I work in the '60s more than I've done anything else. I did a movie, called Down with Love, in the '60s. I did a movie for HBO, about the Johnson administration in the '60s.
I work in the '60s more than I've done anything else. I did a movie, called 'Down with Love', in the '60s. I did a movie for HBO about the Johnson administration in the '60s.
I've always been into subcultures. In the '50s and '60s, what Pierre Molinier was doing was super subculture - he was taking self-portraits, it was very private, very intimate. I think that's actually how I started my drag - in my bedroom, taking MacBook self-portraits.
Not many dictators announce their resignation, but I did because I didn't want to stay on and overstay my welcome.
It has been difficult to hold onto many paintings but I have retained a few. Possibly the current favorite is titled 'Big Band' completed in 2005. It measures 13 feet x 9 feet. It has 18 nearly life size recognizable portraits of the biggest jazz stars that I knew and saw perform in the 1950s, '60s, '70s, '80s and includes Wynton Marsalis.
When we interpret the violent portraits of God through the lens of the cross, we can see God doing in history what he did in a supreme way on Calvary. And this is how these violent divine portraits anticipate, and point us toward, the cross.
I was raised by parents who really admired the religious leaders of the left, as many 60s and 70s liberals did.
The people have to know what my portraits are like in order to behave in such a way that the result is one of my portraits.
So many dictators trying to blackmail the free world because they have no way to compete on ideas, innovation or creativity. The Cold War was two competing visions of the future. I was always anti-communist but it was an idea at least, an alternative idea. We do not have a competing vision for the future because the ideals of these dictators are in the past. They are time travellers. They need confrontation and destruction to survive. The problem is, many people in the free world are sympathetic to Vladimir Putin.
I felt that the beach portraits were all self-portraits. That moment of unease, that attempt to find a pose, it was all about me.
Italy in the 1920s, Germany in the '30s, East Germany in the '50s, Czechoslovakia in the '60s, the Latin American dictatorships in the '70s, China in the '80s and '90s - all dictatorships and would-be dictators target newspapers and journalists.
I lived in France during the '60s. I was there from the early '60s until 1970, so my view of the '60s is more global. It was a time of tremendous transition, not only for America but for the whole world.
I did some research into what was going on in terms of the sexual revolution that was happening in the '60s in the gay community and particularly in the drag world. Before the '60s, guys doing drag would dress like their mothers or iconic Hollywood actresses.
I think a playful critique is good for all of us, and that's basically how I see satire functioning. But I'm not interested in a kind of contemptuous satirical vision; I try always, even when I'm knowingly being satirical, to also be humane, but I mean, let's face it: there's plenty in American life to make fun of, and we all participate in it.
We came from the '60s era, when we started and made so many hits. The song value from the '60s was so darn good, you've got The Beatles, The Beach Boys, all of Motown, and plenty of other people, too... amazing records, amazing songs.
What we`re seeing in so many of the counterprotests. We`re seeing America rise in a way that it did not in the `60s, which I think is powerful and symbolic to the rest of the world, that we reject the darkness and we embrace the light.