Top 1200 Young Artists Quotes & Sayings - Page 2

Social media has been such a big important thing for young artists and minorities because it's a community to get noticed. It's having an audience that was never there before.

My parents were journalists and friends with writers, artists, and just a really interesting assortment of people, so I was exposed to all lifestyles from a young age.

I have always said to young artists that scholastic training and the studying of art history are crucial to fully developing as an artist.

I got obsessed with makeup and makeup artists when I was young, with people like Kevyn Aucoin.

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.

Bad artists ignore the darkness of human existence. Good artists often get stuck there. Great artists embrace the full catastrophe of our condition and find beyond it an even deeper truth of peace, healing, and redemption.

I began collecting artwork as a way to help young artists to promote their work as well as to increase awareness of contemporary art among the younger generation.

I want my soldiers - I mean artists - to be young and strong, with tireless energy performing impossible feats of cunning and bravura.

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 think the difference between me and some of the other YBAs [Young British Artists] was that I was ambitious for the work, and not ambitious for myself.

Typically, my advice to young artists is not to wait for someone to allow you to do the thing. Just do the thing, and they'll catch up.

I think that young people should embrace artists like Lemmy from Motorhead but also be open to different styles.

My whole life, I have listened to people like Neil Young, or Crosby, Stills & Nash, and artists that have made a career out of the mellow, folky, acoustic dynamic.

What I'm nostalgic for is the idea of an edge in New York. There used to be these fringes of the city where civilization sort of ended, and therefore young people could live cheaply, or open nightclubs or art galleries, or even squat. That fringe moved out to New Jersey and Brooklyn. The whole idea of the metropolis is the centralization of like-minded souls, and when the central real estate becomes too expensive, the dreamers, the young poets, and the artists will go elsewhere.

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.

I listen a lot to the incredible young artists who are coming through, which is something that just wasn't possible during Apartheid. That's the way I learn.

Premier was one of the first producers that we reached out to, and he was like, 'Hell yeah! Let's get to work.' He was showing us love and giving young, new artists a chance.

Actually, I know for a fact there are some young female artists who don't even sing on their own records and who don't sing live. And that is pathetic.

Every young man's heart is a graveyard in which are inscribed the names of a thousand dead artists but whose only actual denizens are a few mighty, often antagonistic, ghosts.

It is my dearest wish to help young artists of our country....and to assist them in establishing themselves in the art world.

A lot of young artists think that by looking tough in a homemade video they're worth something. In time they'll realize getting respected for your talent is what counts.

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.

I'm happy that good works by young artists with limited chances will see the light of day by my purchasing them.

Most artists over 40 or 50 don't get played on the radio. It's a young people's game. I was ready for that.

The artists could be dead, but some of them are not so distant from us, and make us feel as if they are alive with us. Such artists are worth calling "contemporary artists".

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.

As long as I have enough money for makeup artists, everything is okay. I feel young and very free. But one day, my face will be too old for the camera.

My day job these days is I am writing, producing and developing young artists here in the States, in between working on my own stuff.

It seems likely that many of the young who don't wait for others to call them artists, but simply announce that they are, don't have the patience to make art.

I'm only concerned with making music that I love and that my fans will respond to. I am happy to see other really good young artists able to flourish and pursue their careers.

There's no question that many more women artists are showing worldwide now than they were when I was a young woman, and that's really great.

I hope my work has inspired young artists. I have always tried to maintain my freedom as an artist and I feel it is one of the main reasons I have been successful.

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.

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.

There is a need for educators, young people, artists and other cultural workers to develop an educative politics in which people can address the historical, structural and ideological conditions at the core of the violence being waged by the corporate and repressive state and to make clear that government under the dictatorship of market sovereignty and power is no longer responsive to the most basic needs of young people - or most people for that matter.

On the artist side, we made a significant investment in very young artists from the very beginning of their careers and helped them become global superstars.

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 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.

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.

I don't think it's very useful to open wide the door for young artists; the ones who break down the door are more interesting.

When I was young, I remember feeling a real thirst for opportunities around the arts, for learning about how artists function and how institutions work.

I have my own marketing company, Always Civil, where I help artists create their online identity. I have worked with Lil Wayne, Young Jeezy, Mary J. Blige, Pusha T - the list goes on.

I don't think that artists of any kind would or could sacrifice their artistic freedom by being more responsible with their influence on people, especially young people.

The press will naturally come and go as it has done with all artists, from David Bowie to Neil Young to U2.

Success breeds volume, and it's just amazing how many young writers, artists, and musicians there are in town.

Young people have realised that an artist is in charge of what they're doing - this crazy cynicism that artists were puppets has disappeared.

The rise of the Internet has caused the demise of the record labels, and has destroyed the music business of old, but it's also created new opportunities for young artists.

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, '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.

I've always associated consciousness with artists like Bob Marley or Joni Mitchell or Bob Dylan. You know, artists that really talked about what was going on in the world and really artists that are timeless.

Regular people don't even realize how much artists mean to them. Artists represent a lot to the average person. People listen to music all day on their iPods, so as artists, we become a real fixture in people's lives. As an artist, you can't take it personal. It's like your big brother teasing you.

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.

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.

When I was younger, definitely getting people to listen to me and believe in me. I think it's hard when you're a young girl in a record label full of male urban artists, which is definitely what Atlantic Records was and still is. Also, getting people to trust a young, female pop star that doesn't just want to be puppeteered was definitely a challenge for me.

When people listen to artists, and you turn on the radio, it's a lot of gimmicks. And that's real. So I take it like there's nobody keeping it honest and truthful no more, especially as far as young teenagers and females.

The Big Music Project gives young people access to producers, managers, set designers, artists and a load of other industry insiders who are at top of their game. It can be difficult to know where to start and this project gives young people who are passionate about music, knowledge and hands on experience.

I know a lot of grime artists started off on pirate radio, but I missed that era; I was way too young.

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."

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.

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.