Andy Warhol - Wikiquote Andy Warhol Jump to: navigation , search In the future everyone will be world-famous for 15 minutes. Andy Warhol - in sourced quotes of the artist. Andy Warhol ( 6 August 1928 – 22 February 1987 ) was an American painter, filmmaker, publisher, actor and major figure in the Pop Art movement. Contents Quotes of Andy Warhol[ edit ] I think everybody should like everybody. They always say that time changes things, but you actually have to change them yourself. Andy Warhol: I think everybody should like everybody. Gene Swenson: Is that what Pop Art is all about? Andy Warhol: Yes, it's liking things. ** 'What is Pop Art? Answers from 8 Painters', Art News 62, November 1963 The reason I'm painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do. 'What is Pop Art? Answers from 8 Painters', Part 1, G. R.

Swenson, in Art News 62, November 1963 Therefore, everything seen – every object, that is, plus the process of looking at it – is a Duchamp . Turn it over and it is. In: Avant-garde Performance and the Effervescent Body, Sally Banes, Greenwich Village 1963; p. 124 The farther West we drove [to California, Fall of 1963, with w:Gerard Malanga , w:Wynn Chamberlain , and w:Taylor Mead for an opening of Warhol's 'Liz & Elvis paintings' at the Ferus Gallery in Los Angeles], the more Pop everything looked on the highways. Suddenly we all felt like insiders because even though Pop was everywhere – that was the thing about it, most people still took it for granted, whereas we were dazzled by it – to us, it was the new Art. Once you 'got' Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again. The moment you label something, you take a step – I mean, you can never go back again to seeing it unlabeled.

We were seeing the future and we knew it for sure.. ..the mystery was gone, but the amazement was just starting. [quote in 1963] In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467 I think of myself as an American artist: I like it here.. .I feel I represent the U.S. in my art but I’m not a social critic. I just paint those things in my paintings because those things are the things I know best. I’m not trying to criticize the U.S. in any way, not trying to show up any ugliness at all. I’m just a pure artist, I guess. But I can’t say if I take myself seriously as an artist. I just hadn’t thought about it. I don’t know how they consider me in print, though.

In: Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467 * 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. In: Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, New York and Boston Museum of modern Art & Bullfinch Press / Little Brown, 1989, pp. 457 – 67 What Is Pop Art? Interviews with Eight Painters, Part 1 (1963)[ edit ] by Gene Swenson 'What Is Pop Art?

Interviews with Eight Painters (Part 1)', Art News 62, New York, November 1963; reprinted in Pop Art Redefined, John Russell and Suzi Gablik (eds.), London, 1969 It's hard to be creative and it's also hard not to think what you do is creative or hard not to be called creative because everybody is always talking about that and individuality. Everybody's always creative. Ans it is so funny when you say things aren't, like the shoe I would draw for an advertisement was called a 'creation', but the drawing of it was not.. .There are millions of actors. They're all pretty good. And how many painters are there? Millions of painters and all pretty good. How can you say one style is better then another. You ought to be able to be an Abstract-expressionist next week, or a Pop artist, or a realist, without feeling you're given up something. pp. 116-19 If an artist can't do anymore, then he should just quit; and an artist ought to be able to change his style without feeling bad.

I heard that Lichtenstein said he might not be painting comic strips a year of two from now [1963]. I think that would be so great, to be able to change styles. And I think that’s what’s going to happen; that's going to be the whole new scene. pp. 116-19 We went to see 'Dr No' [first James Bond film, 1962] at Fort-Second Street. It's a fantastic movie, so cool. We walked outside and somebody threw a cherry bomb right in front of us, in this bog crowd. And there was blood. I saw blood on people and all over. I felt like I was bleeding all over. I saw in the paper last week that there are more people throwing them - it's just part of the scene - and hurting people. My show in Paris is to be called 'Death in America'. I'll show the 'Electric-chair' pictures and the Dogs in Birmingham and car wrecks and some suicide pictures. pp. 116-19 I guess it was the big plane crash picture [why Warhol started his 'Death'-series], the front page of a newspaper: '129 DIED'.

I was also painting the Marilyns [the w:Marylin Monroe portraits, Warhol started after her tragic death in 1962] I realized that everything I was doing must have been death. It was Christmas or Labor Day - a holiday - and very time that you turned on the radio they said something like '4 millions are going to die'. That started it. But when you see I gruesome picture over and over again, it doesn't really have any effect. pp. 116-19 I started those [the ' w:Elisabeth Taylor ' pictures, Warhol made from a publicity photo of her 1960 film ' w:BUtterfield 8 a long time ago when she was so sick and everybody said she was going to die [but she recovered]. Now I'm doing them all over, putting bright colors on her lips and eyes. My next series will be pornographic pictures, they will look blank; when you turn on the black lights, then you will see them - big breast and.. .If a cop came in, then you could just flick out the lights or turn to the regular lights. How could you say that was pornography?. ..

Segal did a sculpture of two people making love, but he cut it all up, I guess because he thought it was too pornographic to be art.. .The thing I like about it is that it makes you forget about style and that sort of things; style isn't really important. pp. 116-19 The name [Pop] sounds so awful. Dada must have something to do with Pop. it's so funny, the names are really synonyms. Does anyone know what they're supposed to mean or have to do with, those names? Johns and Rauschenberg , Neo-Dada for all those years, and everyone calling them derivative and unable to transform the things they use, are now called progenitors of Pop . It's funny the way things change. I think w:John Cage has been very influential, and w:Merce Cunningham too, I think.. ..History books are being rewritten all the time. pp. 116-19 In the future everyone will be world-famous for 15 minutes.

