A Quote by Nate Powell
Doing representations of real people is not my strongpoint as a visual artist, and I know that.
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If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
John Cage is someone I got into as a visual artist, before I even knew his music. I don't think a lot of people even know that he does visual art.
I think that if someone told me I could have been a visual artist, I might have been a visual artist instead. And if I'd known I could have done art history, I would have done that. But I just didn't know.
The process of drawing is... the process of putting the visual intelligence into action, the very mechanics of visual thought. Unlike painting and sculpture... the artist makes clear to himself and not to the spectator what he is doing. It is a soliloquy before it becomes communication.
Being an artist doesn't just mean you have a song. That doesn't make you an artist. The word 'artist' means so many different things, and I feel like to be a real one, you really have to do it all. The people that I think of as artists - Tyler the Creator, Childish Gambino, Kanye West - are doing the most.
The danger of crippling thought, the danger of obstructing the formation of the public mind by specially suppressing ... representations is far greater than any real danger that there is from such representations.
The literary artist lends verbal depth to the visual. The visual artist provides visible articulation for the literary.
I perform in art time and in real time, and you can't tell the difference - no one knows how to separate a real act from an art act in my work. When I lived on the street for a year, people only knew that I was homeless. They didn't know that I was an artist doing a piece. I have to use real time in my work. I do, however, have to find a subtle way of documenting real time, in order for people to have a response. That means punching into a work clock every hour in the case of one piece.
. . I have written a couple of screenplays for studios, and each time has been less gratifying than the last. In my experience, they want no real representations of homosexuality, they want no complexity, they are terrified of ambiguity and unanswered questions - they don't know what they want, except that they want to make lots of money. The only freedom I've ever had as an artist has been in the theatre.
Unlike a lot of choreographers, I don't always start with the music. I often start with a visual artist, and then find music that fits the world of that visual artist.
I think that fame only goes to your head if you are not a real artist. If you are a real artist and a good person who loves what they are doing, you are going to be the same person.
Every artist, to me, should know why they're doing what they're doing. You shouldn't create simply because it sounds good to you. That's not a real response to me.
Each child is made neurotic by the parents, by the society; and we know that we are doing it, and we know that others have done the same to us. Stop doing it to yourself and stop doing it to others. Become alert. Just be real. I emphasize reality more than truth. Because truth has been used by the anti-life people so much, it has wrong associations. Be real. If you are real, one thing will start disappearing from your heart, and that is guilt.
I take it that computational processes are both symbolic and formal. They are symbolic because they are defined over representations, and they are formal because they apply to representations, in virtue of (roughly) the syntax of the representations.
Obviously, something like ballet, you have music, you dance with the music and it's a very direct connection. With visual art, when there's no music that accompanies the art, such as great masterworks in a museum, you wind up interpreting what the artist is doing, how the artist made that work and what they're conveying.
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