«I JUST THINK ENTERTAINMENT IS THE BEST MESSAGE»

DEFINITION OF AN ARTIST

An artist is someone who likes to be surrounded by «old things» but fuck only «new things».
A non artist is the opposite.

«I BELIEVE MEDIA IS ART» ( COVER ART BY RAY JOHNSON 1956 )

RAY JOHNSON & ANDY WARHOL

The art of Ray Johnson (American, 1927–1995) was rooted in his prolific correspondence. Throughout his life, he mailed a tremendous number of collages, drawings, and printed matter to friends and colleagues. Among the recipients were several staff members at The Museum of Modern Art, most notably the curator Dorothy Miller, who received Johnson’s mailings from the mid-1950s on, and the library director Clive Phillpot, who corresponded with Johnson in the 1980s and 1990s. This exhibition focuses on Johnson’s early printed materials, especially his self-promotional flyers and booklets for his work as a designer and illustrator in the 1950s and early 1960s. These were some of the first things Johnson sent to the Museum, and they contain the hand-lettering and complex wordplay that were recognizable aspects of his style throughout his artistic career.

In addition to the flyers, the exhibition includes examples of Johnson’s print designs, including covers for books and records as well as contributions to fashion magazines. These works also reveal elements of Johnson’s biography, such as his friendship with Andy Warhol, who provided Johnson with introductions for commercial design work. Other materials, such as the flyers for the Living Theater (an experimental theater in New York City), are artifacts of Johnson’s participation in a downtown scene that was teeming with new energy and ideas from visual artists, musicians, dancers, and poets. These self-published flyers were first circulated within that scene and are an early example of Johnson’s unconventional methods of distributing his work.

-www.moma.org

PHILOSOPHY FOR THE 21st CENTURY: FRANCE

«Si vous chassez le christianisme, vous aurez l'Islam»

-Chateaubriand.

ANDY WARHOL ON PRO WRESTLING: «IT'S ENTERTAINMENT, IT'S SHOW BUSINESS, IT'S CHIC»

WARHOL ET LE POURQUOI DE SON 15 MINUTES DE CÉLÉBRITÉ SANS FIN

Si la popularité des oeuvres d'Andy Warhol sur le marché de l'art ne se dément pas il en va de même pour ce qui entoure sa vision des choses. La raison en est bien simple: toute sa vie il n'a jamais perdu de vue les grandes questions essentielles et les seules qui comptent vraiment: l'art, le temps qui passe, la célébrité, l'argent, le sexe, l'amour, la beauté, la mort. Ce sont là assurément les éléments les plus reconnaissables chez les artistes qui ont traversé avec succès l'épreuve du temps et pour Warhol la majorité d'entre eux furent pratiquement des obsessions.

«I LIKE EVERYBODY'S ART»

Lecture d'un livre des oeuvres d'André Masson. Cette impression de pénétrer les entrailles du mystérieux, à travers des formes de colosse aux pieds d'argile...

«CHURCH IS A FUN PLACE TO GO»

POST WARHOL PREDICTION: IN THE FUTURE WOMEN MAGAZINES WILL WRITE:HOW TO KEEP GREAT LOOKING HAIR WHEN SETTING YOURSELF ON FIRE TO PROTEST THE WAR!

HOLLYWOOD FAME

«One fascinating thing about Hollywood is that it's filled with these petite, fragile beauties in their seventies and eighties that you see at all the premieres and things. You can tell they were once really beautiful because they still have that glamour aura around them, and they still hold themselves together really well. But you can't figure out who they are, or what roles they had or how they live today».


-Andy Warhol
America

«I JUST THINK ENTERTAINMENT IS THE BEST MESSAGE»

HOW TO BE A GREAT ARTIST

«Everything is beautitful» -Andy Warhol

«Everyone, I loved passionately. And I even think I would like a door knob, a chamber pot. whatever» -Pablo Picasso.

YOUTH IS MADE TO BE COCKY AND SHOW OFF

WHEN YOU'RE YOUNG

“When you're young and good-looking and you've got a great body, you like to go to the beach and show it all off. And it's easy to make fun of everybody there who isn't so good-looking or in such great shape".