Catalogue of an exhibition of his art in Stockholm, Sweden (1968) This quotation has produced a common cliché about fame in pop-culture which is called "15 minutes of fame" ; it has often been paraphrased or misquoted in various ways, including: In the future, everybody will be world famous for 15 minutes. In the future everyone will have their fifteen minutes of fame When asked about this quote, he would corrupt it intentionally, including: In the future, fifteen people will be famous. In fifteen minutes, everyone will be famous. Electric chair quote[ edit ] Warhol's electric chair quote (date not established) is found in many books with variations. The earliest and most reported version is: You'd be surprised how many people want to hang an electric chair on their living-room wall. Specially if the background color matches the drapes. As quoted in Moderna Museet (1968), Andy Warhol: Stockholm, Moderna Museet, February–March 1968 (exhib. cat.), Malmö: Sydsvenska Dagbladets, [ISBN]; repr.

1970, Boston: Boston Book and Art, [ISBN] As quoted in Mike Wrenn (1991), Andy Warhol: In His Own Words, London & New York: Omnibus Press [Music Sales Group], ISBN 0-7119-2400-7 [ ISBN 978-0-7119-2400-0 ] As quoted in Isabel Kühl (2007), Andy Warhol: Living Art, Munich & New York: Prestel, ISBN 978-3-7913-3814-9 [ ISBN 3-7913-3814-5 ] Common variants include: (You'd be surprised who'll hang an electric chair in the living room.

Especially if the background matches the drapes.) As quoted in Jan Greenberg, Sandra Jordan (2004), Andy Warhol: Prince of Pop, New York: Delacorte, ISBN 0-385-90079-1 [ ISBN 978-0-385-90079-9 ] Additional variants with "curtains" for "drapes" came by way of French translations being re-translated back into English for bilingual books or exhibition notices: (You wouldn't believe how many people will hang up a picture of an electric chair? especially if it matches the color of their curtains.) As quoted in Sylvie Fleury et al. (2001), Sylvie Fleury: Identity, Pain, Astral Projection (exhib.

cat., Magasin, Grenoble, France, 2001–2002), Paris: RMN (Réunion des musées nationaux) & Dijon: Presses du réel, ISBN 2-7118-4313-0 [ ISBN 978-2-7118-4313-8 ] (You wouldn't believe how many people will hang a picture of an electric chair in their room – especially if the color of the picture matches the curtains.) As quoted in Geoff Nicholson (2002), Andy Warhol: A Beginner's Guide, London: Hodder & Stoughton, ISBN 0-340-84620-8 [ ISBN 978-0-340-84620-9 ] (You wouldn't believe the number of people who hang the electric chair painting in the homes, especially if the colour of the canvas matches the curtains.) As quoted in Marie Deparis (2009), "Mounir Fatmi: Gardons Espoir / Keeping Faith" (bilingual exhibition notice, as a retranslation from the French "On n'imagine pas le nombre de

 personnes qui accrocheraient chez elles le tableau de la chaise électrique, surtout si les coloris de la toile s'harmonisent avec les rideaux.") 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.. .I see everything that way, the surface of things, a kind of mental Braille. I just pass my hands over the surface of things. [1973] In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467 ISBN 978-0156717205 At the times in my life when I was feeling the most gregarious and looking for bosom friendships, I couldn't find any takers so that exactly when I was alone was when I felt the most like not being alone. The moment I decided I'd rather be alone and not have anyone telling me their problems, everybody I'd never even seen before in my life started running after me to tell me things I'd just decided I didn't think it was a good idea to hear about.

As soon as I became a loner in my own mind, that's when I got what you might call a "following." As soon as you stop wanting something you get it. I've found that to be absolutely axiomatic. Ch. 1: Puberty During the 60's, I think, people forgot what emotions were supposed to be. And I don't think they've ever remembered. I think that once you see emotions from a certain angle you can never think of them as real again. That's what more or less has happened to me. I don't really know if I was ever capable of love, but after the '60's I never thought in terms of "love" again. Ch. 1: Puberty I don't see anything wrong with being alone, it feels great to me. People make a big thing about personal love. It doesn't have to be such a big thing. The same for living - people make a big thing about that too. But personal living and personal loving are the two things the Eastern-type wise men don't think about. Ch.

3: Senility I love every "lib" movement there is, because after the "lib" the things that were always a mystique become understandable and boring, and then nobody has to feel left out if they're not part of what is happening. For instance, single people looking for husbands and wives used to feel left out because the image marriage had in the old days was so wonderful. w:Jane Wyatt and Robert Young. w:Nick and Nora Charles , Ethel and Fred Mertz, Dagwood and Blondie. Ch. 3: Senility What I was actually trying to do in my early movies was show how people can meet other people and what they can do and what they can say to each other. That was the whole idea: two people getting acquainted. And then when you saw it and you saw the sheer simplicity of it, you learned what it was all about. Those movies showed you how some people act and react with other people. They were like actual sociological 'For instance's.

