Iconic Representation Quotes

The Guy Fawkes mask has now become a common brand and a convenient placard to use in protest against tyranny - and I'm happy with people using it; it seems quite unique, an icon of popular culture being used this way.

In a very real sense, I represent pop culture in an iconic way. It's been very good to me, so anything I can do to help the fans to tumble along - it's good.

These are icons to be treasured.

I had now made about 45 pictures, but what had I become? I knew all too well: a phallic symbol. All over the world I was, as a name and personality, equated with sex.

The critical image... must not only fail to capture its referent, but show its failure.

I'm proud to be a symbol like the army knife or the mountains.

The egg is the symbol of perfection. Do you want an egg?

Cool? Am I cool? I don't know, but I hope my characters are cool, in the sense of iconic. That's my job, at its very essence.

Around the time I began starving, in the early eighties, the visual image had begun to supplant text as culture's primary mode of communication, a radical change because images work so differently than words: They're immediate, they hit you at levels way beneath intellect, they come fast and furious.

Abstract painting seeks to be a pure pictorial language, and thus attempts to escape the essential impurity of all languages: the recourse to signs or forms that have meanings shared by everyone.

The natural object is always the adequate symbol.

In our world we sleep and eat the image and pray to it and wear it too.

My icons do not raise up the blessed savior in elaborate cathedrals. They are constructed concentrations celebrating barren rooms. They bring a limited light.

What was new was the symbolic force of the targets struck. The attackers did not just physically cause the highest buildings in Manhattan to collapse; they also destroyed an icon in the household imagery of the American nation.

Our collective memories are welcoming places, and one image, that of Jesus, has absorbed and appropriated elements of other traditions and aspirations in order to shape our communal remembering.

I really want to try to explore the characters from angles you've never seen and keep them classic and iconic.

Playing Frida was hard and wonderful. I found such a force in her, bigger than me. I tried to make it just a woman who had to do what she did. A woman who lived, ate, and laughed. I tried to avoid the 'icon' of Frida Khalo.

She wasn't the only one to be physically morphed by reader expectation. Miss Havisham was now elderly whether she liked it or not, and Sherlock Holmes wore a deerstalker and smoked a ridiculously large pipe. The problem wasn't just confined to the classics. Harry Potter was seriously pissed off that he'd have to spend the rest of life looking like Daniel Radcliffe.

The Bible never tells us what Jesus looked like, and in the earliest surviving paintings of him, he is sometimes depicted as short-haired, sometimes as beardless, with no authoritative version winning out over the others. Yet around 400 A.D., all of the other competing images were replaced by the long-haired, bearded Jesus we know today.

My mustache has become this weird iconic representation of a certain era.

People have very strong opinions about how their national icons should be played.

Christianity taught us to see the eye of the lord looking down upon us. Such forms of knowledge project an image of reality, at the expense of reality itself. They talk figures and icons and signs, but fail to perceive forces and flows. They bind us to other realities, and especially the reality of power as it subjugates us. Their function is to tame, and the result is the fabrication of docile and obedient subjects.