Artist Quotes - Page 175

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A lot of people love Tarantino’s films because they’re spectacular, they’re beautiful, they’re wonderful. He hires the best group of artists - not only actors, but everyone around: best photographers, best set designers, best production designers, costume designers. A lot of people love his films because they’re bloody, they’re gory, they’re savage. But very few people see that he’s a very political director.

Most of the methods of training the conscious side of the writer-the craftsman and the critic in him- are actually hostile to the good of the artist's side; and the converse of this proposition is likewise true. But it is possible to train both sides of the character to work in harmony, and the first step in that education is to consider that you must teach yourself not as though you were one person, but two.

Desire is something very egoistic. If you desire something, you also have to take the consequences of that. You have to study the market and see how it can go. I mean to become an artist... You never get the Nobel-price for example. You can normally never become a millionaire. Very few become millionaires, so the circumstances are very bad if one becomes an artist. And that should be taken into consideration.

Just because you're a solo artist playing guitar, that doesn't make it folk. People get a bit confused about these things. There's so many more aspects to my music than that. Earlier on in my career, people tried to push me in that direction. They kind of wanted me to be a folky princess, which was just never gonna happen. I don't understand quite why it is, but it is very irritating that it's still happening.

The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy , the motion and the other inner forces ... the modern artist is working with space and time , and expressing his feelings rather than illustrating.

I've gone to big stadium rock concerts at some artist's invitation, and there's this invariable, fascinating and rather sad situation of concentric circles of availability. There are Green Rooms within Green Rooms literally within Green Rooms. There are seven or eight degrees of exclusivity, and within each circle of exclusivity, everyone is so happy to be there, and they don't know that the next level exists.

I realize that artists can become fatigued from touring the world over, but if it's your first major tour, you've got to buckle down and do it, said Sami Jarroush, a music blogger for Consequence of Sound. Short of suffering from an actual medical emergency, saying you're going to stop performing so you can take a vacation isn't exactly going to make you look good in the eyes of however many fans you have left.

One of the proud joys of the man of letters - if that man of letters is an artist - is to feel within himself the power to immortalize at will anything he chooses to immortalize. Insignificant though he may be, he is conscious of possessing a creative divinity. God creates lives; the man of imagination creates fictional lives which may make a profound and as it were more living impression on the world's memory.

To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life. ... While all melts under our feet, we may well grasp at any exquisite passion, or any contribution to knowledge that seems by a lifted horizon to set the spirit free for a moment, or any stirring of the senses, strange dyes, strange colours, and curious odours, or work of the artist's hands, or the face of one's friend.

Part of the difficulty in trying to be both an artist and a businessperson is this: You make a picture because you have seen something beyond price; then you are to turn and assign to your record of it a cash value. If the selling is not necessarily a contradiction of the truth in the picture, it is so close to being a contradiction—and the truth is always in shades of gray-that you are worn down by the threat.

The thing about being on the majors, from the beginning, going into this, I was like, "I'm not going to be treated like a factory," because that's never the way it was done before. You're talking about a major label, we're talking about serious business; you're not an artist anymore, you're a business, you have to work in terms of product, you have to release a product, and I don't really think that way at all.

I want to emphasize the fact that we all have the same experience and the same concern, but the artist must know exactly what the experience is. He must pursue the truth relentlessly. Once he sees this fact his feet are on the path. If you want to know the truth you will know it. The manipulation of materials in an artwork is a result of this state of mind. The artist works by awareness of his own state of mind.

Times are completely different now. If you're a brand new artist with a record you want to release to the masses, I would suggest you try and get it hot yourself first. This way you can create your own demand so you'll end up having the option of demanding what you want if you do decide to sign with a label. If you don't and you still get on hot on your own, you then have the ability to reap all of your profits.

