The Florida Gators (7-5 overall and 4-4 in SEC play) actually were awarded a bowl bid with a hefty financial payout ($3,100,000) based on past performance.
No other explanation of why Florida is in the Outback Bowl really makes any sense.
Florida will be playing in Tampa against Penn State while South Carolina will face Florida State in the Chick-fil-A Bowl (awarded to the SEC’s No. 5 finisher) and Mississippi State (who beat Florida straight up and finished a game ahead overall) will play Michigan in the Gator Bowl (meant for the SEC’s No. 6 team).
Who cares that Florida was “less than Florida” this year. We all know they’ll rebound, and it just seems more like a big game with them than without them.
Pitt in the BBVA Compass Bowl
Who Should be Playing: Kentucky vs. Syracuse (SEC No. 8 vs. Big East No. 5)
Syracuse finished 2010 with at a better than expected 7-5 mark overall and went 4-3 in Big East play. Regardless of how good this was it still puts the Orange a step below Pitt who finished (disappointingly) 7-5 overall and 5-2 in conference.
Regardless, Pitt has been shuffled southwards to the BBVA Compass Bowl (meant for the No. 5 Big East team) while the Orange will participate in the first-ever Pinstripe Bowl (hey, that’s played in New York isn’t it?) that is supposed to be awarded to the Big East’s No. 4 finisher.
"Being good in business is the most fascinating kind of art," Andy Warhol famously said. "Making money is art and working is art and good business is the best art." Having gotten his start as an immensely successful commercial artist selling product illustrations to advertisers and department stores, Warhol bent the American consumerist system to artistic ends throughout his career -- embracing capitalism at a time when many in the creative sphere viewed it skeptically, if not with outright hostility. Now a new exhibition at the Indianapolis Museum of Art called "Andy Warhol Enterprises" has seized upon a recent resurgence of interest in the artist's work to closely examine just how Warhol treated business, commerce, and, above all, money in his art and life.
At an economic moment when the art market is booming -- with a Warhol painting selling for $63.4 million at Phillips de Pury last month -- as the rest of the country struggles through a grueling recession, wealthy businessmen have been demonstrating extraordinary confidence in art as a liquid financial asset. Warhol, it could be said, took the opposite approach -- he saw business as a dependable artistic asset. To discuss the ways in which the Pop artist approached this sweeping subject, ARTINFO executive editor Andrew M. Goldstein spoke to the exhibition's co-curator Sarah Urist Green, who organized the show with art critic Allison Unruh.
Andy Warhol for Sony Beta cassette tapes, 1981 / © The Andy Warhol Foundation for the Visual Arts, Inc.
One of the interesting things about your exhibition is that it is sponsored by PNC Bank, which is in itself a commentary of a kind on the relationship between business and art.
When I got a call from Max Anderson, our director, asking if I would be interested in curating a show in conjunction with PNC bank and the Warhol Museum, my first reaction was a little bit hesitant. But I thought, "Warhol certainly wouldn't mind having a show sponsored by a bank. He would probably have really liked it." And I love the fact that Warhol had the corporation Andy Warhol Enterprises -- it has always stood out to me as a really fine example of Warhol as an entrepreneur -- and Andy loved money. So I though lets do a show about Andy loving money, but in a critical, engaged way.
Did they have any part in coming up with the show's conceit?
No, this is something that we pitched to them. And they loved it. I especially thought it was hilarious that for once we would be able to even flaunt a sponsor's name and logo in conjunction with the exhibition. Whenever we were creating collateral for the show I was able to say "don't forget the logo" and "make the logo bigger."
The exhibition catalogue shows Warhol as a shameless self-promoter, even appearing on Japanese film ads like the cliché of Bill Murray's character going to sell Japanese whiskey in "Lost in Translation."
That's perfect, right? But he was doing that from the beginning. Something we didn't have an image of in the catalogue but that was always in my mind in developing the show was the classified ad he put in the Village Voice in 1966 that said, "I will endorse with my name any of the following" and then it was just a list of all of the things he was happy to endorse, which included "anything." So he was a bit of a whore, as it were, from the beginning. One of the ideas that we have really tried to work against in this exhibition is that there was a turning point in Warhol's career -- this idea that before he was shot there was a certain integrity to his work and after a turning point it all dissipated and he became a servant to celebrities and society members. I don't believe that that is true. He even said later in his career, "I was always a commercial artist."
That is so interesting because that recent biography of him, Pop: The Genius of Andy Warhol, ends when he was shot in 1968, essentially condensing the last two decades of his career into a few paragraphs, largely dismissing it as commercial work.
