A Quote by Zoe Buckman
It's so difficult as a female artist to make actual money, in my experience.
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For a young artist to really make it and make money is a lot more difficult these days.
Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.
I was worried that I, the artist Morimura, would have conflicts with the participating artists and develop a strenuous relationship with them. But the actual experience was completely the opposite. The artists accepted my requests rather positively, because it came from a fellow artist. I strongly feel that the fact that my being an artist avoided the usual curator vs artist tension, and led to creating a positive atmosphere as well as developing a solidarity amongst artists and building a community for artists.
Americans make money by playing `money games,' namely mergers, acquisitions, by simply moving money back and forth ... instead of creating and producing goods with some actual value.
As far as I know, no money ever won in a lawsuit by IFPI or the RIAA has even gone to any actual artist.
It'd be nice to make lots of money but it's quite difficult, because every time I make lots of money I make a bigger piece that costs lots of money.
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.
Our racing simulator is more about gathering data about the car, trying different setups, and trying to find speed in the actual racecar as opposed to speed in the actual driver. There's no other way to get that kind of testing in, without doing the actual event, or getting outside and spending the money to make it happen. And it costs a lot to go to the racetrack.
As an artist, you have to work hard for things that you can't really hold in your hand. I work not for money but for my career, to expand myself as an artist. Every video I make, it's not making me any money; it's just because I want to expand.
As an artist, you can work to make money, or you can be an artist who thinks about their legacy.
I'm a professional artist, that's how I make my living. So I watch the market. There is, it seems to me, a lot of pure financial speculation, and I don't think that's terribly healthy. Though as long as the money is getting back to the artist, I think that's good. I'm very happy younger artists can make money faster than we could. And we were making it faster than a generation before us.
To walk in money through the night crowd, protected by money, lulled by money, dulled by money, the crowd itself a money, the breath money, no least single object anywhere that is not money. Money, money everywhere and still not enough! And then no money, or a little money, or less money, or more money but money always money. and if you have money, or you don't have money, it is the money that counts, and money makes money, but what makes money make money?
This is an extremely foolish and stupid and idiotic kind of attitude - to expect theatres to make money. Do the public schools make money? Do libraries make money? Does the zoo make money? D o the sewers make money? It's a community service.
I decided that the whole idea of what it means to be an artist was that somehow you are ontologically oriented toward poverty : "As an artist, you don't make money." I had to figure out some kind of way to guarantee that I'd be able to continue doing the work that I wanted to do, whether I made money from the work I was doing or not.
Can you blame them? We have to filter so much information these days. But it does make it difficult for an artist. I'm 46 years old now. I've had a lot of life experience and my voice has changed. People who expect the same old me are bound to be disappointed.
We throw at female artists this expectation that their work has to speak to the female experience. And if it doesn't, you're letting the side down. Throwing this stumbling block in the way of female artists is counterintuitive.
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