A Quote by Edward Ruscha

All my artistic response comes from American things, and I guess I've always had a weakness for heroic imagery. — © Edward Ruscha
All my artistic response comes from American things, and I guess I've always had a weakness for heroic imagery.
I've always wanted to make a music video with skating and different imagery, something very artistic.
When we're talking about the "American response" to any disaster, it's not just a government response, an official response, it's a popular response.
No to spectacle no to virtuosity no to transformations and magic and make believe no to glamour and transcendency of the star image no to the heroic no to the anti-heroic no to trash imagery no to involvement of performer or spectator no to style no to camp no to seduction of spectator by the wiles of the performer no to eccentricity no to moving or being moved.
I had always loved beautiful and artistic things, though before leaving America I had had very little chance of seeing any.
Throughout American history, the political leaders have always exhorted the American people to be nice and quiet and leave things to them. But when very serious evils confronted the American people, they had to go beyond the Congressmen and Senators, and they had to commit civil disobedience and they had even to break the law.
We had a heroic attitude to artistic freedom, and we thought normal contracts were a bit vulgar - somehow not punk. But that was the whole point - we weren't a regular record label.
An entirely new factor has appeared in the social development of the country, and this factor is the Irish-American, and his influence. To mature its powers, to concentrate its action, to learn the secret of its own strength and of England's weakness, the Celtic intellect has had to cross the Atlantic. At home it had but learned the pathetic weakness of nationality; in a strange land it realised what indomitable forces nationality possesses. What captivity was to the Jews, exile has been to the Irish: America and American influence have educated them.
I was always a visual person. I could see things visually. I had a harder time with numbers and logic, and I always had more of an artistic sensibility. So that I could do. And it was something that I really loved.
The human response it calls for is truly heroic, requiring nothing short of rewiring the entire planet with a new generation of clean-energy technologies - and doing that very soon... Are we, as a species, capable of that kind of deliberate global response?
The really great gallerists have always been interested in imagery that is not that imagery.
Imagery is powerful. Imagery is provocative - satellite imagery much more so because it is from space, and it allows us to get this perspective that we don't have to have otherwise.
I think the narcissism comes from the industry side of things. The artistic side of a person is never narcissist; it's always empathic, it's always kind and compassionate. It can be difficult to hold onto artistic principles when the business is so glaringly about the product. It's sad.
Whereas Absurdism in Europe seemed a logical, almost inevitable response to the irrationality of war, the analogous elements that surfaced in American drama seemed more a response to a materialist society run amok. The American-style Absurdism seemed to spring full-blown out of television advertisements and situation comedies, which had become new myth-making machines.
I've always wanted to do a project with space imagery because I've always loved these amazing sci-fi electro book covers. I've always loved science fiction. I feel like space imagery has no boundaries.
I guess I'm always drawn to the underbelly of someone, really, as opposed to how heroic they are. I don't judge those sorts of people.
I always had this huge respect for American filmmakers and American actors. I always had this very strong love and respect for the American cinema. I always knew that I was going to leave Sweden.
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