A Quote by Roy Lichtenstein

I'm interested in what would normally be considered the worst aspects of commercial art. I think it's the tension between what seems to be so rigid and cliched and the fact that art really can't be this way.
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.
Expression is never considered a given, and it is in fact maybe not what's most interesting about making art. Making art, since 1960 or something, is many things: it's a way of doing philosophy, it's a way of opening a dialogue, it's a way of putting a fact or a question out into the world, or a way of drawing people into new relationships, or a way of interrogating history. It's all these other sorts of strategies or techniques or processes that are really interesting and really valuable.
I'd rather do anything than make commercial art. I didn't go to school for art. Making art has certain advantages for me but they would never be in commercial direction.
Art experts are unfailingly opposed to Art for the simple reason that they are interested in Art - but Art is not interested in Art. Art is interested in life.
The question if this is a work of art or not is not very interesting for us. Probably it is situated in between the established categories. Anyway the audience which is interested in art would be the most open-minded and willing to think about it.
I have always believed that art should be a deep pleasure. I think there is a contradiction in an art of total despair, because the very fact that the art is made seems to contradict despair.
I would say the connection between art and science is very tenuous for me. It's just that I'm interested in both. I don't think that my interest in art affects the kind of science that I do.
Japanese people accept that art and commerce will be blended; and, in fact, they are surprised by the rigid and pretentious Western hierarchy of 'high art.'
One clear difference between art and commercial work is that commercial work is exploitive: the work may be high quality but the intention is to sell product or tickets. Art exists with or without ticket sales.
Mexico City is the center of art and culture and politics and has been and continues to be for Latin America in a way that I think really called to me as an artistic person, as someone that was interested in the politics of Latin America, you know. God, every single famous person in Latin American history and art and politics seems to have found their way to Mexico City.
Art has often been and continues to be considered transcendent. I see this as misguided and, in fact, a way of subverting the powerful voice art can be in global discussions about politics, economics, society, culture, religion and international relations.
I don't make a division between an art film and commercial art.
In Britten or Berg, there's a tension between the sweet and the sour, between the familiar and the unfamiliar, the tonal and the atonal, the happy and the sad. That, to me, is what all western art is about - that tension. It's why we want to say anything at all.
The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.
I am afraid of what is happening in the West. In a way, the link between art and politics is about to snap. Music and politics, it seems, are increasingly considered to be separate domains. Music is about making peace, not conflict, they say. And, therefore, it is best to do what is considered normal and uncontroversial. Increasingly, accepting the status quo is a precondition for being considered entertainment, while protest culture is grouped alongside politics.
For one thing, I don't think art needs to be about suffering; sometimes it really seems like it's only the art about pain that is interpreted as profound, and in my work for years I've really tried to deal with subjects that are substantial, not just fluffy, but presented in a more playful, approachable kind of way.
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