Excerpts from The Perfect Crime by Jean Baudrillard, chapter concerning Andy Warhol called Machinic Snobbery.
“There is nothing to say about Warhol, and Warhol has said just this in all his interviews and in his journal, without rhetoric, without irony, without commentary – he alone being able to refract the insignificance of his discourse. It is for this reason that whatever light one casts on the object Warhol, the Warhol effect, there is always something enigmatic about him which wrenches him out of the paradigm of art and the history of art.
The fetish object, as we know, has no value. Or rather, it has an absolute value; it lives off the ecstasy of value. Each of Warhol’s images is thus insignificant in itself and of absolute value; it has the value of a figure from which all transcendant desire has withdrawn, leaving room only for the immanence of the image. It is in this sense that it is artificial. Warhol was the first to bring us modern fetishism, transaesthetic – that of an image without quality, a presence with out desire.”