A Quote by Joseph Brodsky
One of the worst things that can happen to an artist is to perceive himself as the owner of his art, and art as his tool. A product of the marketplace sensibility, this attitude barely differs on a psychological plane from the patron's view of the artist as a paid employee.
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If a patron buys from an artist who needs money, the patron then makes himself equal to the artist; he is building art into the world; he creates.
If a patron buys from an artist who needs money (needs money to buy tools, time, food), the patron then makes himself equal to the artist; he is building art into the world; he creates.
What is it that an artist does when he is left alone in his studio? My conclusion was that if I was an artist and I was in the studio, then everything I was doing in the studio should be art . . . . From that point on, art became more of an activity and less of a product.
That is an artist as I would have an artist be, modest in his needs: he really wants only two things, his bread and his art--panemet Circen.
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?
The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things.
And often he who has chosen the fate of the artist because he felt himself to be different soon realizes that he can maintain neither his art nor his difference unless he admits that he is like the others. The artist forges himself to the others, midway between the beauty he cannot do without and the community he cannot tear himself away from.
The artist makes art not to save mankind but to save himself. Every benevolent comment by an artist is a fog to cover his tracks, the bloody trail of his assault against reality and others.
I don't think you have to earn your income as an artist to be an artist. But if you are an artist, then art is what you do, whether or not you're paid for doing it; it is what you do, not what you are. I regard artist not as a description of temperament but as a category of profession, of vocation.
Art solves nothing, either for the artist himself or for those who receive his art.
If the paying public demands naturalistic art, then an artist can use his skills to produce such pictures - but these are to be clearly distinguished from the artist's own art.
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.
Art really has its source in the transcendent, the unmanifest field of pure consciousness, which is the non-changing, immortal field of all possibilities...When the awareness of the artist is in tune with this center of infinite creativity, his piece of art breathes fullness of life, nourishes the creator, the artist, and inspires his admirers with waves of bliss.
It ought to be illegal for an artist to marry. If the artist must marry let him find someone more interested in art, or his art, or the artist part of him, than in him. After which let them take tea together three times a week.
Whatever an artist's personal feelings are, as soon as an artist fills a certain area on the canvas or circumscribes it, he becomes historical. He acts from or upon other artists. An artist is someone who makes art too. He did not invent it. How it started — "to hell with it." It is obvious that it has no progress. The idea of space is given him to change if he can. The subject matter in the abstract is space. He fills it with an attitude. The attitude never comes from himself alone.
If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself.
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