Frases de Andy Warhol

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“El amor-fantasía, es mucho mejor que el amor-realidad.”

“No quiero ser inteligente, porque ser inteligente te deprime.”

“Comprar es mucho más americano que pensar, y yo soy el colmo de lo americano.”

“En el futuro todo el mundo será famoso durante quince minutos. Todo el mundo debería tener derecho a quince minutos de gloria.”

“En los años ochenta va a haber cada quince minutos un nuevo futuro.”

“La inspiración es la televisión.”

“La idea no es vivir para siempre, la idea es crear algo que si lo haga.”

“Lo más hermoso de Florencia es el restaurante McDonald's.”

“No creo en la muerte porque uno no está presente para saber que, en efecto, ha ocurrido.”

“Las máquinas tienen una vida más fácil. A mí me gustaría ser una máquina, ¿a usted no?”

“La sinceridad del momento es la esencia de un diario.”

“No les interesa la pintura. Catherine Guinness [véase Introducción] no se puso pesada hasta el último día, cuando empezó con esa cosa tan fastidiosa que hacen los ingleses de preguntar y preguntar: «¿Qué es exactamente el pop art?». Era como cuando entrevistamos a ese chico del blues, Albert King, para Interview, y ella le preguntó: «¿Qué es exactamente el soul?».”

“Es imposible hacer una película sin reescribir totalmente la historia.”

“James Dean era el alma dañada pero hermosa de nuestro tiempo.”

“Bésame con tus ojos.”

“Recuerda, nunca antes te habían visto en su vida.”

“Creo que todos deberían ser amables con todos.”

“Si todos no son hermosos, entonces nadie lo es.”

“En mi obra de arte, la pintura a mano llevaría demasiado tiempo y, de todos modos, esa no es la edad en que vivimos.”

“The farther West we drove [to California, Fall of 1963, with Gerard Malanga, Wynn Chamberlain, and Taylor Mead for an opening of Warhol's 'Liz & Elvis paintings' at the Ferus Gallery in Los Angeles], the more Pop everything looked on the highways. Suddenly we all felt like insiders because even though Pop was everywhere – that was the thing about it, most people still took it for granted, whereas we were dazzled by it – to us, it was the new Art. Once you 'got' Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again. The moment you label something, you take a step – I mean, you can never go back again to seeing it unlabeled. We were seeing the future and we knew it for sure.... the mystery was gone, but the amazement was just starting.”

“In some circles where very heavy people think they have very heavy brains, words like "charming" and "clever" and "pretty" are all put-downs; all the lighter things in life, which are the most important things, are put down.”

“If an artist can't do anymore, then he should just quit; and an artist ought to be able to change his style without feeling bad. I heard that Lichtenstein said he might not be painting comic strips a year of two from now [1963]. I think that would be so great, to be able to change styles. And I think that's what's going to happen; that's going to be the whole new scene.”

“Therefore, everything seen – every object, that is, plus the process of looking at it – is a Duchamp. Turn it over and it is.”

“I guess it was the big plane crash picture [why Warhol started his 'Death'-series], the front page of a newspaper: '129 DIED'. I was also painting the Marilyns [the Marylin Monroe portraits, Warhol started after her tragic death in 1962] I realized that everything I was doing must have been death. It was Christmas or Labor Day - a holiday - and very time that you turned on the radio they said something like '4 millions are going to die'. That started it. But when you see I gruesome picture over and over again, it doesn't really have any effect.”

“A lot of people thought it was me everyone at the 'Factory' was hanging around, that I was some kind of big attraction that everyone came to see, but that's absolutely backward: it was me who was hanging around everyone else. I just paid the rent, and the crowds came simply because the door was open. People weren't particularly interested in seeing me; they were interested in seeing each other. They came to see who came.”

“The reason I'm painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do.”

“In my art work, hand painting would take much too long and anyway that's not the age we're living in.”

“Sex is nostalgia for sex.”

“In fifteen minutes, everyone will be famous.”

“In the future, everybody will be world famous for 15 minutes.”

“When I have to think about it, I know the picture is wrong. And sizing is a form of thinking and coloring is too. My instinct about painting says, 'If you don’t think about it, it's right.'”