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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.

Roy Lichtenstein

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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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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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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.
ROY LICHTENSTEIN

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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 don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
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Use the worst colour you can find in each place – it usually is the best.
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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 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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We like to think of industrialization as being despicable.
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I like to pretend that my art has nothing to do with me.
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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 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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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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You know, as you compose music, you’re just off in your own world.
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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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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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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 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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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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I dont have big anxieties. I wish I did. Id be much more interesting.
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The things that I have apparently parodied I actually admire.
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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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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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Art doesn’t transform. It just plain forms.
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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 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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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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