Andy Warhol

Andy Warhol (born Andrew Warhola; 6 August 1928 – 22 February 1987) was an American painter, filmmaker, publisher, actor and major figure in the Pop Art movement.

photo, 14 June 1977: Andy Warhol in The White House, during a reception for inaugural portfolio artists; - quote of Warhol, 1968!: 'In the future everyone will be world-famous for 15 minutes'

Quotes

Warhol, 1965: 'The Souper Dress'

poster, 1966: Andy Warhol and his Exploding Plastic Inevitable (show) - the Velvet Underground & Nico

photo, 1967: Andy Warhol talking with Tennessee Williams; - quote of Warhol, 1963: 'I think everybody should like everybody'

photo 1967, taken at a performance of Andy Warhol's 'Exploding Plastic Inevitable (show)', featuring Nico, at the University of Michigan campus

"In the future everyone will be famous for 15 minutes." Warhol 1968

photo, 1978: Andy Warhol and Ulli Lommel on the set of the film 'Cocaine Cowboys'; - quote of Warhol, 1975: 'They always say that time changes things, but you actually have to change them yourself'

photo 1977: president Jimmy Carter and Andy Warhol during a reception for inaugural portfolio artists

Warhol, 1979: 'painted BMW Group - 4 M1

Warhol, 1979: 'painted BMW Group - 4 M1

photo, 1980: Warhol and Joseph Beuys, in Naples; -quote of Beuys, 1981: 'He has a kind of observing sense in the back of his mind. So, he is always interested to follow the development..'

photo: Andy Warhol looking at an XYZ-production art work 'banana split' of Thomas Dellert in 1980 in The Factory (photo, Bruno Ehrs)

1960s

• Andy Warhol: I think everybody should like everybody.
  Gene Swenson: Is that what Pop Art is all about?
  Andy Warhol: Yes, it's liking things.
  • Quote in 'What is Pop Art? Answers from 8 Painters', in Art News 62 (November 1963)

• The reason I'm painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do.
  • 'What is Pop Art? Answers from 8 Painters', Part 1, G. R. Swenson, in Art News 62 (November 1963)

• The farther West we drove [to California, Fall of 1963, with Gerard Malanga, Wynn Chamberlain, and Taylor Mead for an opening of Warhol's 'Liz & Elvis paintings' at the Ferus Gallery in Los Angeles], the more Pop everything looked on the highways. Suddenly we all felt like insiders because even though Pop was everywhere – that was the thing about it, most people still took it for granted, whereas we were dazzled by it – to us, it was the new Art. Once you 'got' Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again. The moment you label something, you take a step – I mean, you can never go back again to seeing it unlabeled. We were seeing the future and we knew it for sure.. ..the mystery was gone, but the amazement was just starting. [quote in 1963]
  • Quote in Warhol in his own words – Untitled Statements (1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457–467

• I think of myself as an American artist: I like it here.. .I feel I represent the U.S. in my art but I'm not a social critic. I just paint those things in my paintings because those things are the things I know best. I'm not trying to criticize the U.S. in any way, not trying to show up any ugliness at all. I'm just a pure artist, I guess. But I can't say if I take myself seriously as an artist. I just hadn't thought about it. I don't know how they consider me in print, though.
  • Quote of Warhol in Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467

• If you want to know all about Andy Warhol, just look at the surface; of my paintings and films and me, and there I am. There's nothing behind it.
  • In: Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, New York and Boston Museum of modern Art & Bullfinch Press / Little Brown, 1989, pp. 457–67

• In the future everyone will be world-famous for 15 minutes.
  • Catalogue of an exhibition of his art in Stockholm, Sweden (1968)
  • This quotation has produced a common cliché about fame in pop-culture which is called "15 minutes of fame"; it has often been paraphrased or misquoted in various ways, including:

  In the future, everybody will be world famous for 15 minutes.

  In the future everyone will have their fifteen minutes of fame

  • When asked about this quote, he would corrupt it intentionally, including:

  In the future, fifteen people will be famous.

  In fifteen minutes, everyone will be famous.

