Google slik art9/20/2023 The academic work that lies behind this moment is worth dwelling on: in the late nineteen-thirties, Robert Oppenheimer published three papers on that very question. In his review of Christopher Nolan’s new film, “Oppenheimer,” Anthony Lane mentions a conversation that the title character has at a cocktail party, where he asks, “What happens to stars when they die?” (The Current Cinema, July 31st). ![]() Whitney seemed unsure if his role at the gallery included cashier responsibilities. When I retrieved the ten-dollar bill I had in my wallet, Castelli averted his eyes, apparently reluctant to handle actual cash. More nods all around, and then I heard Castelli tell Whitney to go get a print. He nodded and pointed at me Castelli said a few words to Warhol Warhol looked me over. I went up and asked Whitney if I could purchase one of the prints. Castelli, Warhol, and David Whitney-who would go on to become a prominent curator but was working for Castelli at the time, and whom I knew through a friend of a friend-were holding court at the front of the gallery. I decided to try to buy a print, which was a variation on the mailer that announced the show. I could hardly afford to buy anything shown that night-but I was told that, if one asked (and got approved), one could purchase a twenty-four-by-twenty-four-inch print for ten dollars. (They now sell for millions.) At the time, I was a young movie-industry press agent, and the rent of my starter apartment, on Sixty-first and Lexington, was sixty-eight dollars a month. ![]() ![]() The large silk screens displayed in the gallery were on sale for four hundred dollars apiece the smaller versions were two hundred. This was the initial exhibition of what would become some of Warhol’s most ubiquitous imagery, appearing on everything from shower curtains to the sides of buildings. In November, 1964, I went to the vernissage for Andy Warhol’s “Flowers” show at Leo Castelli’s Upper East Side gallery. Patrick Radden Keefe’s Profile of the art dealer Larry Gagosian brought to mind an experience I had as an observer of the beginnings of the contemporary-art-market boom (“Money on the Wall,” July 31st).
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