A Quote by Shepard Fairey
As a street artist, I'm used to sharing my stuff with the public. It's a communal experience. I've learned not to be so precious, but rather to enjoy the process.
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Sharing is the most precious religious experience. Sharing is good.
My process started when I was born. The process is life experience. I believe that what makes you an artist, or at least an artist who can communicate the ideas that they want to get across, are people that have life experience.
There used to be rather serious firewalls between the artist and the buying public - the gallery, the publisher. And technology demolishes that wall and basically says, 'Self-promote or die.' And that is a bad head for any sort of artist to be forced into.
Movies began as a communal experience. Even though we now watch them as DVD's, sometimes alone on our computers, mostly in the history of cinema it has been a communal experience.
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.
Well, for me, what I've learned at the very end of this, love is sharing, and I think that really is, for me, the best place to go to experience love, is sharing.
Of course, I was a head coach at high school for 15 years, so as far as on the field stuff it's the same but for college football it's off the field experience you got to get used to. It was a great learning experience for me, I learned a lot and I feel very prepared coming in here.
The artist has some internal experience that produces a poem, a painting, a piece of music. Spectators submit themselves to the work, which generates an inner experience for them. But historically it's a very new, not to mention vulgar, idea that the spectator's experience should be identical to, or even have anything to do with, the artist's. That idea comes from an over-industrialized society which has learned to distrust magic.
How many precious things do we not already possess which others have not - have hardly an idea of! Let us enjoy these, then, and bless God that we are permitted to enjoy them, rather than importune His goodness with vain longings for more.
If beings knew, as I know, the results of sharing gifts, they would not enjoy their gifts without sharing them with others, nor would the taint of stinginess obsess the heart and stay there. even if it were their last and final bit of food, they would not enjoy its use without sharing it, if there were anyone to receive it
Now the expectation is that, once the public decides that the artist is gentrified, the public demands that the artist stop growing. And [the public] actually puts all their energy into reasserting or re-establishing what the artist has long ago left behind. Because that's what they want. The source of creativity, the gift that's been given, be damned.
All the stuff that I used to treat with contempt - you know, I'm an artist, man, I don't do that family stuff - has begun to seem really important.
When your life is as precious as all our lives are, then it needs to be kept precious and looked after and treated well. And that is not something we should be sharing with a wider audience.
Naturally one would rather be a broad artist with power to evoke beauty from every phase of experience--but when one unmistakably isn't such an artist, there's no sense in bluffing and faking and pretending that one is.
... what the artist or creative scientist feels is not anxiety or fear; it is joy. I use the word in contrast to happiness or pleasure. The artist, at the moment of creating, does not experience gratification or satisfaction... Rather, it is joy, joy defined as the emotion that goes with heightened consciousness, the mood that accompanies the experience of actualizing one's own potentialities.
I was the first artist, I think, to ever do an all-keyboard album. There were things that resembled it, like Stevie Wonder. A lot of his stuff was on keyboards, but he used brass and he used other things as well. I was the first artist, also, to use drum machines. I was really the one who kind of started that whole thing.
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