Best 8185 quotes in «artist quotes» category

Im ridiculously fortunate to get a chance to experience the sitcom world. The schedule is extremely easy, and you get fed as an artist because youre not only working on a project, but you get to work with cameras, and you get the audience there.

I'm selfish, I think. I think an artist has to be. I'm not worried about what people think. I play the parts that I find interesting. It'd bother me more to be just pigeonholed into doing what people think is ethical or that's boring to me. I don't pick parts with that in mind, I just find interesting stories. If it's interesting to me, then I do it.

I'm really thankful to have my own record label. I've always looked up to people like Madonna when she launched Maverick Records. Even Jay Z and Sean "Puffy" Combs, who's a mentor and also gave me a shot when I was an independent artist in Atlanta. He came to my show, and he said, "I just want people to know about you.

I'm someone who admires artists like Madonna and David Bowie, who really change their sound drastically between each record.

I'm sometimes critical about other artists who come out with something different until maybe I hear the music. If the music is there, then they did their job, and I'll enjoy the CD.

I'm so proud that my offspring became a musician. I'm full of awe that we are able to have a whole family live the life of artists.

I'm so devoted to my music and becoming the best artist I can be. I don't want to devote too much time to anything else before I say I've conquered that. I just wanna become bigger and I'm never satisfied with just what I am today, I just always want to be bigger. If I was Bill Gates, I would double Bill Gates. That's the mindstate you should keep in any profession, just keep striking iron and trying to get bigger and better.

I'm something totally different. There are a lot of female artists my age around at the moment, but they're all American and blonde and blue-eyed and smiley. I'm totally the opposite of that. I want to show a bit more attitude and I have an opinion.

I'm speaking of the pursuit of excellence in all things. All things! Presence of mind and devotion to craft. A great artist has these. A great chef. A great master of tea. There's powerful kung fu in a well-built house or an eloquent letter, but the limit of your imagination is bones breaking and bullets flying.

I'm so used to artists saying to me, "Listen, I'm going to have five pages done next week," and then three weeks later I'm phoning them, begging them for two pages. And Stuart [Immonen]is a guy who will promise you five pages and deliver six pages, and the six pages are even better than you could have ever imagined.

I'm still an artist who's searching, trying to evolve, an artist who - nine times out of ten - is dissatisfied with her work, and beats herself, and goes out there and tries again and again, and falls on her face and looks for new challenges.

I'm still around artists. I don't have anymore wall space. And I don't have the money to collect anymore, the prices are outrageous.

I'm so used to being behind the scenes. I didn't really want to be front and center. One of the elements of my relationships with the artists I work with is that I'm not front and center, and they are.

I'm still the same artist; it's just different sides of me. I'm learning to be a little bit more confident in myself and I think that's something that all of us girls struggle with. It's really about defining your confidence.

I'm sure a lot of the hardcore folks are going to be up in arms and I'm really looking forward to getting into that discussion with them. I don't believe I'm compromising on my gameplay ideals at all. [But] any artist who doesn't want his or her work in front of the largest audience possible is nuts.

I'm supposed to be, I am an artist. Yes, I'm lonely. But I'm married to my loneliness.

I'm sure I would have been considered a more significant artist if I was a singer-songwriter. It's just not the way I roll. I love being a curator and a musicologist. People write me letters and thank me for turning them on to Fred McDowell and Sippie Wallace, and that's partly my job this time around.

I'm the first artist of any kind, good or bad, that was ever prosecuted by the Federal Government. Thirdly, they used the law retroactively. The obscenity statutes had changed in the early '70s, and they tried me under a 1969 statute. It was a railroad job. I was with a judge that was a Nixon appointee. A District Attorney who was a Nixon appointee. The only reason I never went to prison is because the Democrats took the White House.

I'm the 1st black platinum artist in Detroit, solo artist in Detroit.

