Quotes About Artist

I would like to think that an artist's mental health is taken into consideration more now.

Usually, the extras have a different mentality. I had the mentality of an artist, because I was a 'ballet-rina.' But most extras are out to make a fast buck for nothing. They're 'atmosphere.'

I'd only do a deal with a label if it allowed me to still be indie and have that indie mentality. I have to have creative control.

I feel like 'Next To Me' is a great introduction because it's a simple song that has a simple message for me. I wanted to introduce something that lyrically I'm proud of and introduces me both as an artist and as a writer.

You shouldn't listen to my music for political messages.

Trump is more performance artist than zealot. But he's finding enemies everywhere, whether they are judges of Mexican ancestry, parents of those killed in war, the current president, or children of immigrants. Whether or not he has a sense of decency, he is in grave danger of losing it.

I love the type of music that comes out of Miami, but it's not the artist that I want to be.

I remember I heard it in an interview with Michael Jackson one day, saying the art is gone, everybody makes records just to make a record. See, I always want the artist that try to build a whole body of music on one album, so you can enjoy it. So you could say, 'I went with him here, I went with him here.'

For years, I kept the two separate: Michael Horse the artist and Michael Horse the actor. I like the acting, but I'm an artist; that's my identity.

I think Chicago people are very special people, and the Midwest's confluence of East Coast-meets-Midwest sensibilities had to, on a formative level, inform me as an artist and an actor. In that sense, it had to have helped me.

Mike Mulipola is a fantastic artist.

Honestly, I never felt like I wasn't an artist on my own. I always felt like the music I made was mine, whether it was part of a collaboration with people.

I have been known as the minimal and conceptual artist for over five decades. I think I haven't changed much.

I rebelled against the idea of the artist being what I call the 'after-dinner mint' of society. I didn't want them to be just the entertainers, but rather part of the community - the bread, not only the dessert.

I think that, to be an artist, you have to have a big enough ego to believe that people out in the world want to see what you think is a good idea. And if you don't have that sense of ego, then the minute that idea goes into the world, self-doubt kicks in.

I remember telling myself when I got to start having artist opportunities, 'Let yourself be a fan, because you are. The minute that you walk in a room with Carrie Underwood, and you're too cool to freak out, you need to check yourself.' I just let myself be a fan.

Your good intentions are not enough; you have to be artful. We may be filled with goodwill; we may be motivated by the desire to make the other person happy; but out of our clumsiness, we make them unhappy. Walking, eating, breathing, talking, and working are all opportunities to practice creating happiness inside you and around you. Mindful living is an art, and each of us has to train to be an artist.

My weakness has always been to prefer the large intention of an unskilful artist to the trivial intention of an accomplished one: in other words, I am more interested in the high ideas of a feeble executant than in the high execution of a feeble thinker.

When standing before certain men the philosopher regrets that thinkers are but perishable tissue, the artist that perishable tissue has to think.

His love of the sea had profound roots: the hardworking artist's desire to rest, his longing to get away from the demanding diversity of phenomena and take shelter in the bosom of simplicity and immensity; a forbidden penchant that was entirely antithetical to his mission and, for that very reason, seductive-a proclivity for the unorganized, the immeasurable, the eternal: for nothingness.

Or was he merely a mollycoddled favorite, enjoying capriciously prejudiced love? Schenback was inclined to believe the latter. Inborn in nearly every artist's nature is a voluptuous, treacherous tendency to accept the injustice if it creates beauty and to grant sympathy and homage to aristocratic preferences.

Amaba el mar por razones profundas: por la apetencia de reposo propia del artista sometido a un arduo trabajo, que ante la exigente pluralidad del mundo fenoménico anhela cobijarse en el seno de lo simple en inmenso, y también por una propensión ilícita -diametralmente opuesta a su tarea y, por eso mismo, seductora- hacia lo inarticulado, inconmensurable y eterno: hacia la nada.

He loved the sea and for deep-seated reasons: the hardworking artist's need for repose, the desire to take shelter from the demanding diversity of phenomena in the bosom of boundless simplicity, a propensity—proscribed and diametrically opposed to his mission in life and for that very reason seductive—a propensity for the unarticulated, the immoderate, the eternal, for nothingness

Es, sin duda, positivo que el mundo solo conozca la obra bella y no sus orígenes ni las circunstancias que acompañaron su génesis, pues el conocimiento de las fuentes que inspiraron al artista lo confundiría e intimidaría, anulando así los efectos de la excelsitud.