A Quote by Nomy Arpaly
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".
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In the beginning, the energy involved to create came from my reaction to the work of other artists. The force behind this was aggression. The art that I saw was great, but I had to reject it, because I could not continue in the same direction. So I had to do something entirely different. It had to be so different, so extreme, that those who loved pop art, for instance, hated me. And this was my strength.
I surround myself with incredible, capable people, and the beautiful part about the artists I've chosen to work with, and the artists that have chosen to work with me, is that we share the same family values.
As however the ancients say that in case of necessity any Christian lay person can administer the sacrament of Baptism, so Luther says the same thing about absolution in case of necessity, where no priest is present.
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.
I learned a long time ago to be honest when I'm talking to other artists. Up-and-coming artists used to come and say something, they would have a demo reel, and I would try to tell them the truth. I don't go up and say something unless I really feel it.
At any rate, when I began photographing myself, I could place myself in poses that had not been investigated by other artists. It was an area other artists hadn't touched. Then, I went on from there. I manipulated my image - distorting it, brutalizing it. People thought I was mad, but I felt I had to tell these things. It gave me a kind of excitement.
I always felt that my work hadn't much to do with art; my admirations for other art had very little room to show themselves in my work because I hoped that if I concentrated enough the intensity of scrutiny alone would force life into the pictures. I ignored the fact that art, after all, derives from art. Now I realize that this is the case.
I started off just trying to make a wish list for myself. I wanted to work with people I really admire myself. I wanted to work with other artists from other scenes so they could make my songs improve in a different way - people who have artistically different things to say.
Do you want to be famous, or do you want to have actual money to take care of your family down the line? I'd say it's a case by case call there. Some guys fight for different reasons. What do you fight for? Do you fight for this reason or for that reason.
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?
When artists find other artists that they love to work with, they more than likely will continue to work with them throughout their career.
Artists don't talk about art. Artists talk about work. If I have anything to say to young writers, it's stop thinking of writing as art. Think of it as work.
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.
I'm not rigid about directorial changes: I judge them on a case-by-case basis. In the case of a play whose text is widely familiar, I'm open to drastic changes that may alter the author's meaning, perhaps even considerably. If the results don't work, then I say so.
Artists look at the environment, and the best artists correctly diagnose the problem. I'm not saying artists can't be leaders, but that's not the job of art, to lead. Bob Marley, Nina Simone, Harry Belafonte - there are artists all through history who have become leaders, but that was already in them, nothing to do with their art.
To those who call me a mercenary I say that I also had interest from abroad, where I would have earned more. I have chosen Milan because, in my head, there is the idea of repeating the course I had at Juventus, where we had started rebuilding, as in this case, and we came to the top.
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