Arne Glimcher Quotes

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

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

Pop artists deal with the lowly trivia of possessions and equipment that the present generation is lugging along with it on its safari into the future.

Pop art is a way of liking things.

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.

Pop art is for everyone.

Pop is everything art hasn't been for the last two decades...It springs newborn out of a boredom with the finality and over-saturation of Abstract-Expressionism, which, by its own esthetic logic, is the END of art, the glorious pinnacle of the long pyramidal creative process. Stifled by this rarefied atmosphere, some young painters turn back to some less exalted things like Coca-Cola, ice-cream sodas, big hamburgers, super-markets and 'EAT' signs. They are eye-hungry; they pop.

Take an exhibit, in the days when we saw the Pop art - Andy Warhol and all that - tomato soup cans, etc., and coming home, you saw everything like A. Warhol.

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.

Andy Warhol defined Pop Art.

It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.

Andy Warhol made fame more famous.

I'm a huge fan of David Hockney. I love the way he keeps reinventing himself.

In its most limited sense, modern, art would seem to concern itself only with the technical innovations of the period.

Just as Pollock used the drip to meld process and product, Richter 'found' and used the smudge and the blur to ravish the eye, creating works of psychic and physical power.

The basis for my own work during the years just before coming to America in 1915 was a desire to break up forms - to 'decompose' them much along the lines the cubists had done. But I wanted to go further - much further - in fact, in quite another direction altogether.

'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.

Pop art is the inedible raised to the unspeakable.

Warhol was questioning the capitalist society.

Art, it is said, is not a mirror, but a hammer: it does not reflect, it shapes.

Warhol was proof that you can be revolutionary without being militant.

In '68 I was 13 years old, so I was a child, but I felt a lot of excitement in listening to things, looking at the pop art coming over from America. My father was an art collector, and he was coming home with these strange pieces of art that weren't exposed in museums. At the time, it was quite revolutionary, very adventurous.

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