Question: What amount of money is the painting "Mural" by Jackson Pollock insured for?
About the article "Jackson Pollock", section "In pop culture and media".

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In 1960, Ornette Coleman's album "" featured a Pollock painting as its cover artwork.
The British indie band The Stone Roses were heavily influenced by Pollock; they have cover artwork made of pastiches of his work.
In the early 1990s, three groups of movie makers were developing Pollock biographical projects, each based on a different source.
The project that at first seemed most advanced was a joint venture between Barbra Streisand's Barwood Films and Robert De Niro's TriBeCa Productions (De Niro's parents were friends of Krasner and Pollock).
The script, by Christopher Cleveland, was to be based on Jeffrey Potter's 1985 oral biography, "To a Violent Grave," a collection of reminiscences by Pollock's friends.
Streisand was to play the role of Lee Krasner, and De Niro was to portray Pollock.
A second was to be based on "Love Affair" (1974), a memoir by Ruth Kligman, who was Pollock's lover in the six months before his death.
This was to be directed by Harold Becker, with Al Pacino playing Pollock.
In 2000, the biographical film "Pollock", based on the Pulitzer Prize-winning biography, "Jackson Pollock: An American Saga", was released.
Marcia Gay Harden won the Academy Award for Best Supporting Actress for her portrayal of Lee Krasner.
The movie was the project of Ed Harris, who portrayed Pollock and directed it.
He was nominated for the Academy Award for Best Actor.
The Pollock-Krasner Foundation did not authorize or collaborate with any production.
In September 2009, the art historian Henry Adams claimed in "Smithsonian Magazine" that Pollock had written his name in his famous painting "Mural" (1943).
The painting is now insured for $140 million.
In 2011, the Republican Iowa State Representative Scott Raecker introduced a bill to force the sale of the artwork, held by The University of Iowa, in order to fund scholarships, but his bill created such controversy that it was quickly withdrawn.
Charles Pollock's career as a painter is sharply divided into two periods.
Until the 1940s, Pollock followed the social realist movement, studying under Thomas Hart Benton at the Art Students League of New York.
Pollock was inspired by the works of the Mexican Mural Renaissance, particularly the works of Diego Rivera and José Clemente Orozco.
During the Great Depression and the New Deal era of the 1930s, Pollock began working for the Resettlement Administration, alongside fellow Social Realist Ben Shahn, supervising murals through the Midwestern and Southern United States.
Pollock was then selected as supervisor of the mural painting and graphic arts division of the Federal Art Project at the WPA, settling in Detroit, Michigan.
Charles Pollock abandoned social realism in the 1940s, and turned to abstract expressionism and Color Field painting.
Some attribute the shift to the influence of his famous brother Jackson; however Pollock painted in a very calm and organized manner unlike Jackson's 'drip painting' style. 
Drip painting is a form of abstract art in which paint is dripped or poured onto the canvas.
This style of action painting was experimented with in the first half of the twentieth century by such artists as Francis Picabia, André Masson and Max Ernst, who employed drip painting in his works "The Bewildered Planet", and "Young Man Intrigued by the Flight of a Non-Euclidean Fly" (1942).
Ernst used the novel means of painting Lissajous figures by swinging a punctured bucket of paint over a horizontal canvas.
Drip painting was however to find particular expression in the work of the mid-twentieth-century artists Janet Sobel and Jackson Pollock.
Pollock found drip painting to his liking; later using the technique almost exclusively, he would make use of such unconventional tools as sticks, hardened brushes and even basting syringes to create large and energetic abstract works.
Pollock used house paint to create his signature drips.
House paint was less viscous than traditional tubes of oil paint, and Pollock thus created his large compositions horizontally to prevent his paint from running.
His gestural lines create a unified overall pattern that allows the eye to travel from one of the canvases to the other and back again.
Sources for the drip technique include Navaho sand painting.
Sand painting was also performed flat on the ground.
