And I cannot stress this enough: bury their bones in an unmarked ditch.
Those are original Warhol boxes. Two Brillos, a Motts and a Campbells tomato soup. Multiple millions worth of original art, set on the floor by the front door.
Theres a regular customer whom i do plumbing work for, for the last 3 or 4 years. These belong to her. She also has Cherub Riding a Stag, and a couple other Warhols that i cannot identify, along with other originals by other artists that i also cannot identify. I have to go back to her house this coming Monday, i might get photos of the rest of her art, just so i can figure out what it is.
Even though i dont have an artistic bone in my entire body, i can appreciate art. I have negative feelings on private art like this that im too dumb to elucidate on.
eat the fucking rich. they are good for nothing.
Because in scientific studies you can't have two identical studies that are indistinguishable in every way but ones super valuable because it was done by a famous scientist and the other is worthless because it was done by some guy nobody's ever heard of.
The fact that Warhol painted boxes are worth more than one of the actual boxes filled with a product is the exact opposite of science.
You absolutely can, haven't you heard of impact factor? It's how Avi Loeb keeps publishing garbage papers because he's a big well-cited name. There's a whole mess of problems caused by the fact that journals, researchers, and universities are trying to optimize their work output to be cited by many others instead of being useful on its own merits. Anyway I never talked about the artist themselves. Your piece of paper can't be evaluated without knowing if it's referring to anything. Fame has little to do with it; if Doodle On The Floor was already well-known even an accidental piece of paper on a gallery floor could be interpreted as a brutal "that doodle sucks" response. (These simple examples are the shit done by art school kids who are there to waste money. Usually good art has something more complicated to say.)
Also you have not rebutted my point that you cannot meaningfully judge high-level work in a field without basic knowledge of the field. If you didn't have to know anything about science to read a paper then it wouldn't be science, it would be a New York Times editorial. If you didn't have to have any context to understand a painting (even populist styles!) then it would be housepaint. Philistine argument, plugging your ears and insisting that no legitimate human achievement will ever take a little thinking to wrap your head around.
Again your arguing against these boxes of corporate logos being art.
What is the understanding that I'm missing that makes these carbon copies of boxes of cleaning supplies different from when my daughter traces a cartoon character.
Also with the whole scientific thing you're arguing that the problem is that people give better known researchers more legitimacy which is the exact problem I was sprinting out with the art. It shouldn't be "more artistic" because of who painted it just like those papers aren't more accurate because of who published them.
You're highlighting the exact thing I said made it bullshit.
Idk dude, read my earlier comment about it or like the wikipedia page on pop art or something. When you say "So if I drop a piece of paper on the floor, point at it and say 'that's art' I'm a highly talented artist," you are doing some ridiculous nihilist thing where you attempt to say that context could make anything into art, and therefore we shouldn't take context into account. You're arguing against understanding art in general.
You are badly misreading what I wrote, so this will be my last reply. I never said it matters who painted it. It matters when it was painted, what it was referencing, what the world was like at the time: what does the work mean? If you drop a piece of paper on the floor, there's no famous Doodle On The Floor to reference, it's just a meaningless piece of paper. When Warhol made those crates, the point was for people to stop and wonder that fine art in a gallery (for instance, a limited run of some woodblock prints) can share almost exactly the same intent and production method as ubiquitous, unpraised commodity art (for instance, postcards in a gift shop). If your daughter was killed in Gaza maybe we'd put her last sketches in a museum. If she showed up in ancient Egypt when nobody knew how to do perspective they'd be a big deal.
No investigation, no right to speak. You will need to learn a little about art if you want to say anything meaningful about it on either level. You can't persuasively argue that a particular pop art piece is "not art" without knowing a little bit about pop art. You can't effectively argue that "art" is contextless and inherent without knowing how these arguments have been already developed and rebutted by different schools of art. This is genuinely intro level stuff.