Top 1200 Real Artists Quotes & Sayings - Page 2

It's not curators, it's not critics, it's not the public, it's not collectors who find great artists - it's other artists.

It's nice to sometimes get things out of life, rather than stealing from other artists. I'm trying to steal from the real people.

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.

If you look at ancient Chinese paintings, you see mountains, but they are not real mountains; it is something the artists imagined.

American artists, Americans in general, don't take the U.K. rap scene too seriously, yeah, but thing is though, they wasn't taking Canadian artists that seriously either. And now we have Bieber, The Weeknd, Tory Lanez, Drake - massive, massive Canadian artists.

The type of pop culture that is honestly very moving and powerful to me is [when artists] do their homework. They make it real.

I love music that has good catchy choruses and fits into many different genres. ... I like real artists, that write their own material and are great performers.

The biggest thing is education for young chefs and how they should focus on one cuisine rather than trying to imitate too many. It's like art - you can see the cycles from many past artists and new artists being inspired by past artists.

Artists raise their kids differently. We communicate to the point where we probably annoy our children. We have art around the house, we have books, we go to plays, we talk. Our focus is art and painting and dress-up and singing. It's what we love. So I think you can see how artists in some way raise other artists.

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.

The name 'con artist' really does capture it. They're artists, and I have admiration for all artists.

A lot of artists have been persuaded into doing whatever they can do to gain attention. The media, of course, will position and promote the worst of them to the front page. The sidewalk to crime becomes the marketing campaign. These artists have seen it work and sell millions and millions of records for other artists.

Actually, I don't think there's anyone that represents the artists, except the artists themselves.

For some reason I've been labeled that and it's fine, but there are a lot of other artists that sing real traditional stuff, so I don't know why they picked me. That's what I've always done.

The real artists are ultimately people who don't consider their audience and are almost incapable of considering their audience. They can do what they do and fire themselves up.

The vast majority of artists worldwide are unrepresented, disenfranchised or otherwise don't have an opportunity to sell or have their work shown. Giving those artists access to the collector community, expanding the collector community and giving artists a chance to be discovered is the goal of iStockphoto.

The record companies really do conspire against the artists. Especially the black artists

What I've learnt about artists over the years is, artists are usually the opposite to their music.

Artists are often excellent businessmen. They have to be. Otherwise they do not remain artists.

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.

My sisters and I like a lot of different styles of music, but we're inspired by real artists like Beyonce and Adele.

Artists are the antennae of the race, but the bullet-headed many will never learn to trust the great artists.

I have traveled with Jessy Dixon for the past several years and never have I been with an artists with more heart. He is the real thing.

We don't have real hours and we don't have a boss, so artists create rules for themselves that they then break. It's transgressive in such a personal way.

We're all trying to be artists making our own unique statements. I think the only real way to do that is through failure.

Writers and artists build by hand little worlds that they hope might effect change in real minds, in the real world where stories are read. A story can make us cry and laugh, break our hearts, or make us angry enough to change the world.

My thing with New York was that it felt so insular. When I went to L.A., everybody I knew was a cool, amazing musician. In New York, they'd be hunkered down trying to form a band. But in L.A., guys in bands were also playing with other artists, touring with other artists, and collaborating with other artists.

I would love to see more dialogue around the "responsibilities" of art consumers - how can audiences better financially support artists we love, artists who are doing the work, so that artists have a more solid foundation upon which to make art?

I am passionate about finding undiscovered and talented artists. I want to help those artists get to the next level and provide existing artists with a new way to reach fans. I wanted to partner with the Cutting Edge Group because they share my vision and have a proven track record in innovation in the music business.

I thought actors were artists and that artists had to be European.

There are so many artists these days that are trying to imitate other artists and go for a certain style; there's a lot of bullshit in the music industry. I don't want to deviate from anything else other than the music, cause that's why I listen to my favorite records - not because I like the way the artists dress.

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."

Artists should work together like the artists of the Middle Ages.

What sets 'Some Nights' apart from anything we've ever done is the hip-hop influence. Not so much the actual sound of hip-hop, but more the vibrato and the artistry that comes with it. Right now, the artists that seem to be pushing to be the greatest artists and are trying to change the world are hip-hop artists.

I like kids' work more than work by real artists any day.

We as artists cannot be politicians. We as artists can only be truth-tellers.

I believe artists deserve all the help they can get, so they can focus on being great artists.

I got a lot of artists, and I been dropping all my artists' projects, and they going up.

You have gigantic companies feeding off musicians and artists because the artists need the exposure.

The evolution of art is not only driven by artists, but by a conversation between the artists and the audience.

I prefer artists who are creative more than artists who are technical, I think everybody would agree with that.

A lot of artists think they want anger. But a real, strong, bitter anger occupies the mind, leaving no room for creativity.

Basically I feel like my role is to find great songs with the artists, for the artists, and have them shine.

If we can't, as artists, improve on real life, we should put down our pencils and go bake bread.

I know I'm the least technical guy in the sport. Most of the champions or guys at the top are real martial artists.

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.

Artists to my mind are the real architects of change, and not the political legislators who implement change after the fact.

As long as artists can make something, artists will continue to survive.

Artists... do not need the applause or condemnation of the critics, the ideas of other artists, or the demands of the collectors.

Now, [hip-hop/grime artists] Stormzy, Skepta, or the Section Boyz have to be validated by Drake, Rihanna or Beyoncé. They're rolled into this one urban culture bubble; it's not really to do with, "I'm specifically f - ked off about my country and what's going on in my town." We're very much only showing success to artists who impress American artists, and I'm one of them.

There are 100,000 artists on Pandora & 70% are indies; artists making $100K - $2 million.

Artists recognize other artists as soon as the pencil begins to move.

You can consciously make a difference with music. Bob Marley is one of those few artists that everyone can say that they love. He makes you feel good. It's very real.

Artists love other artists. Shadow artists are gravitating to their rightful tribe but cannot yet claim their birthright. Very often audacity, not talent, makes one person an artist and another a shadow artist-hiding in the shadows, afraid to step out and expose the dream to the light, fearful that it will disintegrate to the touch.

If music is to continue to support the livelihoods of artists, it cannot be taken without the permission of artists.

Once avant-garde artists receive official recognition, they start a double life. In one, they inspire younger artists to do more. In the other, they inspire a mass of imitators who make the work respectable and exclusionary. The artists and their art become intellectual brand names.

I came at a time where male artists where dominating, so I had to do something quick to get people's attention. I wanted to let people know that women artists can hold their own compare to the men. Sex got their attention, while I open the road for the other female artists.

What makes a song last is real content from a mind that is thinking a little bit harder about certain things. A lot of artists don't really think that hard.

I thought, 'A biennial needs artists. I'm going to do an international biennial; I need artists from all around the world.' So what I did was I invented a hundred artists from around the world. I figured out their bios, their passions in life and their art styles, and I started making their work.

As the scripts come in they are sent to the artists, and the artists are either very busy, or ready to start.