Quotes of All Topics . Occasions . Authors
Now, it is much more difficult for young people coming to New York. But also when you're young, you have more time to interact with one another, to discover yourself with people of your generation.
I don't really see a difference in independent and major labels. To me, it's pretty much the same. There used to be a difference between indies and major labels, but I don't think there is anymore.
I don't follow anybody. I just flip through whatever Instagram sends me. I like to keep my algorithm pure, so I only ever like pictures of art. It's a rabbit hole for me because I'm a total voyeur.
My work is about the world I live in. So, I sort of make a picture of my life or our lives. I'm always looking for something that is overlooked, so I need to constantly be aware of what's going on.
I don't know why so many artists talk about the mainstream's problems from the fringe. I think, unfortunately, it's almost like our education makes us too safe and terrified to step into the world.
I'm an artist because that's what I was best at as a kid. It was fun... I continue to be an artist... for the freedom that an art career can bring. I don't need an alarm clock and I am my own boss.
What I teach the people many times is that attitude and attention will determine the whole course of our lives. Get rid of fear and that is all you ever have to get rid of. Fear of anything at all.
The impossible - we are told - cannot be achieved. To overcome the 'impossible,' we need to use our wits and be fearless. We need to break the rules and to circumvent - some would one say to cheat.
It would be very, very dangerous for a wire walker to experience fear while he is balancing on the wire. Fear has its place on earth, before and maybe after a high-wire walk, but not during for me.
Most of us go through the world never seeing anything. Then you meet somebody like Herb and Dorothy, who have eyes that see. Something goes from the eye to the soul without going through the brain.
Exploit a subject or a theme to its greatest potential by bringing all possible reference to bear - then put aside the reference and create again using the potential of your unfettered imagination.
Artists should be aware that petty stroking could be the source of arrested productivity. An artist's job includes the avoidance of premature closure by the begged or gratuitous approval of others.
The first thing that has to be broken down is your relationship to authority. Your insecurity could possibly be the wedge that opens up your perspective on what you think is possible for you to do.
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
When I'm out and about, it's rare for me to be recognized. But for some reason, every now and then, someone will know who I am. It might be because my picture occasionally appeared in 'Weekly Jump.'
If I had moved to Tokyo, I might even have become a completely different person... although, ever since the start, I've never wanted to move to Tokyo. I just can't handle there being so many people.
I go up to people and ask if I can use them in my photos. Occasionally it is the person in question, as happened with James Hewitt. How embarrassing. He just laughed and said, 'You can't afford me.'
Lingerie has gotten really cute, with little booty underwear and the cute little bras. They've gotten really detailed. I saw one the other day with little baby pearls on the strap. I had to have it.
It's my luck to be at the frontier of what looks to be a resurrection of roots music on the international scene. That's really what reggae music is about: that voice against oppression and struggle.
One of the things I like about our contract is that you have relieved me of a great deal of personal interviewing and corresponding, among other things, which allows me a lot more time for painting.
Worry, about the 'thousand and one' details entailed. My one-track mind has to be relieved of these worries completely or I cannot get started working on my paintings, or even get to sleep at night.
I always urged my contemporaries to look for interest and inspiration to the development and study of drawing, but they would not listen. They thought the road to salvation lay by the way of colour.
Art is nothing but the expression of our dream; the more we surrender to it the closer we get to the inner truth of things, our dream-life, the true life that scorns questions and does not see them.
Comics were going down for the second time and here, all of a sudden, came this thing and for the next fifteen years, romance comics were about the top sellers in the field; they outsold everything.
Stone Mountain Memorial is the greatest project of its sort ever conceived. It should be finished, because it represent an idea as deep, as basic as the rocks on which our wonderful continent rests.
Ten thousand years from now our civilization will have passed without leaving a trace. A new race of people will inhabit the earth. They will come to Mount Rushmore and read the record we have made.
I'd follow three simple rules: 1) Never go within two kilometres of circus freaks. 2) Never go near the butcher shop in Dublith. 3) Always spend under 300 sen on snacks. That ought to keep me alive!
While I know that the beautiful, the spiritual and the sublime are suspect today, I have begun to stop resisting the constant urge to deny that beauty has a valid right to exist in contemporary art.
Nobody ever wrote a story for me. I told in every story what was really inside my gut, and it came out that way. My stories began to get noticed because the average reader could associate with them.
I never had stock endings. I didn't believe in stock endings. To make the [reader] happy was not my objective, but to make the [reader] say, "Yeah, that's what would happen" - that was my objective.
I would've liked to have been a better businessman when I was younger. And of course, I couldn't, because it wasn't part of my atmosphere. I never lived with accountants, I never lived with lawyers.
My work is about your seeing. There is a rich tradition in painting of work about light, but it is not light -- it is the record of seeing. My material is light, and it is responsive to your seeing.
I was raised in South Carolina; I wasn't aware of any art in South Carolina. There was a minor museum in Charleston, which had nothing of interest in it. It showed local artists, paintings of birds.
I am from the Mediterranean area, I have to feel everything. I am a physical person, but I guess that things that you cannot touch and cannot see are also touchable and visible—light, poetry, music.
I was a really lousy artist as a kid. Too abstract expressionist; or I'd draw a big ram's head, really messy. I'd never win painting contests. I remember losing to a guy who did a perfect Spiderman.
One of the reasons I never had a problem handing over my characters to other creators is that I knew that they would add their own influences and takes on the characters and make them better for it.
Most art students are generous till it comes to squeezing their colour on the palette... Many pictures haven't become works of art simply because the artist tried to save a nickel's worth of colour.
There are generations of people who have never seen a big plate painting in person. And they don't know what the hell they look like, they don't know what it feels like to stand in a room with them.
All of a sudden it hit me - if there was such a thing as composing music, there could be such a thing as composing motion. After all, there are melodic figures, why can't there be figures of motion?
My lovely wife Janet has been in a few paintings. She is basically a reserved woman who has never sought the limelight. She has always been there throughout my career and continues to be at my side.
Space is something that you have to define. Otherwise, it is like anxiety, which is too vague. A fear is something specific. I like claustrophobic spaces, because at least then you know your limits.
Of course, there will always be those who look only at technique, who ask 'how', while others of a more curious nature will ask 'why'. Personally, I have always preferred inspiration to information.
The stars were my best friends. The air was full of legends and phantoms, full of mythical and fair-tale creatures, which suddenly flew away over the roof, so that one was at one with the firmament.
I'm interested only in expressing basic human emotions. And the fact that a lot of people break down and cry when confronted with my pictures shows that I can communicate these basic human emotions.
Normally I hate people who whine all the time, but in your case, it would be okay to complain. Be selfish, say what you want once in a while. It's okay to let yourself be sad." -Kyo talking to Tohru
Go and see what others have produced, but never copy anything except nature. You would be trying to enter into a temperament that is not yours and nothing that you would do would have any character.
When I visited concentration camps, I was more interested in how people responded to the camps than in the actual places. I watched kids picnicking on the ovens and other people stricken with grief.
On the other hand, the artist has much to do in the realm of color construction, which is so little explored and so obscure, and hardly dates back any farther than to the beginning of Impressionism.
Blooming under a cold moon, we are like fireworks... Rising, shining, and finally scattering and fading. So until that moment comes when we vanish like fireworks... Lets us sparkle brightly, Always.
It's about communication, no matter how impossibly hard your art is to understand and how much of an ivory tower or high horse you get on, it's still basically communication or why are you doing it?