Artist Quotes - Page 179

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Considering that knowledge of the chemical as well as the optical principles of photography was fairly widespread following Schulze's experiment (in 1725)... the circumstance that photography was not invented earlier remains the greatest mystery in its history... It had apparently never occurred to any of the multitude of artists of the seventeenth and eighteenth centuries who were in the habit of using the camera obscura to try to fix its image permanently.

Context is everything. Dress me up and see. I'm a carnival barker, an auctioneer, a downtown performance artist, a speaker in tongues, a senator drunk on filibuster. I've got Tourette's. My mouth won't quit, though mostly I whisper or subvocalize like I'm reading aloud, my Adam's apple bobbing, jaw muscle beating like a miniature heart under my cheek, the noise suppressed, the words escaping silently, mere ghosts of themselves, husks of empty breath and tone.

In times of widespread chaos and confusion, it has been the duty of more advanced human beings--artists, scientists, clowns and philosophers--to create order. In times such as ours, however, when there is too much order, too much management, too much programming and control, it becomes the duty of superior men and women to fling their favorite monkey wrenches into the machinery. To relive the repression of the human spirit, they must sow doubt and disruption.

The existing American laws we use in a pinch just do not adequately protect artists or any other group of rental tenants. For example, artist certification. You can always get around that. Every society that does not want to really protect tenants' rights tries historic preservation. But that says nothing about the right of people to stay in their homes. It says that the building cannot be demolished. But it does not say who is allowed to live in the building.

Not only do we end up with a vivid, surprising and soulful sense of one artist and his work, but Leigh also offers us a commanding view of a city, London, and country at the dawn of the modern age and of a man being overawed and overtaken by new technologies such as photography and the railways. As ever with Leigh, 'Mr Turner' addresses the big questions with small moments. It's an extraordinary film, all at once strange, entertaining, thoughtful and exciting.

Inspiration is not the exclusive privilege of poets or artists. There is, there has been, there will always be a certain group of people whom inspiration visits. It's made up of all those who've consciously chosen their calling and do their job with love and imagination. Difficulties and setbacks never quell their curiosity. A swarm of new questions emerges from every problem that they solve. Whatever inspiration is, it's born from a continuous 'I don't know.'

If 5000 people bought my record, I would appreciate those 5000 people. I make music for them because music isn't supposed to be so money driven. I didn't get into the music game because I wanted to make money. I sing because that's a God given talent of mine and it's something I love to do. If it's 10,000 or a million people, I'm going to give people the music they like from me. That's what being an artist is. Whoever likes your work, that's who you do it for.

From the root, the sap rises up into the artist, flows through him, flows to his eye. Overwhelmed and activated by the force of the current, he conveys his vision into his work. And yet, standing at his appointed place as the trunk of the tree, he does nothing other than gather and pass on what rises from the depths. He neither serves nor commands he transmits. His position is humble. And the beauty at the crown is not his own; it has merely passed through him.

It is the job of artists to open doors and invite in prophesies, the unknown, the unfamiliar; it’s where their work comes from, although its arrival signals the beginning of the long disciplined process of making it their own. Scientists too, as J. Robert Oppenheimer once remarked, ‘live always at the ‘edge of mystery’­—the boundary of the unknown.’ But they transform the unknown into the known, haul it in like fishermen; artists get you out into that dark sea.

... And we talk it out. Lately, I've had Roy Thomas come in, and he sits and makes notes while we discuss it. Then he types them up, which gives us a written synopsis. Originally - I have a little tape recorder - I had tried taping it, but then I found no one on staff has time to listen to the tape again later. But this way he makes notes, types it quickly, I get a carbon, the artist gets a carbon ... so we don't have to worry that we'll forget what we've said.

I wanted to be a visual artist, but I realized I was more affected by what I read than by what I saw. I would go to a show at a museum and look at a painting and say, 'Oh I wish I owned that,' and that would be the end of my relationship with a painting. With a short story I would read or with an author I would discover I could be haunted. It would affect my mood and affect the way that I saw the world. I thought, wow, it would be amazing to be able to do that.

When the artist is truly the servant of the work, the work is better than the artist; Shakespeare knew how to listen to his work, and so he often wrote better than he could write; Bach composed more deeply, more truly than he knew, Rembrandt's brush put more of the human spirit on canvas than Rembrandt could comprehend. When the work takes over, then the artist is enabled to get out of the way, not to interfere. When the work takes over, then the artist listens.

