A Quote by Jonathan Franzen
There used to be rather serious firewalls between the artist and the buying public - the gallery, the publisher. And technology demolishes that wall and basically says, 'Self-promote or die.' And that is a bad head for any sort of artist to be forced into.
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I would rather die than be a serious artist, or a fake artist.
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
Now the expectation is that, once the public decides that the artist is gentrified, the public demands that the artist stop growing. And [the public] actually puts all their energy into reasserting or re-establishing what the artist has long ago left behind. Because that's what they want. The source of creativity, the gift that's been given, be damned.
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.
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.
The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.
A true artist could and should create till the day they die. You don't ever fail as an artist until you quit being an artist.
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.
There questions of wanting to be an artist, and what does that mean, what makes you an artist? Are you an artist if you're in a gallery in New York and not an artist if you're doing it at home? Do you need legitimation to count? If you've been acculturated to believe that you have certain obligations - familial, social, human - if multitasking has been your forte and that's what's been praised and rewarded, where do you find the single-mindedness, the selfishness to do something like art? I think those are questions that arise differently for women and for men.
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.
I like to believe a true fan of music or an artist has a genuine respect for what the artist does and has a distinct understanding of their actions. In that buying an album they are helping the artist to continue making music. It's hard because everyone wants something to be free.
As a street artist, I'm used to sharing my stuff with the public. It's a communal experience. I've learned not to be so precious, but rather to enjoy the process.
I just like artist-driven projects, but for artists themselves: artist spaces, artist mentor programs, and artists buying buildings and making lofts. Doing whatever we can do. Because at the end of the day, I really think that we as a community only have each other.
The technology can help the artist work in a different way and the artist also helps define what the technology should be. They call for the tools that they want to be able to tell their story. I thought that was really exciting and interesting.
Everyone sort of has that voice of self-doubt in their head, but as an artist, you relinquish your right to have that voice.
An artist's career doesn't happen in the cycle of one week of news. An artist's career happens in a lifetime, and if you're a true artist you're willing to die for what you believe in.
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