A Quote by Rokia Traore

An artist who doesn't have any audience is not an artist. — © Rokia Traore
An artist who doesn't have any audience is not an artist.

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I don't think you have to earn your income as an artist to be an artist. But if you are an artist, then art is what you do, whether or not you're paid for doing it; it is what you do, not what you are. I regard artist not as a description of temperament but as a category of profession, of vocation.
From my standpoint, being an artist, I want to see what the new construction is between artist and audience.
I like to tell the artist what the song or album means to me, in detail. Then I let the artist run with it and create in an unrestrained manner. Once the artist gets back to me with a few ideas, I like to do the little changes to make it perfectly speak to the audience.
Ask any rapper or singer what artist they are an expert on. What artist are they looking to emulate, and really, what artist is the one person they are an expert on? You see, if you want any kind of longevity, if you want any kind of legacy, you need to know what ancestral line you are from.
There's actually a disdain for the conversation about audience in the art world. Artist to artist, if you say, "What do you think about audience?" they would probably say, "I don't think about audience, I only think about my work," yet the audience is such an important part.
An artist cannot be responsible for what people make of their art. An audience loathe giving up preconceived images of an artist.
An artist cannot be responsible for what people make of their art. An audience loathe giving up preconceived images of an artist
Judging your early artistic efforts is artist abuse. . . Remember that in order to recover as an artist, you must be willing to be a bad artist. Give yourself permission to be a beginner. By being willing to be a bad artist, you have a chance to be an artist, and perhaps, over time, a very good one
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?
When you have a chance to be an artist with an audience in your lifetime, you have to say thanks to your audience. That's a great thing. That's the best thing that can happen to an artist.
I'm a recording artist, a performing artist and a producing artist. All those things have everything to do with the outcome of my shows. I get myself studying every part of the game and not everyone has the characteristic to do that. In my mind, you need all three to become an artist.
I wouldn’t want to be labelled unless it was something much broader and inclusive such as an ecological artist or a visionary artist, but there’s a constraint in the definition of a feminist artist, you’re an artist and you’re a feminist.
When you are writing for an artist you are trying to get into that artist's point of view. What does that artist want to say? What do they care about? And musically, you want to show off that artist.
I never considered myself an artist. I aspire to be an artist, but I never thought I had the depth or substance or gift to be an artist. I do think I have some talent, but it doesn't go as far as being an artist.
The artist has a duty to be calm. He has no right to show his emotion, his involvement, to go pouring it all out at the audience. Any excitement over a subject must be sublimated into an Olympian calm of form. That is the only way in which an artist can tell of the things that excite him.
I don't write for a particular audience. I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
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