欧宝娱乐

“Before pop art, there was such a thing as bad taste. Now there's kitsch, schlock, camp, and porn.”
― Don DeLillo, Running Dog

“Interviewer: 鈥淎ndy do you feel that the public has insulted your art?鈥�
Andy Warhol: 鈥淯h no.鈥�
I: 鈥淲hy not?鈥�
AW: 鈥淯h well I hadn鈥檛 thought about it.鈥�
I: 鈥淚t doesn鈥檛 bother you at all then?鈥�
AW: 鈥淯h no.鈥�
I: 鈥淲ell do you think that they have shown a lack of appreciation for what pop art means?鈥�
AW: 鈥淯h no.鈥�
I: 鈥淎ndy do you think that pop art has sort of reached the point where it鈥檚 becoming repetitious now?鈥�
AW: 鈥淯h yes.鈥�
I: 鈥淒o you think it should break away from being pop art?鈥�
AW: 鈥淯h no.鈥�
I: 鈥淎re you just going to carry on?鈥�
AW: 鈥淯h yes.”
― Andy Warhol

“The more you look at the same exact thing, the more the meaning goes away, and the better and emptier you feel.”
― Andy Warhol

“No les interesa la pintura. Catherine Guinness [v茅ase Introducci贸n] no se puso pesada hasta el 煤ltimo d铆a, cuando empez贸 con esa cosa tan fastidiosa que hacen los ingleses de preguntar y preguntar: 芦驴Qu茅 es exactamente el pop art?禄. Era como cuando entrevistamos a ese chico del blues, Albert King, para Interview, y ella le pregunt贸: 芦驴Qu茅 es exactamente el soul?禄.”
― Andy Warhol, The Andy Warhol Diaries

“Pop is about speaking everybody's language. The imagery and iconography we instantly recognize. When you can rely on things that the public already knows, you're dealing with Pop.”
― Nuno Roque

“I have a transgressive spirit, and Pop is transgression's best friend.”
― Nuno Roque

“This fetishistic transmutation separates Warhol from Duchamp and all his predecessors. For Duchamp, Dada, the Surrealists and all who worked to deconstruct representation and smash the work of art are still part of an avant-garde, and belong, in one way or another, to the critical utopia. For us moderns, at any rate, art has ceased to be an illusion; it has become an idea. It is no longer idolatric now, but critical and utopian, even when -- particularly when -- it demystifies its object or when, with Duchamp, it aestheticizes at a stroke, with its bottle-rack, the whole field of daily reality.

This is still true of a whole segment of Pop Art, with its lyrical vision of popcorn or comic strips. Banality here becomes the criterion of aesthetic salvation, the means of exalting the creative subjectivity of the artist. Obliterating the object the better to mark out the ideal space of art and the ideal position of the subject. But Warhol belongs to no avant-garde and to no utopia. And if he settles utopia's hash, he does so because, instead of projecting it elsewhere, he takes up residence directly at its heart, that is, at the heart of nowhere. He is himself this no place: this is how he traverses the space of the avant-garde and, at a stroke, completes the cycle of the aesthetic. This is how he at last liberates us from art and its critical utopia.”
― Jean Baudrillard, The Perfect Crime

“Let us not be deceived about the cool forms, forms indifferent to themselves, which this fetishism can assume in Warhol. Behind this machinic snobbery, what is really going on is a rise and rise of objects, images, signs and simulacra, as well as a rise and rise of values, the finest example of which is the art market itself. We are a long way from the alienation of price, which is still a real measure of things. We are in the ecstasy of value, which explodes the notion of market and simultaneously destroys the art work as such. Warhol is naturally party to this extermination of the real by the image, and to such an overdoing of the image as to put an end to all aesthetic value.

Warhol reintroduces nothingness into the heart of the image. In this sense, we cannot say he is not a great artist: fortunately for him, he is not an artist at all. The point of his work is a challenge to the very notion of art and aesthetics.”
― Jean Baudrillard, The Perfect Crime

