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 LICHTENSTEINYeah, 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.
More Roy Lichtenstein Quotes
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In America the biggest is the best.
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Im interested in what would normally be considered the worst aspects of commercial art.
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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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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 think that most people think painters are kind of ridiculous, you know?
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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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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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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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Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
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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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You have no idea where reality is, so to have an idea of what people think is pretty hard.
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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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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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We like to think of industrialization as being despicable.
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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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Art doesn’t transform. It just plain forms.
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Pop Art is industrial painting.
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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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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’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it.
ROY LICHTENSTEIN -
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.
ROY LICHTENSTEIN -
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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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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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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Organized perception is what art is all about.
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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.
ROY LICHTENSTEIN