A Quote by Sufjan Stevens
My anxiety level of my own work and what I'm doing and focusing on my art and all of that stuff? That's fundamental.
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The intellectual architecture means focusing on doing great work instead of focusing on agency politics.
I don't think you can be taught how to make art. You can be coached, but on a fundamental level you have to figure it out for yourself. You have to learn how your own mind works, figure out your own relationship to the art; you essentially have to invent it completely for yourself.
"Art is the ability to turn one's gaze to the world of oblivion." This is the way in which I understand art at fundamental level.
Ignore the glass ceiling and do your work. If you're focusing on the glass ceiling, focusing on what you don't have, focusing on the limitations, then you will be limited. My way was to work, make my short... make my documentary... make my small films... use my own money... raise money myself... and stay shooting and focused on each project.
The Pop art I wound up doing came to me purely from 'Mad' comics. I loved the idea of doing fun stuff. I met an art dealer who wanted to show the work - that was in January 1962 - and that was the beginning for me.
Sure there are people who do everything "I do my own beats, my own lyrics, my own mixing, my own mastering, my own art, my own booking, my own managing, my own merch" it's like... ya that sucks, it can't be very good for you, and might be why you aren't getting ahead because you really need to focus on the music where others should be focusing on those other aspects.
Anxiety is so pervasive in my work, it's like it's not even a thing because it's always there. Like air. I have to work through a layer of anxiety to get to anything else. It's embarrassing to me when people point out to me all the anxiety I portray in my work. I don't ever want to write about anxiety again but it'd be like leaving a huge gap in the picture.
Norman Rockwell spent his career painting pictures that helped people understand their own feelings...pictures that enriched their own experiences and celebrated their own lives. But the art establishment branded him an 'illustrator', a sentimental one at that. Real artists, they said were doing art for art's sake, not for the sake of the bourgeois public. Real artists were putting swiggles, smears or daubs of paint on the canvas. They were doing 'innovative' and 'creative' work. If they were hideous and grotesque; we know that's what life really is!
We're living in an economy where productivity is no longer the goal, employment is. That's because, on a very fundamental level, we have pretty much everything we need. America is productive enough that it could probably shelter, feed, educate, and even provide health care for its entire population with just a fraction of us actually working ... Our problem is not that we don't have enough stuff-it's that we don't have enough ways for people to work and prove that they deserve this stuff.
The only thing I collect is art. I collect it because I like looking at it. A lot of it is really personal stuff that my friends have made, paintings that my husband's mother made, and things that I bought. I buy abstract art on eBay, and I buy some outsider art on eBay, or what is called folk art, I buy a lot of. I have a lot of professional art work as well as more stuff my friends' kids make. To have a wall of art to look at, I feel really surrounded by love, because so much of the work is related to my friendships.
I teach at Harvard, and focusing on understanding this problem on a national level is a big priority of mine right now - where evictions are going up and down, what cities are actually instituting policies that work, what housing insecurity is doing to our cities, neighbourhoods, our kids.
People say that the best part about doing animation is that you don't have to dress up to go to work, but I don't believe that. I dress up to go to work. I dress up for an airplane. I think it's just focusing your skillset, focusing on your voice and the comedy.
I plan to take Hoods Up to another level of art once we've reached the level of doing so.
The price of a work of art has nothing to do with what the work of art is, can do, or is worth on an existential, alchemical level.
Since I'm not focusing on my speed as much now as I was heading into the combine, I'm really focusing on my position work, trying to perfect how I play the safety position. I've been doing a lot of backpedaling and drills that focus on turning my hips, which help me out on the football field.
I worked in an art gallery for a few years, doing administrative assistance stuff, and it exposed me to what the whole world of art dealers and the art market was about.
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