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An awesome and ridiculous film that leaves you thrilled beyond the point of your natural endurance
2012
Theatre
The show has suddenly become quite wonderful, and the galvanising factor is the terrific stage debut of Melanie C
Blood Brothers
Music
The British pop music industry may be eating itself but if Muse are the pick of what it can offer the world in 2010 then British music is in rude health indeed
Muse
I was smitten by both Gilberts enormous luxuriant moustache and the intelligence and nuance of this highly entertaining play
I totally recommend Babbo to anyone who is looking for really good and traditional Italian food
Always been a fan but never seen them live. I was ecstatic to be part of this epic event. WOW!
London,
Sue Steward's rating
Reader rating
Description: Photographs of the American pop artist's studio in the mid-1960s.
Phone: 0207792 9914
Trains: Tube: Latimer Road 
Factory workers: (from left) Warhol, film-maker Barbara Rubin and Bob Dylan
In 1964, the ex-Harper's Bazaar photographer Nat Finkelstein bowled up at Andy Warhol's Factory to shoot a documentary. Three years later, he reeled out with a unique archive of images of the artists and musicians who defined the 1960s.
Taking candid portraits of such narcissistic subjects required the stealth of a cat, but Warhol's own ubiquitous camera probably made invisibility easier.
Redferns' exhibition includes both portraits and, unusually, people at work: the Velvet Underground setting up equipment, Warhol arranging helium balloons for a party, reading in a chair - a scene reproduced in the recent Edie Sedgwick biopic Factory Girl, for which Finkelstein was a consultant.
Dominating the room are Warhol's shades and thatch, Bob Dylan's skinny suits and cigarettes and Sedgwick's innocent beauty.
Following the movie, she is the star attraction and is captured in perfectly textured close-ups and profiles (Finkelstein's favoured pose), her innocence still intact.
The "crutch shot" in a crumpled lamé shift is a startling contrast to the show's other work. Finkelstein captures beautifully but never penetrates the cool elegance and intelligence of the Velvets' singer, Nico, or the iconic, frozen conversation between Warhol and Dylan (in profile), who are separated by a huge silkscreen of Elvis Presley pointing a gun at his camera.
The lasting power of these images relies on meticulous printing appropriate to Warhol's perfectionism. They commemorate the many characters described by the photographer: "Some guests left in limousines, some in ambulances, others never found the door."
• Until 12 May. Information: 020 7792 9914, www.redferns.com
Details are correct at the time of publication - please check with venue before booking.
