A Quote by Amy Sillman
All accidents and experiments, and discoveries, are what my work is about. The problem that I have as an artist is being way too critical.
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Being able to hear an artist and emulate them has been a huge part of being successful as a producer and co-writer. I think it's a problem when a producer comes in to work with an artist, and you can't hear the artist as well anymore. It's very important to me to be invisible.
During the time that [Karl] Landsteiner gave me an education in the field of imununology, I discovered that he and I were thinking about the serologic problem in very different ways. He would ask, What do these experiments force us to believe about the nature of the world? I would ask, What is the most. simple and general picture of the world that we can formulate that is not ruled by these experiments? I realized that medical and biological investigators were not attacking their problems the same way that theoretical physicists do, the way I had been in the habit of doing.
You are right in demanding that an artist approach his work consciously, but you are confusing two concepts: the solution of a problem and the correct formulation of a problem. Only the second is required of the artist.
Just let the artist sign an empty canvas or a frame, with the inscription, 'I had such and such a concept in mind' for this work. The artist then need not bother with producing the work, and therefore need not be worried about being dis-satisfied. All he or she needs to do is to sell it to a collector. The collector will have the guarantee that the artist thought about the work, even if momentarily, and therefore be satisfied.
The biggest problem is that people have stopped being critical about the role of the computer in their lives. These machines went from being feared as Big Brother surrogates to being thought of as metaphors for liberty and individual freedom.
For me, Sundance always felt big. It's not the only way to make your way, but for me, it was definitely that critical link between struggling artist, kind of working on my own, to actually working professionally and being connected and being seen.
Fortunately, I've never had to be too critical of my own work, because the world is critical enough.
The thing I like so much about short stories is that there isn't as much of an investment of time so I'm free to experiment more. If it doesn't work out, I've only lost a week or two of work. If I screw up a novel I've lost at least a year's worth of work. But the nice thing is that those experiments with short stories can be carried over to novels when the experiments do work.
It's like The Mold in Dr. Florey's Coat, about the discovery of penicillin. Out of these strange accidents come huge discoveries. A certain purple bleeds into red and all of a sudden you have something unexpected.
Most of us were probably less than immaculately honest as teenagers; it's practically encoded into adolescence that you savor your secrets, dress in disguise, carve out some space for experiments and accidents and all the combustible lab work of becoming who you are.
Honestly, I am too critical about my work.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
Along the (writing) way accidents happen, detours get taken... But these are not "divine" accidents; I don't believe in those. I believe you have constructive accidents en route through a novel only because you have mapped a clear way. If you have confidence that you have a clear direction to take, you always have confidence to explore other ways; if they prove to be mere digressions, you'll recognize that and make the necessary revisions. The more you know about a book, the freer you can be to fool around. The less you know, the tighter you get.
There's a theory of accidents that I studied when I was making a film about nuclear weapons: you can never eliminate accidents, because the measures you introduce to prevent accidents actually produce more accidents. That's certainly true of this sport; you're flying over 40 feet of what might look like snow, but it's hard as ice, it's as hard as pavement. You're doing acrobatic spins and tricks, 40 feet above pavement, essentially. There's been more accidents since, and there are going to continue to be more accidents, that's the nature of the sport.
Musical accidents are a gold mine. The thing about accidental discoveries is they won't be made unless you put yourself in a position to make that discovery. To do that means hundreds of hours, days and weeks where you do things and don't discover anything.
I realize that homosexuality is a serious problem for anyone who is - but then, of course, heterosexuality is a serious problem for anyone who is, too. And being a man is a serious problem and being a woman is, too. Lots of things are problems.
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