Some of my peers are artists who are at the same level as I am and have been getting paid more than I have, so there's even a pay gap. It's disgusting. But as soon as you get one person speaking out about it then you'll get other people coming out of the cracks saying, "Actually, me too." I'm starting to see and feel a bit of change in the industry now. It's long, long overdue, but it's a beautiful thing to see and it's just going to get better as the days go by.

Ballet dancers are a self-chosen elite. To survive and surmount years of disciplinary preparation and seasons of even more arduous performance requires rigid determination and almost mindless self-abnegation. One other factor is difficult to predetermine: without a certain admixture of hysteria - sometimes masking as self-obsession, sometimes even counterfeiting incipient madness - performers, at once acrobats, artists, and animals, make little public impression.

My business is to be talented, that is, to be capable of selecting the important moments from the trivial ones. . . . It's about time for writers - particularly those who are genuine artists - to recognize that in this world you cannot figure out everything. Just have a writer who the crowds trust be courageous enough and declare that he does not understand everything, and that alone will represent a major contribution to the way people think, a long leap forward.

Well the artists that inspire me were, first of all I would say Sam Cooke, Otis Redding, John Holt, Alton Ellis, Errol Dunkley, Delroy Wilson and Dennis Brown you know. They have unique voice and sweet melody and you know, good lyrics those time yeh. The music was very nice in that time still seen, because you find that even the musical part, the musicians concentrate more on the melody than everything, more than how they concentrate on the money that time you Know

I was actually dumbfounded by how some artists talked to each other. For example, it was a normal night at a bar, nothing very momentous, when in walked a painter. The other painters at the bar had a bit of an attitude about it. One said to him, "You know, I'm tired of that feeling of hot air coming out from behind your work." And I thought, "Well, that's interesting." I didn't know you could even think something like that, let alone say it right to someone's face.

All one wants to do is make a small, finished, polished, burnished, beautiful object . . . I mean, that's all one wants to do. One has nothing to say about the world, or society, or morals or politics or anything else. One just wants to get the damn thing done, you know? Kafka had it right when he said that the artist is the man who has nothing to say. It's true. You get the thing done, but you don't actually have anything to communicate, apart from the object itself.

Some people think that Southern hip-hop doesn't have any depth. They think it's just noise, all about people having a good time in the club. And some of it doesn't have a lot of depth, it's true, but some does. I wanted to work against that stereotype. These are verses by Southern artists who are really wrestling with what it means to be here, young black men who are trying to figure out how to live in the South. So I wanted the epigraphs in my novels to reflect that.

But when I am alone, I do not have the effrontery to consider myself an artist at all, not in the grand old meaning of the word: Giotto, Titian, Rembrandt, Goya were great painters. I am only a public clown-a mountebank. I have understood my time and have exploited the imbecility, the vanity, the greed of my contemporaries. It is a bitter confession, this confession of mine, more painful than it may seem. But at least and at last it does have the merit of being honest.

No academy could have given me all I discovered by getting my teeth into the exhibitions, the shop windows, and the museums of Paris . Beginning with the market - where, for lack of money, I bought only a piece of a long cucumber - the workman in his blue overall, the most ardent followers of Cubism , everything showed a definite feeling for proportion, clarity, an accurate sense of form, of a more painterly kind of painting, even in the canvases of second-rate artists.

There are, forever, swamps to be drained, cities to be created, mines to be exploited, children to be fed ... But the conquest of the physical world is not man’s only duty. He is also enjoined to conquer the great wilderness of himself. The precise role of the artist, then, is to illuminate that darkness, blaze roads through vast forests, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.

You can't expect everyone to laugh or applaud you for doing edgy things. Sometimes you'll miss. But I think comedians are artists and there's a value in failure. It kind of works both ways between comedians and audiences. The audience has to understand that comedians are going to sometimes tell a joke that doesn't work out with dark subjects, and the comedian has to understand that sometimes they 'll fail and it's not the audience's fault for not getting it or loving it.

As Colin Wilson has written, "modern civilisation, with its mechanised rigidity is producing more outsiders than ever before-people who are too intelligent to do some repetitive job, but not intelligent enough to make their own terms with society." Those "intelligent enough" to make their own terms with society are what we will later refer to as artists of life. The outsider views himself as a product of a culture he rejects-the artist views himself as a culture-builder.

