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FACTORY GIRL FREE DOWNLOAD Pamela Oldfield | 160 pages | 03 Jan 2011 | Scholastic | 9781407116723 | English | London, United Kingdom Factory Girl (Rolling Stones song) Sign up here. The film is framed by Edie Sedgwick Sienna Miller being interviewed in a hospital several years after her time as an Andy Warhol superstar. Help Learn to edit Community portal Recent changes Upload file. We want to hear what you have to say but need to verify your account. Certified Fresh Picks. Beggars Banquet. Was this review helpful to you? Waiting Factory Girl a girl who's got curlers in her hair Waiting for Factory Girl girl, she has no money anywhere Factory Girl get buses everywhere, waiting for a factory girl. Micheal Compton. Andy Warhol dove into most things artistic; shaping Pop Art, producing The Velvet Underground, and making his own films. Namespaces Article Talk. In Factory Girl, a jumbled account of the short life and photogenic hard times of the first Andy Warhol superstar, Edie Sedgwick, Sienna Miller makes Sedgwick into an archetypal over-confident blond with a mannered young Kathleen Turner croak. Best Horror Movies. Add Article. Andy Warhol: You're the boss, applesauce! By the end of the film, I didn't think I learned anything true. We want to hear what you have to say but need to verify your email. Log in here. June 15, Clear your history. Sienna Miller defended the film against Dylan's allegations, saying in an interview with the Guardian, Factory Girl blames Warhol more than anyone, because he did abandon her Regal Coming Soon. From metacritic. Yes No Report this. Trailers and Videos. Billy and Edie fight and he tells her that Andy is a "bloodsucker" who will "kill" her. Jimmy Fallon Chuck Wein. Archived from the original on March 12, More trailers. Lift Productions [1]. Book Category. March 16, Full Review…. Archived from the original on January 4, Although she seems to have it all, Edie cannot have the love she craves from Andy, and she has an affair with a charismatic musician Hayden Christensenwho pushes her to seek independence from the artist and the milieu. Edie's status as a Warhol superstar and rising Factory Girl fashion model earn her fame and international attention. Edie Sedgwick : Well, which one? Beth Grant Julia Warhola. November 6, Full Review…. Stella Papamichael wrote for the BBC : "In Factory Girl it's an unconvincing portrait, and as the Dylan clone says, "Empty, like one of those cans of soup She and Chuck become part of the tightly-knit, bohemian social scene at Andy's famous art Factory Girl, the Silver Factory. Technical Specs. Don't Factory Girl an account? She agrees and goes on to star in several of Andy's projects, becoming his muse. UK and US releases — Download Factory Girl PDF Printable version. Captain Mauzner's screenplay never really gives much insight into Sedgwick Factory Girl a person, leaving more questions about the person than answers. Rate This. December 15, View All. Rate this movie Oof, that was Rotten. Worst Superhero Movies. Jimmy Miller. George Hickenlooper. .

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Andy Warhol From
Andy Warhol From “THE HOUSE THAT went to TOWN” 8 February - 9 March 2019 I. Andy Warhol “Dancing Sprites”, ca. 1953 ink and watercolor on paper 73.7 x 29.5 cm (framed: 92.7 x 48.4 x 2.8 cm) AW/P 1953/23 Andy Warhol “Sprite Acrobats”, ca. 1956 ink on paper, double-sided 58.5 x 73.5 cm (framed: 92.4 x 77.5 x 2.8 cm) AW/P 1956/08 Andy Warhol “Sprite Figures Kissing”, ca. 1951 graphite on paper 14.3 x 21.6 cm (framed: 32.2 x 39.5 x 2.8 cm) AW/P 1951/01 Warhol used this motif in several illustrations from the early 1950s: for an anonymous article entitled “Romantic Possession” (publication unknown, c. 1950) and for Weare Holbrook’s “Women – What To Do With Them”, Park East (March 1952), p. 26. See Paul Maréchal, Andy Warhol: The Complete Commissioned Magazine Work, 1948- 1987: A Catalogue Raisonné (Munich: Prestel, 2014), pp. 30, 50. Andy Warhol “Female Sprite”, ca. 1954 graphite on paper, double-sided 27.9 x 21.6 cm (framed: 46 x 39.7 x 2.8 cm) AW/P 1954/05 Andy Warhol “Sprite Head with Feet”, ca. 1953 ink on paper 27.9 x 21.5 cm (framed: 46 x 39.7 x 2.8 cm) AW/P 1953/24 Andy Warhol “Sprite Portrait with Shoes”, ca. 1953 ink on paper 27.8 x 21.5 cm (framed: 46 x 39.7 x 2.8 cm) AW/P 1953/25 II. Andy Warhol “The House That Went To Town”, 1952-1953 graphite, ink and tempera on paper 27.7 x 21.7 cm (framed: 46 x 39.7 x 2.8 cm) AW/P 1956/25 The likely prototype for Warhol and Corkie’s “THE HOUSE THAT went to TOWN” is Virginia Lee Burton’s celebrated children’s book The Little House, first published in 1942.
