Top 1200 Con Artist Quotes & Sayings - Page 18

I have always felt the word 'advertising' is either a diminutive or derogatory term that kind of goes with stuff people don't like, and I always felt frustrated because I felt like I was a communication artist or a media artist. The best advertising is one of the art forms of our culture.

An artist must never be a prisoner. Prisoner? An artist should never be a prisoner of himself, prisoner of style, prisoner of reputation, prisoner of success, etc.

The people come from everywhere, from five hundred miles, to find their fortunes. By fortune is an ugly, two-faced goddess. When you have lived with her handiwork for half a generation, you hardly notice anymore. You forget that this is not the way life has to be. You cease to marvel at just how much evil man con conjure by existing.

Once we become conscious of a feeling and attempt to make a corresponding form, we are engaged in an activity which, far from being sincere, is prepared (as any artist if he is sincere will tell you) to moderate feelings to fit the form. The artist's feeling for form is stronger than a formless feeling.

As an artist, I never wanted to be fettered by gender nor recognized or defined as a female poet, musician or singer. They don't do that with men - nobody says Picasso, the male artist. Curators call me up and say, "We want your work to be in a show about women artists," and I'm like, why? For Christ's sake, do we have to attach a gender onto everything?

I was a cover artist for years. I didn't start writing songs until I was in my mid-twenties. I wrote them with John Leventhal, and they were pretty bad. I was in my late twenties when I wrote the first song with him that made any sense to me about what I was rooted in and what spoke for me as an artist. That was 'Diamond in the Rough.'

It is almost as safe to assume that an artist of any dignity is against his country, i.e., against the environment in which God hath placed him, as it is to assume that his country is against the artist.

Those titles, Executive Producer or actor, are unimportant. I always try to approach my role as an artist. The first thing you want to do, that you attempt to do as an artist, is to have some sort of input into the material that you are working on. That is how my process begins; I say to myself: "I want to do this kind of work or I want to do that kind of work."

The composer reveals the innermost nature of the world, and expresses the profoundest wisdom in a language that his reasoning faculty does not understand, just as a magnetic somnambulist gives information about things of which she has no conception when she is awake. Therefore in the composer, more than in any other artist, the man is entirely separate and distinct from the artist.

The artist of the future will live the ordinary life of a human being, earning his living by some kind of labour. He will strive to give the fruit of that supreme spiritual force which passes through him to the greatest number of people, because this conveying of the feelings that have been born in him to the greatest number of people is his joy and his reward. The artist of the future will not even understand how it is possible for an artist, whose joy consists in the widest dissemination of his works, to give these works only in exchange for a certain payment.

The Roman Catholic Church is an institution for whose gains the phrase "ill-gotten" might have been specially invented. And of all its money-making rip-offs, the selling of indulgences must surely rank among the greatest con tricks in history, the medieval equivalent of the Nigerian Internet scam but far more successful.

Beauty is for the artist something outside all orders of rank, because in beauty opposites are tamed; the highest sign of power, namely power over opposites; moreover, without tension: - that violence is no longer needed: that everything follows, obeys, so easily and so pleasantly - that is what delights the artist's WILL TO POWER.

I'm not a pop rapper. That's nothing against pop music - I love pop music. I've jumped on pop records for people and still will, but I'm not a pop artist. I didn't start from there. I started in underground music. I consider myself an underground artist, as well as a producer.

And I get so nervous now when it's not my show, like I'm not the headliner, because I know that those fans are there for another artist. Many people might not know an upcoming artist, but I've grown to like those shows because if I can control a crowd that doesn't know me, I'm doing my job as an entertainer. I have to rise to the occasion.

I always like to talk about how important space is. Art is in the spaces. Anybody can sing a note; it takes an artist to sing the spaces. Anybody can paint a brushstroke; it takes an artist to know when not to put the brushstroke.

From this it follows that con-sideration for other persons or for other living beings is very vital for goodness and want of consideration for other people makes human beings selfish, regardless for other people's good.

When the work takes over, then the artist is enabled to get out of the way, not to interfere. When the work takes over, then the artist listens.

Integration is the biggest con job ever pulled on any group of people, any nationality in the world. It was a plot by white liberals to gain black political power for themselves and their wild ideas, and for a few black bourgeoisie who were paid to exercise leverage as black spokesmen.

