"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.
--
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The Weekly Standard blows the lid off another non-scandal -- and, in the process, all but begs House Republicans to conduct a wasteful and inane investigation:
HHS is Paying Google with Taxpayer Money to Alter 'Obamacare' Search Results (Updated)
The brazenness of the Obama administration never ceases to amaze. Try typing "Obamacare" into Google, and you'll find that the first entry is now the Obama administration's www.healthcare.gov. If you don't particularly like that result, you'll probably hate the fact that you're paying for it.
...
Using taxpayers' money to alter the results of search engines and to control the flow of information is disturbing on multiple levels. It's particularly disturbing when it's done to promote a massive expansion of government power, like Obamacare. And one wonders how – or if – it's even legal.
Perhaps the new House of Representatives will want to ask the unelected Secretary Sebelius to explain how, or why, she thinks such use of taxpayers' money to promote a particular -- and highly unpopular -- political agenda is legally or substantively justifiable.
This is dumb, even for the Weekly Standard (though not too dumb to get Townhall in a lather.)
"Obamacare" isn't a "political agenda," it's a government program, passed by Congress and signed into law by the President. The government has a natural and appropriate interest in making sure the public knows how a new government program works. The public, quite obviously, has such an interest as well.
Buying ads on Google isn't "control[ing] the flow of information," it's buying ads. It isn't a nefarious bribe to get Google to alter search results; it's how Google ads work. Here's the first example that popped into my head:
See what happened there? I typed "the weekly standard" into Google's search box, and Google put an ad for the Weekly Standard atop my search results. That's exactly what happened with the www.healthcare.gov ads in question. Here's a screenshot, from Politico's Ben Smith:
So, this is nothing more than the government buying ads, exactly -- exactly -- like The Weekly Standard does. Is that a scandal? Of course not. The government buys ads all the time. Like those military recruitment commercials you probably see a few hundred times a year. I haven't seen the Weekly Standard denounce that as an illegal use of taxpayer money to promote a political agenda by controlling the flow of information. Good thing, too: Such a complaint would be stupid.
robert shumake
Baby Boomers and Sacrifice - AOL <b>News</b>
WASHINGTON -- Baby boomers have long been derided as a bunch of spoiled brats -- a.
Nike Air Max LeBron Soldier V – Upcoming Colorways | SneakerNews.com
Continue reading for a complete look at the upcoming colorways of the Air Max LeBron Soldier V and stick with Sneaker News for more updated information on all Nike LeBron shoes. via CK. Nike Air Max LeBron Soldier V – Upcoming Colorways ...
500 More Red-Winged Blackbirds Found Dead in Louisiana - 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
Baby Boomers and Sacrifice - AOL <b>News</b>
WASHINGTON -- Baby boomers have long been derided as a bunch of spoiled brats -- a.
Nike Air Max LeBron Soldier V – Upcoming Colorways | SneakerNews.com
Continue reading for a complete look at the upcoming colorways of the Air Max LeBron Soldier V and stick with Sneaker News for more updated information on all Nike LeBron shoes. via CK. Nike Air Max LeBron Soldier V – Upcoming Colorways ...
500 More Red-Winged Blackbirds Found Dead in Louisiana - 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
"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.
The Weekly Standard blows the lid off another non-scandal -- and, in the process, all but begs House Republicans to conduct a wasteful and inane investigation:
HHS is Paying Google with Taxpayer Money to Alter 'Obamacare' Search Results (Updated)
The brazenness of the Obama administration never ceases to amaze. Try typing "Obamacare" into Google, and you'll find that the first entry is now the Obama administration's www.healthcare.gov. If you don't particularly like that result, you'll probably hate the fact that you're paying for it.
...
Using taxpayers' money to alter the results of search engines and to control the flow of information is disturbing on multiple levels. It's particularly disturbing when it's done to promote a massive expansion of government power, like Obamacare. And one wonders how – or if – it's even legal.
Perhaps the new House of Representatives will want to ask the unelected Secretary Sebelius to explain how, or why, she thinks such use of taxpayers' money to promote a particular -- and highly unpopular -- political agenda is legally or substantively justifiable.
This is dumb, even for the Weekly Standard (though not too dumb to get Townhall in a lather.)
"Obamacare" isn't a "political agenda," it's a government program, passed by Congress and signed into law by the President. The government has a natural and appropriate interest in making sure the public knows how a new government program works. The public, quite obviously, has such an interest as well.