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NO RAMBLING ON: the LISTLESS COWBOYS of HORSE Jon Davies
WARHOL pages_BFI 25/06/2013 10:57 Page 108 If Andy Warhol’s queer cinema of the 1960s allowed for a flourishing of newly articulated sexual and gender possibilities, it also fostered a performative dichotomy: those who command the voice and those who do not. Many of his sound films stage a dynamic of stoicism and loquaciousness that produces a complex and compelling web of power and desire. The artist has summed the binary up succinctly: ‘Talk ers are doing something. Beaut ies are being something’ 1 and, as Viva explained about this tendency in reference to Warhol’s 1968 Lonesome Cowboys : ‘Men seem to have trouble doing these nonscript things. It’s a natural 5_ 10 2 for women and fags – they ramble on. But straight men can’t.’ The brilliant writer and progenitor of the Theatre of the Ridiculous Ronald Tavel’s first two films as scenarist for Warhol are paradigmatic in this regard: Screen Test #1 and Screen Test #2 (both 1965). In Screen Test #1 , the performer, Warhol’s then lover Philip Fagan, is completely closed off to Tavel’s attempts at spurring him to act out and to reveal himself. 3 According to Tavel, he was so up-tight. He just crawled into himself, and the more I asked him, the more up-tight he became and less was recorded on film, and, so, I got more personal about touchy things, which became the principle for me for the next six months. 4 When Tavel turned his self-described ‘sadism’ on a true cinematic superstar, however, in Screen Test #2 , the results were extraordinary.
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Warhol, Andy (As Filmmaker) (1928-1987) Andy Warhol
Warhol, Andy (as filmmaker) (1928-1987) Andy Warhol. by David Ehrenstein Image appears under the Creative Commons Encyclopedia Copyright © 2015, glbtq, Inc. Attribution-Share Alike 3.0 Unported license. Entry Copyright © 2002, glbtq, Inc. Courtesy Jack Mitchell. Reprinted from http://www.glbtq.com As a painter Andy Warhol (the name he assumed after moving to New York as a young man) has been compared to everyone from Salvador Dalí to Norman Rockwell. But when it comes to his role as a filmmaker he is generally remembered either for a single film--Sleep (1963)--or for works that he did not actually direct. Born into a blue-collar family in Forest City, Pennsylvania on August 6, 1928, Andrew Warhola, Jr. attended art school at the Carnegie Institute of Technology in Pittsburgh. He moved to New York in 1949, where he changed his name to Andy Warhol and became an international icon of Pop Art. Between 1963 and 1967 Warhol turned out a dizzying number and variety of films involving many different collaborators, but after a 1968 attempt on his life, he retired from active duty behind the camera, becoming a producer/ "presenter" of films, almost all of which were written and directed by Paul Morrissey. Morrissey's Flesh (1968), Trash (1970), and Heat (1972) are estimable works. And Bad (1977), the sole opus of Warhol's lover Jed Johnson, is not bad either. But none of these films can compare to the Warhol films that preceded them, particularly My Hustler (1965), an unprecedented slice of urban gay life; Beauty #2 (1965), the best of the films featuring Edie Sedgwick; The Chelsea Girls (1966), the only experimental film to gain widespread theatrical release; and **** (Four Stars) (1967), the 25-hour long culmination of Warhol's career as a filmmaker.
