“Well, it [ (Pop Art ] is an involvement with what I think to be the most brazen and threatening characteristics of our culture, things we hate, but which are also powerful in their impingement on us. I think art since Paul Cezanne has become extremely romantic and unrealistic, feeding on art; it is utopian. It has had less and less to do with the world, it looks inward – neo Zen and all that. This is not so much a criticism as an obvious observation. Outside is the world; it’s there. Pop Art looks out into the world; it appears to accept its environment, which is not good or bad, but different – another state of mind.”

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

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Roy Lichtenstein15

American pop artist 1923–1997

Related quotes

“What interests me is to paint the kind of anti-sensitivity 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.”

Roy Lichtenstein (1923–1997) American pop artist

Quote of Lichtenstein in: Interview by G.R. Swenson (1963); as quoted in Painters on Painting, Eric Protter (1971) p. 263
1960's

“Everybody has called Pop Art 'American' painting, but it's actually industrial painting. America was hit by industrialism and capitalism harder and sooner and its values see more askew... I think the meaning of my work is that it’s industrial; it’s what all the world will soon become. Europe will be the same way, soon, so it [Pop Art] won’t be American; it will be universal.”

Roy Lichtenstein (1923–1997) American pop artist

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

“People keep on wanting fetish figures, and things like that are very popular. That's Pop art. There was an enormous resistance to Abstract Expressionism and there still is to that school, which is not dead at all. But Pop art came as a reaction to that because kids can't paint abstract expressionism unless they're under five year of age. Because it really is tremendously hard work and it's very challenging. But the point is, people love an immediately recognizable word – if you put a word in anything, they lie it... I am not interested in culture at all. Once a work of art has gotten into the culture, its dead as far as I'm concerned. I think there is a difference between art and culture. Or as the sage once said, 'Art is what we do; culture is what is done to us.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, pp. 22-23

“Pop art is neither an American invention nor an import, yet the terms and names were coined in the US, where they were popularised much faster than in Germany. This kind of art has evolved organically and independently over here, yet at the same time it becomes an analogy to American pop art due to certain psychological, cultural and economical preconditions that are the same in Germany as they are in the US.... For the first time we are showing paintings in Germany that relate to those terms, representing pop art, junk culture, imperial or capitalistic realism, new figuration, naturalism, German pop and other comparable terms.”

Gerhard Richter (1932) German visual artist, born 1932

Quote from Richter's letter to 'Neue Deutsche Wochenschau', 29 April 1963; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1 <br class="br">1960's

“Sometimes I think the worst thing is the current 'worldliness' of the whole [art] scene. It is the most deceptive, corrupting, transient thing, full of kicks and fun but so little to do with what it's all really about.... It has to do with our time, a desperate pact about the power of immediate-in-ness. But I feel less and less concerned with this as an issue. So what? No threat.”

Helen Frankenthaler (1928–2011) American artist

Source: 1960s, Interview with Henry Geldzahler', in 'Artforum', 1965, p. 38