Quotes About Artists

I feel mushy these days when I think about art and artists and the work that lies ahead for us. There's good work to be done and there's joy to be found in it, I think.

The closest thing we have to the traditional ideology of the leisure class is a group of artists and intellectuals who regard their work as play and their play as work.

Every time we buy a CD or download a song, the artist is paid for their work. You might not know that this isn't the case when a musician's work is played on the radio.

Let each of us dream of a community of artists and work to make that dream a reality.

You only have to talk to artists to see that they work according to rules, and that they know all too well that they can employ only certain means to achieve the ends they want.

I have a lot of compact discs. I need them for radio play and convenience. Many bands and artists I am a fan of don't always release their work on vinyl, so I take what they feel like giving me.

A lot of artists are much more concerned about how their work is used and how it's disseminated. That, to artists, is as important as the money, for some people.

I've always said I'm more influenced in what I do by artists, and how they work, how they think, and the freedom they're given to work and think, than I really am by other writers.

I don't believe artists should be subjected to experiences that harden the sensibilities; without sensibility no fine work can ever be done.

Galleries began growing in both number and size in the late seventies, when artists who worked in lofts wanted to exhibit their work in spaces similar to the ones the art was made in.

Biennial culture is already almost irrelevant, because so many more people are providing so many better opportunities for artists to exhibit their work.

I think that every artist - or anybody that's in business - could benefit from a direct-to-consumer strategy, so I think that that applies to us as artists and content creators, too.

We believe being in long-term, deeper relationships with artists is a great strategy, we will be 100% pursuing it. There has never been a debate with Michael Cohl as to whether we should be in the Madonna business or be in long-term relationships, or be in more rights with artists.

I was raised on Elvis Presley and Buddy Holly and discovered the Stray Cats when I was 11 or 12 years old.

My first guitar was a Gretsch 6120, and I just loved listening to artists like Elvis, Chuck Berry and Stray Cats.

When I was releasing EPs by myself, I was generating royalties. And when I signed, I thought I'd put those royalties into other artists. And interestingly, streaming is most of the income for those artists.

The larger streaming grows, the less money there will be to get the music out there, which, to me, is the sad part.

The royalties from downloading are bad enough but the royalties from streaming are non-existent.

If you get 100 million streams on a song and you're only being paid on 20 percent, the check's not going to look good. The money's not going to look fair.

The income streams of musicians have all been upstreamed into the pockets of computer corporations. Sound recordings are little more than free crackerjacks inside every computer or cellphone that you buy.

Florence is perhaps best known for being the seat of Renaissance art, and rightly so: A greatest-hits collection of artists passed through its streets - Michelangelo, Leonardo, Botticelli, and Brunelleschi among them.

I have grown up listening to Strings and they have always been a source of inspiration to me.

I'm inspired by artists who use a limited palette, like painter Piet Mondrian, and the White Stripes, two musicians who create an incredible sound. Our food is starting to go back to a 'less is more' style.

It's a really cool time for artists who want to strive for a little more depth in what they want to say to come forward. We live in a very fast world right now. We've got all this media and music which is so accessible to us, it's here one minute gone the next.