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“... All his life Andy Warhol looked like death. He came into the world that way: blank, rheumy-eyed, sick as the day was long. An unmerry child with St Vitus’ Dance, the young Warhol lay twitching in his bed under a blanket of fan magazines, the source of all his imaginary friendships – with Errol Flynn and Louella Parsons, Hedda Hopper and Gary Cooper – and the only thing he craved in those Pittsburgh days was the chance to be as lovable as Shirley Temple ...”

“... The intriguing thing about the opening night of the Andy Warhol retrospective in Manhattan was its tameness. MOMA (the Museum of Modern Art) can seldom have looked so respectable while being at the same time, in a faintly macabre way, en fête. I could have got in without a black tie, but would have looked wildly conspicuous in mufti and was glad to have observed the protocol of the invitation ...”

“... to mood-swings from speedy euphoria to catatonic withdrawal. No wonder that his exemplar is Andy Warhol. ‘Warhol distrusted language,’ Wayne Koestenbaum writes on the first page of his smart biography; ‘he didn’t understand how grammar unfolded episodically in linear time, rather than in one violent ...”

“... Andy Warhol in 1955 ‘Overlooked No More’ is the title of an occasional series in the obituaries section of the New York Times that prints obituaries of those – mainly women but also African Americans and homosexuals – who were ignored by the paper at the time of their deaths. Since the Times was launched in 1851, the omissions go back a long way ...”

“... years, beginning in January 1964 and ending in late 1966, hundreds of individuals trooped through Andy Warhol’s midtown Manhattan studio (the vast, silver-painted loft known as the Factory), there to sit before a 16mm Bolex camera and have their portraits made on film. The portraits, each of which used a single 100-foot roll of film, required just ...”

“... In 1975, Andy Warhol peered into the future and saw … Damien Hirst? ‘Business Art is the step that comes after Art,’ Warhol wrote in The Philosophy of Andy Warhol. Not only was it OK for artists to make as much money as possible, but ‘making money is art’ and ‘good business is the best art ...”

“... and early Seventies which agitates Kramer is Pop Art and the promotion of celebrities such as Andy Warhol in a camp atmosphere so different from the sacred awe with which the achievements of American Abstract Expressionists, Cubism or late Cézanne are discussed. To say that such figures as ...”

“... where it might be most silly and depressing, is made most intelligent. In early 1965, Edie meets Andy Warhol, and Stein and Plimpton, with their ‘hidden agenda’ of splicing the conversations, quietly promote a discussion: on whether a metropolitan society without morality can generate art. Andy Warhol (or ...”

“... posthumously in 2017, the gallerist and curator Walter Hopps mentions his first meeting with Andy Warhol, in New York in 1961, when Warhol was a successful commercial artist looking for a way out. ‘We agreed to keep in touch and see what came along. And what came along … were the 32 original Campbell’s Soup ...”

“... scar. How can the celebrity outsider maintain a sense of his identity, or painterly authority, when he is his own subject-matter and his audience sees that subject-matter as ‘other’, less than ‘us’? Basquiat’s solutions to this dilemma are often brilliant. In the triptych Zydeco (1984), for example, a cinematographer in profile looks through the lens of his movie camera ...”

“... Something I think about when I’m watching things like Olympic meets,’ Andy Warhol wrote, ‘is When will a person not break a record? If somebody runs at 2.2, does that mean that people will next be able to do it at 2.1 and 2.0 and 1.9 and so on until they can do it in 0.0? So at what point will they not break a record? Will they have to change the time or change the record?’ The line of inquiry might be applied to Bret Easton Ellis (for one), who, in pushing to the limit the current parameters of literary transgression, effectively landed us in the vicinity of zero with his last book, American Psycho: Back in my bedroom, Christie lies on the futon, tied to the legs of the bed, bound up with rope, her arms above her head, ripped pages from last month’s Vanity Fair stuffed into her mouth ...”

“... but some things just keep coming back. Jean-Michel Basquiat’s 1984 Brown Spots (Portrait of Andy Warhol as a Banana) is a really nice picture, if a little mysterious – the best the catalogue can do is suggest that the partly peeled banana with Warhol’s ‘trademark shock of whiteish-grey hair suggests an ...”

“... names: Cecil Beaton, Jasper Johns, James Jones, John Mortimer, Patricia Neal, William Styron, Andy Warhol. Among the rest are antique dealers, decorators, magazine editors, a ‘freelance music co-ordinator for fashion shows’, a princess ‘internationally concerned with matters of spiritual evolution’, an extraordinarily large proportion of ...”

“... of the Saatchi museum you see art using the language of religion for much more destructive ends. Andy Warhol’s Chairman Mao is a 20-foot-tall painting which hangs alone, at the end of the room, in deliberate imitation of an altarpiece. What are we to assume from this? That Charles Saatchi and Andy Warhol have ...”

“... visit to the United States in 1963, where he travelled with his friend Marcel Duchamp, and met Andy Warhol, Roy Lichtenstein, Ed Ruscha and other young bucks of American Pop art. In My Marilyn (1965) Hamilton adapted, in painting, part of a contact sheet from a photo shoot by George Barris that included her own editorial indications as to which images ...”