People have a tendency to think I was part of Warhol's Factory - I never was. I've always been independent.
I was a fan of Andy's since I was a small kid. I recall seeing an ad of famous people on an airplane together. It was caricature drawing. There was Muhammad Ali, there was Miles Davis, and there was Andy Warhol. I had a fascination with him since I was little.
They say rock is dead. Andy [Warhol] said art is dead. God is dead according to Nietzsche. If everything's dead what's alive? Only technology. We're in the era of technology.
Andy Warhol says everyone will be famous for 15 minutes in the future, but even he couldn't have imagine today's fame is due to whom you sleep with.
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.
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.
I'd been asked by Takashi Murakami to collaborate on something, which was an honor for me. I was really pleased. And then he had me as a guest speaker on his radio show, and we were talking about art. I don't think he knew I was interested in the topic - he was really surprised to find out that I own some original Andy Warhol and Gerhard Richter and Jean-Michel Basquiat works. So, in some ways, I think he simply wanted to see what I have.
I'm a poet born in the era of Andy Warhol and a generation that wanted to be famous.
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.
And out of the blue, I got a call from an editor friend at Knopf and she said that they were interested in putting out an update for their vintage paperback line. So I was more than thrilled and it was suggested that perhaps I could do a 1,000 word new introduction covering what's happened with the whole Warhol thing since 1990 when the first edition hardcover came out and, uh, that was about August 1st and I sat down at my computer here in East Hampton and on on August 30th I'd written almost 10,000 words!
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 most famous living artist in America is Andy Warhol, unfortunately.
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.
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.
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.
I worked for Jeff Kelin. He was a marketing genius before his time. Coupons, car rebates and the value meal (as we know it today) all came from his marketing genius. At 19 years old, I had two jobs, one with Andy Warhol, and the second with Jeff Kelin.
I don't think he'd [Andy Warhol] be that amazed because he was so driven to be the Picasso of the second half of the 20th century.
I never heard my mom say, "Not now, I'm busy." But I did have extraordinary experiences that I'm very aware were extraordinary. I mean, I traveled Europe before I was 12 years old, had been to the White House numerous times. Andy Warhol photographed me; Michael Jackson called our house.
I took photos from 1976 to when I left in 1993, primarily for Interview and a column I had called "Bob Colacello's Out" which Andy had conceived of. I've never taken a picture since, not even with my phone! It just felt too Andy Warhol to keep going around town taking photographs. And I never really thought of doing anything with them after I left the magazine until this great Art Director Sam Shahid about for or five years ago asked where all of the old photos were.
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.
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.
I was at Plaza Athénée, where a jacket and tie was required. Andy Warhol came with his turtleneck, because he was always wearing a turtleneck, with a tie over it, and we gave him a jacket - so he had a jacket and tie over the turtleneck. It was pretty cool.
He was, as Billy Name said in the acclaimed Ric Burns documentary about Andy Warhol, uninterested in being a second-tier artist. He was uninterested in being a first-tier artist! He wanted to be, you know, a god. Someone who completely changed the...he wanted to be Zeus with the lightning bolt and nothing less would have satisfied him.
Warhol influenced me because of his writing. If I had never read his writings and interviews, I would never have understood his work.
When I hear the Spice Girls, yeah, all that '90s stuff, like Limp Bizkit. Dandy Warhols! Whenever I hear them, it takes me right back, because they were friends of the channel, too.
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