Pop Art Quotes

Pop Art is not painting because painting must have content and emotion.

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

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

I don't think of myself as just a pop artist, but someone who knows she has a bigger meaning. I'm not doing this for myself; I'm doing this because it's my destiny.

Mine was not pop art. I maybe started with a subject, but I changed the subject.

In fact, on a side note, after the success of the first record, I got asked to write for some pop artists, as everybody does, and I did a couple songs for some of these massive stars and the review that I got back was, "This artist likes the song but it's too POP-y for them." I was like, "What do you mean, I thought I was writing for a pop star."

I personally always hated Pop art.

After pop art, graffiti is probably the biggest art movement in recent history to have such an impact on culture.

I've watched so many women, from Kathleen Hanna all the way up to Taylor Swift, whether they're pop artists or rock stars or fine artists or writers, it is the subhistory of female artists that if you're going to make art, you're also going to have a full-time job of defending your right to make art.

I’m really afraid to feel happy because it never lasts

I'm not a pop artist. For me pop never was.... Pop is concerned with exteriors. I'm concerned with interiors. When I use objects, I see them as a vocabulary of feelings. I can spend a lot of time with objects, and they leave me as satisfied as a good meal. I don't think pop artists feel that way.

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.

I think for the open-minded, I'm a lot like Luciano Pavarotti... But I don't know the technique. I'm learning. I think Pavarotti was a citizen of the world. He was very eclectic. He sang with Sting and with a lot of other pop artists, and this open-mindedness, for me, is very important.

Andy Warhol defined Pop Art.

No matter what genre of music you play when you rack up a couple years of experience, you have your own point of view no matter who it is that is coming in front of you whether it's a pop artist or a country artist. Whoever.

I started drawing comics, and at first I was very influenced by the whole pop art movement, you know, Batman was on TV and all that pop art stuff? But then my next influence was in 1966, or maybe it was '65, I don't know. Somebody showed me a copy of the "East Village Other", which was an underground newspaper. And... it had comics in it! And they weren't superhero comics.

I don't listen to the contemporary pop artists. They all sound alike, anyway.

Business art is the step that comes after Art. I started as a commercial artist, and I want to finish as a business artist.

I think in daily newspapers, the way comic strips are treated, it's as if newspaper publishers are going out of their way to kill the medium. They're printing the comics so small that most strips are just talking heads, and if you look back at the glory days of comic strips, you can see that they were showcases for some of the best pop art ever to come out.

People should fall in love with their eyes closed.

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.

I did do, well before Pop Art, all the cartoon characters as paintings.

I am a pop artist, so my medium is public opinion and the world is my canvas.

I never read, I just look at pictures.

I'm always on the look out for 'the good image'. I'm like The Borg (you know, Star Trek) inasmuch as I assimilate everything - but I like to think I'm working in the Pop Art tradition.

I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc.

I did an art show for Donald Trump at his house in Palm Beach, Florida. It was a bunch of pop art and stuff like that, so I wasn't doing any graffiti at that time, so I'd say from about 2000 to 2006, I wasn't doing any graffiti.

I think the term 'conceptual art' is a useful term for writers, a basket to put people in, like Pop Art or Impressionism or whatever.

Before pop art, there was such a thing as bad taste. Now there's kitsch, schlock, camp, and porn.

I've always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artist can do is be honest with themselves and make the art they want to make. That's what I've always done.

I'm afraid that if you look at a thing long enough, it loses all of its meaning.

In England, pop art and fine art stand resolutely back to back.

Damien Hirst is the Elvis of the English art world, its ayatollah, deliverer, and big-thinking entrepreneurial potty-mouthed prophet and front man. Hirst synthesizes punk, Pop Art, Jeff Koons, Marcel Duchamp, Francis Bacon, and Catholicism.

We use the term pop in the art world, as in Pop Art, but we forget that its root is popular - popular culture.

Warhol and other Pop artists had brought the art religion of art for art's sake to an end.  If art was only business, then rock expressed that transcendental, religious yearning for communal, nonmarket esthetic feeling that official art denied.  For a time during the seventies, rock culture became the religion of the avant-garde art world.

When I went to college, and I went to art school, I started to realize that Warhol was cool and that pop art was fun.

I then discovered the Pop Art of Warhol, Lichtenstein, and Peter Max. I was inspired that these fun and colourful images could be presented seriously on canvas.

Art is what you can get away with.

By the late '50s, something was happening in England, and it got to be quite exciting. The music world then started to explode with the Beatles and the Rolling Stones. It was an incredible time with this mixture of independence in art, fashion, and the explosion of the pop sensibility. London was certainly at the center of it all for a few years. And as far as art is concerned, I think that sensibility of what was later called Pop art started in England even before America. And so I was lucky to be there.

I'm maybe not so anxious to be a successful pop artist. Of course I want people to like my music, but I know what the price of success can be, too. Basically, I'm happy as long as I can keep my freedom, so I'm so happy with the way things are at the moment. I get to be hands-on with details in every aspect of what I'm doing, but I also get to perform for a big audience.

The idea of waiting for something makes it more exciting

Pop art is the American Dream, optimistic, generous, and naive!

Much to my chagrin, I think that cinema has gone the wrong way in America because in many ways, I pioneered the use of video which eventually became digital video. Everyone can do it; it's Pop Art time: "Everything is art, why should you take it so seriously, after all it's kind of like a clambake." I don't buy that.

I wonder if it's possible to have a love affair that lasts forever.

I see no reason why the artistic world can't absolutely merge with Madison Avenue. Pop art is a move in that direction. Why can't we have advertisements with beautiful words and beautiful images?

I'm not so interested in this series of ruptures, where minimalism took over pop art, and then neo-expressionism was a triumph over that. I'm not interested in rupture - I'm interested in healing, bringing things together, building bridges. Not dismissing what has come before as a kind of modernist precedent, where one thing has to be broken in order to achieve something else. I don't believe in that kind of attitude. I think we're beyond that at this stage.

How can you say one style is better than another? You ought to be able to be an Abstract Expressionist next week, or a Pop artist, or a realist, without feeling you've given up something.. I think that would be so great, to be able to change styles. And I think that's what's is going to happen, that's going to be the whole new scene.

It is the transcendent (or 'abstract' or 'self-contained') nature of music that the new so called concretism--Pop Art, eighteen-hour slices-of-reality films, musique concrete--opposes. But instead of bringing art and reality closer together, the new movement merely thins out the distinction.

The pop artists did images that anybody walking down Broadway could recognize in a split second — comics, picnic tables, men’s trousers, celebrities, shower curtains, refrigerators, Coke bottles. All the great modern things that the Abstract Expressionists tried not to notice at all.

Reality itself is steadily becoming more colored. Think of what factories were like, especially in Italy at the beginning of the 19th century, when industrialization was just beginning: gray, brown and smoky. Color didn't exist. Today, instead, most everything is colored. The pipe running from the basement to the 12th floor is green because it carries steam. The one carrying electricity is red, and that with water is purple. Also, plastic colors have filled our homes, even revolutionized our taste. Pop art grew out of that and was possible because of this change in taste.