Quotes About Artists

All of them had so much to offer us as far as, you know, knowledge in the music industry, and especially Randy and Paula because, you know, they've been artists.

I learned that the Canadian government is very supportive of their native artists. As a rule, at least half of the play list played on Canadian radio stations must be of national origin and any non-Canadian headlining artists must include at least one national act on their bill. This kind of support has established Canada as a creatively fertile ground for some of music's greatest artists. The

Most important of all would be involving artists in shaping the future of the museum. I wanted to have a direct relationship with living artists. I want that to be primary.

There was also, as it turned out, the dismay of my parents to be reckoned with: their tolerance about caterpillars and beetles and other non-human life forms did not quite extend to artists.

Among artists, Pissarro and Monet were Dreyfusard, Degas and Cézanne Anti.

Technology is huge; I wanted to learn about it. People might say that's odd, but I think it's odd if artists aren't interested in the world around them. I'm always chasing that.

With technology today you can sing like a frog and sound good. And then when you come on stage, what do you do. Some of those artists never toured, probably just hype.

If people were able to be convinced that art is precise advance knowledge of how to cope with the psychic and social consequences of the next technology, would they all become artists?

I think a lot of the more successful artists of our time basically have barracudas for managers

To me, editing is not something you can do in a rush because the artists themselves are not always their own best editors. Time is absolutely everything.

Jay-Z ain't a manager; he owns a management company. He been through this, he been through the game for a long time so he knows tactics in taking artists in certain directions we need to go in.

There are two kinds of artists in this world; those that work because the spirit is in them, and they cannot be silent if they would, and those that speak from a conscientious desire to make apparent to others the beauty that has awakened their own admiration.

The society to which we belong seems to be dying or is already dead. I don't mean to sound dramatic, but clearly the dark side is rising. Things could not have been more odd and frightening in the Middle Ages. But the tradition of artists will continue no matter what form the society takes. And this is another reason to write: people need us, to mirror for them and for each other without distortion-not to look around and say, 'Look at yourselves, you idiots!,' but to say, 'This is who we are.

I opened my doors to any of the Undead who would wipe their boots before entering. It was like the old days in Venice, with Bianca's palazzo open to all ladies and gentlemen, indeed, to all artists, poets, dreamers and schemers who dared to present themselves, had come again.

The challenge is this: training creative, independent, and innovative artists is new to us.

One thing that most comic artists avoid is showing decisions. They show action, sure, and they show results, but they don't show (because it's difficult to show) the hero or the villain making a choice.

In the linchpin economy, the winners are once again the artists who give gifts. Giving a gift makes you indispensable. Inventing a gift, creating art—that is what the market seeks out, and the givers are the ones who earn our respect and attention.

It's important that they developed the habit of identity. When they looked in the mirror, they saw themselves as musicians, as artists, as people who had committed to a journey.

We need original thinkers, provocateurs, and people who care. We need marketers who can lead, salespeople able to risk making a human connection, passionate change makers willing to be shunned if it is necessary for them to make a point. Every organization needs a linchpin, the one person who can bring it together and make a difference. Some organizations haven't realized this yet, or haven't articulated it, but we need artists.

Fame isolates people from reality. That happens to many artists, and I don't want it to happen to me.

My time in Weimar Berlin was the most elegant in my life. I would have parties for a hundred people - writers, scientists, artists.

I admire those old road dogs, Willie Nelson, Bob Dylan. That's their life.

Being Southern and being the guy I've been all my life, I've lived more on the lighter side of life. I have a dark side, but that's not where I come from. A lot of artists like to come from that.

We were really poor when I was growing up; my parents, both artists, were bohemians. Life was a desperate struggle, but in service of a high ideal, which is exactly what my photographs are about.