A Quote by Peter Marino

I simply loathe the crude 1960s distinctions between commerce and art. For me, Warhol and pop obliterated all of those separations - that was the whole point of the Brillo Boxes and Campbell's Soup Cans. And believe it or not, in 2009, moronic journalists are still saying to me, 'Your work is so commercial.'
Ever since Marcel Duchamp appropriated mass market objects and pronounced them 'readymades' and Andy Warhol elevated the Campbell's soup can and Brillo Box to art, artists and designers have been blurring the lines between fine art and commerce.
It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.
Take an exhibit, in the days when we saw the Pop art - Andy Warhol and all that - tomato soup cans, etc., and coming home, you saw everything like A. Warhol.
If you get into Scientology, you will go to auditing. It's like therapy except that there is an E-meter between you and your auditor. That's a device that actually measures your galvanic skin responses. It's two metal cans that you hold. They used to be Campbell's Soup cans with the label scraped off.
I believe in the ethos of the remix, like Andy Warhol making a painting of a Campbell's soup label.
But what was interesting about what the Who did is that we took things which were happening in the pop genre and represent them to people so that they see them in a new way. I think the best example is Andy Warhol's work, the image of Marilyn Monroe or the Campbell's soup can.
Personally, I never believe an artist saying "I do it for myself" is saying the truth, because why would you go through the trouble of making something that goes out into the world if you didn't care about somebody else seeing it? It's like the difference between those who choose "more comfortably termed entertainment" versus what people think of as the "art life," which is supposedly more monastic or spiritual. I don't believe in those distinctions.
In the eighteenth century, it was ladies and gentlemen and swings in a garden; today, it may be Campbell's soup cans or highway signs. There is no real difference. The artist still takes his everyday world and tries to make something out of it.
You know what Andy Warhol's sole contribution to this country has been? He made Campbell's Soup a household word.
Every time I work with Dr. Luke I learn something new. He's kind of like the Andy Warhol of pop music, where he mass produces his art but it always still has heart and always still has an emotional thread to it. I think he's really a genius and I'm so lucky to have gotten to work with him.
One clear difference between art and commercial work is that commercial work is exploitive: the work may be high quality but the intention is to sell product or tickets. Art exists with or without ticket sales.
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.
It’s like saying beauty is in the eye of the beholder: what appears to be beautiful today may not be judged beautiful in a few years. A perfect example is the Warhol ‘Marilyn’; in the 1960s it was deemed garish. Art needs to be socialised, and you need a lot of context to understand that, and that doesn’t mean having read a few art history books.
Food is like clay; you can sculpt with it. Also it has an odor, and you can eat it. I don't eat a lot of cake, but I do make cakes! And unlike the Campbell's Soup Cans, my food is a humanized form and scale.
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.
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.
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