They were like documentaries, and if you thought it could apply to you, it was an example, and if it didn't apply to you, at least it was a documentary, it could apply to somebody you knew and it could clear up some questions you had about them. Ch. 3: Senility I've never met a person I couldn't call a beauty. Ch. 4: Beauty I really don't care that much about "Beauties." What I really like are Talkers. To me, good talkers are beautiful because good talk is what I love. The word itself shows why I like Talkers better than Beauties, why I tape more than I film. It's not "talkies." Talkers are doing something. Beauties are being something. Which isn't necessarily bad, it's just that I don't know what it is they're being. It's more fun to be with people who are doing things. Ch. 4: Beauty When you're interested in somebody, and you think they might be interested in you, you should point out all your beauty problems and defects right away, rather than take a chance they won't notice them..

.On the other hand, say you have a purely temporary beauty problem—a new pimple, lackluster hair, no-sleep eyes, five extra pounds around the middle. Still, whatever it is, you should point it out.. .If you don't point out these things they might think that your temporary beauty problem is a permanent beauty problem.. .If they really do like you for yourself, they'll be willing to use their imagination to think of what you must look like without your temporary beauty problem. Ch. 4: Beauty In some circles where very heavy people think they have very heavy brains, words like "charming" and "clever" and "pretty" are all put-downs; all the lighter things in life, which are the most important things, are put down. Ch. 4: Beauty I know a girl who just looks at her face in the medicine cabinet mirror and never looks below her shoulders, and she's four or five hundred pounds but she doesn't see all that, she just sees a beautiful face and therefore she thinks she's a beauty.

And therefore, I think she's a beauty, too, because I usually accept people on the basis of their self-images, because their self-images have more to do with the way they think than their objective-images do. Ch. 4: Beauty The most beautiful thing in Tokyo is McDonald's. The most beautiful thing in Stockholm is McDonald's. The most beautiful thing in Florence is McDonald's. Peking and Moscow don't have anything beautiful yet. Ch. 4: Beauty 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. Because it's your news and they're taking it and selling it as their product. But then they always say that they're helping you, and that's true too, but still, if people didn't give the news their news, and if everybody kept their news to themselves, the news wouldn't have any news. So I guess you should pay each other. But I haven't figured it out fully yet. Ch.

5: Fame Before I was shot [June, 1968], I always thought that I was more half-there than all-there - I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in the movies is unreal, but actually it's the way things happen to you in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television - you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television. Ch. 6: Work I suppose I have a really loose interpretation of "work" because I think that just being alive is so much work at something you don't always want to do. Being born is like being kidnapped. And then sold into slavery. People are working every minute. The machinery is always going. Even when you sleep. Ch. 6: Work After being alive, the next hardest work is having sex. Of course, for some people it isn't work because they need the exercise and they've got the energy for the sex and the sex gives them even more energy.

Some people get energy from sex and some people lose energy from sex. I have found that it's too much work. But if you have the time for it, and if you need that exercise—then you should do it. But you could really save yourself a lot of trouble either way by first figuring out whether you're an energy-getter or an energy-loser. As I said, I'm an energy-loser. But I can understand it when I see people running around trying to get some. Ch. 6: Work I thought that young people had more problems than old people, and I hoped I could last until I was older so I wouldn't have all those problems. Then I looked around and saw that everybody who looked young had young problems and that everybody who looked old had old problems. The "old" problems to me looked easier to take than the "young" problems. So I decided to go gray so nobody would know now old I was and I would look younger to them than how old they thought I was.

I would gain a lot by going gray: (1) I would have old problems, which were easier to take than young problems, (2) everyone would be impressed by how young I looked, and (3) I would be relieved of the responsibility of acting young—I could occasionally lapse into eccentricity or senility and no one would think anything of it because of my gray hair. When you've got gray hair, every move you make seems "young" and "spry," instead of just being normally active. It's like you're getting a new talent. So I dyed my hair gray when I was about twenty-three or twenty-four. Ch. 6: Work The President has so much good publicity potential that hasn't been exploited. He should just sit down one day and make a list of all the things that people are embarrassed to do that they shouldn't be embarrassed to do, and then do them all on television. Ch. 6: Work What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too.

A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it. Ch. 6: Work Sometimes you fantasize that people who are really up-there and rich and living it up have something you don't have, that their things must be better than your things because they have more money than you. But they drink the same Cokes and eat the same hot dogs and wear the same ILGWU clothes and see the same TV shows and the same movies. Rich people can't see a sillier version of w:Truth or Consequences , or a scarier version of w:The Exorcist . You can get just as revolted as they can—you can have the same nightmares. All of this is really American. Ch. 6: Work Sometimes you're invited to a big ball and for months you think about how glamorous and exciting it's going to be.

Then you fly to Europe and you go to the ball and when you think back on it a couple of months later what you remember is maybe the car ride to the ball, you can't remember the ball at all. Sometimes the little times you don't think are anything while they're happening turn out to be what marks a whole period of your life. I should have been dreaming for months about the car ride to the ball and getting dressed for the car ride, and buying my ticket to Europe so I could take the car ride. Then, who knows, maybe I could have remembered the ball. Ch. 7: Time Interview with w:Edward Lucie-Smith on BBC Radio 3 (17 March 1981) Edward Smith: Would you like to see your pictures on as many walls as possible, then? Andy Warhol: Uh, no, I like them in closets. Edward Smith: Why is it more of a pleasure to do 30 or 40 pictures than to do just one? Andy Warhol: Then I can, uh, listen to my soundabout which looks just like the thing that I'm wearing now, and you can listen to opera and stuff like that.

