I remember the first time I was booked into a jazz club. I was scared to death. I'm not a jazz artist. So I got to the club and spotted this big poster saying, 'Richie Havens, folk jazz artist.' Then I'd go to a rock club and I'm billed as a 'folk rock performer' and in the blues clubs I'd be a 'folk blues entertainer.'
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.
The first choice an artist makes is precisely to be an artist, and if he chooses to be an artist it is in consideration of what he is himself and because of a certain idea he has of art
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.
I can go wherever, to Kuala Lumpur or wherever, and if somebody will ask me where I'm from and I say I'm from Iceland, they say, "Yeah, Björk." And that makes me very proud, and that makes me proud to be an Icelandic artist.
The main reason he wanted to be a recording artist was because it gives you much more freedom in your writing. You only have to please the artist and the artist is you so you can be more daring and experimental.
When you're writing with an artist or for an artist, you have to help them serve their vision. That's the cool part about writing songs. There are no rules.
Comics writing is for your artist. It's not for the general reader; it's for the artist. So I love writing scripts for artists.
There's no diploma in the world that declares you as an artist—it's not like becoming a doctor. You can declare yourself an artist and then figure out how to be an artist.
I think great art goes beyond the control of the artist. In some ways, art often makes itself and reveals things about that artist that maybe the artist is not fully conscious of.
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.
It is often we come the closest to the essence of an artist... in his or her pocket notebooks and travel sketchbooks... where written comments and personal notes provide an intimate insight into the magical mind of a working artist.
At the end of the day, I'm an artist. I may make work and decide to do something political, but it will come out of an artist's position. It won't come out of society telling me I have to. If I do, it's because I choose, as an artist, to do it.
I'm not an artist that makes singles, I'm an artist that makes albums, and it's a totally different thing.
Folk rock was my real roots. I did a few gigs as a folk artist, in the style of Fairport Convention.
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