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.

I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.

I think we're much smarter than we were. Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there's another purpose to it.

Art doesn't transform. It just plain forms.

I don't have big anxieties. I wish I did. I'd be much more interesting.

I think that most people think painters are kind of ridiculous, you know?

You know, as you compose music, you're just off in your own world. You have no idea where reality is, so to have an idea of what people think is pretty hard.

But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.

Yeah, you know, you like it to come on like gangbusters, but you get into passages that are very interesting and subtle, and sometimes your original intent changes quite a bit.

But usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.

I'm not really sure what social message my art carries, if any. And I don't really want it to carry one. I'm not interested in the subject matter to try to teach society anything, or to try to better our world in any way.

In America the biggest is the best.

I don't think that I'm over his influence but they probably don't look like Picassos; Picasso himself would probably have thrown up looking at my pictures.

Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist. You forget that this has been thirty five years now and people don't look at it as if it were some kind of oddity.

I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and all the colors around it and what it will really look like.

There is a relationship between cartooning and people like Mir= and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.

Personally, I feel that in my own work I wanted to look programmed or impersonal but I don't really believe I am being impersonal when I do it. And I don't think you could do this.

I like to pretend that my art has nothing to do with me.

Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.

Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.

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.

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

Everybody has called Pop Art 'American' painting, but it's actually industrial painting.

Art teaches nothing, except the significance of life.

The principal rule of art is to please and to move. All the other rules were created to achieve this first one.

I grew up with art from the innocent age of ten - with art, but with no sense of identity.

One does not devote one's life in art to shock an audience.

The other great development has been in photography, but that too was influenced by Conceptual art.

My art became very public.

Riding a race bike is an art - a thing that you do because you feel something inside.

The idea is, if I can't heal from my art, then how can you heal?

But in the finished art of the song the use of words has no connection with the use of words in poetry.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I don't believe in art. I believe in artists.

Art cannot be modern. Art is primordially eternal.

Without art, the crudeness of reality would make the world unbearable.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Where the spirit does not work with the hand, there is no art.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Art is an expression of who you are. Parts that I play are my sculptures.

There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

A man who exposes himself when he is intoxicated, has not the art of getting drunk.

What motivates me in art is the ugly and beautiful nature of the truth. It has to be truthful and honest, even if it is ugly and grotesque.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

I always feel like the art's there and I just see it, so it's not really a lot of work.

I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.