A Quote by Sara Evans

I've always thought about someday producing other artists or developing other artists. — © Sara Evans
I've always thought about someday producing other artists or developing other artists.
I've also been writing for other artists, producing other artists, doing some country stuff. Those lyrics I tend to leave more universal.
My thing with New York was that it felt so insular. When I went to L.A., everybody I knew was a cool, amazing musician. In New York, they'd be hunkered down trying to form a band. But in L.A., guys in bands were also playing with other artists, touring with other artists, and collaborating with other artists.
Artists reproduce themselves or each other, with wearisome iteration. But criticism is always moving on, and the critic is always developing.
There are so many artists these days that are trying to imitate other artists and go for a certain style; there's a lot of bullshit in the music industry. I don't want to deviate from anything else other than the music, cause that's why I listen to my favorite records - not because I like the way the artists dress.
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.
Coming from Britain, I was terrified of meeting all these other artists, because artists over there tend to fight with each other a lot, the premise being that there's not enough room for everybody.
At any rate, when I began photographing myself, I could place myself in poses that had not been investigated by other artists. It was an area other artists hadn't touched. Then, I went on from there. I manipulated my image - distorting it, brutalizing it. People thought I was mad, but I felt I had to tell these things. It gave me a kind of excitement.
We've influenced other artists, and when younger generations become fans of those artists and hear about us, they discover our music too.
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.
When I was releasing EPs by myself, I was generating royalties. And when I signed, I thought I'd put those royalties into other artists. And interestingly, streaming is most of the income for those artists.
White artists have made millions of dollars off music they stole from black artists. I don't blame all the white artists. I'm a huge Stevie Ray Vaughn fan, and he was always very gracious about where he learned his music. But a lot of the time, you'd think the white guys thought it up. Hey, hasn't anyone heard of Muddy Waters?
At a festival, a lot of people came to see other artists, so you have to put on a signature set and performance: 'This is what I do, this is why I'm here.' At solo gigs, I'm a DJ - I'll play two-and-a-half hours, and not just my own music, also my favorite songs by other artists.
Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.
Once avant-garde artists receive official recognition, they start a double life. In one, they inspire younger artists to do more. In the other, they inspire a mass of imitators who make the work respectable and exclusionary. The artists and their art become intellectual brand names.
I was worried that I, the artist Morimura, would have conflicts with the participating artists and develop a strenuous relationship with them. But the actual experience was completely the opposite. The artists accepted my requests rather positively, because it came from a fellow artist. I strongly feel that the fact that my being an artist avoided the usual curator vs artist tension, and led to creating a positive atmosphere as well as developing a solidarity amongst artists and building a community for artists.
My day job these days is I am writing, producing and developing young artists here in the States, in between working on my own stuff.
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