Edward Smith: Does that mean you don't have to think when you're painting? Andy Warhol: No, you can listen to really good music. Edward Smith: So, what, painting is an excuse to listen to really good music? Andy Warhol: Oh, yeah. Edward Smith: What do you think is the characteristic of a really nice person? Some people you obviously do like more than others. Andy Warhol: Ummm, well, if they talk a lot. Edward Smith: What, and don't make you talk? Andy Warhol: Yeah, yes, that's a really nice person. Edward Smith: Thank you, Andy. I still care about people but it would be so much easier not to care. I don't want to get to close: I don't like to touch things, that's why my work is so distant from myself [Nicolas Love, April 1987] In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz, in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp.

457 – 467 'Fifteen minutes of fame' - the meaning and origin of this phrase Fifteen minutes of fame Numbers Meaning This is a well-known as a quotation from Andy Warhol. It does derive from Warhol but his actual line was somewhat different - "In the future everybody will be world famous for fifteen minutes.". Origin In February 1968 Warhol exhibited his first international retrospective exhibition at the Moderna Museet gallery in Stockholm. The exhibition catalogue contained "In the future everybody will be world famous for fifteen minutes.". It is far and away the best-known of the many quotations attributed to Warhol, in fact it is probably the only comment of his that most people know. The line began to bore Warhol in later years when interviewers kept asking him about it. In 1979 he did repeat it though, claiming that the line had truth - "my prediction from the sixties finally came true: In the future everyone will be famous for fifteen minutes.". As things have turned out the rise of celebrity culture and reality television in the Western world since then has shown Warhol to be quite prophetic.

In the Future Everyone Will Be Famous for 15 Minutes | Quote Investigator In the Future Everyone Will Be Famous for 15 Minutes Andy Warhol? Apocryphal? Dear Quote Investigator: The expression “fifteen minutes of fame” is based on a quotation by the influential Pop artist Andy Warhol. But what exactly did he say and when did he say it? Quote Investigator: Warhol’s notable maxim about the transience of fame has been popular for much longer than the standard allotment of fifteen minutes. The earliest evidence QI has located for a version of the phrase is in an issue of Time magazine dated October 13, 1967 [TIAW]: Whole new schools of painting seem to charge through the art scene with the speed of an express train, causing Pop Artist Andy Warhol to predict the day “when everyone will be famous for 15 minutes.” Many reference works list an important citation that was published the next year in early 1968.

An exhibition of Warhol’s art was held at the Moderna Museet in Stockholm, Sweden and a catalog for the show was released in February-March 1968 which included a version of the popular apothegm [YQAW] [QVAW] [OQAW]: In the future everybody will be world famous for fifteen minutes. This variant includes the extra modifier “world” that is absent in the earlier Time magazine citation. Indeed, the wording of the expression is highly variable, and Warhol himself deliberately altered the statement over time. Here are additional selected citations in approximately chronological order. Top-flight researcher Stephen Goranson located an intriguing citation that helps to illuminate the early evolution of this maxim. In 1967 an art book called “Constructivism: Origins and Evolution” by George Rickey was published. The preface written by Rickey was dated July 1967, and it contained part of the saying under investigation attributed to an artist named Larry Rivers [GRLR]: The art explosion introduces so many new names and new kinds of work that we are approaching the time when, as Larry Rivers says, “Everybody will be famous.” Andy Warhol knew Larry Rivers in the 1960s.

So they may have discussed this concept of the ubiquity of fame in the near future. Admittedly, it is not certain whether the idea was communicated from Rivers to Warhol or vice versa. To provide evidence about the relationship between the two artists here is an excerpt from “POPism: The Warhol ’60s” by Andy Warhol and Pat Hackett. This book was released in 1980, but it recounts the experiences of Warhol in the 1960s. The following quote is in a section dated 1965 [AWPO]: Larry Rivers had a retrospective at the Jewish Museum on upper Fifth Avenue in September, and I’ll always remember the way the people there were dressed. Larry poked me excitedly and said, “Look at that girl! Girls are showing parts of their bodies in public now that they’ve never shown before!” In October 1967 Time magazine attributed a version of the saying to Warhol.

This phrasing mentioned the time limit of “15 minutes” which was fundamental to the mordantly humorous implication of disposable celebrity [TIAW]: Whole new schools of painting seem to charge through the art scene with the speed of an express train, causing Pop Artist Andy Warhol to predict the day “when everyone will be famous for 15 minutes.” Warhol’s words resonated in the world of art and in the larger society. In November 1967 the magazine “Art Scene” invoked the quotation in Time [AWAS]: But showmanship is the operative word. It is the essential ingredient if the Contemporary is to compete for national attention, and you’d better believe that the Museum and its Director will be competing. If the time approaches, as Warhol was quoted in Time as having predicted, when every artist will be famous for 15 minutes, this development pre-supposes the establishment of a network of Instant Fame Shops.

In 1968 a book highly critical of developments in the cultural domain titled “The Culture Vultures: or, Whatever Became of the Emperor’s New Clothes?” printed a variant of Warhol’s credo based on a longer time period [AWAL]: And Andy Warhol, who ought to know, purrs to the media that today’s turnover in art is only the beginning. “There’s going to be a day when no one will be famous for more than a week. Then everyone will have a chance to be famous.” In February-March 1968 the Moderna Museet in Stockholm held a Warhol art show and the catalog included a version of the saying as noted earlier in the article [YQAW] [QVAW] [OQAW]: In the future everybody will be world famous for fifteen minutes. In 1969 The New Republic published a profile of Warhol, and it contained a version of the quotation that was slightly different from the one in the art show catalog [AWSK]: Being famous is one of the things his career is all about – fame and passivity are the two themes that dominate everything he does.

