A Quote by Roy Lichtenstein
Everybody has called Pop Art 'American' painting, but it's actually industrial painting.
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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.
Pop Art is not painting because painting must have content and emotion.
Comedy is the one absolutely self-aware art form. Actually, hip-hop's another one, I suppose. Because in your songs you're talking about how good a hip-hop artist you are. It's like a painter painting a panting of himself painting a painting.
'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.
I attended the High School of Industrial Arts and studied with many great artists as painting is something that you never stop learning about. Actually, in high school there was a time that I was thinking about just concentrating on painting and I asked my music teacher, Mr. Sondberg, for advice and he encouraged me to stick with the music as well. So all my life I have been singing and painting.
I'm not anti conceptual art. I don't think painting must be revived, exactly. Art reflects life, and our lives are full of algorithms, so a lot of people are going to want to make art that's like an algorithm. But my language is painting, and painting is the opposite of that. There's something primal about it. It's innate, the need to make marks. That's why, when you're a child, you scribble.
I needed an outlet in high school and came across painting. I've actually been painting longer than I've been acting. A movie is a collaborative effort, and with painting you just have yourself.
I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.
The idea of an isolated American painting , so popular in this country during the thirties, seems absurd to me, just as the idea of a purely American mathematics or physics would seem absurd... And in another sense, the problem doesn't exist at all; or, if it did, would solve itself: An American is an American and his painting would naturally be qualified by the fact, whether he wills or not. But the basic problems of contemporary painting are independent of any one country.
I went to the Chicago Art Institute, which was the best painting school in the area at that time. And I took painting classes - basic elementary painting classes and drawing classes of all sorts.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.
What constitutes American painting?... things may be in America, but it's what is in the artist that counts. What do we call 'American' outside of painting? Inventiveness, restlessness, speed, change.
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
There's a difference between craft and painting. Craft, your job is to make it exactly the same every time. Painting is the opposite, but in painting there is some craftsmanship, which is called technique. But technique is spontaneous. That's the treasure, the most important part. You are in it.
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