A Quote by Ryan McGinley
I knew my ticket out of the suburbs was art school, so I worked really hard to develop my portfolio and get a scholarship.
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I worked hard when I was a consultant. I worked hard when I was in graduate school looking at neuroscience. I worked hard as a teacher. But those are completely different career paths. And the lack of direction is why I didn't get far enough in any of those things.
My family always encouraged my drawing ability. Kids in school who teased me about my reading would get out of their seats and stand behind my desk as I worked and go, 'Wow, you can really draw.' Later, I earned a degree in Fine Art and got a Ph.D. in Art History.
Because I knew how hard I worked, I knew the pain, I knew the sacrifice, I knew the tears, I knew everything. Despite everything, I stuck to it. I toughed it out, and I kept my head in the game, even when the odds were against me.
I asked my parents for permission to study in America and they were so sure that I wouldn't get in and get a scholarship that they encouraged me to try. So I applied to Yale and got an excellent scholarship. I then worked for the Boston Consulting Group for six and half years.
We need to make sure that there's art in the school. Why? Why should art be in the school? Because if art isn't in a school, then a guy like Steve Jobs doesn't get a chance to really express himself because in order for art to meet technology, you need art.
When I turned professional, what I was really aiming for was to be in the top 100, try to hold the top 100 for ten years, and just be in the show, and have a nice career. It's more than I could have ever hoped for. I worked awfully hard for it, but there are other people who worked just as hard and didn't get the breaks. I recognized that I've been lucky and being able to live this life that I wanted since a young age. I really went after it with everything that I have and somehow it worked out.
I wasn't given a scholarship out of high school, and that allowed me to learn what hard work was early on.
I worked really hard to develop me as an artist and as a musician. I have so many different influences and play so many different instruments, I don't think anyone knew what to do with me!
I'm living in L.A., which is hard to get around. I live way out in the suburbs, it's hard for me to get to town. You get five minutes here, then you gotta drive a half hour to the next one. New York was so much easier for standup because you could hit five clubs in a night. Just jump in a cab, pop. Boom, boom, boom. And you could walk to some of 'em, and work out stuff on the way. You can really get some more traction out there. You could work new material easier out there, I thought.
My older brother was a musical prodigy, and he got a scholarship to the Bronx House Music School. We moved to the Bronx when I was 4 to be close to his music school. Then I got a music scholarship myself, at the age of 6, but that was for a school down in Greenwich Village. I had to take the elevated train and then the subway to get there.
You're not on scholarship for school, and it sounds crazy when a student-athlete says that, but that's - those are the things coaches tell them every day: 'You're not on scholarship for school.'
Andy was a nonverbal person; you couldn't get directions out of him. All he knew was what was modern in art was what wasn't art: The telephone was art, the pizza was art, but what was hanging on walls in museums wasn't art.
I sort of tried to get a basketball scholarship out of high school, but that didn't happen. Then I started working for UPS, and that paid for tuition for school. I moved to a bigger town, Louisville. I did it for a year. I had to work the graveyard shift. And then you get off at eight for classes, so that sucked. Then I dropped out.
I once was poor myself. I worked to get where I am today and I've worked hard to spend $100,000 a year on my clothes and I've worked hard to earn $3 million a year. I deserve what I get because I worked for it.
If people knew how hard I worked at my art, they would not consider me a genius.
In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.
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