Rosler Chapter 12

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S.R. This was maybe one part where we were talking more about recent developments. I have some more questions about your own perspective, your own background. And I want to know, what do you consider as your strongest influence... from the world [...] What do you consider as your strongest influence in general... literature, the world, whatever?

MR. I think, that, speaking personally, one of the things that I would observe about myself that it's not an answerable question. I think I suffer from overload; the answer is: everything. That is literally part of what I try to incorporate into my work, this feeling that we are not insulated from anything in the world. And of course, I started as an abstract painter, but I was also a student of literature, and literary influences on me from the earliest age were very potent, particularly the modernists, both poets and writers, such as James Joyce. I think, that in terms of visuality, it was more drawings and illustrations and then the late incursion of television which came a little bit late to my household and the astonishment of seeing all these bizarre things on television, not all of which were news but what is in this little box that is brought to our attention. I was an abstract expressionist painter, I took that very seriously, and so I have a whole array of male giants in the back of my mind, but the most important one was actually my sometime-teacher Ad Reinhardt and the Surrealists, oddly, and the Futurists whom I saw... and who are hardly characterizeable as abstract, but whom I saw... I live in New York, you know, I went to the Museum of Modern Art and wandered around like a country yokel from Brooklyn in the metropolis... just looking at these things and being quite astounded. So I'm a child of pop and movies of course. Can't leave out movies. It's a grand tradition of transcendental art on the other. It was primarily American abstraction.



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