- Andy Warhol
  America

«MUSCLES ARE GREAT: EVERYBODY SHOULD HAVE AT LEAST ONE THAT THEY CAN SHOW OFF»

«IT'S CALLED GOSSIP AND OF COURSE IT'S AN OBSESSION OF MINE»

Madonna has been targeted in another online leak, just days after she was forced to release six tracks from her Rebel Heartalbum.

The 56-year-old pop star released the songs after 13 unfinished demos appeared online earlier in December, including Rebel Heart, B***h I’m Madonna and Unapologetic B***h.

Now, 14 more tracks have also been released into circulation without Madonna’s permission, including include Tragic Girl, Beautiful Scars, Iconic and Freedom, Billboard reports.

The songs also include a collaboration between Madonna andPharrell Williams called Back That Up (Do It).

-The Independent

WARHOLIAN QUOTE OF THE DAY

«I am a working- class person. I am working with class».

-Karl Lagerfeld.

JOYEUX NOËL À TOUS!

WARHOLIAN QUOTE OF THE DAY

«The height of cleverness is to be able to conceal it.»

-Francois de La Rochefoucauld.

PHILOSOPHY FOR THE 21st CENTURY: HOMMES

Si les hommes étaient autre chose que des bêtes pas trop intelligentes, quel plaisir y aurait-il à baiser avec eux?

WOMAN IN REVOLT

HOLLYWOOD SEX

«I asked Anita how the really glamourous women went to bed with men, what did they do, and she said the only one she really knew about was somebody out in Hollywood who, when the moment would come, would kneel down on the floor and pray to God to forgive her and then he guys would get turn off and ashamed of themselves and they'd give her jewels.

The Andy Warhol Diaries
March 15 1977

WARHOLIAN QUOTE OF THE DAY

«Being right half the time beats being half-right all the time. »

-Malcom Forbes

«MUSCLES ARE GREAT: EVERYBODY SHOULD HAVE AT LEAST ONE THAT THEY CAN SHOW OFF»

MAKING ART

Both Andy and Man Ray, with whom I worked in the seventies, taught me the same thing; don't think about making art, just get it done. Let everyone else decide whether it's good or bad, whether they love it or hate it. While they're deciding, make even more art.

Warhol
Makos p.112

PHILOSOPHY FOR THE 21st CENTURY: À LA LENNY BRUCE

Adidas: goyim
Puma : jewish
Ford: jewish
GM : goyim
Toyota: jewish
Honda: goyim
NHL ;goyim
NFL :jewish
MLB: goyim
NBA : jewish
Apple: jewish
Dell :goyim
Coca-Cola: goyim
Pepsi : jewish

«IN THE FUTURE EVERYONE WILL BE FAMOUS FOR FIFTEEN MINUTES»

POST WARHOL PREDICTION:WOMAN MAG: TEN HOTTEST THINGS TO DO TO A MAN WITHOUT DAMAGING YOUR GORGEOUS (AD SPACE) HAIR!

«I DON'T WANT REAL PEOPLE»

«No one wants to see curvy women».

-Karl Lagerfeld.

ANDY WARHOL ON PRO WRESTLERS: «WHAT REAL GYMNASTS THEY ARE»

WARHOL THE ZOLI MODEL

«And I ran into a guy who'd seen my picture in the Zoli book and offered me a job. Fred is still furious, he said I should be getting thousands for endorsing products, not working for modeling fees. But I think it's funny to be just another pretty face in the Zoli book. I told him to lighten up».

-The Andy Warhol Diaries
  April 14 1981

STEVEN HELLER AND THE EARLY INTERVIEW MAGAZINE

This article is not about me, but since I played a minor role in the early history of Interview magazine, I have a story to tell. Back in 1971, my name appeared on three issues of Interview’s masthead under the title “layout.” That year I redesigned Interview, and, if I do say so myself, it was cleaner and smarter than the dozen previous issues, which were grungy and messy. However, my contribution was a rather uneventful blip in Interview’s ultimate legacy—but more about that later.

