Tag Archives: Andy Warhol

20 Quotes On Creativity, Commerce & Design From Andy Warhol

Decades after his death Pop Art king Andy Warhol’s words still resonate with artists and creatives alike. Here are 20 quotes on Art, Creativity, Commerce and Design from Andy Warhol to get you through your day.


1. “When you think about it, department stores are kind of like museums.”

2. “Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art.”

3. “If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.”

4. “Isn’t life a series of images that change as they repeat themselves?”

5. “In the future, everyone will be famous for 15 minutes.”

6. “Everybody needs a fantasy”

7. “I’m for mechanical art. When I took up silk screening, it was to more fully exploit the preconceived image through the commercial techniques of multiple reproduction.”

8. “Land really is the best art.”

9. “Once you ‘got’ Pop, you could never see a sign again the same way again. And once you thought Pop, you could never see America the same way again.”

10. “Most people in America think Art is a man’s name.”

11. “I’ll bet there are a lot of artists that nobody hears about who just make more money than anybody. The people that do all the sculptures and paintings for big building construction. We never hear about them, but they make more money than anybody.”

12. “Art is what you can get away with.”

13. “It does not matter how slowly you go so long as you do not stop.”

14. “An artist is somebody who produces things that people don’t need to have.”

15. “Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.”

16. “I just do art because I’m ugly and there’s nothing else for me to do.”

17. “I’m bored with that line. I never use it anymore. My new line is “In 15 minutes everybody will be famous.”

18. “They say that time changes things, but you actually have to change them yourself.”

19. “When I did my self-portrait, I left all the pimples out because you always should. Pimples are a temporary condition and they don’t have anything to do with what you really look like. Always omit the blemishes—they’re not part of the good picture you want.”

20. “You know it’s ART, when the check clears.”

Lyrically Speaking: Ms. Lauryn Hill – Neurotic Society (Compulsory Mix)


Neurotic Society

We’re living in a joke timemetaphorical coke time
Commerce and guru men, run the whole world man
Broke world and debaucheryold world brutality
Cold world kills softly
Whole world works savagely
Greedy men and pride fiends program TV screens
Quick-scam and drag queens
Real life blast fiends
Think twice this past dream

Crime if you ask clean
Quick, fast: poison has entered the bloodstream
Psychological massacreconsequence is a tragedy
Mythological characters, men and women as parody

Superficial vanity, borderline insanity
Out of order humanitycrime committed so passively
Desperados and causalitiescorporations want batteries:
explanations and strategiesdomination and mastery

[] bankrupt, grown people so corrupt
Light swords and yellow menjunkies and popularity
Culture oh so independent, vultures scavage reality
Past feeling depravity, decaying social cavity
Preying on human ignorancepopular immorality

Sympathy disease head
Population misled
Self-indulgent, past dead
Absence of the God head
Pimps, pushers and harlotry
Nepotism, no artistry
Despotism and piracy
Desperation, dishonesty

Physicists issue policy
No money, less equality
Inflated global ego imitating reality
Fuel cycle pharaoh, poisonous frozen arrows
Hypocritics on salary; idle hands: Devil’s agency
Predisposed to complacency
Jealousy and audacitycontagious social gluttony

Stages of mass malignityeffort to make deception
Generation and atrophyglam life and deathscam life and editors
By-product of neglect childrenhiding from predators
Absence of self-respect, phony, scared of competitors
Lifestyle of luxury at someone’s expense
Sensitive children, used up as sacrifice
Blind to the consequencesmoked up in dope pipes
Ecstasy fast liferecklessly past life
Narcotics and cash fights

Neurotic Society
Benefactors turned actorsaddictions, triple captors
Experience manufacture
in this neurotic toxic society

It’s like post-war;
they’re looking for the Communists, and who the Marxists is
Ten thousand pictures on Facebook; it’s like the pot calling the kettle “narcissist”
C’mon, really? Saying “The Devil,” but you’re the chief arsonist
Hypocrites can’t even see their own part in this
No reflectionvampire paradigm
No introspection
This star, that star…” “rants, “has a breakdown
Three months before pure obsession picture can’t take down
Children: it’s a shakedown; they’re just looking for a sacrifice
They’ve been doing this since before Bobby Darin sang “Mack the Knife
Before James Dean’s car did a jackknife
Perhaps it’s because they lack life, lack guts; never confused the head with the butt

