A Quote by Logan Pearsall Smith
The notion of making money by popular work, and then retiring to do good work, is the most familiar of all the devil's traps for artists.
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Dave Matthews, Tim McGraw, U2, The Rolling Stones - there are a lot of artists selling out stadiums around the world that we work with regularly. And end up making most of our money with those artists.
The problem of making artists talk about their work is that when they're making their work the left-brain is shut off. So if you talk to an artist about it, you're talking to someone who wasn't there. It's hopeless. And also it's insulting. It's implying that the work is not an adequate account of itself. To me, the greatest artists are almost entirely non-verbal.
There seems to be a notion in Hollywood that if you want to make money, you have to sacrifice doing good work with integrity. And I think that's bullshit. I think that's an excuse, and it's what people say who are scared that they can't do good work.
I'm a believer in the notion that artists who do good work believe in the ideas of extremes.
Making money has always been pretty easy for me, but today I don't need any more money. I still work, because money is important, but my work is more important than the money, now. And that's a very big difference. I just work because I enjoy my work.
Most artists work all the time, they do actually, especially good artists, they work all the time, what else is there to do? I mean you do.
Retiring isn't even a word I'd understand. Taking what makes you feel alive, and everyone's looking for ways of making them feel alive, in whatever they do - relationships, business or work - and not just being a voice for a money making business.
Artists don't compare themselves to each other based on money. Nobody really knows what money other artists have. They don't care that much. The measure is the work and how you think your work is perceived. How the museums are. How you are doing.
Most contemporary artists are behind the bubble in time. They're making videos that are so incredibly boring compared to a good movie. Or they're making work where I say, "You realize minimal art is 50 or 60 years old?" That's what I tell people to shock them. They just blanch.
Pop artists work really hard, and they might not work for the same things that indie artists do, but they're still musicians, and they're still making art.
Courts should always do the right thing. But if winning were as simple as making a good argument and filing a good brief, then we would have won the freedom to marry 40 years ago. We must put the legal work next to the public education work next to the legislative work next to the organizing work, and that's what's brought us so far.
You make good work by (among other things) making lots of work that isn't very good, and gradually weeding out the parts that aren't good, the parts that aren't yours. It's called feedback, and it's the most direct route to learning about your own vision. It's also called doing your work. After all, someone has to do your work, and you're the closest person around.
I did have a very determined idea of making money. I was quite savvy about that. And that was my most basic lesson. You do have to understand the economics. It's pointless putting in all that work and losing money. If you're not making a profit you're stuffed.
If you can get some of the devil's money to use for the Lord's work, if you have to borrow it, it is all right and carry on the work.
Work begets work. Just work. If you work, people will find out about you and want to work with you if you're good. So work anywhere you can. That's why I've changed my mind about these theatres where people work for free or have to pay money. I think it's kind of terrible that they feel they have to, but you know what? They're working.
Group Material is itself collaborative, which is non-hierarchical and we don't use the corporate model which is along lines of expertise but we work together and take responsibility as a group for every aspect of the work. And then there's a collaboration or dialogue with those artists and non-artists we work with, in terms of participation in the various projects.
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