I know. It's a great book, it's excellently researched, has great material, but it just ends! He was shot in 1968 but he didn't die until 1987. It is really incredible that that perception persists -- I mean, it is really prevalent, especially, of that generation. This exhibition is one of several in the past few years that is re-examining his later work including the "Last Decade" show and "Pop Life." These other exhibitions are looking at his later work in a fresh light. But I feel sometimes that the members of Warhol's own generation, or the people who were there, were sometimes clouded in their judgment and unable to see the irony of his later work.
I think it is so interesting your catalogue opens with a picture of Warhol sitting behind a desk. I can't think of another artist, like that, sitting behind a desk. Even Jeff Koons or Damien Hirst wouldn't take that picture.
Oh, no. You have seen pictures of them at their desk in their studios, maybe sitting with desks or papers or tables behind them, or maybe at a computer, but not this -- in such an officious role! I love that photo. It hasn't been published very much, and it was really important to us to include it. There is actually another version of this photo that is backed up a little more and it shows that, to the right of the telephone, there is a TV facing him.
The essays in the catalogue present Warhol as this businessman sitting behind a desk, running Warhol Enterprises, concocting a new moneymaking scheme every day, wearing a tie, and flying by Concorde. And it certainly worked: the final valuation of his estate was $228 million.
That's correct, though I'm not sure exactly how the Warhol Museum came to that figure. I am pretty sure that it is the valuation of his work at the time of his death plus all of the other art work he collected, because he had quite a collection of decorative art and some work by other artists, as well. Also, it includes his real estate holdings.
So, just like any other CEO.
Exactly. In the exhibition we have a portfolio that says "Andrew Warhol Enterprises Inc." on the front and it sort of goes through the value of his estate in 1965, and lists artworks that he owned -- some small Rauschenberg works and other items. But he did amass quite a bit of wealth in his days. Even in the 50s, in the first decade of his career, he did amazingly well as a commercial artist. So he was very well off even before he became famous.
What was he like as a boss?
[Laughs] As a boss? Well, we interviewed Vincent Fremont in the catalog and that is one account of many accounts, but at a certain point in my research it became unhelpful to read the accounts of everyone who worked for him. The people who were very close to him seemed to love him, like Pat Hackett [Warhol's secretary]. While they had not an uncomplicated relationship with Warhol, they certainly had extreme fondness for him. But then you read accounts like Bob Colacello's "Holy Terror" and you see a different side but one that is cited often, the flip side of Andy Warhol, where while he could be incredibly encouraging to other people, to other employees, other artists, he was also pretty cruel in certain regards as well.
What fascinates me is that while he presents this image as a business man -- "the business artist" -- his own management of his affairs was much more like an artist. He hardly paid anyone except with drugs, or parties, or the occasional lunch money.
Part of Warhol's brilliance at an early age was getting people to help him for free. In the 50s he would have these coloring parties where he would invite his friends to Serendipity 3 to help him hand-color his blotted line drawings, and he had his mother help him as well. He certainly had paid assistants, too. All of his films made it look like people in the factory were just sitting around, but he was certainly very good at getting people to work for him for free, and I'm sure it was mutually beneficial. It turned from the "Factory" into the "Office", and his staff members grew as his life progressed. But he certainly did know how to run a business and get the most out of his employees.
Did they have health care? Or anything like that?
I don't know, but there is a great Warhol quote: "Employees made the best dates. You don't have to pick them up and they are always tax deductible."
It is funny to think about how much of a chaotic mess his workplace was.
Well, you see the time capsules, and you get a small glimpse of his business life because the time capsules were basically his sweeping off his desk every so often and putting it in a box. And if you go to the Warhol Museum archives and you take a peek in those time capsules, it is really astounding the amount of stuff that almost anyone would throw away that Warhol kept.
What stands out in your memory?
Ticket stubs, taxi receipts, small notes about his finances. If you look in his diaries, you will see that the "Andy Warhol Diaries" actually originated because his accountant wanted him to track his daily expenses, and then it expanded from there. But it will say "taxi, 3 dollars" and so on. That is in the "Andy Warhol Diaries" that Pat edited. He would call her in the mornings and she would transcribe his day-to-day activities for many years. And some of them... I mean, it's funny, but pretty tedious at a certain point. He will say who he went out with the night before, who was at Studio 54, et cetera. They also found in the time capsules over a thousand dollars in cash that he just stuck in one of the boxes. I tried to get that for the show, actually, but I think they gave it to the Warhol Foundation.
Continued...
