Bordowitz Chapter 5

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S.R. So I think we will move a little bit to the historcial part. Maybe we could keep this window open, what you talked about and have it in the background or sth. like a thread. [...] What do you consider as your strongest influence (...) in general?

G.B. That's very hard to say what my strongest influence is. Once again I state that Y. Rainer's work and studying with Yvonne had the most significant and profound influence on my work. But I, as either a child of post-modernism or popular culture, I draw influences from every direction, I try to absorb as much as I can, I grew up watching as much TV as much as was humanly possible; I'm a working class kid; I didn't know a lot about art, my parents were working people, they didn't go to museums and still don't go to galleries unless I have a show. I didn't really know about the art world until I went to art school. So my influences are popular culture, TV, reading. I have to say I have a sustained interest in philosophy and theology, which is enormously productive for me in relationship to my writing and my work. But also I have to say my friends ... Mark, my ideas and where I am, my thinking in relationship to the practices of people like A. Fraser, M. Dion and film makers, video makers like I. Julian, T. Haynes. I'm not necessarily close to or know Todd or Isaac the way I know Mark and Andrea but those are people who I've followed and whose work I've been aware of since I've been making work. In some ways I also look at those practices and relate them to where I am in my work as well. (...) The other thing I have to say is studying at School of Visual Arts, there I was deeply influenced by studying with C. Owens, and my exposure to C. Owens's ideas in the early 80s on post-modernism really shaped my understanding of the historical context of my work.

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