A Quote by Michael Giacchino
When artists find other artists that they love to work with, they more than likely will continue to work with them throughout their career.
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I would love to see more dialogue around the "responsibilities" of art consumers - how can audiences better financially support artists we love, artists who are doing the work, so that artists have a more solid foundation upon which to make art?
A lot of artists have been persuaded into doing whatever they can do to gain attention. The media, of course, will position and promote the worst of them to the front page. The sidewalk to crime becomes the marketing campaign. These artists have seen it work and sell millions and millions of records for other artists.
Coming from a YouTube perspective, a lot of times you kind of limit yourself and think, 'Oh, artists from the real world wouldn't want to work with someone who's made their career on YouTube.' But more and more, I'm realizing that artists from both sides are learning that we can benefit from each other.
Once avant-garde artists receive official recognition, they start a double life. In one, they inspire younger artists to do more. In the other, they inspire a mass of imitators who make the work respectable and exclusionary. The artists and their art become intellectual brand names.
Artists such as Lorna Simpson, Zoe Leonard, Byron Kim and Stephen Andrews and I are around the same age, and I know them personally. The discussions I have had with them over the years have influenced the work that I have made throughout my career.
Vulnerability of artists is definitely what makes organizations like PEN necessary because, as I tried to argue, the actual work that writers and artists do has an ornery way of surviving. Particularly in this age of the internet, it is very easy for forbidden work to be found online somewhere if you know where to look. Artists themselves, however, are in increasing danger, and not just artists. The great concern is that year after year, rising numbers of journalists are being killed in pursuit of their work.
Young artists wish for inspired moments. And you find them; you take them; eager artists are bandits. Theatrical moments arrive, and...you grab. Good! You know it will draw attention to you. But you aim to be more than bandits, no? So, okay...now be Samurai.
I'd prefer to invite the artists simply to work and have fun with Guatemalan artists. To share missions of life. Maybe that is more important than seeing an exhibition.
Incompatibilists will tell you that a work of art has no meaning unless the artists could have chosen to create a different one, but actual artists often say things like "the book chose me" - that is, the work had to be. Some philosophers would call it "volitional necessity", and a similar case that's discussed is the case of Luther saying "here I stand, I can do no other".
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.
I love artists whose work feels animated! Matt Cummings, Ian McGinty, Jake Myler, Arielle Jovellanos, Drew Rausch, Zachary Sterling, Troy Little - I feel like most of the artists I've worked with have a lot of movement and life in their work.
I often envy my friends who are visual artists. Visual artists have other things to work with. Other media. I envy my sculptor friends: they have hunks of matter. Marble. Wood. It's physical, which I find very appealing. What we have is nothing, is just glaringly blank.
Some comic artists I've known are better than most contemporary artists with work hanging in Tate Modern.
I love to look at all those young artists' work and then bring them in, have them work with me at shows.
You know, I didn't write my books for critics and scholars. I wrote them for students and artists. When I hear how much my work has meant to them--well, I can't tell you how happy that makes me. That means that this great stuff of myth, which I have been so privileged to work with, will be kept alive for a whole new generation. That's the function of the artists, you know, to reinterpret the old stories and make them come alive again, in poetry, painting, and now in movies.
New artists will be discovered and trained. Moreover, when the artists who've gone abroad return home, they can share and pass on skills and knowledge to their peers here. I am certain their stints abroad will make them better artists and mentors. It will teach them discipline and independence. It will broaden their horizons.
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