A picture by Roy Lichtenstein just sold for US$42 million... More dosh than the Campbell Soup Can by Andy Warhol. The one on the right is by Roy Lichtenstein that is. The one on the left was of course the inspiration. Meanwhile an old theory in regard to the CIA sponsoring the "modern" arts has resurfaced for whatever reason...

But let's go first to bleedingcool...

In Swipe File we present two or more images that resemble each other to some degree. They may be homages, parodies, ironic appropriations, coincidences or works of the lightbox. We trust you, the reader, to make that judgment yourself. If you are unable to do so, please return your eyes to their maker before any further damage is done. The Swipe File doesn’t judge, it’s interested more in the process of creation, how work influences other work, how new work comes from old, and sometimes how the same ideas emerge simultaneously, as if their time has just come.

http://www.bleedingcool.com/2010/11/11/swipe-file-the-42-6-million-dollar-comic-book-panel/
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And so, the old spook agency, the CIA, was exposed, for having been a principal participant in the liberalization of the arts, as far back as 1995... revived in 2010...
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http://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html



22 october 1995

....
 Because Abstract Expressionism was expensive to move around and exhibit, millionaires and museums were called into play. Pre-eminent among these was Nelson Rockefeller, whose mother had co-founded the Museum of Modern Art in New York. As president of what he called "Mummy's museum", Rockefeller was one of the biggest backers of Abstract Expressionism (which he called "free enterprise painting"). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows.

The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members' board of the museum's International Programme. John Hay Whitney, who had served in the agency's wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA's International Organisations Division, was executive secretary of the museum in 1949.

Now in his eighties, Mr Braden lives in Woodbridge, Virginia, in a house packed with Abstract Expressionist works and guarded by enormous Alsatians. He explained the purpose of the IOD.

"We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do, and what you must paint, which was what was going on in the Soviet Union. I think it was the most important division that the agency had, and I think that it played an enormous role in the Cold War."

...
Covert Operation

In 1958 the touring exhibition "The New American Painting", including works by Pollock, de Kooning, Motherwell and others, was on show in Paris. The Tate Gallery was keen to have it next, but could not afford to bring it over. Late in the day, an American millionaire and art lover, Julius Fleischmann, stepped in with the cash and the show was brought to London.

The money that Fleischmann provided, however, was not his but the CIA's. It came through a body called the Farfield Foundation, of which Fleischmann was president, but far from being a millionaire's charitable arm, the foundation was a secret conduit for CIA funds.

So, unknown to the Tate, the public or the artists, the exhibition was transferred to London at American taxpayers' expense to serve subtle Cold War propaganda purposes. A former CIA man, Tom Braden, described how such conduits as the Farfield Foundation were set up. "We would go to somebody in New York who was a well-known rich person and we would say, 'We want to set up a foundation.' We would tell him what we were trying to do and pledge him to secrecy, and he would say, 'Of course I'll do it,' and then you would publish a letterhead and his name would be on it and there would be a foundation. It was really a pretty simple device."

Julius Fleischmann was well placed for such a role. He sat on the board of the International Programme of the Museum of Modern Art in New York - as did several powerful figures close to the CIA.

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But the spook official agency neither confirmed nor denied the theory, see this official CIA review, of Saunders book, written in 2000:

Intelligence in Recent Public Literature

By Frances Stonor Saunders. New York: The New Press, 2000. 509 pages.

According to Saunders, the list of CIA covert activities during the 1950s and 1960s is long. The Agency subsidized European tours of the Boston Symphony Orchestra and paid for the filming of George Orwell's 1984 and Animal Farm. It clandestinely subsidized the publishing of thousands of books, including an entire line of books by Frederick A. Praeger, Inc., and the renowned work by Milovan Djilas, The New Class . It bailed out, and then subsidized, the financially faltering Partisan Review and Kenyon Review .

The centerpiece of the CIA's propaganda campaign—and the focus of Saunders's book—was the Congress for Cultural Freedom and its principal publication, the journal Encounter. Saunders's diligence and hard work shows as she describes the creation, activities, and downfalls of the Congress and the journal. She read the Church Report, performed research in various archives, and conducted many interviews, including some with retired CIA officers.5 Her fine writing style and occasionally even gossipy method of presenting the material makes what could have been a dry-as-dust account of institutions read easily. She also has some fascinating characters, for the people discussed in The Cultural Cold War are among the leading intellectual figures of post-World War II Europe and America. She presents these people with wit and occasionally a pen dripping with acid.

https://www.cia.gov/library/center-for-the-study-of-intelligence/csi-publications/csi-studies/studies/vol46no1/article08.html

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Gus: some sarcastic voices said that the whole thing was a way to launder money, tax free.... I don't think we've seen the end of this CIA caper (watch next year's Archibald or Wynne Prize) ...