• Pelé is one of the few who contradicted my theory [...] Instead of 15 minutes of fame, he will have 15 centuries.
  • Cited in Pelé's New York Times obituary (29 December 2022)

• Scripts bore me. It's much more exciting not to know what's going to happen. I don't think that plot is important. If you see a movie of two people talking, you can watch it over and over again without being bored. You get involved – you miss things – you come back to it ... But you can't see the same movie over again if it has a plot because you already know the ending ... Everyone is rich. Everyone is interesting. Years ago, people used to sit looking out of their windows at the street. Or on a park bench. They would stay for hours without being bored although nothing much was going on. This is my favorite theme in movie making – just watching something happening for two hours or so ... I still think it's nice to care about people. And Hollywood movies are uncaring. We're pop people. We took a tour of Universal Studios in Los Angeles and, inside and outside the place, it was very difficult to tell what was real. They're not-real people trying to say something. And we're real people not trying to say anything. I just like everybody and I believe in everything.
  • Warhol explained that the lack of a plot in Blue Movie was intentional (1969)
  • As quoted by Victor Bockris in his book, Warhol: the Biography (2003), p. 327. Bockris, Victor (August 12, 2003). Warhol: the Biography. p. 327. Retrieved on October 31, 2019. 

"What Is Pop Art? Interviews with Eight Painters", Part 1 (1963)

Quotes of Andy Warhol in "What Is Pop Art?", by Gene Swenson - "Interviews with Eight Painters (Part 1)", Art News 62, New York, November 1963; reprinted in Pop Art Redefined, John Russell and Suzi Gablik (eds.), London, 1969

• It's hard to be creative and it's also hard not to think what you do is creative or hard not to be called creative because everybody is always talking about that and individuality. Everybody's always creative. And it is so funny when you say things aren't, like the shoe I would draw for an advertisement was called a 'creation', but the drawing of it was not.. .There are millions of actors. They're all pretty good. And how many painters are there? Millions of painters and all pretty good. How can you say one style is better then another. You ought to be able to be an Abstract-expressionist next week, or a Pop artist, or a realist, without feeling you're given up something.
  • pp. 116-19

• If an artist can't do anymore, then he should just quit; and an artist ought to be able to change his style without feeling bad. I heard that Lichtenstein said he might not be painting comic strips a year of two from now [1963]. I think that would be so great, to be able to change styles. And I think that's what's going to happen; that's going to be the whole new scene.
  • pp. 116-19

• We went to see Dr No [first James Bond film, 1962] at Fort-Second Street. It's a fantastic movie, so cool. We walked outside and somebody threw a cherry bomb right in front of us, in this big crowd. And there was blood. I saw blood on people and all over. I felt like I was bleeding all over. I saw in the paper last week that there are more people throwing them - it's just part of the scene - and hurting people. My show in Paris is to be called Death in America. I'll show the Electric-chair pictures and the Dogs in Birmingham and car wrecks and some suicide pictures.
  • pp. 116-19

• I guess it was the big plane crash picture [why Warhol started his 'Death'-series], the front page of a newspaper: '129 DIED'. I was also painting the Marilyns [the Marylin Monroe portraits, Warhol started after her tragic death in 1962] I realized that everything I was doing must have been Death. It was Christmas or Labor Day - a holiday - and every time that you turned on the radio they said something like '4 millions are going to die'. That started it. But when you see a gruesome picture over and over again, it doesn't really have any effect.
  • pp. 116-19

• I started those [the 'Elisabeth Taylor' pictures, Warhol made from a publicity photo of her 1960 film BUtterfield 8 a long time ago when she was so sick and everybody said she was going to die [but she recovered]. Now I'm doing them all over, putting bright colors on her lips and eyes. My next series will be pornographic pictures, they will look blank; when you turn on the black lights, then you will see them - big breast and ... If a cop came in, then you could just flick out the lights or turn to the regular lights. How could you say that was pornography? ...Segal did a sculpture of two people making love, but he cut it all up, I guess because he thought it was too pornographic to be art ... The thing I like about it is that it makes you forget about style and that sort of things; style isn't really important.
  • pp. 116-19

• The name [Pop] sounds so awful. Dada must have something to do with Pop. it's so funny, the names are really synonyms. Does anyone know what they're supposed to mean or have to do with, those names? Johns and Rauschenberg, Neo-Dada for all those years, and everyone calling them derivative and unable to transform the things they use, are now called progenitors of Pop. It's funny the way things change. I think John Cage has been very influential, and Merce Cunningham too, I think.. ..History books are being rewritten all the time.
  • pp. 116-19