Whenever I become discouraged (which is on alternate Tuesdays, between three and four) I lift my spirits by remembering: The artists are on our side! I mean those poets and painters, singers and musicians, novelists and playwrights who speak to the world in a way that is impervious to assault because they wage the battle for justice in a sphere which is unreachable by the dullness of ordinary political discourse.

I know for me as an artist, I think I do myself and my listeners a disservice, if I don't listen to some of the best music out there. If I was an architect or a carpenter, I'm going to want to study the best architects and carpenters and I'm going to appreciate their work, because they're going to inspire me to do well. And I just look at them as great architects and I just appreciate the gift that God gave them.

Every true artist does feel, consciously or unconsciously, that he is touching transcendental truths; that his images are shadows of things seen through the veil. In other words, the natural mystic does know that there is something there, something behind the clouds or within the trees; but he believes that the pursuit of beauty is the way to find it; that imagination is a sort of incantation that can call it up.

If there’s a thing, a scene, maybe, an image that you want to see real bad, that you need to see but it doesn’t exist in the world around you, at least not in the form that you envision, then you create it so that you can look at it and have it around, or show it to other people who wouldn’t have imagined it because they perceive reality in a more narrow, predictable way. And that’s it. That’s all an artist does.

I met my manager when I was in high school and I just started playing guitar. He came from a line of managing incredible artists. He said instead of opting for the quick fix he wanted me to go out and live my life and get some experience under my belt and keep in touch. It took me a long time to get to where I am but I wouldn't change it for nothing. It's been very valuable. Life happened and then the music came.

I feel very grateful that for some reason I was raised to believe that I had permission to explore the creative world. I'm very aware of what a privilege that is, because most people don't grant themselves that permission, and I really think that's the only thing that separates people that call themselves artists from the rest of the world. It's suspending self-judgment for long enough to do something expressive.

I feel a lot of sympathy for the young women I've written about, including Younger Janice. I think that all of them (me in Girlbomb, Samantha in Have You Found Her, and Elizabeth in I, Liar) had some early family trauma that contributed to their dysfunctional methods of dealing with the world, but I wouldn't call them/myself victims - survivors, maybe, but not victims. Nor do I think of them/myself as con artists.

It's a good feeling to be at a place where you know who you are as an artist. I didn't know back then, I just wanted to give my family a better life and myself. I wanted to sing, but I didn't know as an artist who I wanted to be and because of all those experiences, it helped shape me into who I am and what I've now realized and what it is that brings me happiness which is when I pick up the guitar and do records.

It is illuminating to note, here, how the daily rituals and working routines of prolific authors and artists - people who really do get a lot done - very rarely include techniques for 'getting motivated' or 'feeling inspired'. Quite the opposite: they tend to emphasise the mechanics of the working process, focusing not on generating the right mood, but on accomplishing certain physical actions, regardless of mood.

Most of us live in a condition of secrecy: secret desires, secret appetites, secret hatreds and relationship with the institutions which is extremely intense and uncomfortable. These are, to me, a part of the ordinary human condition. So I don't think I'm writing about abnormal things. ... Artists, in my experience, have very little center. They fake. They are not the real thing. They are spies. I am no exception.

For a while I felt like I spoke a different language than my immediate family. It wasn't until my teens that I met and got to know better members of my extended family (my cousin Alma in particular) that self- identified as artists. Something in us clicked together; in the way we thought, in the language we chose to use, in what we enjoyed. She helped me see and appreciate a lot both about myself and my loved ones.

I'm living in a world that was created a hundred years ago with vaudeville and people traveling around and medicine shows and things and making live music on stage and I'm still doing that. I like it that way. I like to present something to people that's had 40 years of being honed and perfected. It's something that you're not going to find with an artist who's been around for two or three years, or even ten years.

It is true that one of the first acts of tyrants is to erase history, to wipe out the recorded memory of a people. With that in mind, it's important to remember that the work that we do as writers, artists and performers will form an essential part of the collective memory that future generations will draw upon. And so we owe it to those future generations to defend that memory and be honest witnesses to our times.

