I’d always wanted to know the difference between a mark that was art and one that wasn’t.
ROY LICHTENSTEINIm interested in what would normally be considered the worst aspects of commercial art.
More Roy Lichtenstein Quotes
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The big tradition, I think, is unity. And I have that in mind; and with that, you know, you could break all the traditions- all the other so-called rules, because they are stylistic.. and most are not true.
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But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
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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.
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Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist.
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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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Im interested in what would normally be considered the worst aspects of commercial art.
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A number of artists have done things with Mickey Mouse – including Claes Oldenburg and Andy Warhol. He’s such an American symbol, and such an anti-art symbol.
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We like to think of industrialization as being despicable.
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Outside is the world; it’s there. Pop Art looks out into the world.
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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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All my art is in some way about other art, even if the other art is cartoons.
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Organized perception is what art is all about.
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I kind of do the drawing with the painting in mind, but it’s very hard to guess at a size or a color and the colors around it and what it will really look like. It’s only a guess at the beginning, and then I try to refine it.
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Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
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My work isn’t about form. It’s about seeing. I’m excited about seeing things, and I’m interested in the way I think other people see things.
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And I dont really want it to carry one. Im not interested in the subject matter to try to teach society anything, or to try to better our world in any way.
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The things that I have apparently parodied I actually admire.
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What interests me is to paint the kind of antisensitivity that impregnates modern civilization.
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There is a relationship between cartooning and people like Mir? and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.
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I don’t really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.
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Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
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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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I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward – neo-Zen and all that. Pop Art looks out into the world. It doesn’t look like a painting of something, it looks like the thing itself.
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Personally, I feel that in my own work I wanted to look programmed or impersonal but I don’t really believe I am being impersonal when I do it. And I don’t think you could do this.
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I think that most people think painters are kind of ridiculous, you know?
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Im not really sure what social message my art carries, if any.
ROY LICHTENSTEIN