Buying ads on Google isn't "control[ing] the flow of information," it's buying ads. It isn't a nefarious bribe to get Google to alter search results; it's how Google ads work. Here's the first example that popped into my head:
See what happened there? I typed "the weekly standard" into Google's search box, and Google put an ad for the Weekly Standard atop my search results. That's exactly what happened with the www.healthcare.gov ads in question. Here's a screenshot, from Politico's Ben Smith:
So, this is nothing more than the government buying ads, exactly -- exactly -- like The Weekly Standard does. Is that a scandal? Of course not. The government buys ads all the time. Like those military recruitment commercials you probably see a few hundred times a year. I haven't seen the Weekly Standard denounce that as an illegal use of taxpayer money to promote a political agenda by controlling the flow of information. Good thing, too: Such a complaint would be stupid.
robert shumake
robert shumake
Baby Boomers and Sacrifice - AOL <b>News</b>
WASHINGTON -- Baby boomers have long been derided as a bunch of spoiled brats -- a.
Nike Air Max LeBron Soldier V – Upcoming Colorways | SneakerNews.com
Continue reading for a complete look at the upcoming colorways of the Air Max LeBron Soldier V and stick with Sneaker News for more updated information on all Nike LeBron shoes. via CK. Nike Air Max LeBron Soldier V – Upcoming Colorways ...
500 More Red-Winged Blackbirds Found Dead in Louisiana - 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
Baby Boomers and Sacrifice - AOL <b>News</b>
WASHINGTON -- Baby boomers have long been derided as a bunch of spoiled brats -- a.
Nike Air Max LeBron Soldier V – Upcoming Colorways | SneakerNews.com
Continue reading for a complete look at the upcoming colorways of the Air Max LeBron Soldier V and stick with Sneaker News for more updated information on all Nike LeBron shoes. via CK. Nike Air Max LeBron Soldier V – Upcoming Colorways ...
500 More Red-Winged Blackbirds Found Dead in Louisiana - 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
How I started making money with Google Adsense
I have been using Google Adsense almost as long as it has been out. I looked at it when Google first premiered the Adsense program. At the time I had seen so many affiliate programs that were worthless (basically I feel all affiliate programs are worthless) I was hesitant to try it. All I needed was another program to clutter up my site and not make money. After a couple of months I read something again about the Adsense program and thought I would try it on one of my smaller sites. So I put up one set of Adsense ads on the top shared border so that it appeared on every page of the site. About 5 hours later I checked and had already made 10 dollars. I was so encouraged by the results that by evening I had it on all three of my web sites.
How much money can you make with Google Adsense?
Now this is a difficult question. Google frowns on people sharing the specifics of what the make. But I make a full time living off of the three sites now. If you have a website and get traffic to the site you will make money with Google Adsense. How much money you can make depends on several factors. I will list out the considerations then give a brief explanation of each.
The subject and content of your website
The popularity of your website.
The size and usability of you website.
The amount of money you make for each time someone clicks a link on your website depends on how much money people are bidding for that term. A lawyer who is looking for clients in a lawsuit may pay several dollars a click looking for clients. A website about bowling will have appropriate adds on it but the profit the advertisers can make limits how much they are willing to make per click and may only pay 5 to 10 cents a click. So it is obvious that since you get paid a percentage of what Google makes per click then there is going to be a big difference in what site makes per click than another. Does this mean that you should abandon your current website to go after another? No, I think it is better to go with what you have a passion. Everyone and their brother are going after the big keywords. I have made allot of money writing web pages about what I have a passion about.
Obviously the more people who visit your site the more money you make with Google Adsense. The more people who visit your site the more that see the ads. This is one of the reasons not to drop your existing site for a site about some legal issue. One of the popular terms that pays extremely well is Mesothelioma. This is rare form of cancer that is usually caused by asbestos. While each click pays well not many people are looking for this information. So which is better a site that gets 10 visitors a day and a click every couple of days that pays a dollar or two or a site with 1000 visitors a day with 40 clicks for 10 cents each.
They say that size does not matter. When it comes to making money with Google Adsense it does. The more content on your site the more money you make. This works two ways. The more content pages on you site the more different pages people can find when search for the information you offer. Then if your site is well planned so that it is easy for them to find all the information on your site then 1000 visitors can translate into 10,000 page views. There is only so much content you can add about a subject like Mesothelioma. Also consider that thousands of people are making sites about the hottest paying search terms. There is a lot of competition for these terms.