When founded in 1969 at the legendary Warhol Factory on Union Square in Manhattan (just a few blocks away from Max’s Kansas City), Interview was Pop Artist and fame-monger Andy Warhol’s very own DIY magazine before the term “Do It Yourself” was officially coined. Actually, he didn’t really do it himself—he had others, like me, do it for him (and from such a distance that I never even met him). But his blithe spirit pervaded the entire enterprise.

The initial issues of Interview (with a logo that read: inter/VIEW) premiered a few years before Punk made DIY into a generational style, but they adhered to the slap-dash tradition of the late Sixties underground press—the granddaddy of all DIY. Given its art world pedigree, Interview may have also been influenced by George Maciunas’ Fluxus newspapers—although I never heard any Interview editor mention Fluxus by name. Yet all the same it seems a reasonable assumption. But I did see the editors frequently pouring over the cheap-chic newsprint fashion magazine, RAGS (published by Rolling Stone’s Straight Arrow Publishing Co.), which was somewhere between underground and middle-ground, so it may have had some overall influence. The editors also periodically glanced at John Wilcox’s Other Scenes, a sloppy underground tabloid edited by one of the founders of the Villiage Voice, who also wrote a politico-culture column for the East Village Other. Whatever its roots, Interview’s early issues, most produced as newsprint, quarter-folded tabloids (a larger tabloid page folded in half to create a magazine look), was consistent with the alternative media culture of times, but not unique in any exceptional way at the time.

Warhol rarely got his hands dirty with newsprint ink. He ruledInterview from a safe distance, many blocks from where I did my work, and was listed alphabetically as second on the masthead under co-editor and Chelsea Girls star Paul Morrissey.

Not only had I never meet Warhol, I was never even told that he (or Morrissey) saw or passed-on my redesign before it went to press. Instead Warhol was being channeled through “managing editor and art director” Robert Colaciello, an affable, stylish guy who became an editor, trend-spotter—friend of Jackie-O—and currently author of a book about Ronald and Nancy Reagan. As associate editor, Glenn O’Brien, long a witty and insightful cultural commentator who writes for various au courant magazines today, also had lots of input into the editorial mix. The three of us sat at my drawing board together as I sketched pages and pasted pictures of film stars and Warhol friends into place. And during these sessions I was vicariously excited by the little tidbits of gossip that Colaciello and O’Brien revealed about the chicest of the chic, from Mick Jagger to Marisa Berenson.

At that time I was also art director of a rock music tabloid and I thought I was hired to be the art director ofInterview since all the type and graphic choices for the redesign were mine. Instead, Colaciello who selected all the photographs, in addition to writing many and editing all of the articles, assumed the a.d. title for himself. It was not an unpleasant relationship; Colaciello chose those images he knew would please Andy, but he never proscribed type or prohibited me from using my favorite two typefaces in the magazine. Which, in retrospect, was a big mistake.

At least Andy should have vetted my typographic choices for reasons that will become obvious. Before becoming America’s leading artist he was, after all, an accomplished graphic designer/illustrator (with a distinctive hand-lettering style) and should have been the first to realize that my pairing of art deco Broadway type for the nameplate Inter/view and the curvaceous Busorama typeface as the subtitle “Andy Warhol’s Film Magazine” was one of the dumbest combinations ever. In addition to being slavishly retro and therefore inappropriate for a progressive journal, the two faces lacked any harmony whatsoever. Add to that the heavy oxford rules I placed at the top and bottom of each page, and, if I were in charge I would have fired the designer. But no one uttered a displeased peep, and the magazine kept my logo for six issues, even after I voluntarily left for another job. Finally, with Vol 2 No. 10 the editors (or maybe Warhol himself) switched to a handwritten version that read Andy Warhol’s Interview. And it has more or less been stuck with it on the cover ever since.