Electric chair quote

Warhol's electric chair quote (date not established) is found in many books with variations. The earliest and most reported version is:

• You'd be surprised how many people want to hang an electric chair on their living-room wall. Specially if the background color matches the drapes.
  • As quoted in Moderna Museet (1968), Andy Warhol: Stockholm, Moderna Museet, February–March 1968 (exhib. cat.), Malmö: Sydsvenska Dagbladets, [ISBN]; repr. 1970, Boston: Boston Book and Art, [ISBN]
  • As quoted in Mike Wrenn (1991), Andy Warhol: In His Own Words, London & New York: Omnibus Press [Music Sales Group], ISBN 0-7119-2400-7 [[[Special:BookSources/978-0-7119-2400-0|ISBN 978-0-7119-2400-0]]]
  • As quoted in Isabel Kühl (2007), Andy Warhol: Living Art, Munich & New York: Prestel, ISBN 978-3-7913-3814-9 [[[Special:BookSources/3-7913-3814-5|ISBN 3-7913-3814-5]]]

Common variants include:

• (You'd be surprised who'll hang an electric chair in the living room. Especially if the background matches the drapes.)
  • As quoted in Jan Greenberg, Sandra Jordan (2004), Andy Warhol: Prince of Pop, New York: Delacorte, ISBN 0-385-90079-1 [[[Special:BookSources/978-0-385-90079-9|ISBN 978-0-385-90079-9]]]

Additional variants with "curtains" for "drapes" came by way of French translations being re-translated back into English for bilingual books or exhibition notices:

• (You wouldn't believe how many people will hang up a picture of an electric chair? especially if it matches the color of their curtains.)
  • As quoted in Sylvie Fleury et al. (2001), Sylvie Fleury: Identity, Pain, Astral Projection (exhib. cat., Magasin, Grenoble, France, 2001–2002), Paris: RMN (Réunion des musées nationaux) & Dijon: Presses du réel, ISBN 2-7118-4313-0 [[[Special:BookSources/978-2-7118-4313-8|ISBN 978-2-7118-4313-8]]]

• (You wouldn't believe how many people will hang a picture of an electric chair in their room – especially if the color of the picture matches the curtains.)
  • As quoted in Geoff Nicholson (2002), Andy Warhol: A Beginner's Guide, London: Hodder & Stoughton, ISBN 0-340-84620-8 [[[Special:BookSources/978-0-340-84620-9|ISBN 978-0-340-84620-9]]]

• (You wouldn't believe the number of people who hang the electric chair painting in the homes, especially if the colour of the canvas matches the curtains.)
  • As quoted in Marie Deparis (2009), "Mounir Fatmi: Gardons Espoir / Keeping Faith" (bilingual exhibition notice, as a retranslation from the French "On n'imagine pas le nombre de personnes qui accrocheraient chez elles le tableau de la chaise électrique, surtout si les coloris de la toile s'harmonisent avec les rideaux.")

1970s

• If you want to know all about Andy Warhol, just look at the surface; of my paintings and films and me, and there I am. There's nothing behind it.. .I see everything that way, the surface of things, a kind of mental Braille. I just pass my hands over the surface of things. [1973]
  • In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467

• Why do people think artists are special? It's just another job.
  • In: Philosophy of Andy Warhol, Andy Warhol, Harcourt Brace Jovanovich, New York, 1975, p. 178

• I can never get over when you're on the beach how beautiful the sand looks and the water washes it away and straightens it up and the trees and the grass all look great. I think having land and not ruining it is the most beautiful art that anybody could ever want to own.
  • In: "Inside Andy Warhol," by Andy Warhol. Cosmopolitan, 179, Sept. 1975, p. 189.

• It's the place where my prediction from the sixties finally came true: "In the future everyone will be famous for fifteen minutes." I'm bored with that line. I never use it anymore. My new line is, "In fifteen minutes everybody will be famous."
  • Andy Warhol's Exposures (1979) commenting on the nightclub "Studio 54", and his world famous quote.

