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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.

Roy Lichtenstein

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Anything Better Carry Interested Matter Really Society Subject Teach Want Way

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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.
ROY LICHTENSTEIN

Anything Better Carry Interested Matter Really Society Subject Teach Want Way
I like to pretend that my art has nothing to do with me.
ROY LICHTENSTEIN

Architecture Art Do Nothing Pretend
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

Change Come Gangbuster Interest Interesting Passage Sometimes Subtitle
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.
ROY LICHTENSTEIN

Anything Character Contrast Important Line People Position
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.
ROY LICHTENSTEIN

Abstract Another Art Even Everybody Know Most People Purpose Understand
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.
ROY LICHTENSTEIN

Believe Belive Feel Impersonal Impression Look Own Personally Programme Thinking Wanted Work
I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.
ROY LICHTENSTEIN

Between Cliched Fact Rigid Seem Tension Think Way
You have no idea where reality is, so to have an idea of what people think is pretty hard.
ROY LICHTENSTEIN

Hard Idea People Pretty Reality Think
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

Art Center Country Interest University Way
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.
ROY LICHTENSTEIN

Area Canvas Color Diagonal Evently Repeated Suggest Tight Uninflect Use World
There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you’re trying to make.
ROY LICHTENSTEIN

Almost Certain Consistency Depend Field Generalization Hold Make Modulation Nothing Say Statement Try
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

Being Five Forget Kind Look Now Oddity People Some Thirty Years
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Consistency Hard Painting Trying Very
Use the worst colour you can find in each place – it usually is the best.
ROY LICHTENSTEIN

Best Colour Each Place Use Worst
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.
ROY LICHTENSTEIN

Country Living Mcdonalds People Peron School Thing World
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.
ROY LICHTENSTEIN

Advocating Certain Commercial Forceful International Teenagerism Really Stupidity Terrorism Thing Usable Vital

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