Quotes from Edward Ruscha

When I paint a picture of a house, that goes back to my roots.

I barely knew I wanted to be an artist. I liked my art classes and painting was fun, I guess, but I didn't realize that seeing the country was going to inspire me to further explore that... but that's what it did.

Part of ego is displaying the ego. I've got ego, and I think I'm really good. But maybe I fall down in trying to sell it to people.

All my artistic response comes from American things, and I guess I've always had a weakness for heroic imagery.

The one thing I miss is hitchhiking. Now there's no more of that. When's the last time you saw a hitchhiker? It's not that I consider it a great sport, but it was my way of seeing the country. The open road, especially in the western United States, is still very pristine, but everything else around it has changed.

I don't watch TV, so I feel like I'm left out of the American fabric or something.

I'm interested in glorifying something that we in the world would say doesn't deserve being glorified. Something that's forgotten, focused on as though it were some sort of sacred object.

Traveling is irritating to me, but not driving. Going to the airport makes me nervous, but when I set out to just take a leisurely drive, it's blue skies and puffy clouds and time.

The subject [of Los Angeles] became a general metaphor for anxiety and the speed of modern life.

I knew I wanted to be some kind of artist from about 12. I met a neighbour who drew cartoons, and I had an idea I wanted to be a cartoonist - or something that involved Indian ink, at any rate.

I just use [the camera]. I just pick it up like an axe when I've got to chop down a tree. I pick up a camera and go out and shoot the pictures I have to shoot.

I wasn't captivated by the romance of Paris or London. I love visiting, but I'd rather be in L.A.

I travel a lot, but I don't come away with new inspiration.

Basically everything I've done in art, I was in possession of when I was 20 years old. I use a waste retrieval method of working. I'll go back and use something that disgusted me 15 years ago but that I had enough sense to think about. Some artists change dramatically. I see my work more like history being written.

Traveling to Europe and traveling in the U.S.A. was a much different experience. 'On the Road' exemplified everything glamorous that was happening on this side of the planet. The book puts off some kind of sweet melody - part hope for the world, part nostalgic.

The difference between psychedelia and digitalia ages will seem like a smooth blending in years to come and will be a mere blip on the screen.

I believe in intuition and approaching things as instant gratification. Just do the things you want to do, make the kind of pictures you want to make.

Yes, there's a certain power to a photograph. The camera has a way of disorienting a person, if it wants to and, for me, when it disorients, it's got real value.

I'd read about Los Angeles and this fact stuck in my mind: that the city gained 1,000 new people every day. In 1956! A thousand people every day! I felt: 'I want to be part of that.

I don't do social media of any kind. If I did, I may as well join Scientology.

The big pay-off was to work as an artist and gain some shred of respect from your friends, who were also artists. But there was never any notion that you could make a living out of art. On the rare occasions you had a gallery show, and sold a little work, well, that was just gravy.

I was raised with the Bible Belt mentality, and by coming to California, I came out of this dark place and unlearned a lot of things I'd been taught.

People refuse to believe that I've never been to Starbucks or Disneyland.

When I drive, I check out everything I see, and just taking in all those observations helps me think. So I draw and write a lot as I drive, and I know that's dangerous, but I manage to do it off to the side, with my notes on the seat.