"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. The machinery is always going. Even when you sleep"
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Warhol turns the great American piety of “hard work” inside out and makes it bodily, automatic, and faintly bleak. Coming from an artist who treated the studio like a factory and made “business art” a kind of aesthetic, the line reads as both confession and prank: if existence itself is labor, then the moral bragging rights attached to productivity start to look ridiculous. You don’t earn virtue by grinding; you’re already grinding simply by having a pulse.
The subtext is classic Warholian detachment. He’s not offering a romantic “life is hard” lament. He’s flattening the distinction between making art, punching a clock, and metabolizing oxygen. “Loose interpretation” is a dodge that also functions as a critique: language like “work” becomes a social weapon, a way to rank people, shame idleness, and justify exploitation. Warhol sidesteps the whole tribunal by redefining the charge. Everyone is guilty; everyone is overworked.
Then comes the killer image: “machinery.” Not “spirit,” not “mind,” not even “body” in a sensual sense, but machinery - impersonal, industrial, always-on. It’s the perfect word for an artist obsessed with repetition, screens, and surfaces, and it captures the modern anxiety that you’re never really off the clock. Even sleep is framed less as rest than as another background process, a system still running.
Context matters: postwar America sold comfort and leisure while quietly expanding the cult of productivity. Warhol, the patron saint of cool emptiness, makes that contradiction sound like a deadpan fact of physiology.
The subtext is classic Warholian detachment. He’s not offering a romantic “life is hard” lament. He’s flattening the distinction between making art, punching a clock, and metabolizing oxygen. “Loose interpretation” is a dodge that also functions as a critique: language like “work” becomes a social weapon, a way to rank people, shame idleness, and justify exploitation. Warhol sidesteps the whole tribunal by redefining the charge. Everyone is guilty; everyone is overworked.
Then comes the killer image: “machinery.” Not “spirit,” not “mind,” not even “body” in a sensual sense, but machinery - impersonal, industrial, always-on. It’s the perfect word for an artist obsessed with repetition, screens, and surfaces, and it captures the modern anxiety that you’re never really off the clock. Even sleep is framed less as rest than as another background process, a system still running.
Context matters: postwar America sold comfort and leisure while quietly expanding the cult of productivity. Warhol, the patron saint of cool emptiness, makes that contradiction sound like a deadpan fact of physiology.
Quote Details
| Topic | Life |
|---|---|
| Source | Help us find the source |
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