--
Visit "The Business Artist: How Andy Warhol Turned a Love of Money Into a $228 Million Art Career" on ARTINFO for the rest of Andrew Goldstein's interview with IMA curator Sarah Urist Green about the themes in her probing exhibition, including a discussion of Warhol's role as Factory foreman, his money paintings, and his vulgarity, and to see a slide show of Andy Warhol's most famous money-making works.
--
Sign up for ARTINFO's Daily Arts Digest: http://www.artinfo.com/newsletter/
Follow ARTINFO on Tumblr: http://3rdofmay.tumblr.com/
Follow ARTINFO on Foursquare: http://foursquare.com/artinfo/
Visit ARTINFO to see some of Andy Warhol's most famous money-making works.
robert shumake detroit
Dawn Comes Twice in European Solar Eclipse - AOL <b>News</b>
A partial solar eclipse darkened European skies just after dawn this morning, casting an eerie darkness over the continent just as morning light was supposed to be spreading. But cloud cover prevented sky-gazers across much of the ...
Foot-and-Mouth Outbreak Spreads Through South Korea - AOL <b>News</b>
South Korea is suffering its worst-ever outbreak of foot-and-mouth disease, with the highly contagious virus spreading to farms across the country despite a nationwide quarantine effort.
500 More Red-Wing Blackbirds Found Dead in - AOL <b>News</b>
Days after 100000 fish and approximately 4000 red-winged blackbirds were found dead in Arkansas, 500 deceased blackbirds and starlings were discovered on a Louisiana highway.
robert shumake detroit
Dawn Comes Twice in European Solar Eclipse - AOL <b>News</b>
A partial solar eclipse darkened European skies just after dawn this morning, casting an eerie darkness over the continent just as morning light was supposed to be spreading. But cloud cover prevented sky-gazers across much of the ...
Foot-and-Mouth Outbreak Spreads Through South Korea - AOL <b>News</b>
South Korea is suffering its worst-ever outbreak of foot-and-mouth disease, with the highly contagious virus spreading to farms across the country despite a nationwide quarantine effort.
500 More Red-Wing Blackbirds Found Dead in - AOL <b>News</b>
Days after 100000 fish and approximately 4000 red-winged blackbirds were found dead in Arkansas, 500 deceased blackbirds and starlings were discovered on a Louisiana highway.
robert shumake
The Florida Gators (7-5 overall and 4-4 in SEC play) actually were awarded a bowl bid with a hefty financial payout ($3,100,000) based on past performance.
No other explanation of why Florida is in the Outback Bowl really makes any sense.
Florida will be playing in Tampa against Penn State while South Carolina will face Florida State in the Chick-fil-A Bowl (awarded to the SEC’s No. 5 finisher) and Mississippi State (who beat Florida straight up and finished a game ahead overall) will play Michigan in the Gator Bowl (meant for the SEC’s No. 6 team).
Who cares that Florida was “less than Florida” this year. We all know they’ll rebound, and it just seems more like a big game with them than without them.
Pitt in the BBVA Compass Bowl
Who Should be Playing: Kentucky vs. Syracuse (SEC No. 8 vs. Big East No. 5)
Syracuse finished 2010 with at a better than expected 7-5 mark overall and went 4-3 in Big East play. Regardless of how good this was it still puts the Orange a step below Pitt who finished (disappointingly) 7-5 overall and 5-2 in conference.
Regardless, Pitt has been shuffled southwards to the BBVA Compass Bowl (meant for the No. 5 Big East team) while the Orange will participate in the first-ever Pinstripe Bowl (hey, that’s played in New York isn’t it?) that is supposed to be awarded to the Big East’s No. 4 finisher.
"Being good in business is the most fascinating kind of art," Andy Warhol famously said. "Making money is art and working is art and good business is the best art." Having gotten his start as an immensely successful commercial artist selling product illustrations to advertisers and department stores, Warhol bent the American consumerist system to artistic ends throughout his career -- embracing capitalism at a time when many in the creative sphere viewed it skeptically, if not with outright hostility. Now a new exhibition at the Indianapolis Museum of Art called "Andy Warhol Enterprises" has seized upon a recent resurgence of interest in the artist's work to closely examine just how Warhol treated business, commerce, and, above all, money in his art and life.
At an economic moment when the art market is booming -- with a Warhol painting selling for $63.4 million at Phillips de Pury last month -- as the rest of the country struggles through a grueling recession, wealthy businessmen have been demonstrating extraordinary confidence in art as a liquid financial asset. Warhol, it could be said, took the opposite approach -- he saw business as a dependable artistic asset. To discuss the ways in which the Pop artist approached this sweeping subject, ARTINFO executive editor Andrew M. Goldstein spoke to the exhibition's co-curator Sarah Urist Green, who organized the show with art critic Allison Unruh.
