The Philosophy of Andy Warhol

1. Time is a subjective, personal experience.

I try to think of what time is and all I can think is . . . "Time is time was."

Personal perception of time. Time is not a fixed, objective entity, but rather a fluid, subjective experience shaped by individual perception and memory. What feels like a long time to one person may feel like a fleeting moment to another.

• The author's experience of time is often fragmented, with a poor memory of the past and a focus on the present moment.
• He notes how some people seem to have a precise sense of time, while others, like himself, experience it more loosely.
• The feeling of time can be altered by travel, routine, and even the company one keeps.

Time as a construct. The author questions the conventional understanding of time, suggesting that it is a construct we impose on our experiences. He notes how the "little times" we don't think about often become the markers of entire periods of our lives.

• He observes how the same event can feel different depending on the context and the individual's state of mind.
• He notes how the anticipation of an event can often be more exciting than the event itself.
• He suggests that time is not linear, but rather a series of moments that are connected by our memories and perceptions.

Embrace the present. The author's approach to time encourages a focus on the present moment, rather than dwelling on the past or worrying about the future. He suggests that we should try to live each moment fully, without getting caught up in the illusion of time.

• He notes how the most exciting attractions are often between two opposites that never meet.
• He suggests that we should try to be more like babies, who live in the present moment without worrying about the past or the future.
• He notes that the best time is when you don't have any problems that you can't buy your way out of.

2. The allure of "nothingness" as a form of freedom.

The most exciting thing is not-doing-it. If you fall in love with someone and never do it, it's much more exciting.

Embracing the void. The concept of "nothingness" is a recurring theme, representing a form of freedom from the constraints of societal expectations and emotional attachments. The author finds a certain allure in the idea of not being something, of not having to conform to any particular identity or role.

• He sees "nothingness" as a way to escape the pressures of fame and success.
• He suggests that "nothingness" is the opposite of perfection, and therefore, always in good taste.
• He notes that "nothingness" is not disappointing, because it is the absence of expectation.

Freedom from desire. The author suggests that the pursuit of "nothingness" can lead to a kind of liberation from the endless cycle of desire and attachment. By not wanting anything, he believes, one can avoid the disappointment and frustration that often accompany the pursuit of goals and relationships.

• He notes that as soon as you stop wanting something, you get it.
• He suggests that fantasy love is much better than reality love.
• He believes that the most exciting attractions are between two opposites that never meet.

The power of detachment. The author's fascination with "nothingness" is not about nihilism, but rather about detachment. By not being attached to any particular outcome or identity, he is able to observe the world with a sense of curiosity and wonder.

• He suggests that existence itself is nothing, and that this realization can be liberating.
• He notes that the only time he ever wants to be something is outside a party so he can get in.
• He believes that the best love is not-to-think-about-it love.

3. Love is a complex, often contradictory, concept.

Love affairs get too involved, and they're not really worth it.

Contradictory nature of love. The author presents love as a complex and often contradictory concept, filled with both joy and pain, desire and disappointment. He questions the conventional notions of romantic love, suggesting that it is often more trouble than it's worth.

• He notes that love affairs get too involved, and they're not really worth it.
• He suggests that fantasy love is much better than reality love.
• He believes that the biggest price you pay for love is that you have to have somebody around, you can't be on your own.

Love as a business. The author views love and sex as commodities, often driven by business interests rather than genuine emotion. He suggests that the mystique surrounding love and sex is often a marketing ploy designed to sell products and services.

• He notes that love and sex can go together, and sex and unlove can go together, and love and unsex can go together.
• He believes that personal love and personal sex is bad.
• He suggests that love can be bought and sold.

The search for connection. Despite his cynicism, the author also expresses a longing for connection and intimacy. He acknowledges that love can be a powerful force, even if it is often messy and unpredictable.

• He notes that the symptom of love is when some of the chemicals inside you go bad.
• He suggests that you can be just as faithful to a place or a thing as you can to a person.
• He believes that the best love is not-to-think-about-it love.