God doesn’t want us to live timid, shy, weak, wimpy, fearful, boring lives. He wants us to be bold, con dent and courageous, unafraid to try new things. And it never ceases to amaze me what God will do through a person who simply steps out in faith.

There is the falsely mystical view of art that assumes a kind of supernatural inspiration, a possession by universal forces unrelated to questions of power and privilege or the artist's relation to bread and blood. In this view, the channel of art can only become clogged and misdirected by the artist's concern with merely temporary and local disturbances. The song is higher than the struggle.

I'm street smart. You can't con me. But that's just from living in New York. Now if a guy came from Mississippi somewhere, Ohio somewhere, to New York City for the first time, he don't have the street smarts. You can take him.

I like the word 'artist,' but I don't like the word 'artist' inside my house.

I don't think the label makes the artist or the artist makes the label. It's the music that makes everything work or not.

On 'Masterchef' I'm always a big fan of the puddings. But I have to confess, as a child I absolutely loved butterscotch angel delight. My mum used to make it in huge bowls. She's one of the worst cooks ever, bless her. The best thing she did was a chilli con carne, and that was still terrible.

I can't name a single issue with roots in race that doesn't have economic implications, and I cannot think of a single economic issue that doesn't have racial implications. The idea that we have to separate them out and choose one is a con.

The great Japanese film director Akira Kurosawa said that to be an artist means never to avert your eyes. And that's the hardest thing, because we want to flinch. The artist must go into the white hot center of himself, and our impulse when we get there is to look away and avert our eyes.

Do you believe you can know yourselves if you don't somehow con- struct yourselves? Or that I can know you if I don't construct you in my way? And can you know me if I don't construct you in my way? We can know only what we succeed in giving form to.

The life of a chess master is much more difficult than that of an artist - much more depressing. An artist knows that someday there'll be recognition and monetary reward, but for the chess master there is little public recognition and absolutely no hope of supporting himself by his endeavors. If Bobby Fischer came to me for advice, I certainly would not discourage him - as if anyone could - but I would try to make it positively clear that he will never have any money from chess, live a monk-like existence and know more rejection than any artist ever has, struggling to be known and accepted.

The main thing that attracts me to Buddhism is probably what attracts every artist to being an artist - that it's a godlike thing. You are the ultimate authority. There is no other ultimate authority.

Art deals with profound and simple moods. Let us suppose that the artist - in this instance (the artist) Picabia - gets a certain impression by looking at our skyscrapers, our city, our way of life, and that he tries to reproduce it. He will convey it in plastic ways on the canvas, even though we see neither skyscrapers nor city on it.

I think it's important to have confidence, but then it's also important to try to try something new, to leave your comfort zone to try to grow. That's why I'm trying to grow as an artist and trying to figure out what kind of artist I want to be.

I was working in cartoons. I could go to Comic-Con, buy the Hal Jordan ring, I could buy animation cels, but at the end of the day, I come back to an empty apartment. I had a life that was only around me, and when I was broken, my world was broken.

The artist deals in what cannot be said in words. The artist whose medium is fiction does this in words. The novelist says in words what cannot be said in words.

Being a talented artist is good, it's nice, but it's not the most important thing. I think being a good storyteller, having a good idea, a good gag, is probably more important than being a great artist.

In order to find reality, each must search for his own universe, look for the details that contribute to this reality7 that one feels under the surface of things. To be an artist means to search, to find and look at these realities. To be an artist means never to look away.

Going to Comic-Con for me is always hard and weird, so it just makes me feel guilty. There's always a hundre thousand people out there who have copies of things that I've written and they really want signed and they're not going to get them signed.

If the artist isn't having a great day or finds it all boring, my role becomes that of a coach. Getting the very best out of the artist. Helping them perform at their very best when it's game time. One way to get them there is to bring them out of their comfort zones.

I really believe in empty spaces, although, as an artist, I make a lot of junk. Empty space is never-wasted space. Wasted space is any space that has art in it. An artist is somebody who produces things that people don't need to have but that he, for some reason, thinks it would be a good idea to give them.

I've never been that person to fake it, and say what everyone else wants you to say. Then you never have anything personal. If I wanted to be an actress all the time, I could do that. But I don't. I want to be real. I want to be a real person. That's what an artist is. An artist has to be honest. Without honesty, there's nothing.