“Opinions are like assholes, and most of them stink,”
I was told by a woman, so rethink; don’t ever let them:
lead you to drinklead you to doubtlead you to fall
Get up, stand upcast Lucifer out
Shake it up, baby;” watch them twist it and shout
Insecure assholes looking for a ticket, someone to ride like the Pickett
It’s fcukin’ wicked, shame on ‘em
In this neurotic toxic society

Sick cycle psychology, in desperate need of psychiatry
Exorcism, sobriety, forcing social lobotomy
People stuck in dichotomies, pseudo sicko anxiety
Serial criminals, dressed in Variety
Social transvetism, subliminal dressed up as piety
Transference, projections like Cartesian images
Robbing innocencestealing inheritance
Quiet victims with no defensebetrayed over dollars and cents
Maladjusted and ignorantmalediction and dissonance
Too much addiction, no consciousness
Don’t you trust itthis cosmology’s busted

Broken returns to the dusted
Corruption, deceit, abuse and repeat
They don’t feel complete unless they’re robbing the sheep
Man is not a product: if you call him that – then stop it

In this neurotic godless society

– Ms. Lauryn Hill

Because you’re beautiful: drop dead.

Fundamental Contemporary Pop premise #celebrityschadenfreude 

Illustration by Speckled Sydney

If all I cared about was me, I could make a million. And that’s what they will never understand.

It’s not that I’m rebelling. It’s that I’m just trying to find another way.

I think something very weird’s going on now, ’cause the power that is permitted to youth is quite extraordinary. And they are sort of run by that kind of power.

It’s sort of like a mockery in a way of reality because they think everything is smiles and sweetness and flowers when there is something bitter to taste. And to pretend there isn’t is foolish.

Something very strange happened. I didn’t realize I was going to say it, and I said, out loud, “I wish I was dead.” And the reason I said it was the love and the beauty and the ecstasy of the whole experience was really an alien experience in a way, because I didn’t even know him. It was a one-night jag. He was married and had children, and I just felt really, like, lost. It just wasn’t worth living anymore because I was all alone again.

The nearly incommunicable torments of speed, buzzerama, that acrylic high, horrorous, yodelling, repetitious echoes of an infinity so brutally harrowing that words cannot capture the devastation nor the tone of such a vicious nightmare.

You have to put up with the risk of being misunderstood if you are going to try to communicate. You have to put up with people projecting their own ideas, attitudes, misunderstanding you. But it’s worth being a public fool if that’s all you can be in order to communicate yourself.

While I was girl of the year and superstar and all that crap, everything I did was really… motivated by psychological disturbance. But I’d, I’d make a mask out of my face because I didn’t realize… I was quite beautiful. I had to wear heavy black eyelashes like bat wings and dark lines under my eyes. Cut all my hair off, my long dark hair, cut it off and strip it silver and blond. All these little manoeuvres I did out of things that were happening in my life that upset me. I’d freak out in a very physical way, and… it was all taken in a fashion trend.

The way those sons-of-bitches took advantage of me.

I can understand other people’s situations in their own terms, but I still can’t understand mine.

In the year 2000 you’re going to have a problem… Leisure time will be a problem in the year 2000. I just want you to realise, I just want to make sure that you know of it now.

 Why do people stop developing?… from being children to maybe stopping at a very adolescent age, and they stay there until they die. Physically die. I mean, they react adolescently. They don’t change. They don’t develop. They don’t – it’s that continual read, that process which is, is the total threat for the ego.

You live alone, creating your life as you go.


“She was staggeringly beautiful. You kind of wanted to help her… she drew upon your sympathies like that. When she walked into the room, everyone was on-point … I think at that point, she was ostracized.”