4. Beauty is subjective, but cleanliness is essential.

Every person has beauty at some point in their lifetime.

Subjectivity of beauty. The author emphasizes that beauty is not an objective quality, but rather a subjective perception that varies from person to person. He notes that everyone has beauty at some point in their lives, even if it is not always recognized by others.

• He notes that beauty can be found in different degrees, and in different forms.
• He suggests that beauty can be temporary, and that it can change over time.
• He believes that even people with "problems" can be beautiful.

Cleanliness as a foundation. While beauty may be subjective, the author insists that cleanliness is an essential component of true beauty. He believes that well-groomed people are the real beauties, regardless of their physical appearance or social status.

• He notes that even the most plain or unfashionable person can be beautiful if they are very well-groomed.
• He suggests that being clean is so important, and that it may even be the basis of beauty.
• He believes that beauty in dirt becomes ugly.

Beyond physical appearance. The author's concept of beauty extends beyond physical appearance to include qualities such as confidence, humor, and a unique sense of style. He suggests that true beauty is about how a person carries themselves, rather than simply how they look.

• He notes that beauty really has to do with the way a person carries it off.
• He believes that if a person isn't generally considered beautiful, they can still be a success if they have a few jokes in their pockets.
• He suggests that beauty in danger becomes more beautiful.

5. Fame is a double-edged sword, often fleeting.

But being famous isn't all that important. If I weren't famous, I wouldn't have been shot for being Andy Warhol.

Ambivalence towards fame. The author expresses a complex and often ambivalent attitude towards fame, recognizing both its allure and its dangers. He acknowledges that fame can bring opportunities and recognition, but also that it can be a source of stress and vulnerability.

• He notes that being famous isn't all that important, and that if he weren't famous, he wouldn't have been shot for being Andy Warhol.
• He suggests that a good reason to be famous is so you can read all the big magazines and know everybody in all the stories.
• He believes that the people who have the best fame are those who have their name on stores.

Fleeting nature of fame. The author recognizes that fame is often fleeting and unpredictable, and that it can be easily lost or forgotten. He notes that the media can be fickle, and that public opinion can change quickly.

• He suggests that the right story in the right place can really put you up-there for months or even years.
• He notes that in the 70s everybody started dropping everybody.
• He believes that today, if you're a crook you're still considered up-there.

The illusion of fame. The author suggests that fame is often an illusion, a construct created by the media and the public. He notes that the people who are considered famous are often no different from anyone else, and that their fame is often based on superficial qualities.

• He notes that "aura" is something that only somebody else can see, and they only see as much of it as they want to.
• He suggests that the people who have the best fame are those who have their name on stores.
• He believes that being famous isn't all that important.

6. Work is life, and business is the best art.

Being good in business is the most fascinating kind of art.

Work as a constant. The author views work as an integral part of life, a constant activity that shapes our experiences and defines our identities. He suggests that even when we are not actively working, we are still engaged in some form of labor, whether it is physical, mental, or emotional.

• He notes that living is work, and sex is work.
• He suggests that being born is like being kidnapped, and then sold into slavery.
• He believes that people are working every minute, even when they sleep.

Business as art. The author sees business as a form of art, a creative endeavor that requires imagination, innovation, and a keen understanding of human behavior. He suggests that being good in business is the most fascinating kind of art.

• He notes that business art is the step that comes after art.
• He suggests that making money is art and working is art and good business is the best art.
• He believes that business art is a much better thing to be making than art art.

Recycling and leftovers. The author has a unique approach to work, often focusing on leftovers and discarded materials. He sees potential in things that others have overlooked, and he enjoys the challenge of transforming them into something new and interesting.

• He notes that he always likes to work on leftovers, doing the leftover things.
• He suggests that things that were discarded, that everybody knew were no good, always had a great potential to be funny.
• He believes that leftovers are inherently funny.

7. The power of observation and documentation.

My tape recorder and I have been married for ten years now. When I say "we," I mean my tape recorder and me.

