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I Remember the Factory (after Joe Brainard)Glenn O'Brien
I remember Andy saying, “They’re really up there,” and “Geee, that’s so grreat.” And “Oh, he’s such a beauty” and “She’s such a beauty.”
I remember Paul calling half the people who came up to the Factory “drug trash.” And saying “Get those drag queens out of here.”
I remember Richard Bernstein being the only person who ever smoked pot at the Factory. (Until Jean Michel 20 years later.)
I remember having to take some German journalist through the Factory and he thought it was a commune and asked where we slept. After a while he said, “We fuck now?”
(continued)
Richard Prince, Canal Zone
"Perhaps the most truly psychedelic post-sixties art movement of all was not an art movement but a religion that governmental authorities occasionally confused with a street gang: Rastafarianism. Actually the Dread movement couldn't be called psychedelic in the conventional sense. Marijuana was its sacrament. It was anti-acid and anti-pharmaceutical. But in dub it created the most coherent body of psychedelic art. Its deconstructed, sculptural music with hypnotic rhythms and trippy ambient improv expanded sensory consciousness while espousing a radical neo-gnostic philosophy, combining the Bible, Marcus Garvey, and Freemasonry into a religion that makes total sense into the sensual. Here, finally was a religion that incorporated getting high into a holistic noble philosophy. It offered a tempered version of psychedelics based on nature. Dillinger summed it up in the lyrics to 'Bionic Dread': 'Babylon psychedelic, natty dread bionic'"
–Glenn O'Brien, from Tate Modern Summer of Love catalog, 2005
"In painting, being considered 'psychedelic' has been something of a kiss of death because it implies those things summed up by Hollingshead: unsaleable, made when stoned for viewing by the stoned. Much of the art considered psychedelic has been influenced by Asian religious motifs, such as mandala, often executed in questionable taste or with a naive eye. Much has been biomorphic abstraction, globularized De Kooning."
–Glenn O'Brien, from Tate Modern Summer of Love catalog, 2005
