Quotes About Warhol

I have done only two portraits: one of the artist Francesco Clemente and another of Andy Warhol.

I've got a nice collection of paintings - a Basquiat, a black-and-white Warhol that's like a Rorschach test, and I commissioned Takashi Murakami to do a ten-foot joint for me. It's almost like the explosion in Hiroshima with his famous skeleton head. There's a wall above my fireplace reserved for it.

When you look at Banksy's work as a catalogue of ideas, it's undeniably brilliant. Going back to my days doing stencil work back in the 80s I knew that it wasn't exactly the most demanding work: it's like printing, but then Warhol was a printer.

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.

'No Hands' art goes straight back to Warhol. He was the first to use elves.

After Andy Warhol died, it left a dark cloud over N.Y.C. nightlife.

When it comes to the British monarchy, I prefer to be seduced by an image than presented with a real person. It's kind of a Warhol thing.

Warhol was proof that you can be revolutionary without being militant.

Appropriation was the language of my generation in many ways. It came out of Duchamp, Warhol, Johns, Lichtenstein.

Warhol was questioning the capitalist society.

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

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.

Warhol had a huge effect on me. It wasn't that I sought it out. It was more of a natural evolution.

Forgers can start with the same photographic images Warhol did, and sometimes knock off silkscreens only an expert can distinguish from the originals.

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.

My mom grew up in a strict Catholic family and moved to New York and became part of the Warhol factory.

Motorcycle garb is the way I looked to Warhol. Then came the Armani suits.

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.

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.'

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

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.

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.

Warhol took outcasts and made them into stars. There will never be another artist like him.

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.