A Quote by Seth Godin
If you are wiling to do something that might not work, you are closer to being an artist.
Related Quotes
Nowadays, if you're a great artist, you don't have to leave the house, which is a really big difference. You're closer to the artist. And the artist can be closer to their artistry without having to always worry about branding themselves or building something image-wise.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
Well, this week's peeve might be... when art writers talk about an artist's 'efforts,' meaning their work. It always sounds patronizing to me, like 'I'll give you an E for effort.' How about the artist's 'effortlessnesses' instead? It's certainly something, or at least the appearance of something, that I aspire to myself.
What an artist is trying to do for people is bring them closer to something, because of course art is about sharing. You wouldn't be an artist unless you wanted to share an experience, a thought.
We're in a post-conceptual era where it's really the artist's idea and vision that are prized rather than the ability to master the crafts that support the work. Today, our understanding of an artist is closer to a philosopher than to a craftsman.
It wasn't supposed to work - being a new artist, a female artist, an artist on an independent. That's what made it so much sweeter when we hit No. 1.
I am a serious artist in my own right, in the sense that I've spent my entire life being an artist and trying to be an artist and making work.
The metaphor of the subterranean is at work in a lot of Northwest writers and artists. Zooming in closer and closer and closer, then below, to the worms and the centipede.
Being able to hear an artist and emulate them has been a huge part of being successful as a producer and co-writer. I think it's a problem when a producer comes in to work with an artist, and you can't hear the artist as well anymore. It's very important to me to be invisible.
What you might consider a bad work can be of extreme interest to an artist in ways which are not about its being a good or bad.
I think one of the biggest things that's changed in terms of the rapport with the crowd is that now crowds come to hear our songs. We're getting closer and closer to an artist performance.
We might come closer to balancing the Budget if all of us lived closer to the Commandments and the Golden Rule.
The typical jobs that a lower-skilled immigration worker might do might be construction work, it might be hospitality work, it might be restaurant work, or might be not working at all and just going onto the welfare system if there isn't a job for that individual.
Being a conservative union member is almost like being an actor in Hollywood: You don't dare say it, or you might be injured on the job, or you might be laid off, or your family might have something happen to them.
There’s no “correct path” to becoming a real artist. You might think you’ll gain legitimacy by going to university, getting published, getting signed to a record label. But it’s all bullshit, and it’s all in your head. You’re an artist when you say you are. And you’re a good artist when you make somebody else experience or feel something deep or unexpected.
Just let the artist sign an empty canvas or a frame, with the inscription, 'I had such and such a concept in mind' for this work. The artist then need not bother with producing the work, and therefore need not be worried about being dis-satisfied. All he or she needs to do is to sell it to a collector. The collector will have the guarantee that the artist thought about the work, even if momentarily, and therefore be satisfied.
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