I think the gift of music is it's intuitive capability. I think music is a powerful medium because it co-inspires. It inspires the artist who then inspires the listener, and it's a back-and-forth process. Because it's intuitive, the truth has to be defined intuitively. It can't be preached, it can't be pushed. It's got to normally go across organically and make someone feel something, and that's the power of music.

Aside from that i’m an introvert and i’m a quiet person. The benefit of that is I listen. It’s not like my mouth is open and I broadcast everything and i’m drowning everyone out. When I’m listening to the incredible artists I work with and i’m hearing their specialised advice on what they would do with something then we can, all together, as a big collaborative group, all work together to achieve something together.

Prophets and artists tend to be liminal and marginal people, "edgemen," who strive with a passionate sincerity to rid themselves of the clichés associated with status incumbency and role-playing and to enter into vital relations with other men in fact or imagination. In their productions we may catch glimpses of that unused evolutionary potential in mankind which has not yet been externalized and fixed in structure.

Well, to me, the tensile strength and the very definition of an artist is something that I would place at the top of a vertical hierarchy. To be an artist is to suffer and to lead a life without shelter. It takes a great amount of daring-do, self reinvention, imagination, familial loyalty, sacrifice, economic uncertainty, and the right to be wrong, the right to fail in order to achieve something of noticeable value.

I said to Mr. Pavarotti once ... a marvelous man and a great artist ... I said to him ... "Maestro, I'm having trouble closing out a note so that it's almost as thin as a butter knife ... finish it out quietly like that." I said, "I have trouble doing that. What do you think I should do?" He said, "Justa close up your mouth." That's all he said, and I fell on the floor. I thought he was gonna give me a dissertation.

This is the time for every artist in every genre to do what he or she does loudly and consistently. It doesn't matter to me what your position is. You've got to keep asserting the complexity and the originality of life, and the multiplicity of it, and the facets of it. This is about being a complex human being in the world, not about finding a villain. This is no time for anything else than the best that you've got.

I have desired, like every artist, to create a little world out of the beautiful, pleasant, and significant things of this marred and clumsy world, and to show in a vision something of the face of Ireland to any of my own people who would look where I bid them. I have therefore written down accurately and candidly much that I have heard and seen, and, except by way of commentary, nothing that I have merely imagined.

As nearly as possible in the spirit of Matthew Salinger, age one, urging a luncheon companion to accept a cool lima bean, I urge my editor, mentor and (heaven help him) closest friend, William Shawn, genius domus of The New Yorker, lover of the long shot, protector of the unprolific, defender of the hopelessly flamboyant, most unreasonably modest of born great artist-editors to accept this pretty skimpy-looking book.

When you are on a major record label, you're just forced to think big. You are forced to think about things like "how many radio spins did we get this week?" or "how many albums did we sell across the country. Being independent, you are just focused on the city that you are playing in tonight. How many people can I meet and become friends with tonight. That's one of the great things about being an independent artist.

Let's talk about the artist's desire to go beyond the pictorial or the representational and the desire to create the abstract - the idea that painting can go beyond what is seen. What we found is that, increasingly, painting became about paint, its own material truth. When I'm talking about the way that we look at others and the way that we see ourselves increasingly, looking at others becomes its own material truth.

Clearly the hardest thing for the working artist is to create his own conception and follow it, unafraid of the strictures it imposes, however rigid these may be... I see it as the clearest evidence of genius when an artist follows his conception, his idea, his principle, so unswervingly that he has this truth of his constantly in his control, never letting go of it even for the sake of his own enjoyment of his work.

The artist's life cannot be otherwise than full of conflicts, for two forces are at war within him [or her]-on the one hand, the common human longing for happiness, satisfaction and security in life, and on the other a ruthless passion for creation which may go so far as to override every personal desire ... There are hardly any exceptions to the rule that a person must pay dearly for the divine gift of creative fire.

