Top 177 Warhol Quotes & Sayings - Page 2

What I did suffer when I was young was because I was sort of a hick coming into New York City. I was made fun of by a lot of the Factory people. Even Andy Warhol thought I was a hick.

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.

Threads of Rosenquist and Warhol are all through my work. But I'm messier - and wetter. It's the female perspective. I'm not as tidy, and they were both very tidy.

I'm very sad to be compared with Warhol and The Factory, because I have no drugs, you know. We have no drug culture in Japan! Maybe it's because our attitude toward labor is totally different.

A number of artists have done things with Mickey Mouse - including Claes Oldenburg and Andy Warhol. He's such an American symbol, and such an anti-art symbol.

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.

I've often thought - even though it's hard to give him even more credit than he has had - that Andy Warhol must have started a lot of 15 minutes of fame.

We weren't art students, but we definitely created our own style and were pretty influenced by Andy Warhol and all the stuff we read and saw and made fun of, you know.

I never really thought of myself as a musician. 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.

If you're trying to work the art game, if you're like Andy Warhol or something, then you're in with cake-eaters of society. You want to get in with them and please them and get their money.

Like everybody, I wanted to meet Andy Warhol. I was impressed by his work and how daring he was. I think he changed the cinema completely, simply by opening his camera and letting it go.

It's a magpie aesthetic: If something is hideous, that's interesting. It's kind of the same sensibility that Andy Warhol had. He was interested in everything and soaked up what he saw like a sponge.

When I played Candy Darling in 'I Shot Andy Warhol,' that was easy to play that part. They made me into a woman: I'm in heels; I'm waxed. I'm gonna find the femininity and lay on the bed and take the voice of an old movie star.

His [Andy warhol] films were way ahead of the times...and I'm not suggesting this has all necessarily been a good thing for America, mind you. I kind of think we're all in a really big mess, kind of like the end days of the Roman Empire.

As a composer and as a musician I'm a true believer - and this is not to be overly diplomatic - I'm a believer that there's artistry in everything from a lawn gnome to a desk chair to a symphony to an Andy Warhol painting. There's art in absolutely everything.

Every writer from Montaigne to William S. Burroughs has pasted and cut from previous work. Every artist, whether it's Warhol or, you know, Dangermouse or whoever.

I was looking at the work of the New York street artists and then discovering Basquiat and Haring after that and seeing how the contemporary art scene was, and then going back into Warhol and all that was happening in the 60s.

He [Andy warhol] went out every evening to five or six parties with a tape recorder in one pocket and a camera with extra film and batteries in the other pocket, constantly recording and photographing everyone he came across.

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.

Whether you think you like Rubens or not, his influence runs through the pathways of painting. Like Warhol, he changed the game of art.

If you wanted to watch me work, it would be totally boring. It would look like a Warhol film where nothing happens. I sit for 24 hours, then I scratch myself.

Most of the creative industries have been deskilled by these really powerful ideologies of punk in music and Warhol in the visual arts. I think it would be great for us collectively to ask whether it's had a negative or positive effect in contributing imaginative stuff to our culture.

Warhol had resonance because it was high art and low art. And you could argue about it endlessly.

I was a product of Andy Warhol's Factory. All I did was sit there and observe these incredibly talented and creative people who were continually making art, and it was impossible not to be affected by that.

I started hanging out with the Warhol crowd. I was very young, it seemed like an awful lot was going one and I was seeing a slice of life hadn't seen before.

Warhol turned to photographs of stars, as the Renaissance turned to antiquities, to find images of gods.

In order to become a master, you need to emulate. If you're going to be as big as Warhol has become in art, then you have to have younger generations who are exploring your work and trying to understand it like a language.

My work doesn't have the same rules as, say, Andy [Warhol]'s work. But it's gathered together for the simple reason that we all worked with the images and objects around us.

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.

I'm interested in visual vocabulary, like Andy Warhol was interested in that vocabulary of advertisements and television and pop culture. I do a great deal of tropes. This past decade has seen a new term, "meme," which is exactly what I'm studying.