The Philosophy of Andy Warhol (1975)

Quotes from The Philosophy of Andy Warhol: (From A to B and Back Again), 1975 ISBN 978-0156717205

• At the times in my life when I was feeling the most gregarious and looking for bosom friendships, I couldn't find any takers so that exactly when I was alone was when I felt the most like not being alone. The moment I decided I'd rather be alone and not have anyone telling me their problems, everybody I'd never even seen before in my life started running after me to tell me things I'd just decided I didn't think it was a good idea to hear about. As soon as I became a loner in my own mind, that's when I got what you might call a "following." As soon as you stop wanting something you get it. I've found that to be absolutely axiomatic.
  • Ch. 1: Puberty

• During the 60's, I think, people forgot what emotions were supposed to be. And I don't think they've ever remembered. I think that once you see emotions from a certain angle you can never think of them as real again. That's what more or less has happened to me. I don't really know if I was ever capable of love, but after the '60's I never thought in terms of "love" again.
  • Ch. 1: Puberty

• I don't see anything wrong with being alone, it feels great to me. People make a big thing about personal love. It doesn't have to be such a big thing. The same for living - people make a big thing about that too. But personal living and personal loving are the two things the Eastern-type wise men don't think about.
  • Ch. 3: Senility

• I love every "lib" movement there is, because after the "lib" the things that were always a mystique become understandable and boring, and then nobody has to feel left out if they're not part of what is happening. For instance, single people looking for husbands and wives used to feel left out because the image marriage had in the old days was so wonderful. w:Jane Wyatt and Robert Young. w:Nick and Nora Charles, Ethel and Fred Mertz, Dagwood and Blondie.
  • Ch. 3: Senility

• What I was actually trying to do in my early movies was show how people can meet other people and what they can do and what they can say to each other. That was the whole idea: two people getting acquainted. And then when you saw it and you saw the sheer simplicity of it, you learned what it was all about. Those movies showed you how some people act and react with other people. They were like actual sociological 'For instance's. They were like documentaries, and if you thought it could apply to you, it was an example, and if it didn't apply to you, at least it was a documentary, it could apply to somebody you knew and it could clear up some questions you had about them.
  • Ch. 3: Senility

• I've never met a person I couldn't call a beauty.
  • Ch. 4: Beauty

• I really don't care that much about "Beauties." What I really like are Talkers. To me, good talkers are beautiful because good talk is what I love. The word itself shows why I like Talkers better than Beauties, why I tape more than I film. It's not "talkies." Talkers are doing something. Beauties are being something. Which isn't necessarily bad, it's just that I don't know what it is they're being. It's more fun to be with people who are doing things.
  • Ch. 4: Beauty

• When you're interested in somebody, and you think they might be interested in you, you should point out all your beauty problems and defects right away, rather than take a chance they won't notice them.. .On the other hand, say you have a purely temporary beauty problem—a new pimple, lackluster hair, no-sleep eyes, five extra pounds around the middle. Still, whatever it is, you should point it out.. .If you don't point out these things they might think that your temporary beauty problem is a permanent beauty problem.. .If they really do like you for yourself, they'll be willing to use their imagination to think of what you must look like without your temporary beauty problem.
  • Ch. 4: Beauty

• In some circles where very heavy people think they have very heavy brains, words like "charming" and "clever" and "pretty" are all put-downs; all the lighter things in life, which are the most important things, are put down.
  • Ch. 4: Beauty

• I know a girl who just looks at her face in the medicine cabinet mirror and never looks below her shoulders, and she's four or five hundred pounds but she doesn't see all that, she just sees a beautiful face and therefore she thinks she's a beauty. And therefore, I think she's a beauty, too, because I usually accept people on the basis of their self-images, because their self-images have more to do with the way they think than their objective-images do.
  • Ch. 4: Beauty

• The most beautiful thing in Tokyo is McDonald's. The most beautiful thing in Stockholm is McDonald's. The most beautiful thing in Florence is McDonald's. Peking and Moscow don't have anything beautiful yet.
  • Ch. 4: Beauty

• I'm confused about who the news belongs to. I always have it in my head that if your name's in the news, then the news should be paying you. Because it's your news and they're taking it and selling it as their product. But then they always say that they're helping you, and that's true too, but still, if people didn't give the news their news, and if everybody kept their news to themselves, the news wouldn't have any news. So I guess you should pay each other. But I haven't figured it out fully yet.
  • Ch. 5: Fame

• Before I was shot [June, 1968], I always thought that I was more half-there than all-there - I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in the movies is unreal, but actually it's the way things happen to you in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television - you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television.
  • Ch. 6: Work