“In the future,” he once remarked in an almost spectacularly brilliant aphorism, “everybody will be world-famous for at least fifteen minutes.” In 1970 The New Republic published an article titled “Revolution as Theatre” by the educator, playwright, and theater critic Robert Brustein who presented the following instance of the quote [AWRB]: “In five years,” as Andy Warhol has cogently observed, “everybody in the world will be famous for fifteen minutes.” In December 1970 a book review column alluded to the remark without mentioning Warhol’s name. The columnist gave a list of recent changes he deemed undesirable [OHVH]: Things like the new pornography in all the arts, the astounding rise of the use of profanity by women, the prevalence of instant fame (people can be famous for 15 minutes these days), … On July 27, 1978 Andy Warhol wrote a diary entry that was published a decade later in “The Andy Warhol Diaries”. Several variations of the maxim were in circulation and Warhol reacted with levity when he heard his words transformed [AWAD]: After work I just stayed in.

Watched 20/20 and instead of saying, “In the future everyone will be famous for fifteen minutes,” it was so funny to hear Hugh Downs say, “As Andy Warhol once said, in fifteen minutes everybody will be famous.” People on TV always get some part wrong, like—”In the future fifteen people will be famous.” In a 1978 television comedy a prominent playwright crafted a line that responded to the Waholian adage [AWAM]: “If all people will be famous, then there is no fame!” a character in Arthur Miller’s witty TV drama, “Fame,” says. In 1979 “Andy Warhol’s Exposures” was published with photographs and writings by Warhol. In a section about the renowned discotheque “Studio 54” Warhol presented an instance of his platitude, and he suggested a revision. The words of the revision were actually credited to the newsman Hugh Downs in a diary entry of Warhol’s in 1978 [AW54]: At 54, the stars are nobody because everybody is a star.

It’s the place where my prediction from the sixties finally came true: “In the future everyone will be famous for fifteen minutes.” I’m bored with that line. I never use it anymore. My new line is, “In fifteen minutes everybody will be famous.” In 1988 the satirical magazine Spy wrote about an alternative universe in which Andy Warhol’s brush with the gun-wielding writer Valerie Solanas was fatal. Warhol’s saying was placed into the mouth of another modern artist [SPAL]: Roy Lichtenstein’s quip — “In the future, lots more people will be famous, but for shorter periods of time” — never quite catches on. In 2005 a writer in the Village Voice offered two alternatives to the well-known phrase [JSVV]: Warhol’s dictum is being turned inside out. Soon it will simultaneously be “In the future only 15 people will be famous” and “In the future everyone will be famous to 15 people.” An interesting variant of the phrase has gained currency. It was used in an artwork by the graffiti provocateur Banksy.

Here is a link to an article on this topic: In the future everyone will be anonymous for fifteen minutes In conclusion, QI believes that Warhol is properly credited with more than one version of this saying. For example, the 1968 version in the art show catalog is well-founded. Also, the version Warhol wrote in his diary in 1978 can be accurately ascribed to him. [TIAW] 1967 October 13, Time, Sculpture: Master of the Monumentalists, Time, Inc, New York. (Online Time magazine archive) link [YQAW] 2006, The Yale Book of Quotations by Fred R. Shapiro, Section Andy Warhol, Page 797, Column 2, Yale University Press, New Haven. (Verified on paper) [QVAW] 2006, The Quote Verifier by Ralph Keyes, Page 63, St Martin’s Griffin, New York. (Verified on paper) [OQAW] Oxford Dictionary of Quotations edited by Elizabeth Knowles, “Andy Warhol”, Oxford Reference Online, Oxford University Press.

(Accessed 2012 March 10) [GRLR] 1967, Constructivism: Origins and Evolution by George Rickey, Preface, Page x, [Preface signature: George Rickey, East Chatham, New York, July 1967] George Braziller, New York. (Verified on paper) [AWPO] 1980, POPism: The Warhol ’60s by Andy Warhol and Pat Hackett, Section date: 1965, Page 127, Harcourt Brace Jovanovich, New York. (Verified on paper) [AWAS] 1967 November, Art Scene, “Jan van der Marck: The Young Man Who . . .” by Dennis Stone, Page 11, Volume 1, Art Scene Co., Chicago, Illinois. (Verified on paper; Thanks to the librarians at the Lucille Caudill Little Fine Arts Library at the University of Kentucky) [AWAL] 1968, “The Culture Vultures: or, Whatever Became of the Emperor’s New Clothes?” by Alan Levy, Page 203, G. P.

Putnams Sons, New York. (Verified on paper) [AWSK] 1969 April 26, The New Republic, Warhol by Stephen Koch, Start Page 24, Quote Page 26, The New Republic, Inc., Washington, D.C. (Verified on microfilm) [AWRB] 1970 March 14, The New Republic, Revolution as Theatre by Robert Brustein Start Page 13, Quote Page 15, Column 1, The New Republic, Inc., Washington, D.C. (Verified on microfilm) [OHVH] 1970 December 06, Omaha World Herald, Leaves From a Bookman’s Notebook by Victor P. Hass, Page 30, [GNB Page 214], Omaha, Nebraska. (GenealogyBank) [AWAD] 1989, The Andy Warhol Diaries by Andy Warhol, Edited by Pat Hackett, [Diary entry dated July 27, 1978], Page 156, Warner Books, New York.

