trio of pretty actresses garnered a considerable amount of male attention as they made their rounds. They left their last stop in the wee early hours of the morning only to discover they taxi they had paid to wait for them had vanished. A dapper young man with a foreign accent that made the girls swoon came upon the young ladies, and after they explained their predicament, offered some aid. He invited them to a back room off a nearby alley to wait while he brought his private car around, suggesting that it would be a place of refuge to stay warm from the cool ocean air( only one of the actresses had a wrap).
About ten minutes after he had left them a masked man burst in brandishing a wicked looking blade. He demanded their ”jools” and “perses” than after receiving their valuables, had them strip down to their silky undergarments. He then bundled the lot and ran off. They could hear tires screeching off in the night. The dapper male never returned, and it was hours before their pitiful cries of help were heard by a passing vagrant, who after making sure they had nothing more of value, disappeared, than must have had a change of heart, for he summoned a patrolman to help them.
Two of the ladies had been wearing prop gowns and rhinestones, but the third, a minor relative of the New York Cabot family, had been waering her own designer gown(worth 2000 pounds) and her family diamonds( worth 55000 pounds sterling) So it was generally regarded that the ladies were scammed by a couple of professionals who had been out on the prowl for such prey, knew where to find it, and how to acquire her valuables.
Then, two weeks later another young lady, again unescorted, had decided to do a tour of the same riverfront establishments. She did so after attending a relatives wedding reception. She had met a rather handsome man while out drinking, and the pair had set off for a second bar when a masked man mugged them of their valuables. Including a 30000 lira ring she had worn, and 10000 Lira of other jewellery. Her friend dropped her off at the bar and went for help, disappearing in the night. Her description of the pair matched the ones who had robbed the Actresses.
Courtesy of Chatwick University Archives
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Continental Airlines was a major United States airline founded in 1934 and headquartered in Houston. The airline was acquired by UAL Corporation, the parent company of United Airlines, in an all-stock transaction on October 1, 2010. The integration was completed on March 3, 2012. Although the merged airline retained the United name, it uses Continental's operating certificate and livery. Continental ws a massive operator of the DC-9 family: 78 planes. 37 from series -10, 36 from series -30 and 5 from series -50. Continental operated also 70 of the MDD Md-80 (DC-9-80...).
BUt the one in the picture was not a Continental's plane...For a brief time in the mid-1980s, Emerald Air operated a connecting jet shuttle service on behalf of Continental Airlines between Houston Intercontinental Airport (IAH) and Houston Hobby Airport (HOU), which was called the 'Houston Proud Express.' This "cross-town" service in Houston was operated with Douglas DC-9-10 jet aircraft via a code sharing agreement between Continental and Emerald Air. Emerald painted its aircraft to mimic those of Continental Airlines' then present orange colors and scheme.
N38641 (DC-9-14 c/n 47060 l/n 109) was delivered in May 1967 to AVENSA as YV-C-AVR (from 1975 YV-57C). In April 1983 the plane was acquired by US Air but it never operated for the company being sold in June same year to Emerald Air as N38641. In June 1991 Emerald Air merged into Braniff International and the aircraft was operated until October 1991 when it was retired and stored first in MIA and then in OPF. In July 1993 it was leased by Estrelles del Aire as XA-SKA until March 1994. Allegro bought it in April 1994 and in September 1997 leased it to Aerocaribe. The plane was eventually retired in July 1999 and stored at MEX.
Slide dated NOvember 1987 showing the plane in the Continental style CONTINENTAL HOUSTON PROUD EXPRESS title and logo.
Image Free To Use under:
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Please advise me of any usage of this image via my Flickr mail address:
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Have a great day! - Andrew G Thomas.
Just one perfect bubble to brighten my day.
Well, my life is changing permanently really soon and it's got me pretty depressed actually. I'm not good with change to be honest.
Anyway, I needed something to cheer me up and blowing bubbles seemed to help...even if for only a little while.
I am, however, loving the free new embroider chucks that I got from a friend.
Bitcoin Transaction malleability is actually once more impacting the whole Bitcoin system. Usually, this particular leads to lots of misunderstandings above all else, as well as leads to apparently replicate Transactions before following prevent is actually mined. This is often viewed as the n...
tradersforexandbitcoin.info/2016/01/05/bitcoin-transactio...