• I suppose I have a really loose interpretation of "work" because I think that just being alive is so much work at something you don't always want to do. Being born is like being kidnapped. And then sold into slavery. People are working every minute. The machinery is always going. Even when you sleep.
  • Ch. 6: Work

• After being alive, the next hardest work is having sex. Of course, for some people it isn't work because they need the exercise and they've got the energy for the sex and the sex gives them even more energy. Some people get energy from sex and some people lose energy from sex. I have found that it's too much work. But if you have the time for it, and if you need that exercise—then you should do it. But you could really save yourself a lot of trouble either way by first figuring out whether you're an energy-getter or an energy-loser. As I said, I'm an energy-loser. But I can understand it when I see people running around trying to get some.
  • Ch. 6: Work

• I thought that young people had more problems than old people, and I hoped I could last until I was older so I wouldn't have all those problems. Then I looked around and saw that everybody who looked young had young problems and that everybody who looked old had old problems. The "old" problems to me looked easier to take than the "young" problems. So I decided to go gray so nobody would know now old I was and I would look younger to them than how old they thought I was. I would gain a lot by going gray: (1) I would have old problems, which were easier to take than young problems, (2) everyone would be impressed by how young I looked, and (3) I would be relieved of the responsibility of acting young—I could occasionally lapse into eccentricity or senility and no one would think anything of it because of my gray hair. When you've got gray hair, every move you make seems "young" and "spry," instead of just being normally active. It's like you're getting a new talent. So I dyed my hair gray when I was about twenty-three or twenty-four.
  • Ch. 6: Work

• The President has so much good publicity potential that hasn't been exploited. He should just sit down one day and make a list of all the things that people are embarrassed to do that they shouldn't be embarrassed to do, and then do them all on television.
  • Ch. 6: Work

• What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.
  • Ch. 6: Work

• Sometimes you fantasize that people who are really up-there and rich and living it up have something you don't have, that their things must be better than your things because they have more money than you. But they drink the same Cokes and eat the same hot dogs and wear the same ILGWU clothes and see the same TV shows and the same movies. Rich people can't see a sillier version of w:Truth or Consequences, or a scarier version of w:The Exorcist. You can get just as revolted as they can—you can have the same nightmares. All of this is really American.
  • Ch. 6: Work

• Sometimes you're invited to a big ball and for months you think about how glamorous and exciting it's going to be. Then you fly to Europe and you go to the ball and when you think back on it a couple of months later what you remember is maybe the car ride to the ball, you can't remember the ball at all. Sometimes the little times you don't think are anything while they're happening turn out to be what marks a whole period of your life. I should have been dreaming for months about the car ride to the ball and getting dressed for the car ride, and buying my ticket to Europe so I could take the car ride. Then, who knows, maybe I could have remembered the ball.
  • Ch. 7: Time

• They always say that time changes things, but you actually have to change them yourself.
  • Ch. 7: Time

• Sometimes people let the same problem make them miserable for years when they could just say, "So what." That's one of my favorite things to say. "So what." "My mother didn't love me." So what. "My husband won't ball me." So what. "I'm a success but I'm still alone." So what. I don't know how I made it through all the years before I learned how to do that trick. It took a long time for me to learn it, but once you do, you never forget.
  • Ch. 7: Time

• I really do live for the future, because when I'm eating a box of candy, I can't wait to taste the last piece. I don't even taste any of the other pieces, I just want to finish and throw the box away and not have to have it on my mind any more. I would rather either have it now or know I'll never have it so I don't have to think about it. That's why some days I wish I were very very old-looking so I wouldn't have to think about getting old-looking.
  • Ch. 7: Time

• I don't believe in it, because you're not around to know that it's happened. I can't say anything about it because I'm not prepared for it.
  • Ch. 8: Death

• I really believe in empty spaces, although, as an artist, I make a lot of junk. Empty space is never-wasted space. Wasted space is any space that has art in it. An artist is somebody who produces things that people don't need to have but that he, for some reason, thinks it would be a good idea to give them.
  • Ch. 10: Atmosphere

• When I look at things, I always see the space they occupy. I always want the space to reappear, to make a comeback, because it's lost space when there's something in it. If I see a chair in a beautiful space, no matter how beautiful the chair is, it can never be as beautiful to me as the plain space.
  • Ch. 10: Atmosphere

