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Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
Warhol was the ultimate voyeur, constantly observing people through the lens. He watched and listened, but did not participate. Behind the camera, Warhol was in control.
I've always had the idea that multi-millionaire rock stars should work harder than anyone because they have the ability to do it. Look at an artist like Andy Warhol. He never stopped working, even after he didn't need to work again.
I'm interested in visual vocabulary, like Warhol was interested in that vocabulary of advertisements and television and pop culture.
When I was growing up, all the art that touched me was lens-generated, like Gerhard Richter, or Polke, Rauschenberg, Warhol.
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.
When you look at that period when Warhol and the Velvets and the Stones were doing things, it was this intersection of art and music. And then it went away.
'No Hands' art goes straight back to Warhol. He was the first to use elves.
I'd like to think, that were he alive today, Warhol would be painting the Housewives.
I went to the big Picasso retrospective at the Tate in the sixties, and I think I went to an Andy Warhol retrospective at the Tate in the sixties, too. My mother was very good at taking me to things like that. We lived in Reading, but we went on these cultural trips to London.
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.
I love Andy Warhol!
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.
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!
In 1970, television ate my family. The Andy Warhol prophecy of 15 minutes of fame for any and everyone blew up on our doorstep.
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.
Warhol had a huge effect on me. It wasn't that I sought it out. It was more of a natural evolution.
Warhol was questioning the capitalist society.
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.
Until my early teens, I lived with my mother in New York, and I spent a lot of time in the company of her friends, mostly artists and designers, such as Andy Warhol, Ross Bleckner and Francesco Clemente, none of whom had kids, so I was like their shared child.
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.
Andy Warhol's art wasn't that interesting to me. He was more interesting to me as a person. He was art himself. I don't even think he was really into art, per se. He may have liked to do it, but I think he was more into people being into him.
Warhol was definitely an inspiration when I was younger. I wouldn't quantify his sort of influence. I've been influenced by nature and science, and I've been influenced by people like Ernst and Rauschenberg, Cornell and Bosch and Bruegel, by writers like Haruki Murakami to Pablo Neruda to Artaud.
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 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.
James St. James
Forgers can start with the same photographic images Warhol did, and sometimes knock off silkscreens only an expert can distinguish from the originals.
Martin Luther King, Jr.
Image of the Moment
Character may be manifested in the great moments, but it is made in the small ones.
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