Andy Warhol for Sony Beta cassette tapes, 1981 / © The Andy Warhol Foundation for the Visual Arts, Inc.
One of the interesting things about your exhibition is that it is sponsored by PNC Bank, which is in itself a commentary of a kind on the relationship between business and art.
When I got a call from Max Anderson, our director, asking if I would be interested in curating a show in conjunction with PNC bank and the Warhol Museum, my first reaction was a little bit hesitant. But I thought, "Warhol certainly wouldn't mind having a show sponsored by a bank. He would probably have really liked it." And I love the fact that Warhol had the corporation Andy Warhol Enterprises -- it has always stood out to me as a really fine example of Warhol as an entrepreneur -- and Andy loved money. So I though lets do a show about Andy loving money, but in a critical, engaged way.
Did they have any part in coming up with the show's conceit?
No, this is something that we pitched to them. And they loved it. I especially thought it was hilarious that for once we would be able to even flaunt a sponsor's name and logo in conjunction with the exhibition. Whenever we were creating collateral for the show I was able to say "don't forget the logo" and "make the logo bigger."
The exhibition catalogue shows Warhol as a shameless self-promoter, even appearing on Japanese film ads like the cliché of Bill Murray's character going to sell Japanese whiskey in "Lost in Translation."
That's perfect, right? But he was doing that from the beginning. Something we didn't have an image of in the catalogue but that was always in my mind in developing the show was the classified ad he put in the Village Voice in 1966 that said, "I will endorse with my name any of the following" and then it was just a list of all of the things he was happy to endorse, which included "anything." So he was a bit of a whore, as it were, from the beginning. One of the ideas that we have really tried to work against in this exhibition is that there was a turning point in Warhol's career -- this idea that before he was shot there was a certain integrity to his work and after a turning point it all dissipated and he became a servant to celebrities and society members. I don't believe that that is true. He even said later in his career, "I was always a commercial artist."
That is so interesting because that recent biography of him, Pop: The Genius of Andy Warhol, ends when he was shot in 1968, essentially condensing the last two decades of his career into a few paragraphs, largely dismissing it as commercial work.
I know. It's a great book, it's excellently researched, has great material, but it just ends! He was shot in 1968 but he didn't die until 1987. It is really incredible that that perception persists -- I mean, it is really prevalent, especially, of that generation. This exhibition is one of several in the past few years that is re-examining his later work including the "Last Decade" show and "Pop Life." These other exhibitions are looking at his later work in a fresh light. But I feel sometimes that the members of Warhol's own generation, or the people who were there, were sometimes clouded in their judgment and unable to see the irony of his later work.
I think it is so interesting your catalogue opens with a picture of Warhol sitting behind a desk. I can't think of another artist, like that, sitting behind a desk. Even Jeff Koons or Damien Hirst wouldn't take that picture.
Oh, no. You have seen pictures of them at their desk in their studios, maybe sitting with desks or papers or tables behind them, or maybe at a computer, but not this -- in such an officious role! I love that photo. It hasn't been published very much, and it was really important to us to include it. There is actually another version of this photo that is backed up a little more and it shows that, to the right of the telephone, there is a TV facing him.
The essays in the catalogue present Warhol as this businessman sitting behind a desk, running Warhol Enterprises, concocting a new moneymaking scheme every day, wearing a tie, and flying by Concorde. And it certainly worked: the final valuation of his estate was $228 million.
That's correct, though I'm not sure exactly how the Warhol Museum came to that figure. I am pretty sure that it is the valuation of his work at the time of his death plus all of the other art work he collected, because he had quite a collection of decorative art and some work by other artists, as well. Also, it includes his real estate holdings.
So, just like any other CEO.
Exactly. In the exhibition we have a portfolio that says "Andrew Warhol Enterprises Inc." on the front and it sort of goes through the value of his estate in 1965, and lists artworks that he owned -- some small Rauschenberg works and other items. But he did amass quite a bit of wealth in his days. Even in the 50s, in the first decade of his career, he did amazingly well as a commercial artist. So he was very well off even before he became famous.
What was he like as a boss?
[Laughs] As a boss? Well, we interviewed Vincent Fremont in the catalog and that is one account of many accounts, but at a certain point in my research it became unhelpful to read the accounts of everyone who worked for him. The people who were very close to him seemed to love him, like Pat Hackett [Warhol's secretary]. While they had not an uncomplicated relationship with Warhol, they certainly had extreme fondness for him. But then you read accounts like Bob Colacello's "Holy Terror" and you see a different side but one that is cited often, the flip side of Andy Warhol, where while he could be incredibly encouraging to other people, to other employees, other artists, he was also pretty cruel in certain regards as well.