• Free countries are great, because you can actually sit in somebody else's space for a while and pretend you're a part of it. You can sit in the Plaza Hotel and you don't even have to live there. You can just sit and watch the people go by.
  • Ch. 10: Atmosphere

• Somebody said that Bertolt Brecht [German socialist writer of political theater] wanted everybody to think alike. I want everybody to think alike. But Brecht wanted to do it through Communism, in a way. Russia is doing it under government. It's happening here [in America] all by itself without being under a strict government; so if it's working without trying, why can't it work without being Communist? Everybody looks alike and acts alike, and we're getting more and more that way.
  • p. 26

• Business art is the step that comes after Art. I started as a commercial artist, and I want to finish as a business artist. After I did the thing called 'art' or whatever it's called, I went into business art. I wanted to be an Art Businessman or a Business Artist. Being good in business is the most fascinating kind of art. During the hippies era people put down the idea of business – they'd say 'Money is bad', and 'Working is bad', but making money is art and working is art and good business is the best art.
  • p. 92

• When I have to think about it, I know the picture is wrong. And sizing is a form of thinking and coloring is too. My instinct about painting says, 'If you don’t think about it, it's right'. As soon as you have to decide and choose, it's wrong. And the more you decide about, the more wrong it gets. Some people, they paint abstract, so they sit there thinking about it because their thinking makes them feel they're doing something. But my thinking never makes me feel I'm doing anything.
  • p. 149

1980s

• A lot of people thought it was me everyone at the 'Factory' was hanging around, that I was some kind of big attraction that everyone came to see, but that's absolutely backward: it was me who was hanging around everyone else. I just paid the rent, and the crowds came simply because the door was open. People weren't particularly interested in seeing me; they were interested in seeing each other. They came to see who came.
  • In: POPism (1980); as quoted in Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz, in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467

• The Pop artists did images that anybody walking down Broadway could recognize in a split second – comics, picnic tables, men's trousers, celebrities, shower curtains, refrigerators, Coke bottles – all the great modern things that the Abstract Expressionists tried so hard not to notice at all. (1960's)
  • In: POPism (1980); as quoted in Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz, as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467

BBC interview (1981)

Quotes of Warhol from: Interview with Edward Lucie-Smith on BBC Radio 3 (17 March 1981)

• Edward Lucie-Smith: Would you like to see your pictures on as many walls as possible, then?
  Andy Warhol: Uh, no, I like them in closets.

• Edward Lucie-Smith: Why is it more of a pleasure to do 30 or 40 pictures than to do just one?
  Andy Warhol: Then I can, uh, listen to my soundabout which looks just like the thing that I'm wearing now, and you can listen to opera and stuff like that.
  Edward Lucie-Smith: Does that mean you don't have to think when you're painting?
  Andy Warhol: No, you can listen to really good music.
  Edward Lucie-Smith: So, what, painting is an excuse to listen to really good music?
  Andy Warhol: Oh, yeah.

• Edward Lucie-Smith: What do you think is the characteristic of a really nice person? Some people you obviously do like more than others.
  Andy Warhol: Ummm, well, if they talk a lot.
  Edward Lucie-Smith: What, and don't make you talk?
  Andy Warhol: Yeah, yes, that's a really nice person.
  Edward Lucie-Smith: Thank you, Andy.

• I still care about people but it would be so much easier not to care. I don't want to get to close: I don't like to touch things, that's why my work is so distant from myself [Nicolas Love, April 1987]
  • In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz, in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467

undated quotes

• Sex is nostalgia for sex.
  • Quote from: [1]

• Apparently, most people love watching the same basic thing [actions shows on TV], as long as the details are different. But I'm just the opposite: if I'm going to sit and watch the same thing I saw the night before, I don't want it to be essentially the same – I want it to be exactly the same. Because the more you look at the same exact thing, the more the meaning goes away, and the better and emptier you feel. (1960's)
  • In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467

• In my art work, hand painting would take much too long and anyway that's not the age we're living in.
  • In: Machine in the Studio, Caroline A. Jones, University of Chicago Press, 1996 pp. 197-198

• I think somebody should be able to do all my paintings for me.
  • As quoted in Pop Art, an Critical History, Steven Henry Madoff, Madoff, University of California Press, Berkeley 1997, p. 104

