A Quote by H. L. Mencken
The movies today are too rich to have any room for genuine artists. They produce a few passable craftsmen, but no artists. Can you imagine a Beethoven making $100, 000 a year?
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There are 100,000 artists on Pandora & 70% are indies; artists making $100K - $2 million.
Not to say people shouldn't get rich from art. I adore the alchemy wherein artists who cast a complex spell make rich people give them their money. (Just writing it makes me cackle.) But too many artists have been making money without magic.
The word 'art' interests me very much. If it comes from Sanskrit, as I've heard, it signifies 'making.' Now everyone makes something, and those who make things on a canvas with a frame, they're called artists. Formerly, they were called craftsmen, a term I prefer. We're all craftsmen, in civilian or military or artistic life.
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
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.
Many artists stick to making and hire a manager to focus on their business. Artists that build websites and mobile apps can do that, too.
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.
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.
Today we've learned to celebrate mediocrity. Back in the day we had creative artists; today we have created artists.
If America could be, once again, a nation of self-reliant farmers, craftsmen, hunters, ranchers, and artists, then the rich would have little power to dominate others. Neither to serve nor to rule: That was the American dream.
In the industry, artists of of color struggle the most. Caucasian artists have really solidified themselves in the industry, and with African Americans now we see directors and producers who vow to only produce work that shines a light on African American artists. But everybody in the middle gets lost.
A lot of artists are involved with fabrication. Artists today are making more objects and many of them need the participation of a dealer in order to facilitate and provide support for projects. So that has changed. But I don't know if what it means to be an artist has really changed. I hope that it hasn't.
I get a great laugh from artists who ridicule the critics as parasites and artists manqués — sucha horrible joke. I can’t imagine a more perfect art form, a moreperfect career than criticism. I can’t imagine anything more valuableto do.
While the space for artists and curators has increased enormously, maybe, just maybe, that's left room for too many people calling themselves artists and curators who are simply not up to the term.
Artists should imprint their handwriting on the work, because if they give a piece to a fabrication studio, the craftsmen there may actually be too perfect; you don't see the quirks that the artist would have developed.
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