“My primary concern is visual form. The visual meaning may be discovered afterwards – by those who look for it. Two meanings have been ascribed to these American Flag paintings of mine. One position is: 'He's painted a flag so you don't have to think of it as a flag but only as a painting'. The other is: 'You are enabled by the way he has painted it to see it as a flag and not as a painting.”

—  Jasper Johns

Actually both positions are implicit in the paintings, so you don't have to choose.
The Insiders, Rejection en Rediscovery of Man in the Arts of our Time, Selden Rodman, Baton Rouge, Louisiana State University Press, 1960, Chapter 6.
1960s

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American artist 1930

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“[to see the painting].. as an object, as a real thing in itself. (quote on his Flag-paintings)”

Jasper Johns (1930) American artist

Quote from: Abstract Art, Anna Moszynska, Thames and Hudson 1990, p. 200
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“I make what it pleases me to make.... I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason. I intuitively paint flags.”

Jasper Johns (1930) American artist

Quote of Jasper Johns, as cited in Trend to the Anti-Art: Targets and Flags, Newsweek 51 no. 13, March 1958, p. 96
1950s

“It all began with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn't have to design it. So I want on to similar things like the targets things the mind already knows. That gave me room to work on other levels. For instance, I've always thought of a painting as a surface; painting it in one color made this very clear... A picture ought to be looked at the same way you look at a radiator.”

Jasper Johns (1930) American artist

His heart belong to DADA, Time 73, 4 May, 1959: 58; as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 82
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Frank Stella photo

“The thing that struck me most was the way he stuck to the motif [in the 'Flag' and 'Target' paintings by Jasper Johns ]…. the idea of stripes – the rhythm and the interval – the idea of repetition. I began to think a lot about repetition.”

Frank Stella (1936) American artist

quote, 1960's
Quotes, 1960 - 1970
Source: The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, pp. 215-216

Pablo Picasso photo

“…this bull is a bull and this horse is a horse… If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Quoted in: Paul Jones (2011), The Sociology of Architecture: Constructing Identities. p. 47.
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Jonah Goldberg photo

“Both flag burners and flag wavers can agree on one thing: The flag has meaning beyond the merely instrumental necessity of having a piece of cloth that identifies a legal jurisdiction.”

Jonah Goldberg (1969) American political writer and pundit

&quot;The Power of Symbols in Our Politics of Digust&quot; https://www.nationalreview.com/g-file/power-of-symbols-politics-of-disgust/ (28 December 2018), National Review <br class="br">2010s, 2018

Gerhard Richter photo

“Painting has nothing to do with thinking, because in painting thinking is painting. Thinking is language – record-keeping – and has to take place before and after. Einstein did not think when he was calculating: he calculated – producing the next equation in reaction to the one that went before – just as in painting one form is a response to another and so on.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“The captain-general’s ship flew at its mast a flag on which was painted a large cross of Christ and also carried cannon, symbols of the new power entering the East.”

K. M. Panikkar (1895–1963) Indian diplomat, academic and historian

Asia and Western Dominance: a survey of the Vasco Da Gama epoch of Asian history, 1498–1945

“I believe that there are varying points of contact. You have to be able to see the whole thing first. All great paintings are sculptures – there's so much of the factualness about it that a great painting forces you into a visual, physical movement of yourself. That's what determines the way you experience a painting kinetically. You move closer, you sight down it, you till your head, you step back, you feel as though you are in it. That being in it is just as important as looking from a distance.”

Kenneth Noland (1924–2010) American artist

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Roy Lichtenstein photo

“Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He’s working with paint, not nature; he’s making a painting, he's forming. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. What I do is form, whereas the comic strip is not formed in the sense I’m using the word; the comics have shapes but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

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