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Quote by Matshona Dhliwayo

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Matshona Dhliwayo

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“LOVE IS! Just as I AM. Love IS This All. Love IS the movement and the flow itself—The Way of All. This Way of All is a beautiful path, which many are choosing to step into and walk as. This golden path sings. As one places one’s own foot down upon the soil of itself, each step is one meeting itself. Each touch, each experience is a rejoicing and "honoring".”

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Book:Our New Story: Guides in the Garden Volume 1
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“Don’t climb a mountain to look down on people below, but to get a clearer view of the stars above.”

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Author:Matshona Dhliwayo
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“No les interesa la pintura. Catherine Guinness [véase Introducción] no se puso pesada hasta el último día, cuando empezó con esa cosa tan fastidiosa que hacen los ingleses de preguntar y preguntar: «¿Qué es exactamente el pop art?». Era como cuando entrevistamos a ese chico del blues, Albert King, para Interview, y ella le preguntó: «¿Qué es exactamente el soul?».”

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Book:The Andy Warhol Diaries
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“This fetishistic transmutation separates Warhol from Duchamp and all his predecessors. For Duchamp, Dada, the Surrealists and all who worked to deconstruct representation and smash the work of art are still part of an avant-garde, and belong, in one way or another, to the critical utopia. For us moderns, at any rate, art has ceased to be an illusion; it has become an idea. It is no longer idolatric now, but critical and utopian, even when -- particularly when -- it demystifies its object or when, with Duchamp, it aestheticizes at a stroke, with its bottle-rack, the whole field of daily reality. This is still true of a whole segment of Pop Art, with its lyrical vision of popcorn or comic strips. Banality here becomes the criterion of aesthetic salvation, the means of exalting the creative subjectivity of the artist. Obliterating the object the better to mark out the ideal space of art and the ideal position of the subject. But Warhol belongs to no avant-garde and to no utopia. And if he settles utopia's hash, he does so because, instead of projecting it elsewhere, he takes up residence directly at its heart, that is, at the heart of nowhere. He is himself this no place: this is how he traverses the space of the avant-garde and, at a stroke, completes the cycle of the aesthetic. This is how he at last liberates us from art and its critical utopia.”

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Book:The Perfect Crime
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“Let us not be deceived about the cool forms, forms indifferent to themselves, which this fetishism can assume in Warhol. Behind this machinic snobbery, what is really going on is a rise and rise of objects, images, signs and simulacra, as well as a rise and rise of values, the finest example of which is the art market itself. We are a long way from the alienation of price, which is still a real measure of things. We are in the ecstasy of value, which explodes the notion of market and simultaneously destroys the art work as such. Warhol is naturally party to this extermination of the real by the image, and to such an overdoing of the image as to put an end to all aesthetic value. Warhol reintroduces nothingness into the heart of the image. In this sense, we cannot say he is not a great artist: fortunately for him, he is not an artist at all. The point of his work is a challenge to the very notion of art and aesthetics.”

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Book:The Perfect Crime
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