Quotes About Art

For my art GCSE, I did a screen print of the Queen's head that was basically an Andy Warhol rip-off, but I didn't realise.

I believe in the ethos of the remix, like Andy Warhol making a painting of a Campbell's soup label.

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.

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.

I feel when you walk into somebody's apartment on Fifth Avenue or house in Malibu and you see a Basquiat, a Warhol, a Richard Prince, you say to yourself, '$700,000, $2.2 million, $350,000...' To me that is completely uninteresting. I'd rather go to a house where there's great art and I have no idea who the work is by.

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.

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.

Andy Warhol made fame more famous.

When I was growing up, all the art that touched me was lens-generated, like Gerhard Richter, or Polke, Rauschenberg, Warhol.

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

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.

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.

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.

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.

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.

I love Andy Warhol!

For me, Warhol made so much sense.

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!

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