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fb it's been good and i think that we're living in it to a large extent is part of the fact that our society into one of the facets of the open society which is new and the fact that that hadn't existed before but it's made in a way partly a new landscape for us and waved of billboards and then ian sample with the flu a very familiar with and the also literature and television radio live all mythology landscape all our environment think made a
partially of desire to sell products there's the landscape alone tre tre and the style of it or the style which it reached parity the style of a society i'm interested in portraying the sword and the sensibility that pervades society and baby rose oversimplification and i use that morris dollars actually i really don't think that art can be rose an oversimplified and remain or do you yes that unity otherwise it's not in the realm of altered something else but i think that really is the starting to give it a kind of brutality and maybe possibility that it is useful to me
is that way but a minute that the fuel station is attending the casbah less than a point but they're the the aggressiveness as aggressive or the possibility of thing and it's this kind of thing we can which of these forms of crystallizes into a a kind of stop and don't get that serenity and the sensibilities and conceptual appearance of the work that interest me and my subject in a new sensibility but i'm trying to bring to a parent and it's a new sense of the probably not so much
is apparent absence of the new modern sensibility instead sale at big european sensibility as opposed to you have that kind of relationship american paintings rather careful not to get the work done and rearrange that i try to do with the years those with only done once in the
stark question really aligned really work out that way you're going to make it possible another way of feeling what a feeling it was a lot of the pain that i've done on that finnish that's one kind of industrial texture but i've been interested in very glossy surfaces which would do even more sanitary
mind when hospital harvard for lunch counters or whatnot and you just roll out plastic go because it has a three dimensional quality surfaces particular forms of a land where violence with the change of light or change of movement the background while will seem to change and it's england itself very well to landscapes because it's reminiscent of the sky which would change because of reminiscent of commercial handling sky might be a way to make it a beautiful it's sky that would stop your eyes he went by a store certificate a commercial aspect as well as a beautiful on the pulse of the plastics themselves being a modern materials and associated with industry and so forth and that's reminiscent of past are the fun they're very unsympathetic to my news interviews in agreement or landscape i started out to try to do things in a proxy pain and difficulty working within
the idea occurred to me that i could have been a porcelain enameled on steel opiates of waste and for me so i tried to find out factory that would work along with me and the idea of getting into an industrial process itself was interesting then from this out without it we could easily make a three dimensional object which i could fabricate and cardboard and make going to the national plan on paper and the factory would execute the most of these were explosions all out some were landscapes then i got interested in doing things really fully recovered because of these three dimensional love and novels are essentially two dimensional and look the family in my image of ceramic the idea of doing it in ceramics and in three dimensions with particularly interesting to me because this in the values they're used a three dimensional effect on a conventional surface
shadows and lighting that you see in cartooning and an advertisement to depict the kind of the light reflection of shiny surface which tried to make the conventional image look go round well the lesson that didn't happen which cups and saucers and the advertising on the surface of the news in the newspaper we have light and shade which depicted in in either flat the black marketeer and have turned out movies that have turned out to represent three dimensions but with these happen in the same chemical symbols on an actual three dimensional surface and to make a cartoon image of the symbols of which seem to be associated with a flat working two dimensional service with something that quite a bit also the idea of doing say a sculpture of cups and saucers in the same material with copses of abandonment or ceramic with another they had their little bit of a different problem with the original have the non and ceramic it was
another is an excuse for decorating a surface but a kind of interest and no one to me and the one that i want to get into an amusing contradictions between one a commercial are three dimensional i say why i started to do courtney ii began again in nineteen sixty sixty one to paint cartoons in still involved in a kind of abstract expressionist format of training using humor humor that animated our animal cartoon like mickey mouse and bugs bunny things it was successful in all of this sort of the painting love but in sixty one got the idea of kind of doing one fairly straight with you and with a peeling at which have been in my
abstract expressionist painting with no longer part of the painting and the kind of texture and i would usually be the commercial sector have toned up and let the engineer years ago from comic books looking for the true which means the whole possibility for painting both image a visual impact and in the impact of different message which i really make up an authentic be capable of making them up but i think messages which are of what kind of universal or in a way even we're so involved they become ludicrous when i did i had no idea that it would be interested in fact that i really felt that the unknown will look at it because they've there was pretty humorous and then though i was serious about the newspaper recognized the kind that don't recognize how other people would see these barracks i know that
