A Quote by George C. Wolfe
The best of any artist is in their art.
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The Best of the artist's art, which will one day be in a Museum wall, the Painting that sets the artist apart of all other artist artists.
The study of art is a lifetime matter. The best any artist can do is to accumulate all the knowledge possible of art and its principles, study nature often and then practice continually.
In every human being there is the artist, and whatever his activity, he has an equal chance with any to express the result of his growth and his contact with life. I don't believe any real artist cares whether what he does is 'art' or not. Who, after all, knows what art is?
Fine art, that exists for itself alone, is art in a final state of impotence. If nobody, including the artist, acknowledges art as a means of knowing the world, then art is relegated to a kind of rumpus room of the mind and the irresponsibility of the artist and the irrelevance of art to actual living becomes part and parcel of the practice of art.
The trouble with science fiction is that you can write about everything: time, space, all the future, all the past, all of the universe, any kind of creature imaginable. That's too big. It provides no focus for the artist. An artist needs, in order to function, some narrowing of focus. Usually, in the history of art, the narrower the focus in which the artist is forced to work, the greater the art.
Art is frightening. Art isn't pretty. Art isn't painting. Art isn't something you hang on the wall. Art is what we do when we're truly alive. An artist is someone who uses bravery, insight, creativity, and boldness to challenge the status quo. And an artist takes it (all of it, the work, the process, the feedback from those we seek to connect with) personally.
It's an extreme to go from an artist like myself to a commercial artist with art directors looking over your shoulder, or any other knucklehead telling you what your art should look like.
An odd contradiction, if the layman were correct in his unconscious assumption that an artist begins with reality and ends with art: the converse is true - to the degree that this dichotomy has any truth - the artist begins with art, and through it arrives at reality.
I think great art goes beyond the control of the artist. In some ways, art often makes itself and reveals things about that artist that maybe the artist is not fully conscious of.
Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.
I'm an artist because that's what I was best at as a kid. It was fun... I continue to be an artist... for the freedom that an art career can bring. I don't need an alarm clock and I am my own boss.
I think, like any artist, those baby songs are not the best things you've ever written, but they count because they're you're first attempts at creating art and expressing yourself.
To produce pure proletarian art the artist must be at one with the worker; this is impossible, not for political reasons, but because the artist never is at one with any public.
Any combining, mixing, adding, diluting, exploiting, vulgarizing, or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all.
I have a feeling that art is something you do for yourself, and that any time you turn your decisions over to someone else you're postponing at best, your own development. The atmosphere of the workshop should be that of trying out one's own work and accepting the signals from others but not accepting the dictation of others because that is a violation of the spirit of art. Art can't be done by somebody else, it has got to be done by the artist.
No art is any good unless you can feel how it's put together. By and large it's the eye, the hand and if it's any good, you feel the body. Most of the best stuff seems to be a complete gesture, the totality of the artist's body; you can really lean on it.
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