What fascinates me is that while he presents this image as a business man -- "the business artist" -- his own management of his affairs was much more like an artist. He hardly paid anyone except with drugs, or parties, or the occasional lunch money.
Part of Warhol's brilliance at an early age was getting people to help him for free. In the 50s he would have these coloring parties where he would invite his friends to Serendipity 3 to help him hand-color his blotted line drawings, and he had his mother help him as well. He certainly had paid assistants, too. All of his films made it look like people in the factory were just sitting around, but he was certainly very good at getting people to work for him for free, and I'm sure it was mutually beneficial. It turned from the "Factory" into the "Office", and his staff members grew as his life progressed. But he certainly did know how to run a business and get the most out of his employees.
Did they have health care? Or anything like that?
I don't know, but there is a great Warhol quote: "Employees made the best dates. You don't have to pick them up and they are always tax deductible."
It is funny to think about how much of a chaotic mess his workplace was.
Well, you see the time capsules, and you get a small glimpse of his business life because the time capsules were basically his sweeping off his desk every so often and putting it in a box. And if you go to the Warhol Museum archives and you take a peek in those time capsules, it is really astounding the amount of stuff that almost anyone would throw away that Warhol kept.
What stands out in your memory?
Ticket stubs, taxi receipts, small notes about his finances. If you look in his diaries, you will see that the "Andy Warhol Diaries" actually originated because his accountant wanted him to track his daily expenses, and then it expanded from there. But it will say "taxi, 3 dollars" and so on. That is in the "Andy Warhol Diaries" that Pat edited. He would call her in the mornings and she would transcribe his day-to-day activities for many years. And some of them... I mean, it's funny, but pretty tedious at a certain point. He will say who he went out with the night before, who was at Studio 54, et cetera. They also found in the time capsules over a thousand dollars in cash that he just stuck in one of the boxes. I tried to get that for the show, actually, but I think they gave it to the Warhol Foundation.
Continued...
--
Visit "The Business Artist: How Andy Warhol Turned a Love of Money Into a $228 Million Art Career" on ARTINFO for the rest of Andrew Goldstein's interview with IMA curator Sarah Urist Green about the themes in her probing exhibition, including a discussion of Warhol's role as Factory foreman, his money paintings, and his vulgarity, and to see a slide show of Andy Warhol's most famous money-making works.
--
Sign up for ARTINFO's Daily Arts Digest: http://www.artinfo.com/newsletter/
Follow ARTINFO on Tumblr: http://3rdofmay.tumblr.com/
Follow ARTINFO on Foursquare: http://foursquare.com/artinfo/
Visit ARTINFO to see some of Andy Warhol's most famous money-making works.
robert shumake
robert shumake
Dawn Comes Twice in European Solar Eclipse - AOL <b>News</b>
A partial solar eclipse darkened European skies just after dawn this morning, casting an eerie darkness over the continent just as morning light was supposed to be spreading. But cloud cover prevented sky-gazers across much of the ...
Foot-and-Mouth Outbreak Spreads Through South Korea - AOL <b>News</b>
South Korea is suffering its worst-ever outbreak of foot-and-mouth disease, with the highly contagious virus spreading to farms across the country despite a nationwide quarantine effort.
500 More Red-Wing Blackbirds Found Dead in - AOL <b>News</b>
Days after 100000 fish and approximately 4000 red-winged blackbirds were found dead in Arkansas, 500 deceased blackbirds and starlings were discovered on a Louisiana highway.
robert shumake
Dawn Comes Twice in European Solar Eclipse - AOL <b>News</b>
A partial solar eclipse darkened European skies just after dawn this morning, casting an eerie darkness over the continent just as morning light was supposed to be spreading. But cloud cover prevented sky-gazers across much of the ...
Foot-and-Mouth Outbreak Spreads Through South Korea - AOL <b>News</b>
South Korea is suffering its worst-ever outbreak of foot-and-mouth disease, with the highly contagious virus spreading to farms across the country despite a nationwide quarantine effort.
500 More Red-Wing Blackbirds Found Dead in - AOL <b>News</b>
Days after 100000 fish and approximately 4000 red-winged blackbirds were found dead in Arkansas, 500 deceased blackbirds and starlings were discovered on a Louisiana highway.
robert shumake detroit
I have been on a hunt to find ways to make money online. I wasn't after a get rich quick scheme or "easy" money, I was willing to work hard for my money. This is when I came across Helium.
Helium.com is a knowledge for the people by the people type of website. You write what you know (hopefully, though it appears that not all do this) and the idea behind it is you build Helium and it's article database while at the same time making money through revenue sharing. The idea was instantly appealing to me. I figured I could do that! Well, here is the full scoop on Helium.com, how it works, how you make money, features, and potential.