Wheelin and dealin' along the sidewalk, this vendor of local kakanin (rice cakes) is making brisk (pun intended) sales
Application. I will not fail to
bring to your notice that this transaction is hitch free and that you should not
entertain any atom of fear as all required arrangements have been made for the
transfer. You should contact me immediately as soon
Trusting to hear from you immediately....Musa Adib
to change my life
in a sumptuous sweep
he says i dont have to
look before i leap
a rich harvest ready
to reap .. money will be
remitted.Upon receipt
of your reply.. money
for keeps a transaction
simple legal accountable
cheap.. no more a
beggar poet he
reiterates ..no one dare
call you a black sheep
relax inhale breathe
in deep.. no more
shooting pictures
of beggars homeless
or garbage heap..
become a multi
millionaire
good night sleep
burkina faso
rich mans dreams
from the desk of
musa adibe
beauty in the
eye of the beholder
is only skin deep
FROM THE DESK OF Mr Musa.adibe
(BURKINA FASO,WESTA)
AFRICA DEVELOPMENT BANK(ADB)
With Due Respect I am Mr Musa.adibe of the bill and exchange at the foreign
remittance Department of AFRICA DEVELOPMENT BANK(ADB),I crave your indulgence as
icontact you in such a surprising manner. But I respectfully insist
youread this letter
carefully as I am optimistic it will open doors for unimaginable
financial rewards for
both of us. In my department we
discovered an abandoned sum of Ten Million, Five Hundred Thousand US
dollars (US$10.5m)
only , in an account that belongs to one of our foreign customer who
died along with his
entire family on (31 July,2000) in a plan crash and his name is
Christian Eich,( 57) an
engineer who ran car maker (BMW's museum) his wife and two( children)
and( hiswife)'s parents
were also among the victims. Since we got information about his death,
we have been
expecting his next of kin to come over and claim his money because we
cannot release it
unless somebody applies for it as next of kin or relation to the
deceased as indicated in
our banking guidelines but unfortunately we
learnt that all his supposed next of kin or relation died along with
him at the plane
crash leaving nobody behind for the claim of the sum amount of money
with our banking
home.It is therefore upon this discovery that I now decided to make
this business
proposal to you so that the money could be released to you as the next
of kin or relation
to the deceased for safety and subsequent
disbursement since nobody is coming for it and i don’t want this money
to go into the
bank treasury as unclaimed Bill.The Banking law and guideline here
stipulates that if
such money remained unclaimed after five years, the money will be
transferredinto the
Bank treasury as "unclaimed fund". The request for a foreigner as next
of kin in this
business is occasioned by the fact that the customer was a foreigner
and a Burkinabe
cannot stand as nextof kin to a foreigner Because I am a citizen of
this country Burkina
Faso. We agree that (30%) of this money will be for you as a foreign
partner, in respect to
the provision of a foreign account , (10%) will be set aside for
expenses incurred during
the business and (60% )would be for me. There after I will visit your
country for
disbursement according to the percentages indicated. Therefore to enable the
immediate transfer of this fund to you as arranged, you must apply
first to the bank as
relation or next of kin of the deceased indicating your bank name,
your bank account
number, your private
telephone and fax number for easy and effective communication and
location wherein the
money will be remitted.Upon receipt of your reply through my
privatee mail Adress : (musa.adibe@yahoo.com) I will send to you by
fax or email the text of the
application. I will not fail to
bring to your notice that this transaction is hitch free and that you should not
entertain any atom of fear as all required arrangements have been made for the
transfer. You should contact me immediately as soon
Trusting to hear from you immediately.
(Yours faithfully )
( Mr Musa.adibe)
musa.adibe2012@gmail.com
Liz by Andy Warhol. Ken C. Arnold Art Collection Andy Warhol
From Wikipedia, the free encyclopediaJump to:navigation, search
For the song by David Bowie, see Andy Warhol (song)
Andy Warhol
Warhol in 1977
Birth name Andrew Warhola
Born August 6, 1928(1928-08-06)
Pittsburgh, Pennsylvania, U.S.
Died February 22, 1987 (aged 58)
New York City, U.S.
