A Quote by Rembrandt
A work is finished when an artist realizes his intentions.
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It has always been the artist who realizes that the future is the present and uses his work to prepare the grounds for it
I believe that a truly valuable artist must be an artist who realizes the impossibility of his task -and then continues to do it.
The most irritating experience for an artist is to have his work criticized before it is finished.
How should an artist begin to do his work as an artist? I would insist that he begin his work as an artist by setting out to make a work of art.
And often he who has chosen the fate of the artist because he felt himself to be different soon realizes that he can maintain neither his art nor his difference unless he admits that he is like the others. The artist forges himself to the others, midway between the beauty he cannot do without and the community he cannot tear himself away from.
One doesn't need to know the artist's private intentions. The work tells all.
I've tried to be totally present, so that when I'm finished with a piece of work, I'm finished. ... The work, once completed, does not need me. The work I'm working on needs my total concentration. The one that's finished doesn't belong to me anymore. It belongs to itself.
If the average jazz artist uses his head and at the outset of his career realizes he won't play as well at fifty as he does at twenty-five, he won't be in a line-up outside the Salvation Army when he's fifty.
The artist seeks contact with his intuitive sense of the gods, but in order to create his work, he cannot stay in this seductive and incorporeal realm. He must return to the material world in order to do his work. It's the artist's responsibility to balance mystical communication and the labor of creation.
The artist never really has any control over the impact of his work. If he starts thinking about the impact of his work, then he becomes a lesser artist.
I was associated with the Artist Placement Group in the early 1970s and David Hall, the video artist, was an Artist Placement Group artist. I was completely broke at that time, and he said to me, "Come and do some teaching" - he was head of department at Maidstone College of Art. And I went and did a couple of teaching days and practically the only person who showed up was David Cunningham [Flying Lizard's main man], with all of this finished work
Clearly the hardest thing for the working artist is to create his own conception and follow it, unafraid of the strictures it imposes, however rigid these may be... I see it as the clearest evidence of genius when an artist follows his conception, his idea, his principle, so unswervingly that he has this truth of his constantly in his control, never letting go of it even for the sake of his own enjoyment of his work.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
Even Michelangelo on his deathbed thought he'd done nothing to ennoble art. He wanted to destroy his work-the Pieta! And this from the greatest artist who ever lived. Of course I am not comparing my work to Michelangelo's. But this eternal dissatisfaction of the artist is what I was talking about.
A work of art is a work of order, and if the artist is to put the stamp of his own mind on his work, he must arrange, modify, and dispose of his materials so that they may appear in a more agreeable and beautiful manner than they would have assumed without his interference.
God incarnate is the end of fear; and the heart that realizes that, realizes that he is in the midst, that takes heed to the assurance of his loving presence, will be quiet in the midst of alarm.
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