Write
First, Helium has you write. There are thousands of topics to choose from. It is easy to find something to write on. You just pick a title in a category that interests you and write. Write what you know, write what you want to research about, write it all. Their site is easy to use, easy to navigate, and their system is easy to write into. Click the publish button and you are published. Here is the big thing you need to know. There are often several people who write under the same title (sometimes even dozens or hundreds depending on the title popularity). Therefore the member rating becomes very important to you.
Rate.
After you publish your article you will be sent to a rate page. This gives you two articles side by side to compare. You choose which of the two is better and by how much. Then you compare another article to the one you choose as best. Through this process Helium rates the articles from one to how many ever there are in the title. What this means to the writer is, the higher up you are on the list the more views you are likely to get. There is some belief that you have to rate in order for your articles to be rated. I don't know if this is true, but it often feels like it is true.
Getting Paid.
Making money with Helium isn't that easy. You are given what Helium calls a "significant amount" of the advertising money that Helium makes. You are paid according to how many views, how highly your article is rated, and how much money Helium brings in. However, Helium never tells you how many views you have, nor how much money they are making. You have no real way of knowing which articles will make money and when they will do that (since you have so little data to work with). However, you will begin to see money added to your account, penny by penny. It is a very slow trickle. Some articles will make a dollar in one month, others one penny, and still others, nothing.
Once you have reached twenty five dollars you can request a payment. Payment is sent via PayPal at the beginning of the following month. A few claim that Helium has been kicking people off who have been accused of plagiarism right before they were going to get large sums of money. I have seen no real evidence of that and figure that if they did get kicked off without payment due to plagiarism, they probably did the horrible deed and paid the price.
Other Features of Interest.
Making money on Helium is often a slow process. However they have two options that can make it faster (three if you are a college student). There are contests that run. You write on the topics that they suggest. Get rated. Get positive points when you are in the top 50%, and negative points for the bottom 50%. Your points for the contest are then added up and the top six get money. This changes every now and again to mix things up. But each contest usually has 25 articles. One strategy is to write as much as you can and see how it does for you. This seems to be a strategy many people employ and many do well with. If you are a college student (with a college e-mail address that ends with .edu) then you can also participate in their college writing contests which have some very large rewards.
The other interesting feature is the marketplace. This is where you can submit your articles to topics that magazines and or other publishers are seeking articles for. This has the potential to make you money and get you published. I haven't found a topic that I would like to write on here, but it is growing each month and appears to be gaining popularity among publishers.
The Add Up
Pennies don't make much, so in order to make a lot of money you have to have a ton of articles. However, this is possible. In theory once you had a lot of articles it could be a semi-passive income (you would make money with little work and little effort). Your articles make you money as long as you have an active account (which is done by posting one or more articles every 180 days). So, you could make money while writing one article a month (or every six months). This is appealing, and in theory can be done. I have not yet reached a large enough base of articles to do this, however each month I have made more money (though just pennies) then the month before.
If participating in the market place or the contests you could make a decent sum of money now and still continue to get pennies from your articles in the future. I won second place on one contest ($25) and those articles continue adding to my pennies each month.
Helium.com isn't an easy way to make money, however there is some money to be made if you have the desire to work at it, enjoy writing (and with the titles prompting you to write they make easy warm ups!), or you are looking for a simple way to grow a semi-passive income over the years ahead it looks like this is a great way to go. Helium has been around for a year now and show no signs of going or even slowing. If it sounds good to you, get on board and start your pennies rolling in today!
robert shumake detroit
Dawn Comes Twice in European Solar Eclipse - AOL <b>News</b>
A partial solar eclipse darkened European skies just after dawn this morning, casting an eerie darkness over the continent just as morning light was supposed to be spreading. But cloud cover prevented sky-gazers across much of the ...
Foot-and-Mouth Outbreak Spreads Through South Korea - AOL <b>News</b>
South Korea is suffering its worst-ever outbreak of foot-and-mouth disease, with the highly contagious virus spreading to farms across the country despite a nationwide quarantine effort.
500 More Red-Wing Blackbirds Found Dead in - AOL <b>News</b>
Days after 100000 fish and approximately 4000 red-winged blackbirds were found dead in Arkansas, 500 deceased blackbirds and starlings were discovered on a Louisiana highway.
robert shumake
robert shumake detroit
The Florida Gators (7-5 overall and 4-4 in SEC play) actually were awarded a bowl bid with a hefty financial payout ($3,100,000) based on past performance.
No other explanation of why Florida is in the Outback Bowl really makes any sense.
