Pop Art is industrial painting.
ROY LICHTENSTEINIm interested in what would normally be considered the worst aspects of commercial art.
More Roy Lichtenstein Quotes
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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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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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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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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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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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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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Im not really sure what social message my art carries, if any.
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I don’t think that I’m over his influence but they probably don’t look like Picassos; Picasso himself would probably have thrown up looking at my pictures.
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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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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 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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We like to think of industrialization as being despicable.
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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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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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I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn’t what I was interested in.
ROY LICHTENSTEIN