I think the meaning of my work is that it is industrial, it’s what all the world will soon become. Europe will be the same way, soon, it won’t be American; it will be universal.
ROY LICHTENSTEINYou have no idea where reality is, so to have an idea of what people think is pretty hard.
More Roy Lichtenstein Quotes
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My use of evenly repeated dots and diagonal lines and uninflected color areas suggest that my work is right where it is, right on the canvas, definitely not a window into the world.
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I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.
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I’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it.
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My direction is very anti-contemplative. If you thought I was for commercial products, you’d think there was no irony. The irony isn’t meant to be an ironic comment on our society, exactly.
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I’d always wanted to know the difference between a mark that was art and one that wasn’t.
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There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you’re trying to make.
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Color is crucial in painting, but it is very hard to talk about.
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Yeah, you know, you like it to come on like gangbusters, but you get into passages that are very interesting and subtle, and sometimes your original intent changes quite a bit.
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But usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.
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I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn’t what I was interested in.
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We’re not living in a school-of-Paris world, you know, and the things we really see in America are like this. It’s McDonald’s, it’s not Le Corbusier.
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All of it had an impact – as did happenings – because I could see that art was changing from expressionism, which I was doing at the time, or thought I was doing. But it wasn’t the direction I really wanted to go.
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As long as the marks are related to one another, there is unity. Unity in the work itself depends on unity of the artist’s vision.
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I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
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I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.
ROY LICHTENSTEIN