This article already includes too much about my blip in the limelight, however, from my wormhole perspective I can offer some insight as to the evolution of a magazine that has become so endemic to late twentieth century celebrity, glitz, and fashion, as well as a significant outlet for photography and graphic design, that an ambitious, limited-edition, seven volume, thirty-five year anniversary collection, “Andy Warhol’s Interview: The Crystal Ball of Pop Culture” edited by Sandra J. Brant and Ingrid Sischy, is being published this year by Karl Lagerfeld’s 7L, Steidl Publishers. And this mammoth boxed set only covers only the first decade from 1969 to 1979. Oh I almost forgot, the entire collection is packaged in a “crate on wheels” and comes with a facsimile edition of the premiere issue (which originally cost 50 cents). Needless to say this new is quite a bit more expensive.

Interview evolved into “the definitive guide to the most significant stars of today and tomorrow,” say its editors and it was the first magazine to employ a unique question-and-answer format to delve candidly into the minds of celebrities, artists, politicians, filmmakers, musicians, and literary figures. In many of the issues, celebrities Interview other celebrities—a Warholian conceit that gave Interview its voyeuristic appeal. Yet it is the visual persona, beginning with the haphazard original design, the pseudo-Deco redesign that I perpetrated, and, ultimately, the introduction of mannered photo-illustration celebrity portrait covers by Richard Bernstein (1939—2002) that defined Interview’s graphic personality during the seventies, disco decade. Indeed the latter marked a truly unique approach to editorial cover design.

Bernstein’s covers had roots in sixties fashion illustration, but through his use of photographs heavily retouched with paint, pencil, and pastel he monumentalized subjects like nothing else in print. “Bernstein made the up-and-coming celebrities of the era, Sylvester Stallone, Calvin Klein, Madonna, even wholesome Mary Tyler Moore, look as sleek and sexy as our nostalgized memories of that era,” writes Frank DiGiacomo in a weblog article. He exaggerated their already glamorous visages through colorful graphic enhancements that made each personality into a veritable mask that hid blemishes while accentuating their auras. He made "Superstars” into “Megastars" (which was also the title of his book of collected Interview covers), because appearing on Interview’s cover meant more than just fifteen or even thirty minutes of fame.

The most memorable issue that I worked on was devoted to Luciano Visconti’s film version of Thomas Mann’s “Death in Venice” (Vol II No. 4), and was filled with luscious film stills of Dirk Bogard, Silvana Mangano, and Bjorn Anderesen. as well as two nude shower scenes of Marisa Berenson. It was actually a stunning issue yet was among the last to use handout photos. Interview gradually shifted from relying on publicity stock to creating its own photo-sessions with the eminences of celebrity and fashion photography: Robert Mapplethorpe, Barry McKinley, Francesco Scavullo, Herb Ritts, Ara Gallant, Peter Beard, Bruce Weber, Berry Berenson Perkins. The editors note that these and other photographers were given the freedom to, “create their most unforgettable and original work.” Despite the continued use of yellowing newsprint, these photographs jumped of the pages and some are still iconic today.

Typographically, however, the first decade of Interview was functional and staid. Compared to Rolling Stone, which reveled in typographic exuberance, Interview’s interior format was fairly neutral, allowing the photographs to take center stage. It wasn’t until the nineties when Fabien Baron (and later Tibor Kalman) became creative director(s) that the magazine’s graphic attributes were totally integrated into a dynamic whole. During the seventies, Interview was still uncertain whether it should hold to its avant garde, alternative-culture root or lead the march from underground to fashionable mainstream. The evolution that is vividly chronicled in the celebratory new volumes reveals that Interview took the short march into the valley of ephemeral style. Yet the issues of the seventies are also documents, which through iconic pictures and candid Interviews examine a popular culture that continues to capture the imagination.

WWW.AIGA.ORG

WARHOL VS SOLANAS AT LARGE: EVERYTHING LESBIAN FEMINIST FIGHT FOR, GAY MEN HAPPILY DESTROY IT

«THERE'S NO COUNTRY IN THE WORLD THAT LIKES RIGHT NOW LIKE AMERICA DOES»

Madonna releases six new songs.

-Next!

«THE BEAUTY OBSESSION»

«I've never met a person I couldn't call a beauty. Every person has beauty at some point in their lifetime. Usually in different degrees. Sometimes they have the looks when they're a baby and then they don't have it when they're grown up but then they could get it back again when they're older. Or they might be fat but have a beautiful face. or have bow-legs but a beautiful body. Or be the number one female beauty and have no tits. Or be the number one male beauty and have a small you-know-what».

