A Quote by David Hockney
Most artists work all the time, they do actually, especially good artists, they work all the time, what else is there to do? I mean you do.
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Vulnerability of artists is definitely what makes organizations like PEN necessary because, as I tried to argue, the actual work that writers and artists do has an ornery way of surviving. Particularly in this age of the internet, it is very easy for forbidden work to be found online somewhere if you know where to look. Artists themselves, however, are in increasing danger, and not just artists. The great concern is that year after year, rising numbers of journalists are being killed in pursuit of their work.
I've always liked playing with somebody else and collaborating, just to get out of my own head all the time. Everybody does, but artists especially, we torture ourselves. So it's good for me to immerse myself in somebody else's work.
People who aren't artists often feel that artists are inspired. But if you work at your art you don't have time to be inspired.
I have noted that, barring accidents, artists whose powers wear best and last longest are those who have trained themselves to work under adversity. Great artists treasure their time with a bitter and snarling miserliness.
I love artists whose work feels animated! Matt Cummings, Ian McGinty, Jake Myler, Arielle Jovellanos, Drew Rausch, Zachary Sterling, Troy Little - I feel like most of the artists I've worked with have a lot of movement and life in their work.
Some comic artists I've known are better than most contemporary artists with work hanging in Tate Modern.
When artists find other artists that they love to work with, they more than likely will continue to work with them throughout their career.
In the industry, artists of of color struggle the most. Caucasian artists have really solidified themselves in the industry, and with African Americans now we see directors and producers who vow to only produce work that shines a light on African American artists. But everybody in the middle gets lost.
The notion of making money by popular work, and then retiring to do good work, is the most familiar of all the devil's traps for artists.
Pop artists work really hard, and they might not work for the same things that indie artists do, but they're still musicians, and they're still making art.
Most inventors and engineers I've met are like me. They're shy and they live in their heads. The very best of them are artists. And artists work best alone.
I surround myself with incredible, capable people, and the beautiful part about the artists I've chosen to work with, and the artists that have chosen to work with me, is that we share the same family values.
Van Gogh was so under appreciated in his time, he sold only one of his 900 paintings while alive. Posthumously, he became one of the most famous artists of all time and his work is now considered priceless. Oh the irony.
Group Material is itself collaborative, which is non-hierarchical and we don't use the corporate model which is along lines of expertise but we work together and take responsibility as a group for every aspect of the work. And then there's a collaboration or dialogue with those artists and non-artists we work with, in terms of participation in the various projects.
I think great artists have no time to waste with having disproportionate egos and irrational requests. They're too focused on their work to actually lose themselves in hysterical spirals where they become monsters or tyrants.
My tiny baby blossoming art collection is comprised of works by artists I have either assisted or been mentored by, artists I am friends with, or artists I have traded with. As much as I want to and aspire to acquire works from established artists, I love acquiring works from my contemporaries in order to participate in this moment in time. The advice I would give is know what you like, take your time, and invest in things you feel connected to, as opposed to buying something because it seems cool or "of-the-moment."
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