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Scoundrels in Paradise
SCOUNDRELS IN PARADISE A TRUE STORY BY SCOTT ADLAI STEVENSON WITH JOHN GREENBURG COPYRIGHT 2012 ALL RIGHTS RESERVED BY SCOTT ADLAI STEVENSON AND JOHN GREENBURG FOR FILM/TV RIGHTS CONTACT: SCOTT ADLAI STEVENSON 520-255-6057 / [email protected] The events described in this book are true. Some names have been changed for purposes of privacy. PROLOGUE Even Good Stock Sometimes Has A Few Black Sheep My first childhood memory is a vision from the bottom of a swimming pool. I was two years old and playing with a few of my neighborhood friends in 1 Downey, California when I happened to fall into their backyard pool. I recall frantically trying to get my head above water, but despite my efforts, I landed on the bottom of the deep end. I stared up through the rippling water to the surface, where I could make out only the fuzzy outline of my mother. Fortunately, my older brother Michael noticed I was missing and dove in to save me. That feeling of sinking and then desperately struggling to reach the surface and keep my head above water has remained a constant companion. Ever since then, I spent a great deal of my life in over my head; nearly drowning in a deep pool of authoritarianism, materialism and greed that always seemed to surround me. Over the years, I developed an aversion to authoritarianism and materialism, and I have tried not to become a greedy, materialistic person with a rigid mindset. But in the environment I grew up in, it was like trying to remain dry while floating in a swimming pool.
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August 2018 Vol
August 2018 vol. 41 no. 7 Providing fitness and community for individuals and families through physical, educational, cultural, and social programs th 7 Annual Czech that Film! Bringing the Best New Czech Films to North America Presented in collaboration with the Consulate General UPCOMING EVENTS of the Czech Republic in Los Angeles, Czech That Film is a series showcasing the best of Czech cinema. 2018 September Slovo Deadline It is committed to exhibiting films that not only expose August1,2018 participants to Czech culture, but also enlighten audiences, bring people together, and present inspired Board of Trustees Meeting entertainment for all. 100 YEARS August8,7p.m. OF CZECHOSLOVAK Supporting the film series locally are Czech and CINEMA Slovak Sokol Minnesota, Czech and Slovak Cultural Slovak Architect for all Center of Minnesota, Czech & Slovak School Twin Seasons Lecture Cities, Marshall Toman, Honorary Czech Consul M. L. Kucera, plus others. RecognizingDušanJurkovič Friday, August 24, 9:30 p.m. 8 HEADS OF MADNESS / 8 HLAV ŠÍLENSTVÍ . Directed August11,11a.m. by Marta Nováková, 2017, 107 minutes. Follow the life of the talented Russian poet Anna Barkova (1906–1976), who spent twenty-two years of her life in the Gulag. Board of Directors Meeting Saturday, August 25, 4:00 p.m. MILADA / MILADA . Directed by David Mrnka, 2017, 124 minutes. This historical drama is based on the true story of Milada Horáková, a woman August16,7p.m. executed on the basis of fabricated charges of conspiracy and treason in a political show trial by the communist regime in the former Czechoslovakia.
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William Morris & Andy Warhol
MODERN ART EVENTS OXFORD THE YARD TOURS The Factory Floor Wednesday 7 January, 1pm Wednesday to Saturday, 12-5pm, weekly Sally Shaw, Head of Programme at Modern Art Oxford For the duration of Love is Enough, the Yard will discusses the development of the exhibition and be transformed into a ‘Factory Floor’ in homage to introduces key works. William Morris and Andy Warhol’s prolific production techniques. Each week a production method or craft Wednesday 21 January, 1pm skill will be demonstrated by a specialist. Ben Roberts, Curator of Education & Public Programmes at Modern Art Oxford discusses The Factory Floor is a rare opportunity to see creative education, collaboration and participation in relation to processes such as metal casting, dry stone walling, the work of Morris and Warhol. bookbinding, weaving and tapestry. LOVE IS Wednesday 4 February, 1pm These drop-in sessions provide a chance to meet Paul Teigh, Production Manager at Modern Art Oxford makers and craftspeople working with these processes discusses manufacturing and design processes today. Please see website for further details. inherent in the work of Morris and Warhol. TALKS Wednesday 18 February, 1pm Artist talk Ciara Moloney, Curator of Exhibitions & Projects Saturday 6 December, 6pm Free, booking essential at Modern Art Oxford discusses key works in the ENOUGH Jeremy Deller in conversation with Ralph Rugoff, exhibition and their influence on artistic practices Director, Hayward Gallery, London. today. Perspectives: Myth Thursday 15 January, 7pm BASEMENT: PERFORMANCE A series of short talks on myths and myth making from Live in the Studio the roots of medieval tales to our collective capacity December 2014 – February 2015 for fiction and how myths are made in contemporary A short series of performance projects working with culture.
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California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family.
