A Quote by Jacob Epstein
My parents did not discourage me but could not understand how I could make a living by art. Their idea of an artist was a person who was condemned to starvation.
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I always wanted to be an artist, I just didn't know that you could be, or how you could be. I went to an art high school but they never even took me to a gallery.
My dad was very, very invested in image. He felt that as a black person, the thing you could control was how did you look, how did you dress, how did you sound, how did you smell, how did you act. All of that stuff that you could control would absolutely have a strong impact on your access.
I thought I'm going to die. So why can't I do everything? And what is this idea that I worked all day yesterday, so I'm tired today? I've never believed that.I thought, "Just suppose I could choreograph a ballet." And I did it. Suppose I could teach dance at the theater in Cleveland. And I did it. Suppose I could sing for a living - that I could stop these two jobs as a waitress and a salesperson.
My parents were so far from the music world that they couldn't conceive how you could make a living. But for me, it was the only solution for the rest of my life.
I remembered my New Orleans days, living on two five-cent candy bars a day for weeks at a time in order to have leisure to write. But starvation, unfortunately, didn't improve art. It only hindered it. A man's soul was rooted in his stomach. A man could write much better after eating a porterhouse steak and drinking a pint of whiskey than he could ever write after eating a nickel candy bar. The myth of the starving artist was a hoax.
I didn't know how a working-class girl like me could possibly make a living in the art world
If a man could understand all the horror of the lives of ordinary people who are turning around in a circle of insignificant interests and insignificant aims, if he could understand what they are losing, he would understand that there can only be one thing that is serious for him - to escape from the general law, to be free. What can be serious for a man in prison who is condemned to death? Only one thing: How to save himself, how to escape: nothing else is serious.
I'm not a team sports person type person, so I probably would have been good at tennis, because I like tennis. But my parents really didn't push me. I think if my parents would have guided me and stay committed, I could have played any sport I wanted to, but I never did.
When I taught art, I was always asked, 'How do you know you're an artist? What makes you an artist?' And to me, it's like breathing. You don't question if you breathe; you have to breathe. So if you wake up in the morning, and you have to realize an idea, and there's another idea, and another, maybe you are really an artist.
So yeah, how do I think of my environment and what happens with sound art? I love to play with the idea of elusive and intangible things. That could be psychological. It could be perceptual. It could be just the way your ears help you just navigate around.
I'm a professional artist, that's how I make my living. So I watch the market. There is, it seems to me, a lot of pure financial speculation, and I don't think that's terribly healthy. Though as long as the money is getting back to the artist, I think that's good. I'm very happy younger artists can make money faster than we could. And we were making it faster than a generation before us.
Making your bed could be a piece of art, and writing a book could be a piece of art. You could also write a book that's not a piece of art, but that is a book, and it could be a book that was written by an artist.
The idea of making [conceptual] art was not a good way to approach things... Instead I saw myself as trying to make something that my relatives could understand.
And I had worked at the comic-book store almost by accident, because I was deciding to make a living as an artist, be it as an art tutor or illustrator, and that's how I wanted to make my living.
I believed even then that if I could transform my experience into poetry I would give it the value and dignity it did not begin to possess on its own. I thought too that if I could write about it I could come to understand it; I believed that if I could understand my life—or at least the part my work played in it—I could embrace it with some degree of joy, an element conspicuously missing from my life.
I talked my parents into sending me to Roedean at 16. I had this idea that if I could get into Cambridge, then I could join Footlights. My problem was that I went to a comprehensive in Brighton. I thought I'd have to start from a good school, and the best I could think of was Roedean.
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