"I think my work is different from comic strip – but I wouldnt call it transformation.. .What I do is form, whereas the comic strip is not formed in the sense Im 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. And my work is actually different form comic strips in that every mark is really in a different place. However slight the difference seems to some."
Roy Fox Lichtenstein was an American artist. A leading figure of the Pop Art movement, he is best known for his large-scale paintings inspired by comic books, advertisements, and mass-produced imagery. Lichtenstein's art is represented in major museum collections worldwide, and he remains one of the most influential and recognizable artists of the 20th century.
"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 doesnt look like a painting of something, it looks like the thing itself."
"I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comics are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We’re using those things – but were not really advocating stupidity, international teenagerism and terrorism."
"Everybody has called Pop Art American painting, but its 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."
"My work is actually different from comic strips in that every mark is really in a different place, however slight the difference seems to some. The difference is often not great, but it is crucial."
"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, hes forming. I think my work is different from comic strips – but I wouldnt call it transformation; I dont 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."
"How can you [accept] exploitation? How can you like the complete mechanization of work? How can you like bad art? I have to answer that I accept it as being there, in the world."
"Since the Chernobyl accident, we have worked all over the globe to raise nuclear safety performance. And since the September 2001 terrorist attacks, we have worked with even greater intensity on nuclear security. On both fronts, we have built an international network of legal norms and performance standards. But our most tangible impact has been on the ground. Hundreds of missions, in every part of the world, with international experts making sure nuclear activities are safe and secure. I am very proud of the 2,300 hard working men and women that make up the IAEA staff — the colleagues with whom I share this honour. Some of them are here with me today. We come from over 90 countries. We bring many different perspectives to our work. Our diversity is our strength. We are limited in our authority. We have a very modest budget. And we have no armies. But armed with the strength of our convictions, we will continue to speak truth to power. And we will continue to carry out our mandate with independence and objectivity."
Mohamed ElBaradei"The office is designed for "work," not productivity. Work can be defined as "anything youd rather not be doing." Productivity is a different matter. Telecommuting substitutes two hours of productivity for ten hours of work."
"He found his best satisfaction not in pleasure but in toil. He could live with little food, little sleep - and very little dalliance. The one thing he could not dispense with was work, and work in prodigious quantities."
Napoleon"The work of the eyes is done. Go now and do the heart-work on the images imprisoned within you."
"Open, ye heavens, your living doors; let in The great Creator from his work returnd Magnificent, his six days work, a world!"
"Work work, work, work, die. Youd think I was a protestant."