Quotes about Andy Warhol

• Warhol's art can both subvert (up to a point) formal art and, at the same time, offer socially provocative documents to the ordinary, white, middle-class citizen. Blacks and the poor do not like Warhol's art or movies. Documents that are mainly intended as deliberate references to a predominant white culture cannot incite the imaginations of those who don't give a fuck for that culture in the first place, even if they did understand what it was all about. This inability of Warhol to reach blacks and the poor represents the weakest aspect of his art. Warhol's art implies a certain disgust on the part of the artist for culture — a disgust he shares in common with New Left revolutionaries and progressive activist artists and critics. His latest decision, to stop painting altogether, is a deliberate step in the direction away from culture itself. It is also an inevitable step, as the very notion of art works that possess a quality as items to be traded upon the New York art exchange is incompatible with the socialization of art. Modern culture is a repressive, police agency. The police function of modern culture has been recognized by Warhol. His paintings of electric chairs, police attacks, most-wanted men, and car crashes all seem to reflect in art the reality of an official culture of repression rather than of life.
  • Gregory Battcock (1970), in: Art and Artists, Vol. 5, p. 13

• I think he [Andy Warhol] would be very interested in the moment that the w:Dalai Lama appears, being involved in such a kind of idea. Andy has always difficulties with this kind of political activities, because he works in another kind of world, but he is always.. .Also when he was here (in Germany) last week, he is very interested to hear a lot of new information. He has a kind of observing sense in the back of his mind. So, he is always interested to follow the development, and there is really a kind of imaginative process going on, I think.
  • Joseph Beuys (1981), in Joseph Beuys and the Dalai Lama; Interview with Louwrien Wijers in: Kuoni (n.5), pp. 189; Republished in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993

• I'll give you an interesting analogy here. Have you ever read w:Carson McCullers' w:The Heart Is a Lonely Hunter? All right. Now in that book you'll remember that this deaf mute, Mr. Singer, this person who doesn't communicate at all, is finally revealed in a subtle way to be a completely empty, heartless person. And yet because he's a deaf mute, he symbolizes things to desperate people. They come to him and tell him all their troubles. They cling to him as a source of strength, as a kind of semi-religious figure in their lives. Andy is kind of like Mr. Singer. Desperate, lost people find their way to him, looking for some sort of salvation, and Andy sort of sits back like a deaf mute with very little to offer.
  • Truman Capote (1982), as quoted in Edie: An American Biography, Jean Stein and w:George Plimpton

• He was a slight man who wore a white wig.
  • The Times obituary (February 1987).

• This Neo-Dada, which they call New Realism, Pop Art, Assemblage etc. [Duchamp is referring to Andy Warhol and Roy Lichtenstein,] is an easy way out and lives on what Dada did. When I discovered ready-mades I thought to discourage aesthetics. In Neo-Dada they have taken my ready-made's and found aesthetic beauty in them. I threw the bottle-rack and the urinal in their faces as a challenge and now they admire them for their aesthetic beauty.
  • Marcel Duchamp (1962), in his letter to the German artist w:Hans Richter; as quoted in Hans Richter, Dada Art and Anti-Art - New York: McGraw-Hill, 1965, pp. 207-8

• No director in human history has ever made or will ever make worse movies. Warhol makes Ed Wood look like Ingmar Bergman.
  • Dana Gioia (October 2002), "Glass Appeal: Philip Glass's Film Scores," San Francisco Magazine

• In a strange way, Andy attracted attention because of his wig and his blank personality, which were both really disguises. I saw him at a party once at the Sculls' in Great Neck. He was quiet, polite, and odd, but without any of the posing that he later affected. He was a very single-minded person; he had this drive to work, work, work.
  • James Rosenquist, Painting Below Zero: Notes on a Life in Art, Alfred A. Knopf, 2009 p. 128

• Warhol--for whom Jackie Kennedy or Marilyn Monroe was as much an art object as any consumable artifact, and who was himself the celebrity-artist par excellence--was arguably more responsible than anyone else for obliterating the line between the avant-garde (which was supposed to appeal to an elite and be disturbing and subversive) and mass art (which was supposed to reach millions and reinforce the American dream).
  • Ellen Willis No More Nice Girls: Countercultural Essays (1992)

External links

• Warhol Foundation in New York, New York.
• Warhol at NNDB
• Warhol at IMDb