-The Philosophy of Andy Warhol

«I LIKE MONEY ON THE WALL»

PHILOSOPHY FOR THE 21st CENTURY: SHOPPING

Every time I go to a shopping center I think: how many women & men wouldn't buy what they're buying right now if they could fuck the person of their choice for free instead.

WARHOLIAN QUOTE OF THE DAY

«Lose your dreams and you might lose your mind».

-Mick Jagger

«MUSCLES ARE GREAT: EVERYBODY SHOULD HAVE AT LEAST ONE THAT THEY CAN SHOW OFF»

POST WARHOL PREDICTION:JEWISH MAG: IS CHINA REFUSING TO CRITICISE NORTH KOREA GOOD FOR THE JEWS?

«THERE SHOULD BE A COURSE IN FIRST GRADE ON LOVE»

Friendship is love without jealousy.

«I NEVER READ, I JUST LOOK AT PICTURES»

THE GOOD CATHOLIC

«Andy went to church every Sunday. A lot of his friends were Catholic. He may have related better to us Catholics becase we all have the same background: mass, priests, nuns, Catholic school, a sense of guilt. His religion was a very private part of his life».

Warhol by Makos

PHILOSOPHY FOR THE 21st CENTURY: MEN & WOMEN EXPLAINED IN TWO SENTENCES

Men are dumb. Women are hypocrites.

«I JUST THINK ENTERTAINMENT IS THE BEST MESSAGE»

TRUMAN CAPOTE ON ANDY WARHOL

« He seemed one of those hopeless people that you just know nothing's ever going to happen to...Just a hopeless born loser the loneliest most friendless person I've ever seen in my life»

«I JUST READ EVERYTHING»

«It's about understanding not only the works, but the world we live in and the times we live in and being a kind of mirror of that. I think it happens really naturally and inevitably if you are honest with yourself and your times»

-Keith Haring journals
p.119

«MY FAVORITE THING TO BUY IS UNDERWEAR»

HÉLÈNE ROCHAS ET ANDY WARHOL

Amie d'Andy Warhol qu'elle avait côtoyé à plusieurs reprises, Hélène Rochas possédait également plusieurs tableaux de la star américaine du Pop art, notamment quatre portraits d'elle réalisés par l'artiste, évalués chacun entre 200 000 et 300.000 euros. L'un d'eux a été adjugé à 181.000 euros et un autre 253 000 euros. Parmi les autres pièces majeures de la collection, le Portrait de Lucien Guitry, réalisé en 1921 par Edouard Vuillard, est parti à 313 000 euros. Cette toile monumentale qui fit partie de l'exposition consacrée au peintre, au Grand-Palais, à Paris, en 2003-2004, avait été estimée entre 150 000 et 250 000 euros.

-Le Figaro
 28 sept 2012

ANDY WARHOL DEFINITION OF ART

You think art is:

a) an ability to built a paradise
b) past
c) a physical problem

-« cum on a cracker. »

-Andy Warhol
 Façade magazine 1977
 Numéro 4 p. 6

YOUTH WITHOUT COCKINESS IS NO YOUTH AT ALL

«ART IS A SPIRITUAL QUEST» -CAMILLE PAGLIA

«Il est impossible d'isoler aujourd'hui les arts plastiques de la poésie et de la science. Les mouvements
modernes les plus caractéristiques ont étroitement associés ces trois domaines».

-Minotaure magazine
 1933.

POST WARHOL PREDICTION: IN THE FUTURE JEAN PAUL GAULTIER WILL DESIGN A COLLECTION INSPIRED BY THE SWISS GUARDS OF VATICAN CITY

«I HAVE A BUSINESS TO KEEP GOING. I MEAN THE PORNO PICTURES ARE FOR A SHOW. THEY'RE WORK».

THE BEAUTY OBSESSION

«Some people think it's easier for beauties, but actually it can work out a lot of different ways. If you're beautiful you might have a pea-brain. If you're not beautiful you might not have a pea-brain, so it depends on the pea-brain and the beauty. The size of the beauty. And the pea-brain.»

