A Quote by Norbert Lynton
Like books, artists have their fates.
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It is past time for women to take their rightful place, side by side with men, in the rooms where the fates of peoples, where their children's and grandchildren's fates, are decided.
The fates have informed me that your examination in June will concern the Orb, and I am anxious to give you sufficient practice. Hermione snorted. "Well honestly... 'the fates have informed her'... Who sets the exam? She does!
I want to show there's an edgier side of people who love comic books. And there are people who don't look like you and me who do read comic books and who love artists.
Artists like to talk about what they do with people who've read their books, or seen their films.
Books have their destinies like men. And their fates, as made by generations of readers, are very different from the destinies foreseen for them by their authors. Gulliver's Travels, with a minimum of expurgation, has become a children's book; a new illustrated edition is produced every Christmas. That's what comes of saying profound things about humanity in terms of a fairy story.
Artists raise their kids differently. We communicate to the point where we probably annoy our children. We have art around the house, we have books, we go to plays, we talk. Our focus is art and painting and dress-up and singing. It's what we love. So I think you can see how artists in some way raise other artists.
Officially there are no fates worse than death. Unofficially, there is a profusion of such fates. For some people, just living with the thought that they will die is a fate worse than death itself.
I'm an action player. I like to be aggressive. I don't like to be on the run. I like to feel like I have the fates in my hands and that through my skill or lack thereof I control my fate.
I collaborate with Tidal because they're for the artists - the up and coming artists and the O.G.s in the game. It's like a home, the only place we have for the artists to find support.
I like the idea of the museum world and the university-academic situation where artists talk to each other or where artists or art students study with artists.
I like to be aware of a book as a piece of writing, and aware of its structure as a product of mind, and yet I want to be able to see the represented world through it. I admire artists who succeed in dividing my attention more or less evenly between the world of their books and the art of their books . . . so that a reader may study the work with pleasure as well as the world that it describes.
Elephant and Piggie have a very large input. They have a distinct aesthetic taste. They like books that are philosophical. They like books that are dialogue-driven. They like books that are about issues that they live with, in their own elephantine and porcine ways.
I've worked with jazz artists, country artists, classical artists, pop artists. I never wanted there to be categories, because when I was a kid there weren't.
People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
Poems have their own fates, like children. You have only to give birth to them.
Kerry James Marshall especially was a huge influence on me in graduate school, as were Wangechi Mutu and Julie Mehretu. These artists are titans. My education was also very much in comic books, so I've been going to comic book events in New York and have met a few artists there.
