I’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it.
ROY LICHTENSTEINMy work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way….
More Roy Lichtenstein Quotes
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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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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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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 all the colors around it and what it will really look like.
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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 dont have big anxieties. I wish I did. Id be much more interesting.
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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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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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When I met Steve Kaufman, I thought he was Gene Simmons, but what an artist talent he is. He will be an art force in the art world to deal with.
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In America the biggest is the best.
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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 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 are certain things that are usable, forceful, and vital about commercial art. We’re using those things – but we’re not really advocating stupidity, international teenagerism, and terrorism.
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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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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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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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People mistake the character of line for the character of art. But it’s really the position of line that’s important, or the position of anything, any contrast, not the character of 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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Outside is the world; it’s there. Pop Art looks out into the world.
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Im interested in what would normally be considered the worst aspects of commercial art.
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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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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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You know, as you compose music, you’re just off in your own world.
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Color is crucial in painting, but it is very hard to talk about.
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My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way….
ROY LICHTENSTEIN -
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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Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
ROY LICHTENSTEIN