(Verified on paper) [AWAM] 1979 December 11, Toledo Blade, Off the Grapevine by Liz Smith, Page P-5, Column 1, Toledo, Ohio. (Google News Archive) [AW54] 1979, Andy Warhol’s Exposures, Photographs by Andy Warhol, Text by Andy Warhol with Bob Colacello, Section: Studio 54, Page 48, Grosset & Dunlap: A Filmways Company, New York. (Verified on paper) [SPAL] 1988 December, Spy, It’s a Wonderful Life by Jamie Malanowski, Quote Page 131, Column 2, Spy Publishing Partners, New York. (Google Books full view) [JSVV] 2005 March 15, The Village Voice, We Are Theirs by Jerry Saltz, Village Voice, New York.

(Accessed online at villagevoice.com on April 4, 2012) link This entry was posted in Andy Warhol on Warhol was wrong: Everyone WILL be world famous - but for 15 seconds, not 15 minutes | Daily Mail Online Warhol was wrong: Everyone WILL be world famous - but for 15 seconds, not 15 minutes comments In 1968, Andy Warhol famously said that in the future, everyone would be world famous - but only 'for 15 minutes'. But a new website has trimmed the artist's estimate down for our new, faster digital age - by giving us all 15 seconds in the spotlight. Video sharing website Youtoo lets users record a brief ‘Fame Spot’ video which is then broadcast via a cable TV channel in advert breaks. Just in case you didn't think reality show contestants were desperate enough - YouToo lets viewers record and upload their own 'Fame Spot' videos which air on an obscure cable channel for 15 seconds Youtoo chief executive Chris Wyatt said that the ‘unbelievable thrill’ of appearing on TV will be more of a draw than the millions of viewers one can get with a YouTube video.

RELATED ARTICLES Share this article Share He said: ‘It's very hard to quantify what fame feels like to someone who's not a celebrity. ‘This is the closest thing to that at home’. Clips will initially appear on the relatively obscure ALN network, which has been renamed Youtoo. Nor will there be big budget shows - re-runs of The X-Files and films like Batman (not the new one, the one from the Eighties) will dominate the schedules. The above picture is meant to tempt users that they, too, can 'Be on TV' - albeit only for 15 seconds in ad breaks between unpopular old shows Videos will also be in response to questions posed during the advert breaks and not on the subject of the viewer’s choosing - you will be asked a question, upload your video, and hope that you appear for 15 seconds, like a hi-tech version of 'voting' via text message. Each clip must also abide by a number of rules, such as no swearing, no ‘hate speech’ and no ‘lewd behaviour’. For those that try and sneak through nudity or ‘objectionable material’ it will be screened out by the company’s systems which also upgrade the video to broadcast standard.

Youtoo however says it is just starting out and that in the future the technology could be used by popular TV shows and game shows to take viewer interaction to another level. Eric Holtzclaw, of technology research firm User Insight, told USA Today that the technology would appeal to those who avidly use social networking websites. He added that those who ‘use TV as a platform for self-promotion’ would love it. Quotes - In the future everybody will be world famous for fifteen minutes. Quotes Source: Art exhibit at the Moderna Museet Author: Andy Warhol "In the future everybody will be world famous for fifteen minutes." In the future, everybody will be world-famous for fifteen minutes. Time Funny Experience Art Future History Historical Documents Andy Warhol Context This line was written by Andy Warhol for an art exhibit at the Moderna Museet in Stockholm, Sweden (1968). Andy Warhol, whose artwork was M'm! M'm! Good! , had a lot of thoughts on pop culture and fame.

In a Time magazine article in 1967, Andy Warhol predicted the future as a time "when everyone will be famous for fifteen minutes." The next year, he included a similar version of this quote in an art show, saying, "In the future, everybody will be world-famous for fifteen minutes." Warhol remixed this quote over the course of his career, saying in 1978, "In fifteen minutes everybody will be famous." Start the countdown… Where you've heard it You've heard the phrase "fifteen minutes of fame." The entire concept came from Andy Warhol, decades before reality TV made it even more likely for a person to achieve their fifteen minutes (or longer, in some cases) of fame… or infamy. Additional Notable References: In the Future Everyone Will Be Anonymous for Fifteen Minutes | Quote Investigator In the Future Everyone Will Be Anonymous for Fifteen Minutes Banksy? Andy Warhol? John Leland? Graham Greenleaf? John Hilvert? Neal Gabler? Dear Quote Investigator: The rise of the hacktivist group “Anonymous” reminded me of an artwork I saw by the graffiti provocateur Banksy.

He (or she, or they) created a pink television set with a screen that displayed this message: In the future everyone will be anonymous for fifteen minutes Lasting pieces of art are always ambiguous, and I am not certain what motivated Banksy. Maybe the proliferation of pseudo-celebrities has flattened the notion of fame. Thus, in the future each person will become an interchangeable semi-star. Perhaps the loss of privacy from ubiquitous cameras, internet tracking, and DNA fingerprints means each of us will be able to retain our secrets and autonomy for only fifteen minutes. Possibly each one of us will join some protest group like “Anonymous” but only for a quarter of an hour. Naturally, Banksy, himself or herself, has been anonymous for much longer than fifteen minutes. Can you determine who first spun Warhol’s famous prediction to create this new statement? Quote Investigator: As the questioner suggests, this saying is a twist on a famous pronouncement attributed to the Pop artist Andy Warhol concerning the velocity of modern fame: In the future everyone will be famous for 15 minutes. The earliest instance found by QI of a saying similar to the one in Banksy’s artwork was printed in the music magazine Spin in 1989.

