A Quote by Aleksandr Solzhenitsyn

The fewer limitations the artist imposes on his work, the less chance he has for artistic success. — © Aleksandr Solzhenitsyn
The fewer limitations the artist imposes on his work, the less chance he has for artistic success.
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.
There is nothing harder for an Artist than to retain his Artistic integrity in the tomb of success. A tomb, nevertheless, which nearly every Artist: whether he admits it or not; naturally wants to get into.
Judging your early artistic efforts is artist abuse. . . Remember that in order to recover as an artist, you must be willing to be a bad artist. Give yourself permission to be a beginner. By being willing to be a bad artist, you have a chance to be an artist, and perhaps, over time, a very good one
It is a shame to see in the work of an artist the limitations of his critics.
There's an idea that it's hard to be a woman artist. People assume that women have fewer opportunities, less power. But it's not any harder to be a woman artist than to be a male artist. We all take what we are given and use the parts of ourselves that feed the work. We make our way. Photographers, men and women, are particularly lucky. Photography lets you find yourself. It is a passport to people and places and to possibilities.
An artist has to train his responses more than other people do. He has to be as disciplined as a mathematician. Discipline is not a restriction but an aid to freedom. It prepares an artist to choose his own limitations.
although the typist has disappeared, her work has not: now you do it yourself. ... Since most companies have reduced the managerial ranks, there are fewer and fewer bosses, so you become a manger, his boss, and his secretary all rolled into one.
How should an artist begin to do his work as an artist? I would insist that he begin his work as an artist by setting out to make a work of art.
The artist... standing in the position of mediator between the world of his experience and the world of his dreams - 'a mediator, consequently gifted with twin faculties, a selective faculty and a reproductive faculty.' To equate these faculties was the secret of artistic success.
Every artist knows that there is no such thing as "freedom" in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other. He is never free, and the more splendid his imagination, the more intense his feeling, the farther he goes from general truth and general emotion.
Artistic qualities that once seemed undeniable don't seem so now. Sometimes these fluctuations are only fickleness of taste, momentary glitches in an artist's work, or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times, however, these problems mean there's something wrong with the art.
An evangelist no more imposes his views on others than a pilot imposes his views on his passengers when he lands a plane on a runway. I bet the passengers are glad!
It is only in his work that an artist can find reality and satisfaction, for the actual world is less intense than the world of his invention and consequently his life, without recourse to violent disorder, does not seem very substantial. The right condition for him is that in which his work in not only convenient but unavoidable.
Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.
Success has always been the greatest liar - and the "work" itself is a success; the great statesman, the conqueror, the discoverer is disguised by his creations, often beyond recognition; the "work," whether of the artist or the philosopher, invents the man who has created it, who is supposed to have create it; "great men," as they are venerated, are subsequent pieces of wretched minor fiction
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