Lichtenstein Quotes

Work for a cause David, not for applause. Remember to live your life to express, not to impress, don’t strive to make your presence noticed, just make your absence felt. - Lichtenstein

Your opponent, in the end, is never really the player on the other side of the net, or the swimmer in the next lane, or the team on the other side of the field, or even the bar you must high-jump. Your opponent is yourself, your negative internal voices, your level of determination.

Adventure can be an end in itself. Self-discovery is the secret ingredient...

We scatter small parts of ourselves as we journey through life, pieces that are stored by others and about which we may have no memory.

The history professor Nelson Lichtenstein told me, “What you can’t measure, you can’t reward,” and that may be why executives are so focused on work hours. For decades, the corporate world has been consumed with metrics. Managers love tangible measures by which they can determine success or failure. Work hours is one of the easiest ways to measure employee performance, but total hours worked is a meaningless statistic.

It was around this time that I’d begun trying to perfect the art of fucking with people’s minds. I’d figured out that when someone else was hogging the limelight, you could cut him down to size by bringing up a subject he didn’t know anything about. If the other person knew a lot about literature, I’d talk about the Velvet Underground; if he knew a lot about rock, I’d talk about Messiaen; if he knew a lot about classical music, I’d talk about Roy Lichtenstein; if he knew a lot about pop art, I’d talk about Jean Genet; and so on. Do that in a small provincial city and you never lose an argument.

David stood up and said: Sorry Lichtenstein, but I am not here to change the world. I am changing the world because I am here.

Popart was oorspronkelijk bedoeld als een belediging, maar al in 1963 moest Lichtensteien in een interview vaststellen dat het moeilijk was een schilderij te maken dat de mensen niet aan de wand zouden willen hangen: alles werd aan de wand gehangen, de mensen zouden eraan gewend raken. Zelfs tegen de alom afgewezen commerciële kunst was men niet haatdragend genoeg.

studies, showed that drastically lowering fat to 10 percent or less seemed only to exacerbate the problems associated with a 30 percent–fat diet. The bad kind of cholesterol dropped (which was good), but so did the good cholesterol (which was bad), and triglycerides went up (also bad), sometimes by as much as 70 percent (very bad). Lichtenstein concluded that very low-fat diets “are not beneficial and may be harmful.

There is voluminous evidence that exclusive reliance on heuristic processing tendencies of Type I sometimes results in suboptimal responding (Baron, 2008; Evans, 2007a; Gilovich, Griffin, & Kahneman, 2002; Johnson-Laird, 2006; Kahneman & Tversky, 1973, 1996, 2000; Koehler & Harvey, 2004; Nickerson, 2004, 2008; Nisbett & Ross, 1980; Tversky & Kahneman, 1974, 1983, 1986) and that such thinking errors are not limited to the laboratory (Ariely, 2008; Åstebro, Jeffrey, & Adomdza, 2007; Baron, 1998; Baron, Bazerman, & Shonk, 2006; Belsky & Gilovich, 1999; Berner & Graber, 2008; Camerer, 2000; Chapman & Elstein, 2000; Croskerry, 2009a, 2009b; Dawes, 2001; Hilton, 2003; Kahneman & Tversky, 2000; Lichtenstein & Slovic, 2006; Lilienfeld, Ammirati, & Landfield, 2009; Myers, 2002; Prentice, 2003; Reyna et al., 2009; Stewart, 2009; Sunstein, 2002, 2005; Taleb, 2001, 2007; Tavris & Aronson, 2007; Tetlock, 2005; Thaler & Sunstein, 2008; Ubel, 2000).

Little in American culture, politics, or business encourages the institutionalization of a collective employee voice.

This book is a mirror. When a monkey looks in, no philosopher looks out."—Lichtenstein. Does that refer to one book only, or to all books?

Jesus Christ is rather more important than the ambassador from Lichtenstein.

Pop art from the sixties lingered on as a movement, mutating and becoming more ironic as it drifted further from its origins. Compared to some of the dour work of the conceptualists and minimalists, one felt that at least these artists had a sense of fun. Warhol, Rauschenberg, Rosenquist, Lichtenstein, and their kin were about embracing, in a peculiar, ironic way, a world with which we were familiar. They accepted that pop culture was the water in which we all swam. I think I can speak for a lot of the musicians in New York at that time and say that we genuinely liked a lot of pop culture, and that we appreciated workmanlike song craft. Talking Heads did covers of 1910 Fruitgum Company and the Troggs, and Patti Smith famously reworked the über-primitive song “Gloria” as well as the soul song “Land of 1,000 Dances.” Of course, our cover tunes were very different from those we would have been expected to play if we had been a bar band that played covers. That would have meant Fleetwood Mac, Rod Stewart, Donny & Marie, Heart, ELO, or Bob Seger. Don’t get me wrong, some of them had some great songs, but they sure weren’t singing about the world as we were experiencing it. The earlier, more primitive pop hits we’d first heard on the radio as suburban children now seemed like diamonds in the rough to us. To cover those songs was to establish a link between one’s earliest experience of pop music and one’s present ambitions—to revive that innocent excitement and meaning.

After facing this, Orr faced another possibility. If she walked by right now looking for me, he thought, would I recognize her? She was brown. A clear, dark, amber brown, like Baltic amber, or a cup of strong Ceylon tea. But no brown people went by. No black people, no white, no yellow, no red. They came from every part of the earth to work at the World Planning Center or to look at it, from Thailand, Argentina, Ghana, China, Ireland, Tasmania, Lebanon, Ethiopia, Vietnam, Honduras, Lichtenstein. But they all wore the same clothes, trousers, tunic, raincape; and underneath the clothes they were all the same color. They were gray.

The biggest troublemaker David will probably ever have to deal with, watches him from the mirror every morning.

Be the kind of woman that when your feet hit the floor in the morning David will say “Damn, she’s up

I’m sorry Mr Lichtenstein, but your January birthday means only one thing and that's you're probably conceived on April Fools Day.

David, dear. But you look the best when you wear your smile. There is no beauty like the one that comes from inside you.

That morning David realized that grudges are a waste of perfect happiness. Laugh when every time you can Mr Lichtenstein. Apologize when you should, and let go of what you can’t change.

There were the artifacts. The signed Lichtenstein that was presented as a wedding gift. The watercolor by Henry Miller for when I was born. Robert Lowell’s notes on her poems. Philip Roth and Saul Bellow were guests at the house and praised her work.

Enxergar o óbvio é privilégio de poucos. Em geral, as respostas para os problemas mais complexos estão à nossa frente, como que zombando do nosso desespero cego.

Manhattan is dangerous, though not for the old reasons: muggings, pickpocketing, prostitution. The danger is that the longer you stay - the longer you're bathed in the glow of blinking screens in Times Square, swept along by swarms of commuters, pursued by a mangy imitation of Mickey Mouse who wants a few dollars to pose for photos - the less you're able to feel the wonder. The lights dim. The little battles with subway doors, your radiator, the rat that walks into you in Union Square as if you were the rodent, wear you down. You grow tired, switch off certain receptors. For years I paid little attention of my city, and in time, it disappeared. I put on sunglasses, put in earbuds, and blindly walked the streets that Billie Holiday and Roy Lichtenstein had walked. Every parade was an inconvenience, as was every stranger, talking too loudly, walking too slowly. I was living in one of the most visited cities in America, working in a skyscraper that people from all over the world stopped to photograph, and skipping town whenever possible.