Top 54 Quotes & Sayings by James Rosenquist

Explore popular quotes and sayings by an American artist James Rosenquist.
Last updated on September 17, 2024.
James Rosenquist

James Rosenquist was an American artist and one of the proponents of the pop art movement. Drawing from his background working in sign painting, Rosenquist's pieces often explored the role of advertising and consumer culture in art and society, utilizing techniques he learned making commercial art to depict popular cultural icons and mundane everyday objects. While his works have often been compared to those from other key figures of the pop art movement, such as Andy Warhol and Roy Lichtenstein, Rosenquist's pieces were unique in the way that they often employed elements of surrealism using fragments of advertisements and cultural imagery to emphasize the overwhelming nature of ads. He was a 2001 inductee into the Florida Artists Hall of Fame.

I am not in yesterday; I am not in tomorrow. I am right now.
I hitchhiked to Miami in 1953, and there were oranges laying on the road, black shantytowns, and marinas with nice boats. The museums were virtually empty.
I decided to make pictures of fragments, images that would spill off the canvas instead of recede into it like a medicine cabinet. I wanted to find images that were in a 'nether-nether-land': things that were a little out of style but hadn't reached the point of nostalgia.
Many of my old friends are gone now. I have a hard time dealing with the fact that they're just not there to talk to. I can't call them up for a rabbit-skin glue recipe anymore.
Certainly I have made comments on American society with the various pictures and have done about nine antiwar paintings. But I did them because I was incorporating my feelings into my work.
I learned a lot of painting tricks painting outside. — © James Rosenquist
I learned a lot of painting tricks painting outside.
I went to the University of Minnesota, and I met this amazing artist named Cameron Boothe there who was in World War I, who studied with Hans Hoffman in Munich.
Warhol was questioning the capitalist society.
I feel lucky that I've been able to make a living from painting any idea that comes into my head.
I don't do anecdotes. I accumulate experiences.
You live till you die, and that's the end of it. What good is your legacy when you are dead? I worry about being alive, selling work, having fun, moving and doing things when I am alive.
People can remember their childhood, but events from four or five years ago are in a never-never land.
It's amazing how you meet people through other people. I knew a racecar driver, Stefan Johansson, who was very hot. He introduced me to Jean Todt. He introduced me to a French doctor. He introduced me to a French architect who redid the Louvre with I.M. Pei. He introduced me to Daniel Boulud.
Popular culture isn't a freeze-frame; it is images zapping by in rapid-fire succession, which is why collage is such an effective way of representing contemporary life. The blur between images creates a kind of motion in the mind.
I'm the one who gave steroids to Pop art.
The only thing the Pop Artists had in common is that we all had been commercial artists in some manner. Lichtenstein was a draftsman; I was a billboard painter, but we didn't work together. I didn't meet Andy Warhol until 1964.
When I started out, I wanted to paint the Sistine Chapel. But I didn't have the content. — © James Rosenquist
When I started out, I wanted to paint the Sistine Chapel. But I didn't have the content.
I was on a panel with Marshall McLuhan in Canada. Someone says, 'Mr. McLuhan, I read your book, and I disagree with you.' And he says, 'Oh, you read my book? Then you only know half the story.'
I stick the collages on the wall and, if I still like them after a month or two, I make a painting.
I'm interested in contemporary vision - the flicker of chrome, reflections, rapid associations, quick flashes of light. Bing! Bang!
If a person is insane or troubled, you first have to get the person to admit that they have a problem before you can solve anything.
I can handle ups and downs.
The automobile crash was... devastating in ways that I still cannot really bear to think about... It took me many years to recover. In some ways, I never have.
I used to know Madison Avenue advertisers. I didn't like 'em. Bunch of jerks.
When I got my first loft, I still didn't know what I was going to paint... There were long stretches when I just sat there and thought without interruption.
As a person gets older, time gets more interesting. As a kid, you waste so much of it.
We may seem insignificantly small, but we exist. So I remain optimistic.
Many young artists, they look at the art world and think they can make a lot of money.
When things become peculiar, frustrating and strange, I think it's a good time to start painting.
I travel a lot.
Nothing weighs on me. I don't feel any weight.
I am getting old, so I really don't like clocks.
The best thing about being an artist is the free clothing and getting to kiss pretty girls.
The very, very beginning is that my mother and father were aviators.
I hate getting old, but I'm sticking with it!
I painted billboards above every candy store in Brooklyn.
I think of my actions every day: what seems to be important and what isn't.
Scientists say, 'There is no such thing as time; gravity is a dust from another universe, and outside our own universe are many, many universes in all directions.' They speculate that attached to these universes are probably 6,000 planets identical to Earth. So are there things living out there? Animals, people, anything?
Believe it or not, there were very few books on art, years ago. — © James Rosenquist
Believe it or not, there were very few books on art, years ago.
I started billboard painting in Minneapolis, and I went to General Outdoor Advertising, and I said, 'I could do that.' They said, 'Oh yeah... we can always use a good man around here.'
I painted the Astor-Victoria sign seven times, and it's 395 feet wide and 58 feet high. I dropped a gallon of purple paint on Seventh Avenue and 47th Street from 15 stories up and didn't kill anybody. I dropped a brush at Columbus Circle. It fell on a guy's camel-hair coat.
The image is not important.
There was one reviewer from the 'New York Times,' I forget his name, who said I was 'death warmed over.' I wrote him back that I knew more about death than he did. The 'Times' fired him, put him in the cooking department!
We are attacked by radio and television and visual communication at such speed and with such force that painting seems very old fashioned ...why shouldn't it be done with that power and gusto [of advertising], with that impact.
I'm always trying to do things that no one has ever seen before.
If you are close to it, a big painting is just a feeling around you, that's all.
Whenever I got a new studio I made the largest possible painting, and since the ceiling was low, the painting became horizontal. As I changed studios and got larger spaces, I made bigger paintings.
In many ways my paintings are about energy — both in how they are created and the image itself.
I was probably born with the ability to draw, but that does not make you an artist. — © James Rosenquist
I was probably born with the ability to draw, but that does not make you an artist.
History is remembered by its art, not its war machines.
I think being an artist is having the courage to be original. Many great artists, including Picasso, have all been influenced by the great master paintings... And then finally, they leap, they take off... they become themselves. Then it looks like they just came out of nowhere. Just like 'Pow!'
Paintings are memories. Memories of the painter who painted them. Memories that can be shared as well. Paintings are things to remember things by.
It fascinates me to create beautiful paintings with the simplest means.
I tell young people that the greatest paintings in museums are made with minerals mixed in oil smeared on cloth with the hair from the back of a pig's ear. It's that simple.
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