A Quote by Carolee Schneemann

We don't necessarily need so many artists. I recommend that many of the people who think they want to be artists should go into the American Friends Service Committee, or do government outreach to communities that don't have water, or that need seeds or ecological assistance. It would create a system in which people with engaged sensibilities and potential insight assist instead of imposing. I think it could leap right out of the art world into wonderful community action.
Recently, I was giving a speech and I said that it's time for many of us to "go home." Not necessarily to move back home but rather to go back to our communities and support those outreach programs and those people who could use our assistance.
I don't want the government to be censoring people, I don't think there should be censoring boards, but I think that means that we the artists need to be very careful about what we're putting out and what were saying and how we're saying it. And I don't think we're being as careful as we should be.
It seems absolutely wrong that people should be able to profit in this cynical way from an event that is designed to highlight the need for action on poverty in Africa, and for which so many artists and others are donating their valuable time for nothing [on people selling Live8 concert tickets on eBay]
I think what you're always looking for as artists is to be honest and to continue to be honestly driven by that which you are passionately engaged with. It should need not be forced.
Designers + artists see potential in things where others do not. I think artists in many ways are the original entrepreneurs.
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.
People mistakenly think that art is about nature, or about an artists feelings about nature. It is instead a path of enlightenment and pleasure, one of many paths, where nature and the artists feelings are merely raw material.
I think we have to really focus on the issues much more than we may have in the past. I think we have to seek to create coalitional strategies that go beyond racial lines. We need to bring black communities, Chicano communities, Puerto Rican communities, Asian American communities together.
With my friends in Brooklyn, many of them started out as artists. I saw many of these friends move into late middle age, still struggling without health insurance or a cushion. I saw people who had given up being artists. Being an artist necessitates a compromise or living on the edge.
Art movements are always linked to some kind of turmoil. We can look at history and see that [political turmoil is] fertile ground for art. I also think that it gives artists something, a way of kind of processing. My friends and I have all been super motivated to work and to do the work that we need to and want to and think should be in the world. Hard times are really a fire under your ass to prioritize and think, "Okay, how can I challenge myself to put something in the world that wasn't there that can reach other folks and help them to process"?
I don't think there is room for 'artistic temperament.' Professional artists understand art is a business. If businesses ran their companies like many artists do their careers, they would not stay open a year.
Just after I dedicated my life to service, I felt that I could no longer accept more than I need while others in the world have less than they need. This moved me to bring my life down to need level. I thought it would be difficult. I thought it would entail a great many hardships, but I was quite wrong. Instead of hardships, I found a wonderful sense of peace and joy, and a conviction that unnecessary possessions are only unnecessary burdens.
There are so many people in the communities in need and so many organizations in need. People are doing amazing, beautiful things just to keep the world from not hurting more today than yesterday.
I thought, 'A biennial needs artists. I'm going to do an international biennial; I need artists from all around the world.' So what I did was I invented a hundred artists from around the world. I figured out their bios, their passions in life and their art styles, and I started making their work.
I think every artist should follow their vision; their hearts is what they need to reveal, not something that society is looking out for. That said though, I think also artists have, continuously good artists, have been good for their times.
One of our chief needs as creative beings is support. Unfortunately, this can be hard to come by. Ideally, we would be nurtured and encourages first by our nuclear family and then by ever-widening circles of friends, teachers, well-wishers. As young artists, we need and want to be acknowledged for our attempts and efforts as well as for our achievements and triumphs. Unfortunately, many artists never receive this critical early encouragement. As a result, they may not know they are artists at all.
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