I've withdrawn many times. Part of me is a monk, and part a performing flea! The fear in the music business is that you don't exist if you're not at Xenon with Andy Warhol.

Sometimes the presence of a camera is like opening a door, because many people want what Andy Warhol called "15 minutes of fame." But prostitutes don't want that.

I get really frustrated when people say that a collection is not very 'Armani.' Iconic status can be like a pair of handcuffs, especially if, like me, you wish to continually stretch yourself creatively, as Warhol did.

Contrary to Warhol's 15 minutes of fame, I think that today in front of insatiable curiosity of the crowd, we would be better off to remain secret as long as possible, work in the denser part of shadows.

Books are my one luxury. I have a lot of large coffee-table-size art books, in the shelves above my bed, about people like Warhol, Basquiat and Velasquez.

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.

Andy [Warhol] was on the scene, but he wasn't an artist at first; he was more an illustrator. He was always surrounded by about ten people who worshipped him. He'd go to a party and they would all come along. But he was drawing shoes and that sort of thing.

I would go to the all-night grocery store and pretend that I was at Studio 54 because it was the only place open all night. Truman Capote in the frozen foods. Andy Warhol over in vegetables.

Warhol influenced me because of his writing. If I had never read his writings and interviews, I would never have understood his work.

My favorite era was the '60s because it was filled with incredible creative newness, from panty hose to landing on the moon to Twiggy and Andy Warhol - I loved them, and they loved to wear my silver clothes.

The only thing the Pop Artists had in common is that we all had been commercial artists in some manner. Lichtenstein was a draftsman; I was a billboard painter, but we didn't work together. I didn't meet Andy Warhol until 1964.

The way you would know if someone is famous in the art world is that you would ask your mother. My mother knows who Picasso was. She knows who Warhol was.

He [Andy Warhol] engaged people and I think all of that is what helped keep him keyed in to the times beyond all of the celebrity stuff that was going on around him. He was much more like a fan than a celebrity himself.

Guy Peellaert was to Europe what Andy Warhol was to America - except Guy had more talent!

Warhol wanted to put me in a film, but my mother wouldn't let me.

Andy Warhol was a good friend of mine. We used to go to the Studio 54 nightclub together with the likes of Liza Minnelli, and we'd dance through the night.

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.

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.

A lot of people found themselves working at the Factory and some even in his bed as a result of random occurrences like your call. Most famous artists have never been all that interested in meeting strangers. That was not the case with Andy Warhol at all.

The quality I most loved in Warhol - it was his sense of wonder. I mean, he was - absolutely everything was, 'Oh my God, isn't that wonderful!'. You know, and so it wasn't that he was cool and kind of calculated at all. He was very childlike.

I think Chelsea Girls is a complete masterpiece and I think Andy's [Warhol] films are equally as good as the art. I think one day they will be considered equal. They aren't yet. They will be.

I'm interested in visual vocabulary, like Warhol was interested in that vocabulary of advertisements and television and pop culture.

Fame is a modern phenomenon caused by the explosion of media, where there's a zillion digital channels and snappers everywhere. It's so attainable, so people can have their Warhol 15 minutes of fame, and some are so aggressive.

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.

I could write an entirely new book about Andy Warhol, but I don't think I will. I certainly don't think Nancy Reagan would like that, as she's been patiently waiting for Volume 2 of my chronicle of the life of her and Ronnie.

In 1970, television ate my family. The Andy Warhol prophecy of 15 minutes of fame for any and everyone blew up on our doorstep.

Warhol was a prime example of a schizoid person. Maybe he had Asperger's, or maybe he was just an amorous human being on earth.

One of my best friends, Stephen Sprouse, Bill Dugan, and I worked designing clothes, doing every conceivable thing. New York was a really intoxicating period for me, literally and figuratively. There was a lot of overlap with Andy Warhol, Studio 54, and Halston.

I am Warhol. I am the No. 1 most impactful artist of our generation. I am Shakespeare in the flesh.

25 years ago, when I started in New York, I had the pleasure to cook for Andy Warhol. At the time, I could have traded art for food - I should have done so, because I could get his work for nothing!