“Por m谩s que pienso no logro entender cu谩l es la fascinaci贸n en observar cuadros de personas redondamente obesas y coloridas y curiosas. Creo que tanto color en sus obras es sin贸nimo de falta de creatividad. No veo m谩s que payasos cuando observo esos cuadros y, francamente, no s茅 cu谩l sea su objetivo ni mensaje ni raz贸n de ser. Inclusive lo veo como una burla, como si se estuviera mofando de la parte de El Arte que siempre termina siendo comercial y popular. Odio cuando pasa eso. Odio cuando un pendejo se pone a escupir en hojas blancas y de repente dice que s贸lo porque es una jalada que a otra persona no se le hab铆a ocurrido antes hacer, s贸lo por eso, ya es una obra de arte que vale un Marisse. Y se me hace pat茅tica esa parte, la parte en que el imb茅cil que hizo eso se vuelve la revelaci贸n del a帽o y todos empiezan a hablar de 茅l y termina siendo hasta el host en los 脫scares a煤n cuando su rama no tenga nada que ver con el cine. El mundo est谩 lleno de pendejos. El mundo est谩 lleno de gente pat茅tica y por m谩s que pienso, no entiendo por qu茅 la gente no deja de hacer m谩s gente y ya. Por qu茅 no paran esta producci贸n en masa de gente-pendeja m谩s pendeja and so on. En serio: hay muchas cosas que la gente hace que simplemente no entiendo. Por ejemplo, un g眉ey que estaba en la esquina pidiendo limosna, que no ten铆a piernas y que igual y ni nombre, 茅l 驴por qu茅 no mejor se avienta a la calle para que un pinche taxi lo atropelle y ya deje de sufrir y se largue a la chingada de este mundo que no hace m谩s que burlarse en su cara de lo triste e infeliz que es su vida? No me digas que 茅l tiene algo por qu茅 vivir. Bueno, el homeless ese no me importa. Me importa lo que dec铆a, de c贸mo se puede contaminar la esencia del arte y su raz贸n de existir por imb茅ciles como esos. O tambi茅n por los pinches posers que los apoyan. Porque si no fuera por esos, los otros no existir铆an. Pero ah铆 toda la gente: a aplaudir esculturas que no entienden y lienzos que no transmiten sentimiento alguno. O esos que son fan谩ticos de lo experimental: un obeso de cincuenta y dos a帽os que, como no ten铆a nada que hacer, empez贸 a tomarse fotos desnudo y le gustaron tanto que las revel贸 y un enfermo sexual las vio y se excit贸 y se las compr贸 y las subast贸 y ya por eso se convirti贸 en un artista. Y todos lo aplauden, hasta yo, pero por los huevos de atreverse a mostrar su antiest茅tico y marginal cuerpo al mundo, como si no tuvi茅ramos suficiente con las im谩genes desgradables que tenemos qu e ver en el d铆a a d铆a. Por eso me cae tan bien Andy y por eso admiro su trabajo: porque me entiende. Es el 煤nico que ha logrado burlarse de la cultura y de esa adicci贸n de la gente por admirar estupideces. Es el 煤nico que lo hace abierta y descaradamente, sin necesidad de aparentar. Se burla de una manera tan bizarra, tan baja, tan directa, que lo convierte en elegante. Y es que es una necesidad interna de la gente 鈥攄e toda la gente鈥� por admirar a algo, a alguien, que raya en lo r铆diculo. La gente puede ser fan hasta de un poste. 驴A qu茅 se deber谩 eso de tener esa urgencia por alabar a alguien, sea quien sea? De comprar revistas con chismes de gente que no conocen y de vidas que nunca se cruzar谩n. De perseguir perfectos desconocidos y comprar su ropa interior en subastas por cantidades est煤pidas de dinero. No puedo evitar sentir pena ajena. La mayor parte del tiempo me da mucha pena el mundo en el que vivimos. Ya est谩 viejo, le hace falta una remodelaci贸n 鈥攄e tapiz, de muebles, de personajes鈥�. Por eso digo que es mejor vivir afuera de 茅l. Pero bueno, la gente nunca va a cambiar. Eso es lo que pienso, si tanto te importaba saber lo que pienso.”
― Gisela Leal, El club de los abandonados

“A nation lives by its myths and heroes. Many societies have survived defeat and invasion, even political and economic collapse. None has survived the corruption of its picture of itself. High and popular art are not in competition here. Both may help citizens decide what they are and what they admire. In our age, however, high art has given up speaking to the body of its fellow citizens. It devotes itself to technical displays that can appeal only to other technicians.”
― E. Christian Kopff, The Devil Knows Latin: Why America Needs the Classical Tradition

“The minute we moved in (1712 North Crescent Heights), Dennis Hopper decided to give a party for Andy (Warhol), who was coming out to Los Angeles, and he decided that the one thing that would really make the house stand out, fabulously, would be billboards. So he papered the downstairs bathrooms with billboards. He had also decided that the food at the party would be hot dogs and chili. So we had a hot-dog stand! And Dennis had found huge papier-m芒ch茅 Mexican figures with firecrackers hanging on them.”
― Brooke Hayward, Dennis Hopper: The Lost Album - Vintage Prints From the Sixties

“There's no difference between pulp fiction and highbrow fiction, one is as good as the other, the only difference is the aura they have, and that's determined by the people who read the stuff, not by the book itself. There's no such thing as 'the book itself.”
― Karl Ove Knausg氓rd, Min kamp 5