KingPop Flexes at FLUX

Autumnal breezes on the East-West platform at Edgewood-Candler Park ~ before this, I’d strolled the neighborhood named for the park, after a brief stretch of the park itself, after Historic Druid Hills. Lovely, underrated urbane city to walk, Atlanta. The MARTA train arriving now to whoosh me away through buildings and trees, through the urban forest to its core.

I’m revved to sneak a peak at the first solo art exhibition by William Floyd aka KingPop, at House of Adrene in Historic Castleberry Hill, and it coincides with FLUX. Though I helped pre-organize the event and have spent time in Royal Flush Studios, where studio co-owner Mr. Floyd creates in a huge warehouse in West End, I come with eyes wide open.

The enclave of Castleberry Hill is the official arts district of Atlanta, and FLUX night is the big annual art event in the loft-filled neighborhood. First formed in the mid-1800s, Castleberry Hill was initially a collection of saloons and brothels called “Snake Nation.” Now, it’s where many of the South’s topnotch artists live, work and play.

House of Adrene, a Castleberry fashion boutique in normalcy – which also happens to sell Mr. Floyd’s clothing line, Pop Culture Clothing – has been transformed into a gallery space for Mr. Floyd to display diverse skills, primarily those of his as a fine art and pop painter. Though the clothes remain on display and for sale throughout the space, the transformation into art viewing gallery mostly works for me.

Yours truly originally agreed to curate the show, but also brought in Jeff Prisant, the general manager of an excellent Stone Mountain Village gallery called Butterfly House Studio, to assistant curate and in all practicality manage the show-time operations. Exciting for me to still be a small part of FLUX night, while maintaining a level of once-removed journalistic integrity.

Mr. Prisant, an artist himself, says of becoming a gallerist and art curator, “I was tired of being on the sidelines and wanted to get more involved in the action, helping other artists and getting great art out to the public. Being of service to an emerging talent like William, being down here on FLUX night, it’s pretty special.”

On FLUX, the idea for this type of whole area projection and light show originated in Paris, France, where it is known as Le Flash. Atlanta initially borrowed the name, and Le Flash grew to substantial recognition in America’s southern capital. A few years back, the event organizers renamed it FLUX – a much more original title, obviously. Though the event suffered a noticeable dip in attendance the first year after the rebrand, it rebounded nicely and has steadily risen in popularity since.

Screen shot 2013-02-06 at 6.40.55 PM Screen shot 2013-02-06 at 6.40.44 PM

The rich red wine I quaffed pairs nicely with this weather, I’m thinking, as I reach Garnett Station, after changing trains at Five Points, which is Atlanta’s little version of Grand Central. And, I’m quickly up the block and walking into Castleberry Hill under a clear blue sky.

Time to preview some art before the crush of the crowds. The first bit of good art I notice upon entering the boutique is store employee Taprice Martin, the type of gorgeous Atlantan who’d stand out in any crowd.

She introduces me to Alphonzo Cross, the president of MATCH, the Castleberry Hill Merchants Association. He proclaims, “Castleberry Hill is creative, full of potential and occupied by caring residents and vibrant businesses.”

I recognize I’ve always felt a humming buzz of artistic vitality upon my visits to FLUX (and Le Flash). The potential has been what was most evident to me on my other infrequent trips to the area, when it was quieter and less crowded but still alive with good activity. I vow to return often.

Tonight Floyd’s work will be teamed with beats by popular Atlanta DJ crew Watch The Duck, their big single “Poppin’ Off” an unofficial theme for KingPop’s big coming out party. I find that KingPop excels most when he inhales urban or jazzy moods, hip-hop beats or big city grooves. Like many before him working in a pop medium, he paints for the masses. Every icon of music you’d expect or hope to see in a pop piece is colorized and displayed here, amidst majestic architectural paintings.

My second favorite piece displayed features a MARTA train veritably Soul Training through a skyline looking as if touched by van Gogh. Nice to see some of Mr. Floyd’s pop predecessors represented: a painting of Keith Haring, of Andy Warhol, several of the striking Jean-Michel Basquiat.