If Kubrick had lived to see the opening of his final film, he obviously would have been disappointed by the hostile reactions. But I'm sure that in the end he would have taken it with a grain of salt and moved on. That's the lot of all true visionaries, who don't see the use of working in the same vein as everyone else. Artists like Kubrick have minds expansive and dynamic enough to picture the world in motion, to comprehend not just where its been, but where it's going.

It's a mystery to me why comics have been so despised for so long. Obviously, it has to do with the history of the medium - arising out of cheaply-reprinted booklets of newspaper strips, just out to make a quick buck, followed by mostly-crappy original work. It took a while for really talented artists to move into the comic-book world from the newspapers. It really is strange that even TV commercials got respect before comics did. I have never been able to figure it out.

The overscaled compositions being produced by so many abstract painters, which are full of movement and use of color, are ideal example, ideal transformations of an entire wall and entire room.... There is no denying that one of the major attractions of these successful large compositions is their structural decorative use in the contemporary scene... That these large canvases can be superbly decorative may not be considered complimentary by some of the artists involved.

The form of government that is most suitable to the artist is no government at all. ... One might point out how the Renaissance was great, because it sought to solve no social problem, and busied itself not about such things, but suffered the individual to develop freely, beautifully, and naturally, and so had great and individual artists, and great, individual men. One might point out how Louis XIV, by creating the modern state, destroyed the individualism of the artist.

Everything that we see in our daily lives is more or less distorted by acquired habits and this is perhaps more evident in an age like ours when cinema posters and magazines present us every day with a flood of ready-made images which are to the eye what prejudices are to the mind. The effort to see things without distortion demands a kind of courage; and this courage is essential to the artist, who has to look at everything as though he were seeing it for the first time.

I'm an artist living in a small, Scottish village. So one would expect to be treated with some sort of caution. And the village and the farmers have shown enormous tolerance of me and interest in what I do. I mean, they don't necessarily understand what I'm doing all the time. But they, you know, I think they respect what I do and that there is a connection between what they do with the land and what I do, you know, that we're both dependent on weather and respond to that.

Victor Serge died in exile and obscurity, apparently no more than a splinter of a splinter in the Marxist movement. But with the passage of the years, he looms up as one of the great moral figures of our time, an artist of such integrity and a revolutionary of such purity as to overshadow those who achieved fame and power. His failure was his success. I know of no participant in Russia's revolution and Spain's agonies who more deserves the attention of our concerned youth.

Until educators, individuals, artists, intellectuals and various social movements address how the metaphysics of casino capitalism, war and violence have taken hold on American society (and in other parts of the world) along with the savage social costs they have enacted, the forms of social, political, and economic violence that young people are protesting against, as well as the violence waged in response to their protests, will become impossible to recognize and act on.

Artists are looking for a new modernity that would be based on translation: What matters today is to translate the cultural values of cultural groups and to connect them to the world network. This “reloading process” of modernism according to the twenty-first-century issues could be called altermodernism, a movement connected to the creolisation of cultures and the fight for autonomy, but also the possibility of producing singularities in a more and more standardized world.

To all appearances the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing. If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the aesthetic plane about what he is doing or why he is doing it. All this decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out.

They say that negative things like stress, anxiety, tension, sorrow, and depression "squeeze the tube" so ideas don't flow through it. But if you get rid of that negativity, which goes away naturally when you transcend every day, these ideas are more freely flowing, and you get happy in the doing. You get fresh and inspiring ideas, and a bigger picture starts to emerge of the world and life. It's very good for the artist, businessman, fisherman, and any kind of person really.

I don't make music to make money. I make music because that's what I like to do. You would think, "Yeah, of course, that's what an artist does," but there ain't too many artists around anymore. I see a lot of people who, if they thought they wouldn't profit, would find an easier hustle. It's a racket now, like everything else, but we're in a capitalistic country - everything's a racket. Take what you can. I think the difference between that line of thinking and me is obvious.

However, there probably is a slight connection between the high-wire, super sensitivity, open to everything and too much, and slightly fragile soul of the artist and the need to self-medicate, which can lead to bad trouble either in drugs, or alcohol. So it's not that there's no connection, it's just that we can't make too much of it because it isn't the addiction that's the issue, it's the fragility of some people who do artistic work, who end up in rehab somewhere or other.

