A Quote by David Galenson

Experimental artists build their skills gradually over the course of their careers, improving their work slowly over long periods. These artists are perfectionists and are typically plagued by frustration at their inability to achieve their goals.
Many people think voice over artists just read, there's much more to it. Without acting beats, scene study and improving skills, you won't make it.
Europeans really provided many venues over there and hailed the jazz artists, and a lot of musicians went over there and stayed over there for a long time. A lot of them moved over there, lived over there, and died over there.
Value investing doesn't always work. The market doesn't always agree with you. Over time, value is roughly the way the market prices stocks, but over the short term, which sometimes can be as long as two or three years, there are periods when it doesn't work. And that is a very good thing. The fact that our value approach doesn't work over periods of time is precisely the reason why it continues to work over the long term.
It might have been introduced slowly over the course of the years as you recall this memory over and over. So that was a very cool but complex idea that we thought about representing in the film but could not find a way to make it work.
Achieve self-mastery over your thoughts, and constantly direct them toward your goals and objectives. Learn to focus your attention on the goals that you want to achieve and on finding ways to achieve those goals.
A lot of artists have been persuaded into doing whatever they can do to gain attention. The media, of course, will position and promote the worst of them to the front page. The sidewalk to crime becomes the marketing campaign. These artists have seen it work and sell millions and millions of records for other artists.
Sometimes it takes us a long time to build up songs, and we really work the structures over and over and build in lots of noisy parts.
What I've learnt about artists over the years is, artists are usually the opposite to their music.
I believed in the concept of over-performing. I believe anyone can achieve their goals in life if they over-perform, and that means you have to work ten times harder than anybody you see.
The precision of their goals allows conceptual artists to be satisfied that they have produced one or more works that achieve a particular purpose... a problem solved can free him to pursue new goals.
I never really listen to what people say. My thing is that my favorite artists are artists that are theatrical. Obviously when you are doing a recording, things aren't gonna translate as over-the-top.
People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
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.
This has always been my plan and my vision, to build a strong team and build artists like Glock. I always knew I could do it with artists, because I saw what I did for myself as an artist.
Artists who have produced experimental innovations have been motivated by aesthetic criteria: they have aimed at presenting visual perceptions. Their goals are imprecise, so their procedure is tentative and incremental.
Vulnerability of artists is definitely what makes organizations like PEN necessary because, as I tried to argue, the actual work that writers and artists do has an ornery way of surviving. Particularly in this age of the internet, it is very easy for forbidden work to be found online somewhere if you know where to look. Artists themselves, however, are in increasing danger, and not just artists. The great concern is that year after year, rising numbers of journalists are being killed in pursuit of their work.
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