Another source is the "underpainting" techniques of the Mexican muralists painters.
The drip–splash marks made by mural painter David Alfaro Siqueiros allow him to work out his composition of a multitude of Mexican workers and heroes.
Contemporary artists who have used drip painting include Jackson Pollock, Norman Bluhm, Joan Mitchell, Lynda Benglis, Rodney Graham, Ronald Davis, Larry Poons, John Hoyland, Ronnie Landfield, Dan Christensen, Roxy Paine, Pat Steir, Andre Thomkins, Zane Lewis, and Zevs. 
Autumn Rhythm (Number 30) is a 1950 painting by American artist Jackson Pollock.
The work is currently in the collection of the Metropolitan Museum of Art. 
Hans Namuth was not initially interested in the work of Jackson Pollock, but was convinced by his teacher Alexey Brodovitch that Pollock was an important painter.
In July 1950, Namuth approached Pollock and asked to photograph the artist working in his studio.
Pollock agreed, encouraged by his wife, Lee Krasner, who was aware of the importance of media coverage.
The resulting images helped to demystify Pollock's famous "drip" technique of painting, revealing it to be a deliberative process rather than a random splashing of paint.
They "helped transform Pollock from a talented, cranky loner into the first media-driven superstar of American contemporary art, the jeans-clad, chain-smoking poster boy of abstract expressionism," according to acclaimed culture critic Ferdinand Protzman.
Not satisfied with black and white stills, Namuth wanted to create a color film that managed to focus on Pollock and his painting at the same time, partially because he found more interest in Pollock's image than in his art.
His solution was to have Pollock paint on a large sheet of glass as Namuth filmed from underneath the work.
As Namuth could not afford professional lighting, the film was shot outside Pollock's Long Island home.
This documentary (co-produced with Paul Falkenberg) is considered one of the most influential for artists.
In November 1950, Namuth and Pollock's relationship came to an abrupt conclusion.
After coming in from the cold-weather shoot of the glass painting, Pollock, who had been treated in the 1930s for alcoholism, poured himself a tumbler of bourbon whiskey after supposedly having been sober for two years.
An argument between Namuth and Pollock ensued with each calling the other a "phony", culminating in Pollock overturning a table of food and dinnerware in front of several guests.
From then on, Pollock reverted to a more figure-oriented style of painting, leading some to say that Namuth's sessions robbed Pollock of his rawness and made Pollock come to feel disingenuous about doing things for the camera that he had originally done spontaneously.
Art critic Jonathan Jones suggests that by filming Pollock, Namuth "broke the myth of trance" and by framing Pollock's work in the larger surrounding landscape, destroyed Pollock's view that his paintings were boundless.
Jeffrey Potter, a close friend of Pollock's, described Namuth as commanding, frequently telling Pollock when to start and stop painting.
According to Potter, Pollock "felt what was happening was phony."
Namuth himself describes Pollock as being "very nervous and very self-conscious" of the filming at the time, but less so when Pollock discussed it in a later interview.
During his time with Pollock, Hans Namuth had created two films and captured more than 500 photographs of the artist.
These photos were first published in 1951 in "Portfolio", a journal edited by Alexey Brodovitch and Franz Zachary.
After the death of Pollock in 1956, Namuth's photos grew in popularity and were often used in articles about the painter in place of Pollock's artwork itself.
Art historian Barbara Rose states that the photographs changed art by focusing on the creation of art rather than the final product alone.
Younger artists such as Bruce Nauman, Richard Serra, and Robert Morris were able not only to view Pollock's paintings, but, with Namuth's images, to see Pollock in the act of painting, giving rise to the popularity of Process Art.
These photos have also allowed art historians to dissect the details of Pollock's method.
For example, art historian Pepe Karmel found that Pollock's painting in Namuth's first black-and-white film began with several careful drippings forming two humanoid figures and a wolf before being covered beneath several layers of paint.