Mankind occurs as male or female, as something or nothing. Woman has no share in ontological reality, no relation to the thing-in-itself, which, in the deepest interpretation, is the absolute, is God. Man in his highest form, the genius, has such a relation, and for him the absolute is either the conception of the highest worth of existence, in which case he is a philosopher; or it is the wonderful fairyland of dreams, the kingdom of absolute beauty, and then he is an artist.

I consider being a performer work. I come from a theater family; I've been an actor all my life. I started acting when I was a kid, and I've earned a living as an artist all my life. It's my job in the sense that it's everything I am, the only thing I know how to do. I literally do not have qualifications to do anything else on this planet. Seriously, it's scary. [But] I don't consider it a job [because] it's my religion - it's my faith, it's my family, it's everything to me.

I realized that most white Americans knew very little about our history and our struggle, and were having difficulty understanding the basis for our agitation and our resistance and our complaints. I also discovered that while black Americans had a sense of the beauty and tragedy of the journey from the time of slavery until now, we were not rooted in the specifics. I thought one way to familiarize people with that history would be through the voices of the great folk artists.

An artist's voice, communication, that's very important. The learning, the building of your energy to communicate deeper and deeper even without words, the expanse of your source-spark energy to reach people at deeper energy levels is very beautiful to learn about since it's our mission here as artists to help beings transcend limitations and any feeling, thing keeping their love down to show them that we are all artists with very special sides of energy light from the creator.

My concern today is with the painting of manners of the present. The past is interesting not only by reason of the beauty which could be distilled from it by those artists for whom it was the present, but also precisely because it is the past, for its historical value. It is the same with the present. The pleasure which we derive from the representation of the present is due not only to the beauty with which it can be invested, but also to its essential quality of being present

There are many kinds of richness, and the man who is rich because of money is the lowest as far as the categories of richness are concerned. Let me say it in this way: the man of wealth is the poorest rich man. Looked at from the side of the poor, he is the richest poor man. Looked at from the side of a creative artist, of a dancer, of a musician, of a scientist, he is the poorest rich man. And as far as the world of ultimate awakening is concerned he cannot even be called rich.

Michael Jackson was extraordinary. When we worked together on 'Bad,' I was in awe of his absolute mastery of movement on the one hand, and of the music on the other. Every step he took was absolutely precise and fluid at the same time. It was like watching quicksilver in motion. He was wonderful to work with, an absolute professional at all times, and it really goes without saying... a true artist. It will be a while before I can get used to the idea that he's no longer with us.

What surprises me is-even though discrimination against women and racial discrimination still exist, they have improved a lot, especially among artists. And just when I felt I could finally take a break, I encounter the age discrimination. I turned 72 and started noticing a drastic difference in people's attitudes. I started with racism and sexism in the beginning and fought them so hard and was finally ready to relax. Then, here comes ageism, and I feel like, "Give me a break!"

Ability to download music for free might not be positive for the artists to get royalties, but in some ways it's still good that people can get your music, and hopefully in the course of that, people will want to see you live, around the world shows. It might get you to where you get to travel all over the planet. 'Cause now people are hungry: "Oh, I wanna see this guy, I wanna hear this music live, I wanna see if they're gonna remix it or funk it up differently when I see them."

It is the poet and philosopher who provide the community of objectives in which the artist participates. Their chief preoccupation, like the artist, is the expression in concrete form of their notions of reality. Like him, they deal with the verities of time and space, life and death, and the heights of exaltation as well as the depths of despair. The preoccupation with these eternal problems creates a common ground which transcends the disparity in the means used to achieve them.

It's never the same relationship. I see my job as filling in the blanks. Whatever it is that the artist lacks in the process of making a record, I'm supposed to fill that in. And sometimes it's a lot of stuff and I have to hector them about working on the material and that sort of thing. Sometimes you have an artist that's really fairly self-sufficient; they just need another ear to offer some objective criticism, but otherwise pretty much know what they're doing. It varies a lot.

I'm always interested in hearing how other people read and react to my songs. I hadn't thought of it in just that way. One of the things I love about doing things that are creative is that I feel like it's my right as an artist not to be affected by the reactions of those people that are going to hear my songs. But I also feel like it's the right of the people hearing them to have their own interpretations of what these songs mean. Sometimes people will see things that I don't see.

I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture.

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