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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

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Im interested in what would normally be considered the worst aspects of commercial art.
ROY LICHTENSTEIN

Art Aspect Commercial Consider Interest Normally Thinking Way Worst
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Consistency Hard Painting Trying Very
Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
ROY LICHTENSTEIN

Contrast Organisation Painting Position Stem
Outside is the world; it’s there. Pop Art looks out into the world.
ROY LICHTENSTEIN

Art Look Out Outside Pop World
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
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

Crystalized Depiction Drawing Itself Kind Object Symbol
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.
ROY LICHTENSTEIN

Artist Big Break Know Long Mind Thinking Tradition
All my art is in some way about other art, even if the other art is cartoons.
ROY LICHTENSTEIN

Art Cartoon Even Some Way
The things that I have apparently parodied I actually admire.
ROY LICHTENSTEIN

Actual Admire Apparently Paradied Thing
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
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.
ROY LICHTENSTEIN

Around Color Draw Drawing Gesture Guess Hard Mind Panting Size
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
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 like to pretend that my art has nothing to do with me.
ROY LICHTENSTEIN

Architecture Art Do Nothing Pretend
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.
ROY LICHTENSTEIN

Basket Gas Interest Interesting Picnic Pump Sign Strip Suppose Tree
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.
ROY LICHTENSTEIN

Architect Architecture Art Form Kind Result Think Thinking

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