A Quote by Emory Cohen
My family has artists, but they are all working artists. They are not movie stars. They don't get paid. I really respect that blue-collared ideology where they're just trying to make a living.
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Artists are just entrepreneurs. It's up to them to figure out how or if they can make a monetary profit from their passion ? from their calling, as I discussed above. Sometimes they can. Musicians can sell music, even in the face of piracy. Or they can sell their services ? concerts, etc. Painters and other artists can profit in similar ways. A novelist could use kickstarter for a sequel or get paid to consult on a movie version.
I think the entrepreneurial activities that make art visible and attractive are what lure people into the amusement park that SoHo has become or that Bushwick or Williamsburg has become. It's not that outsiders come to an area because they hear artists are living there. A lot of people came who were not that interested in living with artists, but they were interested in living like artists and socializing the way that they thought artists socialized.
I'm just trying to be an example for all the young artists that are becoming artists every day and working on their craft and trying to help them avoid the pitfalls of the upper management in music and the non-music side of music.
A lot of young artists in particular think you can just do one great thing and then sit back and collect checks. Most artists, even people like Dan Clowes, who's one of my heroes, don't just do comics. He does paid illustration. He writes screenplays, and so forth, working and selling lots of different things.
I've watched so many women, from Kathleen Hanna all the way up to Taylor Swift, whether they're pop artists or rock stars or fine artists or writers, it is the subhistory of female artists that if you're going to make art, you're also going to have a full-time job of defending your right to make art.
People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
I think it would be bad for culture and the art if artists and people who develop the apparatus to support those artists don't get paid.
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
Sometimes I look at new artists trying to come out or trying to make their name and it's like they're coming into the game blind. They don't really know what the world is going to expect from them and they really trying to get in where they fit in but me I almost got the red carpet.
It's hard to make a living in any of the arts. When most people think of artists, they think of the stars and the celebrities. But that's such a tiny minority of the elites who are able to make those millions of dollars. The reality is that it's very hard for the rest to make a living as an artist. So, you really have to persevere and understand that achieving the sort of success where you're making the big money is like winning the lottery.
Revolt is designed to be a home for the next generation of musical artists, and we are investing in the artists and fans of the future. Revolt is for artists, by artists. This won't just be the P. Diddy network.
Artists can color the sky red because they know it's blue. Those of us who aren't artists must color things the way they really are or people might think we're stupid.
I'm just hoping that, as more black artists take control of the narratives that are out there, more opportunities will come around for artists of colour. We want to make the same waves that the white artists do.
I respect artists that know how to be artists, that know how to create their own lane and make people respect them for who they are and what they represent.
You can get money and make a really cheap movie. You can, from independent financers who are just giving you money to support artists. This is what was happening in the '90s, and I was very fortunate to be a part of that.
The only artists I have ever known who are personally delightful are bad artists. Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are.
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