A Quote by Amanda Palmer
I've watched so many women, from Kathleen Hanna all the way up to Taylor Swift, whether they're pop artists or rock stars or fine artists or writers, it is the subhistory of female artists that if you're going to make art, you're also going to have a full-time job of defending your right to make art.
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Artists look at the environment, and the best artists correctly diagnose the problem. I'm not saying artists can't be leaders, but that's not the job of art, to lead. Bob Marley, Nina Simone, Harry Belafonte - there are artists all through history who have become leaders, but that was already in them, nothing to do with their art.
I'm listening to a lot of Katy Perry, Taylor Swift, and Rihanna. A lot of pop female artists. I have to say I'm pretty well-versed in the pop female category.
I’m listening to a lot of Katy Perry, Taylor Swift, and Rihanna. A lot of pop female artists. I have to say I’m pretty well-versed in the pop female category.
Warhol and other Pop artists had brought the art religion of art for art's sake to an end. If art was only business, then rock expressed that transcendental, religious yearning for communal, nonmarket esthetic feeling that official art denied. For a time during the seventies, rock culture became the religion of the avant-garde art world.
I would love to see more dialogue around the "responsibilities" of art consumers - how can audiences better financially support artists we love, artists who are doing the work, so that artists have a more solid foundation upon which to make art?
Artists make art for themselves. Art is an honest expression. Artists who pander to their fans by trying to make music "for" their fans make empty, transparent art. The true fan does not want you to make music for them, they want you to make music for you, because that's the whole reason they fell in love with you in the first place.
A lot of artists make art for five years, some artists make art for ten years, a few make art for fifteen: very few do it until they die.
Every artist can make art only from the materials at hand, and many of the child stars who try to mature into artists can make art only from their knowledge - and ours - that they were child stars.
Artists raise their kids differently. We communicate to the point where we probably annoy our children. We have art around the house, we have books, we go to plays, we talk. Our focus is art and painting and dress-up and singing. It's what we love. So I think you can see how artists in some way raise other artists.
There are dance artists, painting artists and writing artists. Authors are writing artists. You can practice art in whatever medium you choose, and words are mine.
I've worked with jazz artists, country artists, classical artists, pop artists. I never wanted there to be categories, because when I was a kid there weren't.
I think the entrepreneurial activities that make art visible and attractive are what lure people into the amusement park that SoHo has become or that Bushwick or Williamsburg has become. It's not that outsiders come to an area because they hear artists are living there. A lot of people came who were not that interested in living with artists, but they were interested in living like artists and socializing the way that they thought artists socialized.
Once avant-garde artists receive official recognition, they start a double life. In one, they inspire younger artists to do more. In the other, they inspire a mass of imitators who make the work respectable and exclusionary. The artists and their art become intellectual brand names.
I personally have never trusted museums. ... It is because museums, broadly speaking, live off of the art and artifacts of others, often art and artifacts that have been obtained by dubious means. But they also manipulate whatever it is they present to the public; hence, until Judy Chicago, in the 1970s ... few women artists were hung in any major museum. Indian artists? Artifacts only, please. Black artists? Something musical, maybe? And so forth.
The biggest thing is education for young chefs and how they should focus on one cuisine rather than trying to imitate too many. It's like art - you can see the cycles from many past artists and new artists being inspired by past artists.
The song "This Is Not Surreal," was inspired by a painter I love, Frida Kahlo. She really did suffer for her art. She speaks to me. She was brutally honest in her work. At that time in fine art, you really didn't see many female artists expressing that. She was such a strong female presence, and I really look up to her. She had a lot of physical pain.
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