I can't think outside of [bein' an artist]. That's how deep I am into this, and so focused that I really can't think, like, if I wasn't an artist, what I'd be doin' in school. I'm pretty sure I'd be doin' it - if I didn't go into music, I'd be working, have a regular job or something probably, and goin' to school like everybody else and all my other peers around my age.

I began to wonder - I knew I was an artist or wanted to be one - but I was wondering whether I really was an artist. I was doing such ordinary things that I could feel the difference. Most people would look at those things and say, 'Well, that's nothing. What did you do that for? That's just a wreck of a car or a wreck of a man. That's nothing. That isn't art.' They don't say that anymore.

Some people think a martial artist has to be tough against everybody - that's not true at all. A martial artist has to be strong against bad people. But we must also be able to know and understand the feelings, moods and mentalities of good and bad individuals before we can comprehend when to be strong and when to be gentle.

You're supported by everything in New York if you want to be a performing artist. You come here, you can change your name. You leave home, you come here, you're severed from family obligations - the old identity drops away as soon as you come to New York because you're coming to New York, if you're an artist, to be someone else.

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.

I was the only human in 'Underworld.' I didn't really get the full gauge of what it is to be in a sci-fi/fantasy project. But 'Almost Human' presented that opportunity for me and the fanbase that is in that world at Comic-Con and, honestly, cons all around the world - you can't deny the power of that fanbase.

In the old days, a con man would be good looking, suave, well dressed, well spoken and presented themselves real well. Those days are gone because it's not necessary. The people committing these crimes are doing them from hundreds of miles away.

I am convinced that each work of art, be it a great work of genius or something very small, has its own life, and it will come to the artist, the composer or the writer or the painter, and say, "Here I am: compose me; or write me; or paint me"; and the job of the artist is to serve the work.

The artist deals with what cannot be said in words. The artist whose medium is fiction does this in words. The novelist says in words what cannot be said in words.

The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces.

My songwriting has brought so much to me as an artist and my ability that I have as an artist has brought so much to my songwriting that they live off each other. Without one, the other one dies.

We live in a quick-fix society where we need instant gratification for everything. Too fat? Get lipo-sucked. Stringy hair? Glue on extensions. Wrinkles and lines? Head to the beauty shop for a pot of the latest miracle skin stuff. It's all a beautiful £1 billion con foisted upon insecure women by canny cosmetic conglomerates.

I think it's what any artist would want: to feel like their work can be taken in on a level of experience beyond the headline or the press release. I don't think any artist wants to be reduced to a press release. We have a whole industry whose function it is to process and present information. There's nothing wrong with it, but it's not the thing.

Sometimes it feels as if the artist hasn't done the real work of engaging with the material. Film noir can't just play off looks and attitudes. A thriller needs a dose of genuine suspense. It does not have to be literal, but it does have to feel genuine. Otherwise the artist is just leeching off the form.

I think that it's much easier for a recording artist to become an actor than for an actor to become a recording artist.

I look upon enthusiasm, in all other points but that of religion, to be a very necessary turn of mind; as indeed it is a vein which nature seems to have marked with more or less strength, in the tempers of most men. No matter what the object is, whether business, pleasures or the fine arts: whoever pursues them to any purpose must do so con amore.

Art really has its source in the transcendent, the unmanifest field of pure consciousness, which is the non-changing, immortal field of all possibilities...When the awareness of the artist is in tune with this center of infinite creativity, his piece of art breathes fullness of life, nourishes the creator, the artist, and inspires his admirers with waves of bliss.

I'm not trying to become a pop artist, and I'm not trying to make sure I stay a country artist. I'm just trying to make sure I make the best music I can, according to my way.

In the 80s, mum used to make a beautiful beef in red wine sauce, which I thought very exotic. And an incredible chilli con carne, with baked beans so it wasn't too spicy for us. Later, when I asked for the recipes, she said: 'I don't know - they were Colman's or Schwartz's packet mixes.' It completely ruined it for me.

Art is what we do. Culture is what is done to us. A photograph of an art object is not the art object. An essay about an artist's work is not the artist's work.

It's hard to predict and to say what goes on inside the minds of an artist, but that's what makes them an artist. That sense of creativity. That thing that makes them tick is probably the very thing that pushes them to the extremes that sometimes can cause, you know, fatalities and things that, you know, that end up not being good.