my work has been accused of looking like the things that i copy and it really does look like things like that i think a lot of this is that people assume that similar things are identical but it is that quality whatever ideas that will transform a work of art to be something different from the subject matter and i believe i'm transforming listen to something else or at least that i'm forming barb has no it's true since i don't believe in it anymore thank you and people think of you as you know
the perfect pop artist without really knowing what that means more i think really knowing what your work is about and i can turn to talk some more about the paintings and things you did earlier because that's something that i think needs to be explained for the public which has at this point a certain portion of it and i'm not sure it's the one if you want to to the people but what really i think that doesn't matter to distance so that they feel one way rather than another about it as pl and humans were the voices and that's exciting not finished his tongue words
are so i can hunt his tongue words oh well i have been born in the us is a question your own incentives to be forced out of the sunscreen when lebron james and comic strips simpson's arraignment some other paintings of things things like
it didn't win thank you and he was reticent about himself must say unique sensibility one which is a contemporary world he surprises his own feelings just comes naturally to him but also imposes a judgment which uses work an objective almost surgically any time you are because of scream technique of making his pictures come up that would completely removes his own games the images only the choice of color
remains in the far as everyone knows is to feel a kind of things with the help of his assistants or through online and then what lichtenstein walter says images from commercial art and from the popular culture focusing on the most banal unfamiliar components of all the environment it was intentional and portable who mostly forces of attention with his own inventory of packaged labels will be stars and news photos of disasters things we never really lookout of blowing up the scale training so mechanically and possibly no family obviously repeating them with and send us on a different blindness have no
interest financing a lot of people might be implying that seems to me to put you down because they would say that we work as a certain distance as mechanical mean not really make it out of those things and yet like everyone else and start to talk about the things you say about really caring what people's lives you know like it's too hard to guarantee so watchers took care of you in other words are you saying that the two of you are involved in this idea of making people more conscious of the line but you don't really want to get into their lives to stir up and
i think that though that this is a point they won't work for you the distance your own biscuits that you keep from a business because of this feeling that you don't want to get close to it and never in any reworking of the really said anything that tells anyone anything but you don't want that to happen but there's an extraordinary things i think that for maybe up to the high point was the opening of the exhibition at the institute of contemporary art in philadelphia when someone who came that they have to take all the pictures and thousands of people jammed in their normal pictures spiegel just you and celebrity
you have any thoughts at all about the fact that so many people like the idea just been a larger settlement sheriff standing on a balcony and say oh i don't think so because i'm just sitting there strewn visions an answer and a lot of his attention more and more movies and his movies well someone for eight hours most of them were short three minute rio's like the thirty most beautiful women been watching manziel and
fish comes from the series sounds as it's
that's right it is thank you it began when the
films were simply unwilling to german song i've tended to make them more and more complicated getting the sound well what we were just saying to even sing instant in which advocates of a van in the world who are supporting its happening since shown no scratches you can sing
badly reasoned have the most of when you can shoot those soviet invasion washington just and shouldn't go to the concert so would you like to say something about the sculpture indians host this discussion because society that didn't happen in the way that identification was to make a painting that floats with
her to silver says silly things in the eyes to the student union and object in snohomish washington so you think that the chocolate will do that instead of having a painting which is largely along with one really neat things which involved people more
directly when susan davis we're combining this chance to combine music and art and films altogether in little things in addition to allow for moments when something to do that will be the biggest and the entry one screens long season when
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USA: Artists
Episode Number
Andy Warhol and Roy Lichtenstein
Producing Organization
National Educational Television and Radio Center
Contributing Organization
Thirteen WNET (New York, New York)
Library of Congress (Washington, District of Columbia)
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/75-612ngmc3).
