Question: Who is the Warhol digital images manager?
About the article "Andy Warhol", section "Foundation".

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Digital artist Cory Arcangel hacked the Hogan's Alley game to produce "I Shot Andy Warhol," an art piece that replaces the game's targets with images of Andy Warhol. 
Warhol's will dictated that his entire estate — with the exception of a few modest legacies to family members — would go to create a foundation dedicated to the "advancement of the visual arts".
Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million.
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts began.
The foundation serves as the estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature.
"The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.
The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.
Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive.
All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.
The Andy Warhol Foundation released its "20th Anniversary Annual Report" as a three-volume set in 2007: Vol.
I, 1987–2007; Vol.
II, Grants & Exhibitions; and Vol.
III, Legacy Program.
The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.
According to script-writer Ronald Tavel, Warhol first brought up the idea for the film in the back room of Max's Kansas City, Warhol's favorite nightspot, during the summer of 1966.
In Ric Burns' documentary film "Andy Warhol", Tavel recollected that Warhol took a napkin and drew a line down the middle and wrote 'B' and 'W' on opposite sides of the line; he then showed it to Tavel, explaining, "I want to make a movie that is a long movie, that is all black on one side and all white on the other."
Warhol was referring to both the visual concept of the film, as well as the content of the scenes presented.
The film was shot in the summer and early autumn of 1966 in various rooms and locations inside the Hotel Chelsea, though contrary to the film's title, only poet René Ricard actually lived there at the time.
Filming also took place at Warhol's studio The Factory.
Appearing in the film were many of Warhol's regulars, including Nico, Brigid Berlin, Gerard Malanga, Mary Woronov as Hanoi Hannah, Ingrid Superstar, International Velvet and Eric Emerson.
According to Burns' documentary, Warhol and his companions completed an average of one 33-minute segment per week.
Once principal photography wrapped, Warhol and co-director Paul Morrissey selected the twelve most striking vignettes they had filmed and then projected them side-by-side to create a visual juxtaposition of both contrasting images and divergent content (the so-called "white" or light and innocent aspects of life against the "black" or darker, more disturbing aspects.)
As a result, the 6½ hour running time was essentially cut in half, to 3 hours and 15 minutes.
However, part of Warhol's concept for the film was that it would be unlike watching a regular movie, as the two projectors could never achieve exact synchronization from viewing to viewing; therefore, despite specific instructions of where individual sequences would be played during the running time, each viewing of the film would, in essence, be an entirely different experience.
Several of the sequences have gone on to attain a cult status, most notably the "Pope" sequence, featuring avant-garde actor and poet Robert Olivo, or Ondine as he called himself, as well as a segment featuring Mary Woronov entitled "Hanoi Hannah," one of two portions of the film scripted specifically by Tavel.
Notably missing is a sequence Warhol shot with his most popular superstar Edie Sedgwick which, according to Morrissey, Warhol excised from the final film at the insistence of Sedgwick herself, who claimed she was under contract to Bob Dylan's manager, Albert Grossman, at the time the film was made.
Sedgwick's footage has been used in another Warhol film "Afternoon."
In the mid-1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show.
Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request).
In 1966 he "produced" their first album "The Velvet Underground & Nico", as well as providing its album art.
His actual participation in the album's production amounted to simply paying for the studio time.
After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.
In 1989, after Warhol's death, Reed and John Cale re-united for the first time since 1972 to write, perform, record and release the concept album "Songs for Drella", a tribute to Warhol.
Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, "This Is John Wallowitch!!!"
(1964).
He designed the cover art for the Rolling Stones albums "Sticky Fingers" (1971) and "Love You Live" (1977), and the John Cale albums "The Academy in Peril" (1972) and "Honi Soit" in 1981.
One of Warhol's last works was a portrait of Aretha Franklin for the cover of her 1986 gold album "Aretha", which was done in the style of the "Reigning Queens" series he had completed the year before.
Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie.
Bowie recorded a song called "Andy Warhol" for his 1971 album "Hunky Dory".
Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968.
He recorded it with the Velvet Underground, and this version was released on the VU album in 1985.
Bowie would later play Warhol in the 1996 movie, "Basquiat".
Bowie recalled how meeting Warhol in real life helped him in the role, and recounted his early meetings with him: 
The first three works featured in his catalogue are from 1994: "Helen", "Hotel Aya" and "Air Disaster 1".
These canvases are oil paintings based on images found in small format and poorly printed general press.
The artist’s work mainly introduces characters in elaborate and improbable settings.
His first exhibition took place in 2008 at Galerie VivoEquidem in Paris.
With Jean-Luc Chalumeau, who wrote the preface of the 2008 catalogue, we reached the conclusion that Sylvester Engbrox didn’t belong to any school, but that he emanated directly from the complexity of the contemporary world, bombarded by mainly digital images.
The fact that Sylvester Engbrox grew up in Düsseldorf in the seventies and eighties and had very thorough training to be a photographer in Arles is significant.
For him, the visible world of his youth, from the remainders of New Objectivity to flashes of Gerhard Richter through images, circulated on a large scale, to the Red Army Faction's acts, formed an obvious nourishing ‘foundation’.
To that is add Andy Warhol, David Lynch’s cinema, Bernd and Hilla Becher’s photography and Kraftwerk’s music.
Thus, Sylvester Engbrox, due to his culture of origin and his photography training, has always been interested in a certain projection of reality.
He, who for years methodically compiled and filed tens of thousands of pictures from the general press, television magazines and the Internet, quite quickly realised that the world in its sensitive domain, if it definitely exists, is not as true as is said or that we are led to believe.
Ultimately, he noted then accepted that the world is the total of the facts and not things (Wittgenstein, Tractatus, 1.1).
The digital era that Engbrox practically saw born and that he closely followed has confirmed this fact.
Indeed, the ‘digital thing’ forgets nothing, throws away nothing, it accumulates relentlessly all realities one after the other.