Nationality American
Field Painting, Cinema
Training Carnegie Mellon University
Movement Pop art
Works Chelsea Girls (1966 film)
Exploding Plastic Inevitable (1966 event)
Campbell's Soup Cans (1962 painting)
Andrew Warhola (August 6, 1928 – February 22, 1987), known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and public figure known for his membership in wildly diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy patrons.
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame." In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.
The highest price ever paid for a Warhol painting is $100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market." $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Gustav Klimt and Willem de Kooning have achieved.[1]
Contents [hide]
1 Childhood
2 Early career
3 1960s
4 Attempted assassination
5 1970s
6 1980s
7 Sexuality
8 Religious beliefs
9 Death
10 Works
10.1 Paintings
10.2 Films
10.3 Factory in New York
10.4 Filmography
10.5 Music
10.6 Books and print
10.7 Other media
10.8 Producer and product
11 Dedicated museums
12 Movies about Warhol
12.1 Dramatic portrayals
12.2 Documentaries
13 See also
14 References
15 Further reading
16 External links
Childhood
Warhol's childhood home at 3252 Dawson Street in the South Oakland neighborhood of Pittsburgh, PennsylvaniaAndy Warhol was born in Pittsburgh, Pennsylvania.[2] He was the fourth child of Ondrej Warhola (died 1942)[3] and Julia (nee Zavacka, 1892-1972),[4] whose first child was born in their homeland and died before their migration to the U.S. His parents were working-class immigrants from Mikó (now called Miková), in northeastern Slovakia, then part of Austro-Hungarian Empire. Warhol's father immigrated to the US in 1914, and his mother joined him in 1921, after the death of Andy Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.[5] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers, Ján and Pavol, who were born in today's Slovakia. Pavol's son, James Warhola, became a successful children's book illustrator.
In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness.[6] He became a hypochondriac, developing a fear of hospitals and doctors. Often bed-ridden as a child, he became an outcast among his school-mates and bonded strongly with his mother.[7] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[8]
Early career
Warhol showed early artistic talent and studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania (now Carnegie Mellon University).[9] In 1949, he moved to New York City and began a successful career in magazine illustration and advertising. During the 1950s, he gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.[10]
Campbell's Soup I (1968)1960s
His first one-man art-gallery exhibition as a fine artist[11][12] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked the West Coast debut of pop art.[13] Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time John Giorno who would star in Warhol's first film, Sleep, in 1963.[citation needed]
It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor. He founded "The Factory", his studio during these years, and gathered around himself a wide range of artists, writers, musicians, and underground celebrities. He began producing prints using the silkscreen method. His work became popular and controversial.
Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products. He also used as imagery for his paintings newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[14]
New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.[citation needed]
Campbell's Tomato Juice Box (1964)A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is (or of what is art and what is not).[citation needed]
As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).[15]
During the '60s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Edie Sedgwick, Viva, Ultra Violet, and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.
Attempted assassination
On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio.[16] Before the shooting, Solanas had been a marginal figure in the Factory scene. She founded a "group" called S.C.U.M. (Society for Cutting Up Men) and authored the S.C.U.M. Manifesto, a separatist feminist attack on patriarchy. Over the years, Solanas' manifesto has found a following.[17] Solanas appears in the 1968 Warhol film I, A Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script, apparently, had been misplaced.[18]
Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art.[19][20]
Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." She was eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene became much more tightly controlled, and for many this event brought the "Factory 60s" to an end.[20] The shooting was mostly overshadowed in the media due to the assassination of Robert F. Kennedy two days later.
Warhol had this to say about the attack: "Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television." [21]
1970s
Andy Warhol and Jimmy Carter in 1977Compared to the success and scandal of Warhol's work in the 1960s, the 1970s proved a much quieter decade, as Warhol became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson.[22][citation needed] Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."[cite this quote]
Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the '70s, Studio 54.[23] He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."[24]
1980s
Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of '80s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.
By this period, Warhol was being criticized for becoming merely a "business artist".[25] In 1979, unfavorable reviews met his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. This criticism was echoed for his 1980 exhibit of ten portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who exhibited no interest in Judaism or matters of interest to Jews – had described in his diary as "They're going to sell."[25] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."[25]
Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."[26]
Sexuality
Warhol never married or had children.[27] Many people think of him as asexual and merely a "voyeur"; however, it is now well-established that he was homosexual (see biographers such as Victor Bockris, Bob Colacello,[28] and art historian Richard Meyer[29]). The question of his sexuality aside, Warhol stated in a 1980 interview that he was still a virgin.[30] The question of how Warhol's sexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist, and is an issue that Warhol himself addressed in interviews, in conversation with his contemporaries, and in his publications (e.g. Popism: The Warhol Sixties).
Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli, Judy Garland, and Elizabeth Taylor, and films like Blow Job, My Hustler, and Lonesome Cowboys) draw from gay underground culture and/or openly explore the complexity of sexuality and desire. Many of his films premiered in gay porn theaters. That said, some stories about Warhol's development as an artist revolved around the obstacle his sexuality initially presented as he tried to launch his career. The first works that he submitted to a gallery in the pursuit of a career as an artist were homoerotic drawings of male nudes. They were rejected for being too openly gay.[31] In Popism, furthermore, the artist recalls a conversation with the film maker Emile de Antonio about the difficulty Warhol had being accepted socially by the then more famous (but closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In response to this, Warhol writes, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't want to change anyway, that I didn't think I 'should' want to change... Other people could change their attitudes but not me".[32][33] In exploring Warhol's biography, many turn to this period – the late 1950s and early 1960s – as a key moment in the development of his persona. Some have suggested that his frequent refusal to comment on his work, to speak about himself (confining himself in interviews to responses like "Um, No" and "Um, Yes", and often allowing others to speak for him) – and even the evolution of his Pop style – can be traced to the years when Warhol was first dismissed by the inner circles of the New York art world.[34]
Religious beliefs
Images of Jesus from The Last Supper cycle (1986). Warhol made almost 100 variations on the theme, which the Guggenheim felt "indicates an almost obsessive investment in the subject matter."[35]Warhol was a practicing Byzantine Catholic. He regularly volunteered at homeless shelters in New York, particularly during the busier times of the year, and described himself as a religious person.[36] Several of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). In addition, a body of religious-themed works was found posthumously in his estate.[36]
During his life, Warhol regularly attended Mass, and the priest at Warhol's church, Saint Vincent's, said that the artist went there almost daily,[36] although he never took communion or made confession and sat or knelt in the pews at the back.".[30] The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Roman Catholic church crossing himself "in the Orthodox way" (right to left instead of the reverse).[30]
His art is noticeably influenced by the eastern Christian iconographic tradition which was so evident in his places of worship.[36]
Warhol's brother has described the artist as "really religious, but he didn't want people to know about that because [it was] private." Despite the private nature of his faith, in Warhol's eulogy John Richardson depicted it as devout: "To my certain knowledge, he was responsible for at least one conversion. He took considerable pride in financing his nephew's studies for the priesthood".[36]
Death
Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia.[37] Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication.[38]
Warhol's grave at St. John the Baptist Byzantine Catholic CemeteryWarhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono also made an appearance. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. Weeks later a memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.
Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million. His total estate was worth considerably more, due in no small part to shrewd investments over the years.[citation needed]
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts was founded. The Foundation not only serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."[39]
The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[40] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[41] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.[42]
The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[43] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.[44]
Works
Paintings
This section needs references that appear in reliable third-party publications. Primary sources or sources affiliated with the subject are generally not sufficient for a Wikipedia article. Please add more appropriate citations from reliable sources. (February 2009)
By the beginning of the 1960s, Warhol was a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. These illustrations consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop Art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first Pop Art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.[45] Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On 23 November 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.[46] For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.[47]
He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.[48]
In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.[49]
Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques– silkscreens, reproduced serially, and often painted with bright colors – whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series. The Death and Disaster paintings (such as Red Car Crash, Purple Jumping Man, and Orange Disaster) transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving mass media.
The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." [50]
His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":
Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint.' Andy always had a little extra bounce in his walk as he led them to his studio...[51]
Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".
After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.[52][53] Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.[54]
The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"[55] but by others as “wishy-washy, religiose” and “spiritless."[56] It is also the largest series of religious-themed works by any U.S. artist.[55]
At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz. [57]
Films
Warhol worked across a wide range of media – painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films [58], plus some 500 short black-and-white "screen test" portraits of Factory visitors.[59] One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called Trio for Strings and subsequently created his famous series of static films including Kiss, Eat, and Sleep (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance.[60]
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.
His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.
Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art.[61][62] Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.
