I'm not saying Sonic Youth was a conceptual-art project for me, but in a way it was an extension of Warhol. Instead of making criticism about popular culture, as a lot of artists do, I worked within it to do something.
There was no way I could write a paper knowing that Andy Warhol and Boy George were partying at Danceteria.
When I was sixteen and knew nothing about art, I sat through almost six hours of Andy Warhol’s Empire. I did not understand it but thought: this is in a major museum, it must be important, what is going on here? I stayed until the museum closed. His Screen Test films are some of my favorite works made this century, but you need to give them back the time they took to be made.
Warhol turned to photographs of stars, as the Renaissance turned to antiquities, to find images of gods.
Warhol's images made sense to me, although I knew nothing at the time of his background in commercial art. To be honest, I didn't think about him a hell of a lot.
You are not truly a Warhol superstar unless you are dead.
There is no comparison between him and me; he developed a whole new way of making art and he's clearly in a league of his own. It would be like making comparisons with Warhol.
Tardiness is next to wickedness in a society relentless in its consumption of time as both a good and a service--as tweet and Instagram, film clip and sound bite, as sporting event, investment opportunity, Tinder hookup, and interest rate--its value measured not by its texture or its substance but by the speed of its delivery, a distinction apparent to Andy Warhol when he supposedly said that any painting that takes longer than five minutes to make is a bad painting.
I guess I was always envious of people who got to move to New York for college because they got to see the city that I, perhaps, was pretty jaded by with new eyes and discover for themselves that Andy Warhol was dead.
I love David Bowie and Cher and Diana Ross. I wanted to follow in their footsteps. So I set out to do that in a rock-'n'-roll band in Atlanta, Georgia. That led me to nightclubs and to the sort of Andy Warhol experience of creating a personality.
When I went to college, and I went to art school, I started to realize that Warhol was cool and that pop art was fun.
There is a danger in becoming an icon, as people can see you as remote and untouchable, and they are less willing to tolerate you doing things that don't fit with their preconceived idea of you. Iconic status can be like a pair of handcuffs, especially if, like me, you wish to continually stretch yourself creatively, as Warhol did.
That is what [Andy] Warhol portraits do: They elevate the subject into an icon of the pop culture he was documenting.
Eugene Mirman is the Andy Warhol of comedy. People look to him for what's next in comedy, and he emails these people back promptly. The Will to Whatevs put me in a great mood because I was laughing out loud. Alone. That's hard to do.
Andy Warhol said that in the future everyone will be famous for 15 minutes. Facebook is exactly like that except you're not really famous and your 15 minutes goes on forever.
If Abstract Expression reached for the sublime, Pop turned ordinary imagery into icons. Roy Lichtenstein and Andy Warhol illuminated the transformative power of context and the process of reproduction. Claes Oldenburg's soft ice-cream cones and hamburgers changed sculpture from hard to soft, from stasis to transformation.
You have to [go outside your comfort zone]. Andy Warhol said 'say yes to everything'.
I've collected Andy Warhol art for years now I have two portraits of myself done by Steve Kaufman.
Whether you think you like Rubens or not, his influence runs through the pathways of painting. Like Warhol, he changed the game of art.
Warhol is the pre-Helnwein.
Money is completely boring to me. It means nothing, except it feeds my art. Every penny I make goes back into the Haus of GaGa. My Haus of GaGa is something like Andy Warhol's Factory.
TV has eaten up everything else, and Warhol films are all that are left, which is fabulous. Pork could become the next I Love Lucy, the great American domestic comedy. It's about how people really live, not like Lucy, who never touched dishwater. It's about people living and hustling to survive.
In the '50s, to appropriate was a real no-no. However, once you go from Duchamp to Jasper Johns to Warhol, appropriation becomes not only a common thing to do, but possibly the central way of working in the era we call postmodernism.
You know what Andy Warhol's sole contribution to this country has been? He made Campbell's Soup a household word.
I then discovered the Pop Art of Warhol, Lichtenstein, and Peter Max. I was inspired that these fun and colourful images could be presented seriously on canvas.
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