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Pop Comes from the Outside: Warhol and Queer Childhood 78
c... o VI m. m '"...m »~ Z c:== ZI o N o U K E UN I V E R SIT Y PRE S S Durham and London 1996 Second printing, 1996 © 1996 Duke University Press All rights reserved ''I'll Be Your Mirror Stage: Andy Warhol and the Cultural Imaginary," © 1996 David E. James Printed in the United States of America on acid-free paper 00 Typeset in Berkeley Medium by Keystone Typesetting, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. CONTENTS Acknowledgments vii JENNIFER DOYLE, JONATHAN FLATLEY, JOSE ESTEBAN MUNOZ Introduction 1 SIMON WATNEY Queer Andy 20 DAVID E. JAMES I'll Be Your Mirror Stage: Andy Warhol in the Cultural Imaginary 31 THOMAS WAUGH Cock teaser 51 MICHAEL MOON Screen Memories, or, Pop Comes from the Outside: Warhol and Queer Childhood 78 JONATHAN FLATLEY Warhol Gives Good Face: Publicity and the Politics of Prosopopoeia 101 EVE KOSOFSKY SEDGWICK Queer Performativity: Warhol's Shyness/Warhol's Whiteness 134 JOSE ESTEBAN MUNOZ Famous and Dandy Like B. 'n' Andy: Race, Pop, and Basquiat 144 vi Contents BRIAN SELSKY "I Dream of Genius, ,," 180 JENNIFER DOYLE Tricks of the Trade: Pop Art/Pop Sex 191 MARCIE FRANK Popping Off Warhol: From the Gutter to the Underground and Beyond 210 MANDY MERCK Figuring Out Andy Warhol 224 SASHA TORRES The Caped Crusader of Camp: Pop, Camp, and the Batman Television Series 238 Bibliography 257 Contributors 267 Index 269 ACKNOWLEDGMENTS his book was put together with the energy and excitement gener ated by a conference we organized at Duke University in January 1993 called "Re-Reading Warhol: The Politics of Pop." Our first thanks, then, go to the people who were instrumental in making that event happen, and especially to the people who participated in and attended the conference but did not contribute to this collection of essays.
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The Films of Andy Warhol Stillness, Repetition, and the Surface of Things
The Films of Andy Warhol Stillness, Repetition, and the Surface of Things David Gariff National Gallery of Art If you wish for reputation and fame in the world . take every opportunity of advertising yourself. — Oscar Wilde In the future everyone will be world-famous for 15 minutes. — attributed to Andy Warhol 1 The Films of Andy Warhol: Stillness, Repetition, and the Surface of Things Andy Warhol’s interest and involvement in film ex- tends back to his childhood days in Pittsburgh, Pennsylvania. Warhol was sickly and frail as a youngster. Illness often kept him bedridden for long periods of time, during which he read movie magazines and followed the lives of Hollywood celebri- ties. He was an avid moviegoer and amassed a large collection of publicity stills of stars given out by local theaters. He also created a movie scrapbook that included a studio portrait of Shirley Temple with the handwritten inscription: “To Andrew Worhola [sic] from Shirley Temple.” By the age of nine, Warhol had received his first camera. Warhol’s interests in cameras, movie projectors, films, the mystery of fame, and the allure of celebrity thus began in his formative years. Many labels attach themselves to Warhol’s work as a filmmaker: documentary, underground, conceptual, experi- mental, improvisational, sexploitation, to name only a few. His film and video output consists of approximately 650 films and 4,000 videos. He made most of his films in the five-year period from 1963 through 1968. These include Sleep (1963), a five- hour-and-twenty-one minute look at a man sleeping; Empire (1964), an eight-hour film of the Empire State Building; Outer and Inner Space (1965), starring Warhol’s muse Edie Sedgwick; and The Chelsea Girls (1966) (codirected by Paul Morrissey), a double-screen film that brought Warhol his greatest com- mercial distribution and success.