Documentation as a form of engagement. The author is a keen observer of the world around him, and he uses various forms of documentation, such as tape recordings, photographs, and films, to capture his experiences and insights. He sees documentation as a way to engage with the world and to make sense of its complexities.

• He notes that the acquisition of his tape recorder really finished whatever emotional life he might have had.
• He suggests that a problem just meant a good tape, and when a problem transforms itself into a good tape it's not a problem any more.
• He believes that good performers are all-inclusive recorders.

The camera as a mirror. The author often uses the camera as a mirror, reflecting his own perceptions and biases back at the world. He is interested in how people present themselves to the camera, and how their behavior changes when they know they are being observed.

• He notes that people are always calling him a mirror, and if a mirror looks into a mirror, what is there to see?
• He suggests that when he looks in the mirror he only knows that he doesn't see himself as others see him.
• He believes that existence itself is nothing, and that this realization can be liberating.

The value of the mundane. The author finds value in the mundane and the everyday, often focusing on the seemingly insignificant details of life. He suggests that these details can reveal deeper truths about human nature and the world around us.

• He notes that he loves to watch television, and that it is like some kind of magic.
• He suggests that the best love story is just two love-birds in a cage.
• He believes that the most beautiful thing in Tokyo is McDonald's.

8. The importance of embracing the absurd.

I'm confused about who the news belongs to. I always have it in my head that if your name's in the news, then the news should be paying you.

Finding humor in the mundane. The author has a unique ability to find humor in the mundane and the absurd, often using irony and satire to challenge conventional wisdom. He suggests that life is often ridiculous, and that we should embrace its absurdity rather than trying to make sense of it.

• He notes that he always thought that talk-show hosts and other television personalities could never know what it's like to feel that nervous.
• He suggests that if he ever has to cast an acting role, he wants the wrong person for the part.
• He believes that the wrong people always look so right to him.

Challenging conventions. The author often challenges conventional notions of art, beauty, and success, suggesting that they are often arbitrary and meaningless. He encourages us to question the status quo and to think for ourselves.

• He notes that he's confused about who the news belongs to.
• He suggests that if you're a crook you're still considered up-there.
• He believes that the idea of America is so wonderful because the more equal something is, the more American it is.

The power of play. The author's approach to life is often playful and experimental, suggesting that we should not take ourselves too seriously. He encourages us to embrace our quirks and to find joy in the unexpected.

• He notes that he loves to work on leftovers, doing the leftover things.
• He suggests that things that were discarded, that everybody knew were no good, always had a great potential to be funny.
• He believes that leftovers are inherently funny.

9. Economics is about more than just money.

I don't understand anything except GREEN BILLS.

Money as a symbol. The author views money as more than just a means of exchange; it is a symbol of power, status, and desire. He is fascinated by the ways in which people use money to express their identities and to navigate social relationships.

• He notes that he doesn't understand anything except green bills.
• He suggests that money is suspicious, because people think you're not supposed to have it, even if you do have it.
• He believes that rich people don't carry their money in wallets or Gucci this-es or Valentino thats.

The psychology of spending. The author is interested in the psychology of spending, often observing how people make decisions about what to buy and how to use their money. He notes that people often buy things for reasons that are not entirely rational, driven by emotions, desires, and social pressures.

• He notes that when he has cash, he has to spend it.
• He suggests that he just buys stupid things.
• He believes that the more receipts he gets, the bigger the thrill.

Beyond material wealth. While the author is fascinated by money, he also recognizes that it is not the only measure of success or happiness. He suggests that true wealth lies in experiences, relationships, and the ability to live life on one's own terms.

• He notes that it's great to buy friends.
• He suggests that you can impress a whole roomful of people with a bottle of champagne.
• He believes that money is the moment to him, and that money is his mood.

10. Atmosphere shapes our experiences.

Space is all one space and thought is all one thought, but my mind divides its spaces into spaces into spaces and thoughts into thoughts into thoughts.