Episode Description
This program focused on two leaders of pop art and their preoccupations as the ?movement? shifts to newer trends.
Episode Description
Andy Warhol and Roy Lichtenstein, both who makes use of the common object in art, are the subject of this episode. The first segment focuses on Roy Lichtenstein. Filmed in his studio and providing the opportunity to see many examples of his work, this episode presents Lichtenstein, who has taught art, talking academically about Pop Art. He tells of his interest in portraying the landscape created partially out of a desire to sell products: "billboards, neon-signs and all this stuff we're very familiar with ,AeP" But he does not think nor does he really want his art to carry any social message. He explains that when he first began to use the commercial texture of half-tone dots and flat painted areas - characteristic of much of the highly successful Pop Art he had no idea that anyone or any gallery would be interested.?x0BMuch-publicized artist Andy Warhol gives his first on-camera interview. He describes how his first Pop Art work came about, goes on to say that he has now given up painting, and explains his new sculptures: It's a way of finishing off painting and they (the sculptures - silver pillows filled with helium) can just go out of the window and fly away, they look very pretty flying away." The episode includes one of his "underground" films - three minutes-long "Nancy Worthington Fish" over which Edie Sedgwick tells what it is like to be a work-and-playmate of Andy Warhol. Warhol also tells of his plans for the world's largest discotheque, which will combine music, art, and films. The film documents his "scene" - the "factory" where he works and his friends. ?x0BMusic composed and conducted by Manny Album. Additional music by the Velvet Underground. Episode Running Time: 29:00 (Description adapted from documents in the NET Microfiche)
Series Description
USA: Artists features some of America's foremost artists, as National Educational Television's critically-acclaimed year-long "USA" series goes on to examine the coming of age of American painting and sculpture in the last two decades. "USA: Artists" is a production of National Educational Television. This series of 11 half-hour episodes was originally recorded on film. (Description adapted from documents in the NET Microfiche)
Broadcast Date
Asset type
Fine Arts
Copyright National Educational Television & Radio Center March 6, 1966
Media type
Moving Image
Associate Producer: Slate, Mallory
Director: Slate, Lane
Editor: Taylor, Emily
Editor: Giffard, Ellen
Executive Producer: Slate, Lane
Interviewee: Lichtenstein, Roy
Interviewee: Warhol, Andy
Narrator: Solomon, Alan
Producer: Slate, Lane
Producing Organization: National Educational Television and Radio Center
Writer: Solomon, Alan
AAPB Contributor Holdings
Thirteen - New York Public Media (WNET)
Identifier: wnet_aacip_1256 (WNET Archive)
Format: Betacam: SP
Generation: Master
Thirteen - New York Public Media (WNET)
Identifier: wnet_aacip_30809 (WNET Archive)
Format: Betacam: SP
Generation: Master
Thirteen - New York Public Media (WNET)
Identifier: wnet_aacip_30810 (WNET Archive)
Format: Betacam: SP
Generation: Master
Thirteen - New York Public Media (WNET)
Identifier: wnet_aacip_30800 (WNET Archive)
Format: Betacam: SP
Generation: Master
Indiana University Libraries Moving Image Archive
Identifier: [request film based on title] (Indiana University)
Format: 16mm film
Library of Congress
Identifier: 1994325-1 (MAVIS Item ID)
Format: 16mm film
Generation: Copy: Access
Color: B&W
Duration: 0:29:00
Library of Congress
Identifier: 1994325-2 (MAVIS Item ID)
Format: 16mm film
Generation: Copy: Access
Color: B&W
Duration: 0:29:00
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Chicago: “USA: Artists; 2; Andy Warhol and Roy Lichtenstein,” 1966-03-06, Thirteen WNET, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 21, 2024,
MLA: “USA: Artists; 2; Andy Warhol and Roy Lichtenstein.” 1966-03-06. Thirteen WNET, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 21, 2024. <>.
APA: USA: Artists; 2; Andy Warhol and Roy Lichtenstein. Boston, MA: Thirteen WNET, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from