It appeared in a hostile profile of the singer and songwriter Richard Marx by the journalist and critic John Leland. In the following text the term “the 90s” referred to the near future [SPRM]: A success story for the 90s — when everyone will be anonymous for 15 minutes — Marx is rock’s invisible man. No one has sold so many records and made so little impact on the culture. Even his press kit, the expensive, glossy cardboard portfolio of a major star, reads more like a corporate annual report than the story of a life. The passage above is about the transposable and indistinguishable elements of fame. By May 1996 an interesting variant quotation was circulating that was aimed at another topic: the computer-mediated invasion of privacy. This maxim had different implications because “cyberspace” was substituted for “the future”. The periodical “PJ: Privacy Journal” reported on the saying and credited a legal academic [PJGG]: “In cyberspace, everyone will be anonymous for 15 minutes.” Graham Greenleaf, associate professor of law at University of New South Wales and member of the New South Wales Privacy Committee in Australia. Here are additional selected citations in chronological order.

Cyberspace is often associated with the future, but it is also being implemented in the present. In August 1996 Greenleaf published an article in the journal “Privacy Law & Policy Reporter” and he employed the saying again. In a footnote he acknowledged two individuals who had inspired his remark [JHGG]: It has been said with appropriate irony that ‘in cyberspace, everyone will be anonymous for 15 minutes’. [1] Cyberspace presents both an unexpected opportunity for private (and even anonymous) communications and transactions over distance, and the potential for a panopticon, surveillance more extensive than any previous form of social control. [1] I stole this quip from John Hilvert, via Andy Warhol and who knows who else … In 1998 the social critic Neal Gabler deployed a version of the adage in his book “Life: The Movie: How Entertainment Conquered Reality” while discussing the increase in the number of marginal demi-celebrities [LMNG]: Indeed, the profusion of celebrity was so overwhelming that it also seemed to void another oft-quoted dictum. In the future everyone would not be famous for fifteen minutes, as Andy Warhol had prophesied.

In the future, it seemed, everyone would be anonymous for fifteen minutes. The adage was further disseminated in a New York Times interview with Gabler [NYNG]: In the fame-driven future he envisions, everyone will be anonymous for 15 minutes, but Mr. Gabler, looking every bit the cultural critic (Armani black, stubbly salt-and-pepper whiskers), doesn’t seem overly worried. “Anyone who writes seriously about American culture is not in danger of becoming a celebrity,” he said. A photo dated September 15, 2006 that was taken by Peggy Archer at a show in Los Angeles captured Banksy’s TV art piece [PABK].

In 2008 an interview and profile of the actor Dennis Hopper at the website of The Telegraph (UK) included a picture of Hopper adjacent to Banksy’s modified TV [DHBK]: Upstairs, he poses for a final shot next to a sculpture by another friend, the elusive British graffiti artist Banksy: a TV set sprayed with the words, ‘IN THE FUTURE, EVERYONE WILL BE ANONYMOUS FOR 15 MINUTES.’ In 2010 the adage credited to Greenleaf was given as the solution to a puzzle in the book “Cracking Codes & Cryptograms for Dummies” [CCGG]: Puzzle 247: In cyberspace everyone will be anonymous for fifteen minutes. Graham Greenleaf In 2011 a New York Times article about a fashion show in Milan, Italy invoked Banksy [MFBK]: Banksy said it best: “In the future, everybody will be anonymous for 15 minutes.” The British graffiti artist and prankster’s inversion of the weary Warhol dictum about fame comes as a tonic in an age of self-promotion and so-called social media. In conclusion, the expression pre-dates the piece created by Banksy.

Indeed, more than one variant was in circulation before 2000. The phrasings and the meanings were fluid. The statement by Neal Gabler seems to be the closest precursor to the words painted on the TV. [SPRM] 1989 December 1989, SPIN, The Invisible Man by John Leland, Quote Page 13, Volume 5, Number 9 Published by SPIN Media LLC. (Google Books full view) link [PJGG] 1996 May, PJ: Privacy Journal: An Independent Monthly on Privacy in a Computer Age, Editor Robert Ellis Smith, Quotable, Page 2, Providence, Rhode Island, (Verified on paper) [JHGG] 1996 August, Privacy Law & Policy Reporter, The inevitability of life in cyberspace, [Privacy and cyberspace: An ambiguous relationship] by Graham Greenleaf, Volume 3, Number 5, Prospect Publishing.

(Online archive of Privacy Law & Policy Reporter) link link link [LMNG] 2000 (Copyright 1998), Life the movie: how entertainment conquered reality by Neal Gabler, Page 160, Vintage Books. New York. [Reprint of Alfred A. Knopf 1998 edition] (Amazon Look Inside) [NYNG] 1998 December 8, New York Times, At Lunch with: Neal Gabler: Roll ’em: Life as a Long Starring Role by Ralph Blumenthal, Page E1, New York. (ProQuest) [PABK] 2006 September 15, Photos from Banksy’s LA show, flickr photosteam by Peggy Archer, 25 photos. (Accessed at flickr.com in January 27, 2012) link link [DHBK] 2008 September 25, The Telegraph (UK), Dennis Hopper: the ride of his life by Sheryl Garratt, Telegraph Media Group Limited, London.

