Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
ROY LICHTENSTEINPeople think one-point and two-point perspective is how the world actually looks, but of course, it isn’t. It’s a convention.
More Roy Lichtenstein Quotes
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Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there’s another purpose to it.
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You forget that this has been thirty five years now and people don’t look at it as if it were some kind of oddity.
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In America the biggest is the best.
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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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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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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.
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You know, as you compose music, you’re just off in your own world.
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Organized perception is what art is all about.
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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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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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The things that I have apparently parodied I actually admire.
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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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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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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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You have no idea where reality is, so to have an idea of what people think is pretty hard.
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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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Im interested in what would normally be considered the worst aspects of commercial art.
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I dont have big anxieties. I wish I did. Id be much more interesting.
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What interests me is to paint the kind of antisensitivity that impregnates modern civilization.
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Picasso’s always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
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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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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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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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People think one-point and two-point perspective is how the world actually looks, but of course, it isn’t. It’s a convention.
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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.
ROY LICHTENSTEIN