A Quote by Rachael Price

I feel like because black Cuban artists don't have the kind of pressure to thematize race in the way that African-American artists do, there's more space for them to do their art without having to discuss it in terms of racial identity.
If people feel misled or deceived, then sorry that they feel that way, but I believe that's more due to their definition and construct of race in their own minds than it is to my integrity or honesty, because I wouldn't say I'm African American, but I would say I'm black, and there's a difference in those terms.
I paved the way for a lot of white artists now that don’t have to deal with the stigma of being a white artist. I don’t think that people would be as open for non-African American artists like that if it I didn’t take a lot of the slack for them.
In the industry, artists of of color struggle the most. Caucasian artists have really solidified themselves in the industry, and with African Americans now we see directors and producers who vow to only produce work that shines a light on African American artists. But everybody in the middle gets lost.
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.
There are artists in Belgium who try to imitate American artists. But it's like, if you're Belgian pretending to be American, you won't be better than the American because you aren't American. You have to do your own stuff.
To me, paintings are about beauty. They are very feminine, and beauty is something very feminine. For a long time, people would talk with me about identity. I don't have issues with identity, I just follow this kind of feminine beauty because I became a victim of my art, which I think is the best thing for an artist. So many artists use their talent, but with the best artists, their talent uses them.
We do have Museums of African American Art in the United States, and there is a National Museum of Women's Art. However, I believe Latinos are best served by displaying their art next to the art of other groups, particularly North American, European, and even Asian artists.
Without intermediate artists, music is what "American Idol" decides is great or made by the very poor, because Sharon Osbourne's made everything free. No, we have to support our local artists. It's just that simple. Otherwise, we will have no art.
I think people always want to hear that there are barriers that exist for us. But the more I started to realize artists that are kind of like me in my lane, like, if they were white or African-American, they often had trouble because it wasn't the quality of their music: they just didn't stick out.
The potential significance of Black feminist thought goes far beyond demonstrating that African-American women can be theorists. Like Black feminist practice, which it reflects and which it seeks to foster, Black feminist thought can create a collective identity among African-American women about the dimensions of a Black women's standpoint. Through the process of rearticulating, Black feminist thought can offer African-American women a different view of ourselves and our worlds
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
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?
I'm just hoping that, as more black artists take control of the narratives that are out there, more opportunities will come around for artists of colour. We want to make the same waves that the white artists do.
Sometimes you can't fight change, because you're a part of it, and I feel that in the context of these films that are happening now, there is a kind of change coming in terms of how history is represented on film, and the African, and the African-American and British African experience.
I think the entrepreneurial activities that make art visible and attractive are what lure people into the amusement park that SoHo has become or that Bushwick or Williamsburg has become. It's not that outsiders come to an area because they hear artists are living there. A lot of people came who were not that interested in living with artists, but they were interested in living like artists and socializing the way that they thought artists socialized.
You have Vampire Weekend who have more African references musically than most African-American artists.
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