After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.
In the early '70s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.
Factory in New York
Factory: 1342 Lexington Avenue (the first Factory)
The Factory: 231 East 47th street 1963-1967 (the building no longer exists)
Factory: 33 Union Square 1967-1973 (Decker Building)
Factory: 860 Broadway (near 33 Union Square) 1973-1984 (the building has now been completely remodeled and was for a time (2000–2001) the headquarters of the dot-com consultancy Scient)
Factory: 22 East 33rd Street 1984-1987 (the building no longer exists)
Home: 1342 Lexington Avenue
Home: 57 East 66th street (Warhol's last home)
Last personal studio: 158 Madison Avenue
Filmography
Main article: Andy Warhol filmography
Music
In the mid 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.[citation needed]
Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy In Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.[citation needed] One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.[63]
Warhol was also friendly with many recording artists, including Deborah Harry, Grace Jones, Diana Ross and John Lennon (with whom he posed for an infamous photograph[64]) - he designed the cover to Lennon's 1986 posthumously released Menlove Ave. Warhol also appeared as a bartender in The Cars' music video for their single "Hello Again", and Curiosity Killed The Cat's video for their "Misfit" single (both videos, and others, were produced by Warhol's video production company).[citation needed] Warhol featured in Grace Jones' music video for "I'm Not Perfect (But I'm Perfect for You)".
Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, but this version wasn't officially released until the VU album appeared in 1985. He recorded a new version for his 1972 solo album Transformer, produced by Bowie and Mick Ronson.[citation needed]
Cover of copy no. 18 of 25 Cats Name [sic] Sam and One Blue Pussy by Andy Warhol given in 1954 to Edgar de Evia and Robert Denning when the author was a guest in their home in the Rhinelander Mansion.[citation needed]Books and print
Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.
The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987[65] and the original was auctioned in May 2006 for US $35,000 by Doyle New York.[66]
Other self-published books by Warhol include:
A Gold Book
Wild Raspberries
Holy Cats
After gaining fame, Warhol "wrote" several books that were commercially published:
a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.[citation needed]
The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.[citation needed]
Popism: The Warhol Sixties (1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the sixties and the role of Pop Art.
The Andy Warhol Diaries (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[67]
Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.[68]
Other media
As stated, although Andy Warhol is most known for his paintings and films, he has authored works in many different media.
Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and (of course) Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.[69]
Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of "grocery carton" sculptures that also included Heinz ketchup and Campbell's tomato juice cases.[70] Other famous works include the Silver Clouds– helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–69) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).[71]
Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his "Invisible Sculpture", a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[citation needed]
Time Capsules: In 1973, Warhol began saving ephemera from his daily life– correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food– which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.[72]
Television: Andy Warhol dreamed of a television show that he wanted to call The Nothing Special, a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, Andy Warhol's TV in 1982 and Andy Warhol's Fifteen Minutes (based on his famous "fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".[73]
Fashion: Warhol is quoted for having said: "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"[cite this quote] One of his most well-known Superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.[citation needed]
Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.[74]
Theater: Andy Warhol's PORK opened on May 5, 1971 at LaMama theater in New York for a two week run and was brought to the Roundhouse in London for a longer run in August, 1971. Pork was based on tape-recorded conversations between Brigin Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as "Vulva" and Cherry Vanilla as "Amanda Pork".[citation needed] In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas.
Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous amount of photographs of Factory visitors, friends.[citation needed]
Computer: Warhol used Amiga computers to generate digital art, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.[75] (video)
Producer and product
Warhol had assistance in producing his paintings. This is also true of his film-making and commercial enterprises.[citation needed]
He founded the gossip magazine Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from Love Boat to Saturday Night Live and the Richard Pryor movie, Dynamite Chicken).[citation needed]
In this respect Warhol was a fan of "Art Business" and "Business Art"– he, in fact, wrote about his interest in thinking about art as business in The Philosophy of Andy Warhol from A to B and Back Again.[citation needed]
Dedicated museums
Two museums are dedicated to Andy Warhol. The Andy Warhol Museum, one of the Carnegie Museums of Pittsburgh, is located at 117 Sandusky Street in Pittsburgh, Pennsylvania. It is the largest American art museum dedicated to a single artist, holding more than 12,000 works by the artist.[citation needed]
The other museum is the Andy Warhol Museum of Modern Art, established in 1991 by Andy's brother John Warhola, the Slovak Ministry of Culture, and the Warhol Foundation in New York. It is located in the small town of Medzilaborce, Slovakia. Andy's parents and his two brothers were born 15 kilometres away in the village of Miková. The museum houses several originals donated mainly by the Andy Warhol Foundation in New York and also personal items donated by Warhol's relatives.[citation needed]
Movies about Warhol
Dramatic portrayals
Warhol (right) with director Ulli Lommel on the set of 1979's Cocaine Cowboys, in which Warhol appeared as himselfIn 1979, Warhol appeared as himself in the film Cocaine Cowboys.[76]
After his passing, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by David Bowie in Basquiat, a film by Julian Schnabel, and by Jared Harris in the film I Shot Andy Warhol directed by Mary Harron (1996). Warhol appears as a character in Michael Daugherty's 1997 opera Jackie O. Actor Mark Bringleson makes a brief cameo as Warhol in Austin Powers: International Man of Mystery (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Andy's life. Sean Gregory Sullivan depicted Warhol in the 1998 film 54. Guy Pearce portrayed Warhol in the 2007 film, Factory Girl, about Edie Sedgwick's life.[77] Actor Greg Travis portrays Warhol in a brief scene from the 2009 film Watchmen.
Gus Van Sant was planning a version of Warhol's life with River Phoenix in the lead role just before Phoenix's death in 1993.[78]
Documentaries
The 2001 documentary, Absolut Warhola was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.[79]
Andy Warhol: A Documentary Film is a reverential four-hour 2006 movie by Ric Burns.[80]
Andy Warhol: Double Denied is a 52 minute movie by lan Yentob about the difficulties in authenticating Warhol's work.[81]
...did a card transaction very early this morning.
Not enough coffee in my body, low light, for seasonal reasons, and laid my card on the black breakfast table.
I could not find the card at first.
RX14 TDUT- Transaction - Daf CF 6x2 tractor unit. ruckfest South East, Detling on 14th September 2014
Stranger #192 came to my attention as we walked past a fashion boutique which seemed to be doing a roaring trade. I had just caught a glimpse of a tall, well dressed blonde standing at the counter and so I stopped to take another look. She was in the middle of a transaction with a customer so the three of us, my wife, Evan and I, patiently waited out the front until she finished. Finally, after what seemed like an eternity I made my way in and asked her if she would allow me to take a photo of her for the project. Without asking more about me or the project she instantly agreed. We shook hands exchanged names and headed outside. In the back of my mind I was thinking, wow, this is cool, she must be owner of the shop as she had just walked away from the counter without telling anyone where she was going.
We moved to a side street with a fairly steep incline and I positioned Izzie on the lower side. I did this mainly because she was a very tall girl and also because I wanted her to look up at the camera to emphasize those big baby blues of hers.
Now it’s not often that I don’t get to glean a fair amount of information from my strangers as I enjoy talking with them and getting a sense of who they are and where they are going in life. Unfortunately, I have none of this information about Izzie. In fact, I only know 2 things about her, that is: her name and that she works at Wheels and Baby Doll. Read on to find out why.
So, I start firing away and had taken 2 quick frames when through the lens I see Izzie look past me and suddenly walk away. Now I’m thinking, hmm, maybe she has had enough, but when I turn around to find out where she had gone I see an older woman standing at the top of the street talking to my wife and Evan with Izzie hurrying back into the shop. I walk up and apologise to the woman who obviously was her boss (and the real owner). It seems that I had inadvertently managed to get Izzie in trouble by asking her to leave the shop. The boss was not impressed.
End of shoot. Full stop!
Feeling a little sorry for Izzie I sneak back into the shop to apologise to her when I suddenly notice a familiar face. Sure enough it was one of my previous strangers, Charlie. As she was busy with a customer I quickly apologised to Izzy and give her a card before heading off to allow her to make amends with her boss.
What was even stranger (pun intended) was when I looked at my wife’s candid of me and Izzie I spotted another one of my strangers Joshua in the background.
I love how weird the universe is sometimes!
Thanks for being part of the 100 Strangers Project and I hope you still have your job!
This picture is #192 in my 2nd round of The100 Strangers Project.
You can see my 1st 100 Strangers Set here
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page