-The philosophy of Andy Warhol

«I JUST READ EVERYTHING»

« I don’t like sleeping with people I really love. I don’t want to sleep with them because sex cannot last, but affection can last forever.»

-Karl Lagerfeld

«MY FAVORITE THING TO BUY IS UNDERWEAR»

WARHOLIAN QUOTE OF THE DAY

«One should always be in love. That is the reason one should never marry.»

-Oscar Wilde

POST WARHOL PREDICTION:WOMEN MAG:GIRL POWER! GET A WARDROBE MALFUNCTION AT YOUR NEXT BUSINESS MEETING AND GET A MAN!

«ART IS A SPIRITUAL QUEST» -CAMILLE PAGLIA

WARHOLIAN QUOTE OF THE DAY

«I've only slept with men I've been married to. How many women can make that claim?»

-Elizabeth Taylor

«MY FAVORITE THING TO BUY IS UNDERWEAR»

PHILOSOPHY FOR THE 21st CENTURY: L'ARGENT

L'argent c'est pour les problèmes d'argent. Le bonheur c'est lorsque pendant une certaine période de temps, ne survient pas de problèmes que l'argent ne peux pas résoudre.

BOB COLACELLO

Bob was in a grouchy mood because the doctor told him he couldn't drink anymore, and now he's
bored by absolutely everybody he sees, he's a camp. He only perks up when there's royalty around. He's as bad as Fred.

-The Andy Warhol Diaries
Sept 28 1978.

YOUTH WITHOUT COCKINESS IS NO YOUTH AT ALL

WARHOLIAN QUOTE OF THE DAY

«Success is so strange».

-Matt Damon.

«MORE THAN ANYTHING PEOPLE JUST WANT STARS»

POST WARHOL PREDICTION: IN THE FUTURE AN HASSIDIC RABBI WILL DECLARE:« GOD GAVE THE RED PLANET TO THE JEWS»

ART 101

“Art is skill, that is the first meaning of the word.”

-Henry Geldzahler

«MUSCLES ARE GREAT: EVERYBODY SHOULD HAVE AT LEAST ONE THAT THEY CAN SHOW OFF»

PHILOSOPHY FOR THE 21st CENTURY: POLITICS

Now that all the intellectually smart & witty things comes from straight people any politician could get the gay vote by only promising a free gym membership and a pair of white underwear.

«I JUST READ EVERYTHING»

THE BEAUTY OBSESSION

«Some people think it's easier for beauties, but actually it can work out a lot of different ways. If you're beautiful you might have a pea-brain. If you're not beautiful you might not have a pea-brain, so it depends on the pea-brain and the beauty. The size of the beauty. And the pea-brain.»

-The philosophy of Andy Warhol

YOUTH IS MADE TO SHOW OFF

PHILOSOPHY FOR THE 21ST CENTURY: ERIC ZEMMOUR ET LE CAS WARHOL

Du FBI visitant la Factory dans les années 1960 jusqu'à Nancy Reagan en couverture de Interview magazine en 1981. Un beau problème, non?

«I JUST READ EVERYTHING»

«The Marquis de Sade is a great writer and philosopher whose absence from university curricula illustrates the timidity and hypocrisy of the liberal humanities. No education in the western tradition is complete without Sade. He must be confronted, in all his ugliness. Properly read, he is funny. Satirizing Rousseau, point by point, he prefigures the theories of aggression in Darwin, Nietzsche, and Freud.»

-Camille Paglia.

«I ALWAYS THOUGHT COWBOYS LOOKED LIKE HUSTLERS. THAT'S NICE»

«THERE'S NO COUNTRY IN THE WORLD THAT LIKES RIGHT NOW LIKE AMERICA DOES»

Madonna: «I've tried every drug once».

-Next!

ANDY WARHOL ON THE BEST AND WORST QUESTION

-Which question did you like the best?

-AW: What love is

-Which question did you like the worst?

-AW: Art is


-Façade magazine
 Numéro 4
1977 p.6