A Quote by Frank Wildhorn
When you are writing for an artist you are trying to get into that artist's point of view. What does that artist want to say? What do they care about? And musically, you want to show off that artist.
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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?
I wouldn’t want to be labelled unless it was something much broader and inclusive such as an ecological artist or a visionary artist, but there’s a constraint in the definition of a feminist artist, you’re an artist and you’re a feminist.
I'm a recording artist, a performing artist and a producing artist. All those things have everything to do with the outcome of my shows. I get myself studying every part of the game and not everyone has the characteristic to do that. In my mind, you need all three to become an artist.
I don't want to hear at all what the artist thinks about his art. And I'm not writing for the artist. I'm writing for the reader, and I want to tell the reader what I think.
I don't think you have to earn your income as an artist to be an artist. But if you are an artist, then art is what you do, whether or not you're paid for doing it; it is what you do, not what you are. I regard artist not as a description of temperament but as a category of profession, of vocation.
I am a serious artist in my own right, in the sense that I've spent my entire life being an artist and trying to be an artist and making work.
I want to be an artist artist, a real artist. I don't just want to do this for temporary money.
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
I don't want to be an artist that gets stuck doing one thing. I don't want to be an artist who people look back at and say, 'His early work was really great.'
I don't want to be an artist that gets stuck doing one thing. I don't want to be an artist who people look back at and say, 'His early work was really great.
I want to communicate. I do; every artist does. That's why you're an artist.
I never considered myself an artist. I aspire to be an artist, but I never thought I had the depth or substance or gift to be an artist. I do think I have some talent, but it doesn't go as far as being an artist.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
There's a perception that if an artist produces another artist, they're going to imprint on them. But I'm the opposite. I want to hear that artist; I don't want to hear me - that's the last thing I want to hear. There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.
The main reason he wanted to be a recording artist was because it gives you much more freedom in your writing. You only have to please the artist and the artist is you so you can be more daring and experimental.
The only duty an artist has is in the quality of the art. There is no moral obligation to denounce. An artist confronted with a tremendous injustice sometimes feels inclined to say something. Denouncing the situation is the artist's choice.
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