Quotes About Expression

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

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

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.

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

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.

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.

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.

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

I love Andy Warhol!

If Abstract Expression reached for the sublime, Pop turned ordinary imagery into icons. Roy Lichtenstein and Andy Warhol illuminated the transformative power of context and the process of reproduction. Claes Oldenburg's soft ice-cream cones and hamburgers changed sculpture from hard to soft, from stasis to transformation.

For me, Warhol made so much sense.

Threads of Rosenquist and Warhol are all through my work. But I'm messier - and wetter. It's the female perspective. I'm not as tidy, and they were both very tidy.

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

We weren't art students, but we definitely created our own style and were pretty influenced by Andy Warhol and all the stuff we read and saw and made fun of, you know.

Even Andy Warhol had a copy of '666.'

There may be a great fire in our hearts, yet no one ever comes to warm himself at it, and the passers-by see only a wisp of smoke.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

When people ask me if I have a hobby, a lot of times my answer is that I like to surf in warm water. I like to ski, if I have the opportunity. But really, I like to go to my studio and write music that I want to write, where there's no pressure to come up with a hit single.

Christina Aguilera's 'Stripped' had a lot of good songs. It's my range, so I use it to warm up a lot.

I write all the time. I always have. I can pick up my horn to warm up, and an idea will pop into my head, and I'll write it down and file it away for another time.

I try and direct environmentally, so that people don't feel like everything is going to depend on what happens when someone says, 'action,' so that they can literally be swimming in the warm water, and at some point the race begins, and at some point the race ends, but it is about being free to swim.

I'm just not that way. I have always been an affectionate, warm guy, and I've never been embarrassed to tell someone I love them. Those are three words we were all created to hear, and that we need to hear.

My purpose is to make a movie to make you warm. To give you some heat. Now, this rational world has become a place where only what is cool is good. Do you cut the movie on the basis of the beat of modernity or the basis of the beat of your own heart?