(Accessed at telegraph.co.uk on January 27, 2012) link [CCGG] 2010, Cracking Codes & Cryptograms for Dummies by Denise Sutherland and Mark Koltko-Rivera, Page 316, Wiley Publishing, Inc., Hoboken, New Jersey. (Google Books preview) [MFBK] 2011 January 19, New York Times, Fashion Review: Designers Anonymous by Guy Trebay Page E1, New York. (New York Times online archive) link Warhol Was Right About '15 Minutes Of Fame' : NPR Warhol Was Right About '15 Minutes Of Fame' Warhol Was Right About '15 Minutes Of Fame' Listen to this 'Talk of the Nation' topic Embed Embed Heard on Talk of the Nation American artist Andy Warhol once said, "In the future, everyone will be world-famous for 15 minutes." In an era of reality TV and YouTube, it appears that his prediction has come true. Sherri Geldin, director of the Wexner Center for the Arts in Columbus, Ohio talks about Warhol's new relevance in the digital age.

A new exhibit called "Andy Warhol: Other Voices, Other Rooms" is on display at the Wexner through February 2009. Andy Was Right - TIME Andy Was Right The stars of Web 2.0 are descendants of Warhol. But there's not much family resemblance By Josh Tyrangiel Monday, Dec. 25, 2006 Follow @TIME Nostradamus looked into the future and saw plagues, earthquakes, wars, floods and droughts. In the prediction game, this is known as covering your ass. In 1968 Andy Warhol was more precise. He squinted ahead and declared that "in the future, everyone will be world famous for 15 minutes." Warhol nailed it. Not only has his prophecy eclipsed his fame, but as a cultural observation, 15 minutes has had its 15 minutes. We forget that it took a man at the nexus of art and self-promotion to figure out that as cameras shrank and screens multiplied, the barriers to fame would someday be eradicated. Call it Warhol's Theorem.

Anyone who has uploaded a video to YouTube or posted a MySpace profile might be considered a child of Warhol--except that Warhol's vision of fame was very different from how he actually lived. "Oh, he was impossible," says Dr. Robert B. Millman, a psychiatrist and Warhol acquaintance who, not coincidentally, invented the term acquired situational narcissism. "When you were with him, you'd feel as if he didn't have the slightest interest in knowing you. All he wanted to know was what you thought of him--or that you thought of him." From the son of an immigrant Czech coal miner in Pittsburgh, Pa., to the bleached dandy at the center of Studio 54's human carnival, Warhol willed himself into a celebrated object of others' imaginings--a blank slate on which culture writers, semioticians and hipsters projected themselves. It's not an accident that the Velvet Underground recorded I'll Be Your Mirror while he was their manager, or that his most famous self-portrait is of him putting his finger to his lips.

As the art critic Harold Rosenberg put it, He was "the figure of the artist as nobody, though a nobody with a resounding signature." There's something admirable and uniquely American in the act of self-creation--but it helps if you actually create something. In a conceptual artist, cultivating emptiness falls within the acceptable bounds of shtick. (Even Warhol's originals were reproductions.) But Warhol also put his blankness behind a series of conspicuous velvet ropes, turning a democratic notion--we're all stars, or at least we all could be--into something slightly toxic. YouTube and MySpace and all the other Web 2.0 tools out there haven't eliminated exclusivity or narcissism. You've still got to think you're pretty damned interesting to post a video of yourself talking to a computer screen in your bedroom. But they have changed the way the fame game is played. A blank slate is not enough. To get fame--in the form of page views, comments and friend tags--you have to put yourself out there in a way that allows others to relate. "[YouTube] is narcissistic to the extent that you're thinking about yourself," says Millman. "But to get ahead, you need some empathy.

It's weird, but it's a lot better to be famous this way than to covet the fame of others by reading Us magazine." Previous Page Andy Warhol Probably Never Said His Celebrated "Fifteen Minutes of Fame" Line | Smart News | Smithsonian Andy Warhol Probably Never Said His Celebrated "Fifteen Minutes of Fame" Line In the interest of branding, however, it doesn't matter who said it, only that it worked smithsonian.com April 8, 2014 "In the future, everyone will be world-famous for 15 minutes." This celebrated quote has become Andy Warhol most well-known statement . It led to the concept of "15 minutes of fame"—the idea that celebrity, from media scandals to memes, will almost always be fleeting. According to new evidence, however, it very well could be that Warhol never said this. The original quote seems to trace back to a 1968 brochure Warhol distributed at one of his exhibitions in Sweden. But, according to art critic Blake Gopnik , it could have been Pontus Hultén , a famous curator in Europe, who coined the phrase.

There are other claimants, too, including painter Larry Rivers and photographer Nat Finkelstein. Finkelstien insisted that he made the remark in reply to a comment that Warhol made about everyone wanting to be famous, quipping, "Yeah, for about 15 minutes, Andy." As Gopnik explains to Marketplace , Warhol himself admitted to never saying it in 1980. But by then, the line was firmly his. And as Gopnik points out, it really didn't matter. By that point, Warhol, an artist who explored the concept of branding, was firmly a brand of his own, and the 15-minutes quote fit in with that story nicely. "We've decided it's by Warhol, whether he likes it or not," Gopnik told Marketplace. "We've created and continue to create the Warhol brand for ourselves." Like this article?

Question: Who said that in the future everyone would be famous for fifteen minutes?
Answer: Andy Warhol