Florida will be playing in Tampa against Penn State while South Carolina will face Florida State in the Chick-fil-A Bowl (awarded to the SEC’s No. 5 finisher) and Mississippi State (who beat Florida straight up and finished a game ahead overall) will play Michigan in the Gator Bowl (meant for the SEC’s No. 6 team).
Who cares that Florida was “less than Florida” this year. We all know they’ll rebound, and it just seems more like a big game with them than without them.
Pitt in the BBVA Compass Bowl
Who Should be Playing: Kentucky vs. Syracuse (SEC No. 8 vs. Big East No. 5)
Syracuse finished 2010 with at a better than expected 7-5 mark overall and went 4-3 in Big East play. Regardless of how good this was it still puts the Orange a step below Pitt who finished (disappointingly) 7-5 overall and 5-2 in conference.
Regardless, Pitt has been shuffled southwards to the BBVA Compass Bowl (meant for the No. 5 Big East team) while the Orange will participate in the first-ever Pinstripe Bowl (hey, that’s played in New York isn’t it?) that is supposed to be awarded to the Big East’s No. 4 finisher.
"Being good in business is the most fascinating kind of art," Andy Warhol famously said. "Making money is art and working is art and good business is the best art." Having gotten his start as an immensely successful commercial artist selling product illustrations to advertisers and department stores, Warhol bent the American consumerist system to artistic ends throughout his career -- embracing capitalism at a time when many in the creative sphere viewed it skeptically, if not with outright hostility. Now a new exhibition at the Indianapolis Museum of Art called "Andy Warhol Enterprises" has seized upon a recent resurgence of interest in the artist's work to closely examine just how Warhol treated business, commerce, and, above all, money in his art and life.
At an economic moment when the art market is booming -- with a Warhol painting selling for $63.4 million at Phillips de Pury last month -- as the rest of the country struggles through a grueling recession, wealthy businessmen have been demonstrating extraordinary confidence in art as a liquid financial asset. Warhol, it could be said, took the opposite approach -- he saw business as a dependable artistic asset. To discuss the ways in which the Pop artist approached this sweeping subject, ARTINFO executive editor Andrew M. Goldstein spoke to the exhibition's co-curator Sarah Urist Green, who organized the show with art critic Allison Unruh.
Andy Warhol for Sony Beta cassette tapes, 1981 / © The Andy Warhol Foundation for the Visual Arts, Inc.
One of the interesting things about your exhibition is that it is sponsored by PNC Bank, which is in itself a commentary of a kind on the relationship between business and art.
When I got a call from Max Anderson, our director, asking if I would be interested in curating a show in conjunction with PNC bank and the Warhol Museum, my first reaction was a little bit hesitant. But I thought, "Warhol certainly wouldn't mind having a show sponsored by a bank. He would probably have really liked it." And I love the fact that Warhol had the corporation Andy Warhol Enterprises -- it has always stood out to me as a really fine example of Warhol as an entrepreneur -- and Andy loved money. So I though lets do a show about Andy loving money, but in a critical, engaged way.
Did they have any part in coming up with the show's conceit?
No, this is something that we pitched to them. And they loved it. I especially thought it was hilarious that for once we would be able to even flaunt a sponsor's name and logo in conjunction with the exhibition. Whenever we were creating collateral for the show I was able to say "don't forget the logo" and "make the logo bigger."
The exhibition catalogue shows Warhol as a shameless self-promoter, even appearing on Japanese film ads like the cliché of Bill Murray's character going to sell Japanese whiskey in "Lost in Translation."
That's perfect, right? But he was doing that from the beginning. Something we didn't have an image of in the catalogue but that was always in my mind in developing the show was the classified ad he put in the Village Voice in 1966 that said, "I will endorse with my name any of the following" and then it was just a list of all of the things he was happy to endorse, which included "anything." So he was a bit of a whore, as it were, from the beginning. One of the ideas that we have really tried to work against in this exhibition is that there was a turning point in Warhol's career -- this idea that before he was shot there was a certain integrity to his work and after a turning point it all dissipated and he became a servant to celebrities and society members. I don't believe that that is true. He even said later in his career, "I was always a commercial artist."
That is so interesting because that recent biography of him, Pop: The Genius of Andy Warhol, ends when he was shot in 1968, essentially condensing the last two decades of his career into a few paragraphs, largely dismissing it as commercial work.
