Ross has a wonderful two-part rant against the evils of the pop art movement accompanied by this great photo of him flipping off Roy Lichtenstein :

That’s my assertive left hand, deftly explaining
to Roy Lichtenstein just what I think of his “work”. RL just happens to
be in my top 10 of most hated artists – he was nothing more than a
shallow elitist hack who robbed comics imagery, without respect or
consideration for the artistic value comics inherently posess.
(Seriously, do you realize just how annoying it is when some rich
twit with too much money and a trendy art collection find out that you
like/read/do comics, and they grab you sweatingly, shaking with
excitement as they inform you that “You must LOOOVE Lichtenstein!”. Um,
no art-tramp. And I hate Warhol too. Ugh, shudder, repeat.)
Instead of his ouevre, museums ought to feature Jack Kirby and Mike
Allred. Meanwhile, as you can see I’m fighting the good fight, in my
own immature way.
. . .
Lichtenstein and his cast of imitators didn’t swap issues of
Spider-Man, The Spirit, or Fritz the Cat. They didn’t consider the work
of geniuses like Charles Schultz or Al Capp worthy of consideration,
nor did they bother learning about the rich and diverse history of the
medium from which they pirated so callously. And yet, they claimed to
be transforming such disrespected art into fine culture?
No rapper or rock band would ever claim that their cover version, or
sample was somehow an elevation of a previously dull and uninspired
work, to the level of fine art. Eric B. and Rakim never claimed that I
Got Soul was somehow an improvement on the original James Brown. The
Sounds of Science, from Paul’s Boutique, isn’t ever held up as proof
that Sgt Pepper’s Lonely Heart’s Club band, from whence that song
samples, is a crushing bore given respect only because the Dust
brothers chose to spin it once or twice. In fact, the artists in
question would hold up their choice to cover or sample as proof of
their deep love or awe for the sampled or covered artist.
Not so in the so called Fine Arts world. As with the classical
world’s reaction to pop music in the 20th century, fine artists can’t
stand the idea that there are people in the world, posessing of
incredible talent and imagination, who choose not to flatter the
passions and tastes of isolated and effete bores who still care about
‘Finer things’.
Not only does the unattributed appropriation1 completely disrespect the work of classic comics artists, but the result is often a sterilized version of the original :
?I
detest the arrogant notion that commercial work just happens to exist
and is therefore devoid of creativity or intellectual process,? says [Watchmen artist
Dave]Gibbons. ?There are huge demands made on one?s creativity. The
kind of straight-from-the-subconscious work which can result is often
fascinating and deeply involving. I?d draw a parallel with the work of
Charles Dickens, whose work was produced under relentless commercial
pressure.
?Many of the ?art? copies of commercial work lack even the basic
craftsmanship of the original,? continues Gibbons. At this point
Glenn?s spiritual forebear comes into view. ?Roy Lichtenstein?s copies
of the work of Irv Novick and Russ Heath are flat, uncomprehending
tracings of quite sophisticated images . . . the original artists have
translated reality into clear, effective compositions using economical
and spirited linework.?
Hover your mouse over this Lichtenstein painting for a good example of what Gibbons is talking about :

The whole shtick behind Roy Lichtenstein?s work is the irony of placing
“low-brow” children’s illustration in a gallery setting as if to say
“Aren’t I clever? I’m hanging crap in an art gallery
2.”
To push this point even further, though, his copies of the original art
are deliberately simplified to remove subtle details (like the original
airplane’s rivets), the colors are flat and devoid of shading, the
shadows are misplaced, and the linework is uniform and bland. If you’re
going to go this far to alter the original, why bother lifting lifting
somebody else’s work at all?
The reason, of course, is because creating comics art is hard work.
When Russ Heath created the original, he undoubtedly worked with little
more than a script that said “the airplane explodes”. What did the
airplane look like? How intense was the explosion? What’s the best way
to frame the shot of the explosion? All of these questions had to be
considered before he even picked up his pencil. And that’s just one frame. The original version of Lichtenstein’s masterpiece was one of 6-8 pictures on a single comics page3. A page that Russ Heath probably earned $25-$50 to create.
Because of their reputation as a low-brow artform, the creators of
comic books have always made shit for money. Some of the medium’s most
revered illustrators often struggled to keep their heads above the
poverty level. Even now, with comic book movies making hundreds of
millions of dollars, most “successful” comic book artists are forced to
do commercial work on the side or rely on a day job that has nothing to
do with the industry. All of this low pay and lower respect is because
these talented men and women love the comics medium.
This is who hacks like Roy Lichtenstein are mocking when they steal
the work of others. To Lichtenstein, Russ Heath wasn’t a fellow artist
to whom he was paying tribute, he was just some unnamed amateur that
made that kiddie shit picked up on the way to the studio.
1 : Or as I like to call it, “stealing”.
2 : Then again, it’s not really hard to find crap
in most galleries. If you’ve got a good nose, you can usually smell the
shit-stained religious imagery from the parking lot.
3 : I haven’t even mentioned the amount of work that
goes into creating the pages of the comic as a whole. Aside from the
details within the frames themselves, each panel has to work as part of
a sequence in order to establish the proper pacing for the story and
set the overall tone.
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