A Quote by John Adams

Whenever serious art loses track of its roots in the vernacular, then it begins to atrophy. — © John Adams
Whenever serious art loses track of its roots in the vernacular, then it begins to atrophy.
Popular art is normally decried as vulgar by the cultivated people of its time; then it loses favor with its original audience as a new generation grows up; then it begins to merge into the softer lighting of
Music begins to atrophy when it departs too far from the dance... poetry begins to atrophy when it gets too far from music.
The author's conviction on this day of New Year is that music begins to atrophy when it departs too far from the dance; that poetry begins to atrophy when it gets too far from music; but this must not be taken as implying that all good music is dance music or all poetry lyric. Bach and Mozart are never too far from physical movement.
When Nas and AZ send you a track, you know it is serious business. Same with Styles P and Jadakiss - then it is serious business. But when you get a trap music track, you know it's time to dumb it down.
For all of my patients sensuality is a giving in to 'the low side of their nature.' Puritanism is powerful and distorts their life with a total anesthesia of the senses. If you atrophy one sense, you also atrophy all the others, a sensuous and physical connection with nature, with art, with food, with other human beings.
Minority art, vernacular art, is marginal art. Only on the margins does growth occur.
He who loses wealth loses much; he who loses a friend loses more; but he that loses his courage loses all.
I turn on the machines and start to think about ideas and take it from there, it usually begins if it's a beat, a track creating a beat/beats and then the bass-line/lines, then comes the sounds--drones, atmospherics etc, then the edits of various sounds I created and keep going till I feel I have enough sounds ideas to start working and building a track. I have many banks of sounds that we hear that can be manipulated in the machines.
For me, the music of the Beatles then was serious and very, very serious art. So I couldn't take a picture of John laughing his head off or pulling funny faces because he was a serious artist, even when he was only 20.
I believe Picasso's success is just one small part of the broader modern phenomenon of artists themselves rejecting serious art- perhaps partly because serious art takes so much time and energy and talent to produce-in favor of what I call `impulse art': art work that is quick and easy, at least by comparison.
For me, art is make-believe. It's enchantment. It's a fable. I'm enjoying that and playing with it. Of course it's serious, and art is serious, but I'm not going to rarefy it.
I don't think that my art isn't serious. I think the subjects are not serious, or my treatments of the subjects are not serious. But then, I'm also putting down subject, because like the abstract expressionists, I don't think the subject is important.
Somewhere between the ages of eleven and fifteen, the average child begins to suffer from an atrophy, the paralysis of curiosity and the suspension of the power to observe. The trouble, I should judge, to lie with the schools.
When things get tough, this is what you should do: Make good art. I'm serious. Husband runs off with a politician -- make good art. Leg crushed and then eaten by a mutated boa constrictor -- make good art. IRS on your trail -- make good art. Cat exploded -- make good art. Someone on the Internet thinks what you're doing is stupid or evil or it's all been done before -- make good art.
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.
Jazz is for joy. It's for euphoria, it's for emotion, and anguish, and excitement, and all of the joys that great art can produce, and if it loses that, then it's lost everything.
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