I first met KingPop at an artists’ market on my anniversary trip to Serenbe and was immediately drawn to his magnetic personality and charm. Soon after, he was one of a dozen artists in my ART BOX pARTy group show at dooGallery. And of course my favorite work hung here is the poetry book cover I commissioned him to paint, ATL’s finest rocket ship buildings blasting off and burning under a blazing Deep South sunshine…

Nepotism. Fairness. Is he this good or is my judgment gone, clouded by closeness? I exit the side door to clear my head and briefly peruse an attached new hair studio with the stylist-proprietors, their fun space reminding me of Warhol’s Factory in its shininess. I decide to have a beer across the street, to enter into another realm in a funky restaurant space.

Back in the boutique cum-gallery briefly after, I decide to leave while still asking myself what it is I’ve seen. How can I fairly tackle KingPop’s talent?

My judgment finally un-clouds in front of the loud college football sounds of my TV, and I send as critic my trusted sister Anna and her nice new beau to Castleberry in my stead. Her first night ever at the sprawl of FLUX is an overwhelming every venue visit, and I’m suddenly feeling a bit nervous to hear her reaction, late night, as I reach her by phone.

She confirms, “KingPop was one of the more standout artists of the entire show: phenomenal graphic work.” We’d both label him an artist to watch.

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I know you see the Warhols, the Harings and the Rauschenbergs on the walls

Lions, Tigers & bears? You should be more scared of the Warhols, the Harings and the OBEY’s on the wall
Dominance on tap. The latest show at Gregg Shienbaum Gallery was a precursor to what to expect from the upcoming Art Basel. The list of featured artists read like a who’s who of contemporary art of the past 40 or so years. From the old pop masters: Andy Warhol, Keith Haring, Chuck Close, Robert Rauschenberg, Tom Wesselmann, to the modern day art stars: Damien Hirst, Ron English, Shepard Fairey, Takashi Murakami, Space Invader, DFace and more. Id youre in the Wynwood area of Mjami, ever check out this gallery. Can’t wait to see what they have cooked up for Art Basel.


If you’re not talking about me, you’re not talking to me…

If you’re not talking about me, you’re not talking to me…

My favorite scene in Mommie Dearest, aside from wire hangers moment, is the moment when Christina confronts Joan Crawford famously portrayed by Faye Dunaway. Joan pleads with her daughter, “Why can’t you give me the respect that I’m entitled to? Why can’t you treat me like I would be treated by any stranger on the street?” To which Christina retorts with the memorable line, “Because I am NOT one of your fans.” And Joan stares at her as if only to say, “If you’re not talking about me, you’re not talking to me.” This pivotal moment came to me as I mused through the current work at Robert Fontaine Gallery. Here the quirky, post-modern and anti-everything work share a common attitude to shake up the system, even if only to rebuild it up after. Collectively, the work was beyond solid. Any gallery that can hang work by Warhol and Olek in the same room this gallantly needs no approval.



Jesse Faber


Simon Chetrit


Paul Rousso


And the GRANDaddy of it all… Andy Warhol


The new work by UK artist Simon Thompson was what caught my eye instantly and my mind later. They say “Too much art will kill you.” Well, I’m flat-lined.




My Love for the Modern Masters

As a professional writer and avid traveler of North America, I often take advantage of the cheap deals existing for the most-traversed of all American flight routes: ATL to New York City, which could be to any of that area’s three major international airports. The World’s Busiest Airport saw over ninety-four million visitors pass through her gates and concourses in 2011, while I was a year removed from the utter nightmare that bartending on the Delta Concourse in Atlanta was. Back to town – back to the central city – where the Capital of the South has made great cultural strides since the Olympics swept through in 1996.

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Why New Blood, Why Now?

As a bit of a Pop fiend, it was a pleasure to discuss New Blood with Morgan Spurlock; as a bit of a Pop theorist, it’s something of a marvel to ponder the nine-minute manifesto… 

Why New Blood, why now?

