Roy Lichtenstein Quotes

Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.

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.

Use the worst colour you can find in each place - it usually is the best.

I like to pretend that my art has nothing to do with me.

Organized perception is what art is all about.

Outside is the world; it's there. Pop Art looks out into the world.

There must be something about art... almost all cultures have done art. It's a refining of the senses, which are there to keep us alive. As far as we know, no other animals do that.

All my art is in some way about other art, even if the other art is cartoons.

I'm never drawing the object itself; I'm only drawing a depiction of the object - a kind of crystallized symbol of it.

Art doesn't transform. It just plain forms.

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.

Im not really sure what social message my art carries, if any. 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.

I'd always wanted to know the difference between a mark that was art and one that wasn't.

Pop Art is industrial painting. 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.

What interests me is to paint the kind of antisensitivity that impregnates modern civilization. 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.

Color is crucial in painting, but it is very hard to talk about.

I dont have big anxieties. I wish I did. Id be much more interesting.

I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.

The things that I have apparently parodied I actually admire.

People think one-point and two-point perspective is how the world actually looks, but of course, it isn't. It's a convention.

I think that most people think painters are kind of ridiculous, you know?

Im interested in what would normally be considered the worst aspects of commercial art. I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.

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.

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. 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.

In America the biggest is the best.