Quotes About Artists

When art critics get together they talk about Form and Structure and Meaning. When artists get together they talk about where you can buy cheap turpentine.

It is then good to remember that artists have existed and persisted, like the snail and coelacanth and other changing forms of organic life since long before governments were dreamed of.

Seekers found clues in the successes, failures, and confusions of predecessors, who became their inspiration, their targets, their resource. From Socrates, Plato learned both caution and the need for bold patterns of meaning of his own. From Plato, Aristotle learned the perils of deserting the world of the senses. Still the later somehow did not make the earlier irrelevant. Seekers, like artists, never wholly displaced those who had tried before. They all enlarged and enriched the menu.

If you're 30, 40 years old, you're not getting listened to by minors. Like, Jay Z has some of the sickest lyrics ever, but I would never buy his CD, just because of my age and because of his age.

Working with some of the best makeup artists has taught me a lot of amazing tricks to making me feel more confident, and I can't wait to share them with you guys.

The painters could be identified by dirty fingernails; the writers by conversation in labored monosyllables and aggressive vulgarities which disguised their minds.

An artist is, of course, entitled to make money, and Brando didn't claim otherwise. What he struggled with was the conflation of art and commerce, a phenomenon he first observed in the 1960s and watched mushroom beyond all expectation into the twenty-first century. "I don't know if there are any artists left now," he said. "They are so degraded and so confused by the mercantile mind.

The poets and artists and philosophers, resistance activists, secret scouts and troublemakers, had become, as they must, soldiers. Now

The poets and artists and philosophers, resistance activists, secret scouts and troublemakers, had become, as they must, soldiers.

Writing is the only art form where a good number of the artists make a slice of their living criticizing one another in print, in public.

People assume that artists must talk about art and beauty and the sublime whenever we get together, but no, we usually talk about money.

Misfits, con artists, evildoers all had business cards. It was enough to make any man a bona fide misanthrope.

There is a paradise, and all true artists work to the glory of its existence, even if they do not always believe with conventional or organised faith.

The view of life adopted by these people, my literary associates, was that generally speaking life is a process of development in the course of which the most important role is played by us, the thinkers; and that among the thinkers it is we, the artists and poets, who have the most influence. Our vocation is to educate people. In order to avoid being confronted by the obvious question - 'What do I know and what have I got to teach?

The artists of various sects, like the theologians of the various sects, mutually exclude and destroy themselves.

The view of life of these people, my comrades in authorship, consisted in this: that life in general goes on developing, and in this development we—men of thought—have the chief part; and among men of thought it is we—artists and poets—who have the greatest influence. Our vocation is to teach mankind.

All artists are terribly insecure people. They are desperate to be noticed.

I think if the copyright regime focuses on the people we are supposed to be helping, the artists and creators, and builds a system that gives them the freedom to choose and to protect and to be rewarded for their creativity, then we will have the right focus.

What all this posturing and fake glamor results in is a vast detachment and cynicism on the part of the artists. Since it's impossible to have respect for an audience that'll take just about anything you care to dish out, and the impassive demeanor is so central to the role, a general numbnose is all that can be expected.

Over four or five years, I did six albums with three people: John Lennon, Bruce Springsteen, and Patti Smith. I felt that if I could care as much about their music as they did, I could be useful to them. I really cared about their music and their lives.

I went to the studio of Fischli Weiss, and it was magical. I thought: 'This is what I want to do with my life; I want to work with artists and be useful to them.' I was magnetically attracted.

One of the ultimate challenges of biology is to understand how the brain becomes consciously aware of perception, experience and emotion. But it is equally conceivable that the exchange would be useful for the beholders of art, for people who enjoy art, for historians, and for the artists themselves.

We try to get the best performance out of the artists. There is no point in saying to them, 'You're useless.'

We are passionate about making it so that users enjoy the music that they want to enjoy but at the same time fairly compensates artists. That's not the same as saving the music industry.