“I don’t know if it was a question of now, or if I just felt like there was a need to show – I feel like there’s still this shifty new movement in the art space where the people who kind of launched this whole “low brow” art movement, this street art movement, are now inspiring this whole new generation of artists; y’know these new kinds of Pop graffiti artists who are kind of coming up in their wake, and I find that to be really fascinating. You gotta think it wasn’t that long ago when low brow art and street art was being relegated to the lowest, smallest of the fringe galleries, to now where these paintings are being put up in the cornerstones of the modern art movement. So I think to see where that ripple effect is continuing to affect, not only our generation, but the next generation of artists is really inspiring.”

Art Nouveau Magazine: Do you see characteristics of the “old blood” – not necessarily more conventional or traditional art, but even Warholian Pop Art – within the vein of this New Blood?

Mogan Spurlock: Definitely. Those artists, those people who kind of were at the cornerstone of that Street Art/Pop Art movement, these are people who came out of that Warhol school of thought; who are making and saying very bold statements about the current state of economy, and our society, our culture. I think there is a tremendous movement still, as art as citizen criticism where we can actually use access to make a statement beyond, you know it “just being art.” I think that’s what a lot of people do, and I think that’s fantastic.


ANM: Ron English put together your poster for the show. I think it definitely speaks to that aspect of art – which can’t be articulated through words necessarily – in showing the fused juxtapositions of commerce, religion, capitalism, patriotism, and the half-dollar at the foundation, with you at the center of it all. Do you have any thoughts on that or how it all came together?

MS: This is the piece that Ron actually put together for the show, and it came from a collaboration that he and I did on my last film, The Greatest Movie Ever Sold. In that film there was a conversation I had with the gentleman who created the Star Wars poster and the JAWS poster, and the JAWS trailer, and his whole thing is about how being offensive and to use the type of things that people most hold dear, that you use as creating conversation, are the things that get inked; and if you want to do that, there’s one thing that always gets inked – and that’s religion. And Ron is somebody who’s been using that to his benefit for years, and so when the poster I had suggested we use was “The Last Supper,” the first person I thought of for doing a poster for that was Ron. And I think the criticism that he draws and the way he puts the influence of popular movies on us – much like they are our apostles today – is pretty, I think, inspired.


ANM: I do see a very big omission from this, I kind of wish I saw Maggie Simpson somewhere at the table as a religious icon…

MS: (laughs) I know right – and I kind of feel like I should have been more Judas than Jesus at the table, but y’know…


ANM: So you’re from West Virginia, you went to Tisch School of the Arts, and the show is in Culver City [California] … Something that we talk about here at Art Nouveau is that “Stars are born in New York, and L.A. is where they go to die.” What do you think about the art scenes on the East Coast and West Coast, and coming from West Virginia as a bit of an outsider, how do you see the art scenes?

MS: (laughs) Well, it’s amazing because y’know if you’re an artist, or an actor, or a filmmaker, or a storyteller that’s where you end up going – to Los Angeles, to settle into your career; but if you are in the art world, what you want to do is to have your art suddenly accepted by the big galleries in New York City – you want to have someone in New York City, like The Gagosian, be carrying your art. You want to have – when Dietch had his big gallery in New York City – you wanted to have somebody like that give it their seal of approval, so you actually made that crossover into the big gallery world. You know, L.A. has really started to come into its own with the street art movement, but I still feel like the cultural capital of the art world lives and breathes in New York City.


ANM: What differences do you see between documentarian and curator; what limitations or freedoms does one have and not the other?

MS: For me, as a curator, it’s much easier when all I can do is come up with a theme and present it to artists and they get to run with it – it’s much different where I’m having so much control and influence. There may be another show in the future where it’s much more directed with what I want to have the artists create, but this was much more about the artists and their vision as opposed to what I want them to say.


ANM: So, elevator pitch for New Blood: in 15 or 30 seconds, you’re caught in an elevator – or between flights – and someone wants to know about New Blood, what would you tell them?

MS: I would say that in the art world everyone has helped someone along the way, and especially now, even myself, I find myself in a position where I try and give other people a break. I let everyone know: ‘This is a filmmaker you should know about. This is a writer you should know about. This is someone you need to be paying attention to, because they’re going to be after our jobs in a few years – that’s how good they are.’ So the same thing is in the art world, that there are plenty of people who have apprenticed under, whomever, for centuries, who – whether it be Rembrandt, whether it be Picasso – or whether it be these people who we’re having in the show, and what I want those artists to do is share those people that they believe are the next big thing with all the rest of us.

