A Quote by James Rosenquist
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.
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Incorporating an awareness of style in the paintings gives them a kind of electricity and holds them together. It can plug you into the moment at which they were made.
All I know for sure is that dreams are the pictures of states wanting to turn into processes. Dreams are maps of the beginning of an otherwise unchartered trip into the unknown. They are pictures of the unknown which appear in many channels. Because process work is body-oriented, I put a stress upon feelings, but dreams are not pictures of just feelings; they are pictures of the way the unknown is showing itself in a given moment.
I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.
Well, we think the broadcasts did have some effect, because we see the antiwar movement in the U.S. building up, growing and so we think that our broadcast is a support to this antiwar movement.
When we speak about a culture of violence in the American society, we're not just talking about the mass killers. We're also talking about that we, as a society, and many of us as individuals accept violence as part of life because we have become numb to it, being so exposed to it in various forms of media.
American society was economically ill-run in the 1980s. Our society has been on a consumption binge. If the American people had a town meeting and said, 'What do we care about posterity? Posterity hasn't done anything for us; we're going to whoop it up now,' that is a rational judgment. But nobody ever did that.
It is hard to think of any work of art of which one can say 'this saved the life of one Jew, one Vietnamese, one Cambodian'. Specific books, perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920's is that they they thought such a work of art could be made. Perhaps it was a certain naivete that made them think so. But it is certainly our loss that we cannot.
In the metaphysical elements of aesthetics the various nonmoral feelings are to be made use of; in the elements of moral metaphysics the various moral feelings of men, according to the differences in sex, age, education, and government, of races and climates, are to be employed.
When I did 'Esquire,' I did a lot of celebrity covers, but the celebrity cover was Hubert Humphrey as a dummy, sitting on Lyndon Johnson's lap and aping his feelings about the war. I did celebrity covers that made a difference in what was going on in American culture.
At school he had done things which had formerly seemed to him very horrid and made him feel disgusted with himself when he did them; but when later on he saw that such actions were done by people of good position and that they did not regard them as wrong, he was able not exactly to regard them as right, but to forget about them entirely or not be at all troubled at remembering them.
There are always forces at work in a society, certainly in America, which are really forces of censorship -either religious bodies or zealots who are always putting pressure on things, whether it's books or art or film. And all art is fundamentally subversive, because it upsets people's perceptions, their notions about society. Therefore, art is dangerous, but good art is always making us reassess our thoughts and feelings about how we relate to other people. There are always people who fear that and want to suppress that.
Media are focused on comments Michael Jordan made about race which appear in my book. He made those comments years ago, talking of his youth
All pictures are unnatural. All pictures are sad because they're about dead people. Paintings you don't think of in a special time or with a specific event. With photos I always think I'm looking at something dead.
I made 60 motion pictures and only wore the sarong in about six pictures, but it did become a kind of trademark.
The Lord has done what I wanted Him to do this week. I wanted, primarily, peace about going into pioneer Indian work. And as I analyze my feelings now, I feel quite at ease about saying that tribal work in South American jungles is the general direction of my missionary purpose.
Iran has made vile comments, anti-Semitic comments, comments about the destruction of Israel. It is precisely for that reason that even before I became president, I said Iran could not have a nuclear weapon.
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