Quotes About Artists

I used to send out emails to producers to collaborate and they'd give me nothing, not even a response. As soon as I started popping off, out they came!

I think that when you're making your way up in the music industry, you have all these heroes and the reasons why they are your heroes. As soon as you get into the industry, your guidelines change a little bit. For me, my heroes now are great people first and great artists second.

To me, if there is any sort of value added to the accumulation of knowledge over time, then the work of artists should be a reflection of that accumulated value, accumulated knowledge. You have to demonstrate that you have the sophistication to put that into play in the work you're making.

There aren't many artists who can feel sorry for me.

The '70s and '80s were just the period during which the best soul music was created and the best records were done.

I've always been a firm believer that soul music never dies. The artists we still listen to today, years after their music was first heard are mostly soul artists; Donny Hathaway, Marvin Gaye, Chaka Khan. We still sing along to all of them with our hearts.

I started with soul music and icons like Aretha Franklin and Etta James and then moved to R&B and artists such as Erykah Badu and Lauryn Hill. Electronic music came later on, when I was in high school and I was really influenced by artists like Skrillex and Major Lazer.

I definitely grew up to Nina Simone and a lot of Ella Fitzgerald. And I loved Amy Winehouse. I loved that sort of soulful singer.

I am a holographic representation in the third dimension of what was requested by your souls that one of your favourite artists be.

If you ever see young artists, and they're not sounding good, they sound good. They're good singers. They wouldn't be where they are if they didn't sound good. It's their nerves. Any time you see your favorite artist, and he's or she's screwing up or not hitting those notes, it's not because she can't hit it or she can't sing; he or she is scared.

I like Journey, Bad Company, Soundgarden and Aerosmith.

Soundgarden are good friends of mine.

The artists who stand out to me have a passion for what they do. There are a lot of people who can sing. It's just like when you go to church and people are singing because it sounds good, not because it feels good. There's a difference.

I know it sounds really lame and hater-ish, but I think 2009 was maybe the worst year for music ever.

Peaky' has attracted a lot of attention from different disciplines in the arts. It was originally going to be a ballet, which is Ballet Rambert, and there is also a lot of music artists who offer their music to the show to be used on the soundtrack.

I helped found Artists for New South Africa, but it used to be called Artists for Free South Africa. Alfre Woodard and a bunch of us started this.

It was a very strange time in the late 1950s/early 1960s, when people were putting things in space, but that language of spacecraft hadn't really congealed yet. A lot of artists at that time were looking at them as aesthetic objects.

Of course, museums and galleries and art spaces will continue to ground the art world. But certainly the public - as well as artists - also benefit when art is encountered in other everyday situations.

There's something pleasing about large, well-lit spaces. I love that dealers are willing to take massive chances in order to give this much room to their artists. Most of all, I love that more galleries showing more art gives more artists a shot.

Love is an art and this love lacks artists.

Love is an art and this world lack artists.

Authors, artists, and even philosophers are much better off having a very small number of fanatics behind them than a large number of people who appreciate their work. The number of persons who dislike the work don't count—there is no such thing as the opposite of buying your book, or the equivalent of losing points in a soccer game, and this absence of negative domain for book sales provides the author with a measure of optionality.

Nevertheless, in spite of all these professional grudges, artists are conscious of a social warmth from each other's presence and contiguity. They shiver at the remembrance of their lonely studios in the unsympathizing cities of their native land. For the sake of such brotherhood as they can find, more than for any good that they get from galleries, they linger year after year in Italy, while their originality dies out of them, or is polished away as a barbarism.

Podemos apostar con total confianza que, en pocos años, los dibujos del señor G. se convertirán en archivos preciosos de la vida civilizada. Los curiosos buscarán sus obras tanto como las de los Debucourt, los Moreau, los Saint-Aubin, los Carle Vernet, los Lami, los Devéria, los Gavarni, y las de todos los artistas exquisitos que, pese a haber pintado solo lo familiar y lo bonito, a su manera no dejan de ser historiadores serios.