ANM: When was European interior design at its peak?

MS: ’74.


“New Blood,” curated by Morgan Spurlock, opens April 28 at Thinkspace Gallery. The show runs through May 19. Click here for more information.

Tolstoy Aside, Where Do We Draw the Line Between What Is and Isn’t Art?

In 2012 the question of what is art remains as relevant as it was in 1896 when Leo Tolstoy published his seminal 132 page essay “What is Art?” on the aesthetics of art in which he wrote: “Art consists in one human consciously conveying to others, by certain external signs, the feelings he has experienced, and in others being affected by those feelings and also experiencing them.”

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The Haus sans Dada, sans Laurieann, Heavy on the Nicola… #ohnico Ian, Michael, Asiel #werethedancers

The Haus: From Government Hookers not giving a Sheibe and Paris runways getting werqed twice, from Judas and Jo Calderone to Laurie Ann overthrown, please believe we always left a key under the welcome mat for Hauskeeping to keep a humble home – if not beasted and broken in the best way known

Continue reading The Haus sans Dada, sans Laurieann, Heavy on the Nicola… #ohnico Ian, Michael, Asiel #werethedancers

We Want to be Picasso Before Pablo; We Want in the Factory Before Exploring Andy

Microwaves, computer applications, internet hook-ups, ten minute meals; it seems our generation is hardwired to want everything instantly. The now is even too late. We want everything yesterday with the fastest wireless connection possible. To call it a condition is fair, but to call it our sickness is more accurate, especially when our wants don’t align to the rules with how life works. Artists for all of our awareness, and conscious thinking and creating, have fell victim to this too.

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Guess We’ll Always Have New York–Exhibition at the Maidstone Explores Artists Love Affair With NYC

New York has always been a haven for artists. Andy Warhol, Jean-Michel Basquiat, James Baldwin, Keith Haring, Madonna, Jay-Z, the list can fill a Twilight of the brilliant artists that have once been inspired while living in the city of dreams. The Maidstone’s latest exhibition, I’m An Artist Living In New York explores the connection between the city and artists by highlighting photography of the artists at play in the city.

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It Takes Nothing to Think, it Takes Everything to Move

I think a lot. In fact, recently, one of my friends even gave me the quote, “Don’t think so much when it isn’t warranted.” That friend was completely right. I think entirely too much and usually I think about the wrong things. I did, however, misinterpret the quote. I was under the conclusion that thought was the thing that needed to be slowed down or changed, but I was wrong. It was and is the things that I was thinking about that needed to be shifted.

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Foreword Story: Molfetta Pops The Question

Pop Art, like all good pop has really stood the test of time. Kinda like Madonna, one of Andy’s prophecies, what’s dismissed early on as frivolous and momentary finds a way to stay relevant has more “fine art” drifts in and out. In his recent show Pop Fiction at Toy Art Gallery, Francesco Molfetta keeps the tradition going.

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Foreword Story: Copywritten, Don’t Copy Me

When the tabloids went to town, Andy Warhol followed. The late pop artist who has been described as an artistic voyeur was of course a noted news junkie. You can keep your books of Job and David, The New York Post was Andy’s Bible. Warhol: Headlines, a new exhibit running at The National Gallery of Art focuses on Warhol’s so-called Headline paintings.

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Iggy Azalea Is An Enigma Of Sorts, The Catwoman Of Rap Music


Ned Kelly is a notorious Australian gangster considered a cold-blooded killer and is symbolic in Australia for political resistance. Think Scarface, but with a purpose. Grace Kelly is an iconic American actress that is known as much for her poise as her monologues. “I use to be obsessed with Grace Kelly. When I get married, I want to dress like her. She’s so gracefully chic. […] if i was a diva, I want to be that diva without the diamonds.” Iggy Azalea spiels about Ned Kelly over lushing about how much she misses meat-pies from her hometown of, Australia, and easily changes subjects to her love of Grace Kelly.

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