I have a friend who, when he found out how much money I was making with Adsense, decided he wanted to get in on the action. After talking about it he decided to go with his passion of fishing. He is a Salmon and Steelhead fisherman so he made a page about the rivers in his area. He included maps, favorite-fishing spots, catch reports and other pertinent information about fishing these rivers. He has had a blast making the web site because it is an extension of his hobby and makes plenty of money from it to support his fishing habit.
I was blessed in that when Google first started Adsense I already had two large web sites that got a reasonable amount of traffic. I made over 300 dollars my first month. With Google Adsense you get paid at the end of the month. You do not get paid until you reach 50 dollars. If you do not make 50 dollars in a month the money stays in your account until you do. Most people can not expect $50 a month plus when they first start. I have spent the last two plus years adding content and increasing my income. If you have a brand new website it will take a couple of months to start seeing it show up in search engines and beginning to see traffic. But the nice thing is that once you start making money with Google Adsense then with every page you build you are working to increase your income. I love it, now if I want to take a week off I make the same money as I do when I work. I am not working to keep an income. My income comes automatically. I am working to increase it every time I add content to my site.
So I wish you a very profitable future with your website. If you do not already have an Adsense account I invite you to go to the section of my web site that is about making money with Adsense and clicking the blue link an the left side of the page. It will take to Google's Adsense sign up page.
http://arthritis-symptom.com/adsense/adsense-optimization.htm
There is also alot of articles in this section that will help you build and promote your site.
robert shumake detroit
Baby Boomers and Sacrifice - AOL <b>News</b>
WASHINGTON -- Baby boomers have long been derided as a bunch of spoiled brats -- a.
Nike Air Max LeBron Soldier V – Upcoming Colorways | SneakerNews.com
Continue reading for a complete look at the upcoming colorways of the Air Max LeBron Soldier V and stick with Sneaker News for more updated information on all Nike LeBron shoes. via CK. Nike Air Max LeBron Soldier V – Upcoming Colorways ...
500 More Red-Winged Blackbirds Found Dead in Louisiana - 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
robert shumake
"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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The Weekly Standard blows the lid off another non-scandal -- and, in the process, all but begs House Republicans to conduct a wasteful and inane investigation:
HHS is Paying Google with Taxpayer Money to Alter 'Obamacare' Search Results (Updated)
The brazenness of the Obama administration never ceases to amaze. Try typing "Obamacare" into Google, and you'll find that the first entry is now the Obama administration's www.healthcare.gov. If you don't particularly like that result, you'll probably hate the fact that you're paying for it.
...
Using taxpayers' money to alter the results of search engines and to control the flow of information is disturbing on multiple levels. It's particularly disturbing when it's done to promote a massive expansion of government power, like Obamacare. And one wonders how – or if – it's even legal.
Perhaps the new House of Representatives will want to ask the unelected Secretary Sebelius to explain how, or why, she thinks such use of taxpayers' money to promote a particular -- and highly unpopular -- political agenda is legally or substantively justifiable.
This is dumb, even for the Weekly Standard (though not too dumb to get Townhall in a lather.)
"Obamacare" isn't a "political agenda," it's a government program, passed by Congress and signed into law by the President. The government has a natural and appropriate interest in making sure the public knows how a new government program works. The public, quite obviously, has such an interest as well.
Buying ads on Google isn't "control[ing] the flow of information," it's buying ads. It isn't a nefarious bribe to get Google to alter search results; it's how Google ads work. Here's the first example that popped into my head:
See what happened there? I typed "the weekly standard" into Google's search box, and Google put an ad for the Weekly Standard atop my search results. That's exactly what happened with the www.healthcare.gov ads in question. Here's a screenshot, from Politico's Ben Smith:
So, this is nothing more than the government buying ads, exactly -- exactly -- like The Weekly Standard does. Is that a scandal? Of course not. The government buys ads all the time. Like those military recruitment commercials you probably see a few hundred times a year. I haven't seen the Weekly Standard denounce that as an illegal use of taxpayer money to promote a political agenda by controlling the flow of information. Good thing, too: Such a complaint would be stupid.
robert shumake
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robert shumake
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