The power of environment. The author is highly attuned to the power of atmosphere, recognizing that our surroundings can have a profound impact on our moods, thoughts, and behaviors. He is interested in how different spaces can evoke different feelings and experiences.

• He notes that space is all one space and thought is all one thought, but his mind divides its spaces into spaces into spaces and thoughts into thoughts into thoughts.
• He suggests that to be really rich, he believes, is to have one space, one big empty space.
• He believes that empty space is never-wasted space.

Creating desired atmospheres. The author is fascinated by the ways in which people create and manipulate atmospheres, whether it is through interior design, fashion, or even perfume. He suggests that we can use these tools to shape our experiences and to express our identities.

• He notes that he really loves wearing perfume.
• He suggests that beauty really has to do with the way a person carries it off.
• He believes that jewelry doesn't make a person more beautiful, but it makes a person feel more beautiful.

The city vs. the country. The author expresses a strong preference for city space over country space, finding the energy and diversity of the city to be more stimulating and inspiring. He suggests that the city is a place where people come together to create new ideas and experiences.

• He notes that he prefers city space to country space.
• He suggests that in the city everything is geared to working, and in the country everything is geared to relaxation.
• He believes that the most beautiful thing in Tokyo is McDonald's.

11. Success is often about perception and timing.

I'm always interested in talk-show hosts.

Perception of success. The author suggests that success is often a matter of perception, rather than objective achievement. He notes that people often see what they want to see, and that their perceptions are shaped by their own biases and expectations.

• He notes that he's always interested in talk-show hosts.
• He suggests that some people have TV magic: they fall completely apart off-camera but they are completely together on-camera.
• He believes that if he ever has to cast an acting role, he wants the wrong person for the part.

The importance of timing. The author recognizes that timing is often crucial for success, and that opportunities can be easily missed or lost. He suggests that we should be aware of the rhythms of life and to be ready to seize opportunities when they arise.

• He notes that he's always interested in the right thing at the wrong time.
• He suggests that if something's going to happen for you, it will, you can't make it happen.
• He believes that it never does happen until you're past the point where you care whether it happens or not.

The value of authenticity. The author suggests that true success comes from being authentic and true to oneself, rather than trying to conform to the expectations of others. He encourages us to embrace our unique qualities and to find our own path in life.

• He notes that he can only understand really amateur performers or really bad performers, because whatever they do never really comes off, so therefore it can't be phoney.
• He suggests that if you have a product that's not just "you," you always know exactly what you're worth.
• He believes that you should always have a product that's not just "you."

12. Art is everywhere, even in the mundane.

I have never met a person I couldn't call a beauty.

Art in everyday life. The author sees art as something that is not confined to museums and galleries, but rather something that can be found in everyday life. He suggests that we should be open to the beauty and creativity that surrounds us, even in the most mundane of places.

• He notes that he has never met a person he couldn't call a beauty.
• He suggests that the most beautiful thing in Tokyo is McDonald's.
• He believes that the most beautiful thing in Stockholm is McDonald's.

The artist as observer. The author sees the artist as an observer, someone who is able to see the world in a new and different way. He suggests that art is not about creating something new, but rather about revealing the beauty and meaning that is already present in the world.

• He notes that he always hears himself saying, "She's a beauty!" or "He's a beauty!" or "What a beauty!" but he never knows what he's talking about.
• He suggests that what he really likes are talkers, and that to him, good talkers are beautiful because good talk is what he loves.
• He believes that the most beautiful thing in Florence is McDonald's.

The power of transformation. The author is interested in the power of transformation, the ability to take something ordinary and make it extraordinary. He suggests that art is about changing our perceptions and challenging our assumptions about the world.

• He notes that the red lobster's beauty only comes out when it's dropped into the boiling water.
• He suggests that nature changes things and carbon is turned into diamonds and dirt is gold.
• He believes that wearing a ring in your nose is gorgeous.

Last updated: January 26, 2025