I'm taking a lot of my favorite artists, different people, my favorite music and marrying that with what I do as a comic. It's very collaborative, arty, fun and cool.

I'm terminally dissatisfied. That's probably part of being an artist.

I'm the one driving the strategy and I'm an artist. What I've convinced the company to do is to just be totally open about exactly how everything works.

I'm the Latin artist who has been the most successful in history at representing the Latin culture. The stylings of my words are immodest, but it's the truth.

I'm the oldest antique in town.

I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.

I'm tired of trying to get other people to see into my brain. I'm done.

I'm truly blessed to be doing what I've always wanted - CREATE. I have found a freedom that is hard to put into words. I always wondered about my projects - which artists are working on what, and which directions should I take? I don't even think of those things now. I passionately go into my studio and ask myself, what would I like to create today?

I must be more sensible and realize that at my age, illusions are hardly permitted and they will always destroy me.

I'm very envious of the few artists who are any good and still do portraits.

I'm very fussy about how my records sound, but I'm very aware that because of the way they sound, I will never be a big-selling, mainstream artist because the public has gotten conditioned to hearing pop music in a certain way. And I don't do it that way.

I'm very much into collaboration. I think that collaboration is the road to making something great. I respect artists that are more autocrats and are in control of their own projects, but it's not really my style. I've always had that partnership.

I'm very glad I've got a make-up artist. I have trouble going to school when I've got bad spots and things like that so I still don't understand how I got up in front of a camera and did it. I almost had a moment of madness every time I did that. It's difficult and it's scary and you hope that people won't be looking at your flaws, especially when you're in 3D as well.

I'm very happy with my lot. I like the variety I get. You don't want to spend your life repeating yourself. It's true of any kind of artist, you want to explore as wide and far as you can go, so that's what I've been trying to do.

I'm very representational some of the time, and a little all of the time. But when you're painting out of your unconscious, figures are bound to emerge.

I'm working in my mind.

I'm working on a snow scene right now, and it's summer. It's hot, and I will get chilly. I'll have to turn on the heat. My wife walks in, and it's 95 degrees in the studio. I know it's nutty, but it's a projection you have where you step into the painting.

I'm vulnerable to criticism. Any artist is, because you work alone in your studio and, until recently, critics were the only way you'd get any feedback.

In 1965, when great young white artists in the English-speaking world were successfully re-channeling hillbilly and black music - you know Bob Dylan, Ray Davies, Pete Townsend, Keith Richards - they didn't get any money at first. They were all broke.

In 2008 it's easy to get huge before you have an album out with the Internet. I think that's great and you see a lot of artists like that. It seems like it's becoming rarer to find a band that has been touring for six years, doing small shows and then breaking out.

In abandoning the vagueness of the sketch the artist shows more of his personality by revealing the range but also the limitations of his talent.

In a genre where most of the artists are one-hit wonders, I've been able to hang around longer than most "serious" acts. I pride myself in being a very talented leech.

In America idea of freedom isn't actually about freedom. That's about power. The point of an artist is to find out what are the flavors that I must work with. Finding one's freedom is about surrendering to your helplessness.

In a lot of ways, L.A. has always been kind of colonized or marginalized by New York. It still goes on to this day, but I would add that it really feeds New York because it provides artists for that system. This is really a laboratory where they grow the seeds and they go there and blossom because there's still not a lot of support in L.A. for artists.

In an atmosphere of liberty, artists and patrons are free to think the unthinkable and create the audacious; they are free to make both horrendous mistakes and glorious celebrations.

In America it's a particular problem. The artist, particularly the poet, is just unacknowledged; if I can use that dumb word. Maybe it has always been that way. Maybe the only way he or she can be acknowledged is to be connected with some movement, be it religious or political.

In an artist's life, death is perhaps not the most difficult thing.

In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.

In America, we have the feeling of the doomed young artist. Fitzgerald was the great example of that.

In America, we know to ignore artists if they're serious in any way.

In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.