I know. It's a great book, it's excellently researched, has great material, but it just ends! He was shot in 1968 but he didn't die until 1987. It is really incredible that that perception persists -- I mean, it is really prevalent, especially, of that generation. This exhibition is one of several in the past few years that is re-examining his later work including the "Last Decade" show and "Pop Life." These other exhibitions are looking at his later work in a fresh light. But I feel sometimes that the members of Warhol's own generation, or the people who were there, were sometimes clouded in their judgment and unable to see the irony of his later work.
I think it is so interesting your catalogue opens with a picture of Warhol sitting behind a desk. I can't think of another artist, like that, sitting behind a desk. Even Jeff Koons or Damien Hirst wouldn't take that picture.
Oh, no. You have seen pictures of them at their desk in their studios, maybe sitting with desks or papers or tables behind them, or maybe at a computer, but not this -- in such an officious role! I love that photo. It hasn't been published very much, and it was really important to us to include it. There is actually another version of this photo that is backed up a little more and it shows that, to the right of the telephone, there is a TV facing him.
The essays in the catalogue present Warhol as this businessman sitting behind a desk, running Warhol Enterprises, concocting a new moneymaking scheme every day, wearing a tie, and flying by Concorde. And it certainly worked: the final valuation of his estate was $228 million.
That's correct, though I'm not sure exactly how the Warhol Museum came to that figure. I am pretty sure that it is the valuation of his work at the time of his death plus all of the other art work he collected, because he had quite a collection of decorative art and some work by other artists, as well. Also, it includes his real estate holdings.
So, just like any other CEO.
Exactly. In the exhibition we have a portfolio that says "Andrew Warhol Enterprises Inc." on the front and it sort of goes through the value of his estate in 1965, and lists artworks that he owned -- some small Rauschenberg works and other items. But he did amass quite a bit of wealth in his days. Even in the 50s, in the first decade of his career, he did amazingly well as a commercial artist. So he was very well off even before he became famous.
What was he like as a boss?
[Laughs] As a boss? Well, we interviewed Vincent Fremont in the catalog and that is one account of many accounts, but at a certain point in my research it became unhelpful to read the accounts of everyone who worked for him. The people who were very close to him seemed to love him, like Pat Hackett [Warhol's secretary]. While they had not an uncomplicated relationship with Warhol, they certainly had extreme fondness for him. But then you read accounts like Bob Colacello's "Holy Terror" and you see a different side but one that is cited often, the flip side of Andy Warhol, where while he could be incredibly encouraging to other people, to other employees, other artists, he was also pretty cruel in certain regards as well.
What fascinates me is that while he presents this image as a business man -- "the business artist" -- his own management of his affairs was much more like an artist. He hardly paid anyone except with drugs, or parties, or the occasional lunch money.
Part of Warhol's brilliance at an early age was getting people to help him for free. In the 50s he would have these coloring parties where he would invite his friends to Serendipity 3 to help him hand-color his blotted line drawings, and he had his mother help him as well. He certainly had paid assistants, too. All of his films made it look like people in the factory were just sitting around, but he was certainly very good at getting people to work for him for free, and I'm sure it was mutually beneficial. It turned from the "Factory" into the "Office", and his staff members grew as his life progressed. But he certainly did know how to run a business and get the most out of his employees.
Did they have health care? Or anything like that?
I don't know, but there is a great Warhol quote: "Employees made the best dates. You don't have to pick them up and they are always tax deductible."
It is funny to think about how much of a chaotic mess his workplace was.
Well, you see the time capsules, and you get a small glimpse of his business life because the time capsules were basically his sweeping off his desk every so often and putting it in a box. And if you go to the Warhol Museum archives and you take a peek in those time capsules, it is really astounding the amount of stuff that almost anyone would throw away that Warhol kept.
What stands out in your memory?
Ticket stubs, taxi receipts, small notes about his finances. If you look in his diaries, you will see that the "Andy Warhol Diaries" actually originated because his accountant wanted him to track his daily expenses, and then it expanded from there. But it will say "taxi, 3 dollars" and so on. That is in the "Andy Warhol Diaries" that Pat edited. He would call her in the mornings and she would transcribe his day-to-day activities for many years. And some of them... I mean, it's funny, but pretty tedious at a certain point. He will say who he went out with the night before, who was at Studio 54, et cetera. They also found in the time capsules over a thousand dollars in cash that he just stuck in one of the boxes. I tried to get that for the show, actually, but I think they gave it to the Warhol Foundation.
Continued...
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Visit "The Business Artist: How Andy Warhol Turned a Love of Money Into a $228 Million Art Career" on ARTINFO for the rest of Andrew Goldstein's interview with IMA curator Sarah Urist Green about the themes in her probing exhibition, including a discussion of Warhol's role as Factory foreman, his money paintings, and his vulgarity, and to see a slide show of Andy Warhol's most famous money-making works.
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