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Warhol and Fassbinder
ARA OSTERWEIL IN NO HOME MOVIE (2015), Chantal Akerman records the decline of her mother, portraits Warhol ever made. As in many of his films, fiction dissolves into docu- a Polish Jewish Holocaust survivor, in what would turn out to be the last few years mentary, and Warhol’s mother is seen puttering around the kitchen in housecoat of both of their lives. The videography is amateur and the interactions between and babushka, talking incessantly in her nearly unintelligible Ruthenian accent, the two women quotidian: The film includes recordings of Skype sessions in which scrambling eggs for her new “husband” and the film’s crew, and, eventually, trying mother and daughter cannot think of much more to say to each other than “I love to teach Rheem how to properly iron a shirt. In other words, Julia is filmed doing you.” Yet in spite of the time they spend together, the unspeakable remains so, what one assumes were her usual tasks as Andy’s mother and default housekeeper, and the traumas of history resist revelation. For a film in which “nothing hap- here reimagined as matrimonial duties performed for her son’s lover. pens,” the intimacy is staggering. As if this arrangement weren’t Oedipal enough, the film’s title—Mrs. Warhol Akerman wasn’t the only filmmaker to cast her mother in a home movie that rather than Mrs. Warhola—suggests that Julia was essentially her son’s wife rather defies the conventions of both home and movies. Andy Warhol (1928–1987) and than her late husband’s. (Andy’s father, Ondrej Warhola, was a Czechoslovakian the German filmmaker Rainer Werner Fassbinder (1945–1982) both had intimate immigrant who, unlike his son, retained the final a in his name.) Furthermore, in relationships with their mothers that involved artistic collaboration; in Warhol’s her screen debut as a man-eater, Julia is implicitly made responsible for Ondrej’s case, the relationship also involved long periods of cohabitation.
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Spring2020.Pdf
B A U M A N R A R E B O O K S Spring 2020 BaumanRareBooks.com 1-800-97-bauman (1-800-972-2862) or 212-751-0011 [email protected] New York 535 Madison Avenue (Between 54th & 55th Streets) New York, NY 10022 800-972-2862 or 212-751-0011 Monday - Saturday: 10am to 6pm Las Vegas Grand Canal Shoppes The Venetian | The Palazzo 3327 Las Vegas Blvd., South, Suite 2856 Las Vegas, NV 89109 888-982-2862 or 702-948-1617 Sunday - Thursday: 10am to 11pm Friday - Saturday: 10am to Midnight Philadelphia (by appointmEnt) 1608 Walnut Street Philadelphia, PA 19103 215-546-6466 | (fax) 215-546-9064 Monday - Friday: 9am to 5pm all booKS aRE ShippEd on appRoval and aRE fully guaRantEEd. Any items may be returned within ten days for any reason (please notify us before returning). All reimbursements are limited to original purchase price. We accept all major credit cards. Shipping and insurance charges are additional. Packages will be shipped by UPS or Federal Express unless another carrier is requested. Next-day or second-day air service is available upon request. www.baumanrarebooks.com twitter.com/baumanrarebooks facebook.com/baumanrarebooks On the cover: Item no. 4. On this page: Item no. 79. Table of Contents 16 4 42 100 113 75 A Representative Selection 3 English History, Travel & Thought 20 Literature 38 Children’s Literature, Art & Architecture 58 Science, Economics & Natural History 70 Judaica 81 The American xperienceE 86 93 Index 103 A A Representative Selection R e p r e s e n t a t i v e S e l e c t i o n 4 S “Incomparably The Most Important Work In p The English Language”: The Fourth Folio Of r Shakespeare, 1685, An Exceptionally Lovely Copy i 1.
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[PDF] Andy Warhol
^$ ;::,-:>^^5 Andy .J35 1942 1949 1956 1963 1970 |S77 1111 ^ Artists in Their Time Andy Warhol Linda Bolton Franklin Watts A Division of Sclnolastic Inc. New York Toronto London Aucl<lancl Sydney IVIexico City New Delini Hong Kong Donbury, Connecticut First published in 2002 by Franklin Watts 96 Leonard Street London EC2A 4XD First American edition published in 2002 by Franklin Watts A Division of Scholastic Inc. 90 Sherman Turnpike Danbury.CT 06816 Series Editor: Adrian Cole Series Designer: Mo Choy Art Director: Jonathan Hair Picture Researcher: Julie McMahon A CIP catalog record for this title is available from the Library of Congress. ISBN 0-531-12225-5 (Lib. Bdg.) ISBN0-531-16618-X(Pbk.) Printed in Hong Kong, China © Franklin Watts 2002 Acknowledgements AKG London: 15 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002 & © 2002 Ronald Feldman Fine Arts, NY; 19 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DACS, London 2002; 29 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002; 42. Archives of The Andy Warhol Museum, Pittsburgh: 6; 7t; 9t; 22b; 32, 39 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002; 4Ib Paul Rocheleau. Artothek: 14 © The Estate of Roy Lichtenstein/DAGS 2002. BFl GoUections: 35 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002. Gourtesy of Gollection Stephanie Seymour Brant, The Brant Foundation, Greenwich, GT: 11 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002; 31 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002.
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