The past slips from our grasp. It leaves us only scattered things. The bond that united them eludes us. Our imagination usually fills in the void by making use of preconceived theories...Archaeology, then, does not supply us with certitudes, but rather with vague hypotheses. And in the shade of these hypotheses some artists are content to dream, considering them less as scientific facts than as sources of inspiration.

The only thing better than a superb collection of spinechilling stories, is a superb collection of spinechilling stories accompanied by equally unsettling illustrations, and in that regard, you'd be hard-pressed to find a better example than IN MINT CONDITION: 2013. In reading it, I have discovered writers and artists previously unknown to me who are now very high on my radar, and they should be just as high on yours.

You need response from the fan to fuel your sense of musical rebellion. It's very symbiotic, it's very cyclic in a way. You can't have one without the other. So I think the rebellion is reflected in the audience, but at the same time, the artist has to have that passion too. And I think once you're a fan for life, you feed each other's sense of passion and rage and whatnot. You really can't have one without the other.

The one constant in this ever changing music business is the heartfelt and “ear to the ground” Indie Record Stores that avid music fans and artists alike know they can count on to keep music thriving locally. I tour all over the world, and it's these Indie Record Stores that many times make or break a market. People will always want an “album” to hold, not just have downloaded, and Indies fill that need and then some.

In order to create, we draw from our inner well. This inner well, an artistic reservoir, is ideally like a well stocked fish pond... If we don't give some attention to upkeep, our well is apt to become depleted, stagnant, or blocked... As artists, we must learn to be self nourishing. We must become alert enough to consciously replenish our creative resources as we draw on them - to re-stock the trout pond, so to speak.

Delphine Seyrig is a very proper woman, from high society. She's from the Ferdinand de Saussure family, the structuralist. Old money. Swiss. Protestant. They were that type of well-educated people who could recognize a good artist before others, and she was like that. Even if it was against something inside her. Tell me one actress in 1972 in France, except Delphine, at her level, who would love Hôtel Monterey. No one.

I feel like there are moments where musicians may be more interested - or culture in general - to show roots and where one comes from. And later there comes a time where that has lesser importance for artists, and instead they become more interested in affiliating themselves with global or international trends. Fortunately, we were in the right place at the right time, and that allowed us to experiment, play and enjoy.

They call it collective energy. It's that same feeling that you get when you meditate amongst a ton of people. What actually makes the festival feel so special is that while you're watching a band or an artist, you're standing there, kind of feeling the same feeling with so many people in such a small space and that gives you collective energy. It's that kind of strange feeling in which you almost feel people breathing.

Being the youngest, I constantly have that insecurity of being the youngest, which ultimately is probably my drive. in a lot of ways. In terms of as an artist, the way we could communicate as a family very clearly was through movies and through acting, and when things became complicated with all of our own personalities, that's where we are most clear. I think that's also where we are most brutal with each other as well.

The experience of being in between-between the time we leave home and arrive at our destination; between the time we leave adolescence and arrive at adulthood; between the time we leave doubt and arrive at faith. It is like the time when a trapeze artist lets go the bars and hangs in midair, ready to catch another support: it is a time of danger, of expectation, of uncertainty, of excitement, or extraordinary aliveness.

I do strongly feel that among the greatest pieces of luck for high achievement is ordeal. Certain great artists can make out without it, Titian and others, but mostly you need ordeal. My idea is this: the artist is extremely lucky who is presented with the worst possible ordeal which will not actually kill him. At that point, he's in business: Beethoven's deafness, Goya's deafness, Milton's blindness, that kind of thing.

There are actually two separate issues here. The first is whether (as ancient philosophers and Nietzsche assume) only the privileged elite can live a worthwhile life. The second is whether it's possible to fulfill the roles of both serious artist and upstanding citizen. It seems to me that philosophy can dissect both questions, by delineating clearly the anatomy of the good life and the structural conditions of the roles.

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