Best 8185 quotes in «artist quotes» category

Whenever possible, I try to get a professional to do my makeup, because the idea of putting together a flawless look intimidates me. I like to be open to a makeup artist's ideas on the look they want to create, but I always ask to keep my foundation pretty lightweight and luminescent.

Whenever the truth is uncovered, the artist will always cling with rapt gaze to what still remains covering even after such uncovering; but the theoretical man enjoys and finds satisfaction in the discarded covering and finds the highest object of his pleasure in the process of an ever happy uncovering that succeeds through his own efforts.

Whenever we dig down into the achievements of a creative artist, we invariably trace them to the beginning of all beginnings: labour.

When I accept a role, I feel that as an artist I have to submit completely to the tutelage of my director. And while I expect to be heard and encouraged and honored, at the end of the day, man, it's the way the director wants it.

When human beings have been fascinated by the contemplation of their own hearts, the more intricate biological pattern of the female has become a model for the artist, the mystic, and the saint. When mankind turns instead to what can be done, altered, built, invented, in the outer world, all natural properties of men, animals, or metals become handicaps to be altered rather than clues to be followed.

When I came back to California in the early '60s I was hanging out with Jimmy Bowen, Phil Spector, and I wanted to be a record producer and work with other artists.

When I began as an artist, I already did not like expressionism, or abstract expressionism, because abstract painting had already been done. I did not want to belong to any one group or the other, and I'm not one or the other.

When I am in my painting, I'm not aware of what I'm doing.

When I began competing with the other artists in New York, I discovered classical North Indian music.

When I came to New York, I began to meet the people who became the most famous artists of our time. I was insecure about my own level of ability, I didn't know whether I could compete with these people and, at the same time. I was wondering what is this anyway?

When I conjure these memories, they are of the present to me, because after all, the artist is a kind of enchanter in time.

When I design a wedding dress with a bustle, it has to be one the bride can dance in. I love the idea that something is practical and still looks great.

When I did "Seven Easy Pieces," I actually re-performed the performances of other artists. It was such difficult work because I had to really go through the documentation, look through the sources, to ask the witnesses who saw it.

When I criticize Joseph Beuys or Francis Bacon, nobody calls those opinions anti-male. Putting female artists or their subject matter off-limits is itself sexist and limiting.

When I first came out, like a lot of the artists at that time, I had a very polished, very overproduced sound.

When I first came to New York, in the '70s, artists were certainly divided about the Andy Warhol persona, and about the work. I thought it was utterly cool - I thought the Factory was utterly glamorous - but there were a lot of artists I really admired and respected who were older that kind of dismissed it, couldn't get it, and felt that there was a lack of seriousness about it.

When I fell in love with hip-hop, there was a terminology at the time called "battling." All that was just battling with other artists, but after Tupac and those incidents when it spilled into the street and turned into a negative situation, battling turned into a beef. A whole new dynamic.

When I get compared to artists like Jose Gonzalez or Bon Iver, I can't help but think, "I've been doing this since they were in third grade.

When I first started, I wrote some songs with Linda Perry. She's so instrumental in a lot of artist's lives, listening to you and then helping you write songs that are you, that bring the most of what you are out, whereas a lot of producers might put their stamp on you. I gained confidence because I'm less of a straight-up, traditional vocalist.

When I first started out in the music industry and went to Elektra Records, I didn't go to be an artist, I went to get a record label started. And they said in order to have a label deal, I had to be an artist - so that's what I did.

When I go in front of an audience, I'll admit I sometimes have a certain amount of fear in me, because maybe the people are not going to accept what I'm doing today. That's bad for any artist, especially if what you're doing is not in line with what's happening today.

When I first started, you could go to a college campus and it was not cool to wear a country artist's shirt on campus. It was taboo, and there was a stigma involved. In the time from then till now, I'm amazed at how much things have changed. It's young now, it's cool, it's hip

When I get up in the morning, I go and I work with beautiful women and charming men and funny comedians and dramatic artists. And I'm presented with costumes and great music to choose from and sets. I travel a certain amount of places, so I've been living in a bubble. And I like it.

When I go and write with other artists - a lot of the time it's with them - it's like a therapy session almost. I ask them what they're listening to and what they're going through and what their influences are and I try to get inside of their head and step into their shoes for a second.

When I got into the music industry, I wasn't focused on being the most famous artist or even getting a major record deal. It was just to make music on my own terms or create my own image, do my own hair, do my own makeup.

When I go to an opera performance and sit there while people are cheering and shouting "bravo," I sometimes ask myself what exactly they're cheering about. And I even see myself as an artist who also knows how to enjoy other people's performances.

When I grow up I would like to be an artist in France.

When I go to farms or little towns, I am always surprised at the discontent I find. And New York, too often, has looked across the sea toward Europe. And all of us who turn our eyes away from what we have are missing life.

When I have sex with someone I forget who I am. For a minute I even forget I'm human. It's the same thing when I'm behind a camera. I forget I exist.

When I hear the same formula being used over and over, I get bored. Just as huge pop artists have taken inspiration from things that are happening at the moment, I do the same with my music.

When I left school, I wanted to be an artist, specifically a painter.

When I lived in Seattle and Oregon, we partied, which is a large reason I don't know drugs or alcohol now because I saw the Destruction of so many great musicians and artists.

When I heard that there were artists, I wished I could some time be one. If I could only make a rose bloom on paper, I thought I should be happy! Or if I could at last succeed in drawing the outline of winter-stripped boughs as I saw them against the sky, it seemed to me that I should be willing to spend years in trying.

When I look at a wildlife or nature subject, I dont see the feathers in the wings, I just count the wings. I see exciting shapes, color combinations, patterns, textures, fascinating behavior and endless possibilities for making interesting pictures. I regard the picture as an ecosystem in which all the elements are interrelated, interdependent, perfectly balanced, without trimming or unutilized parts; and herein lies the lure of the painting; in a world of chaos, the picture is one small rectangle in which the artist can create an ordered universe.

When I land in a country and they ask for 'occupation,' I always just put 'artist.' I think that covers all of it.

When I joined, I was one of the first artists to sign on to the Motown West label when they opened their first studio in California. At the studio, you'd run into Stevie Wonder, you'd run into Marvin Gaye…it was very special.

When I'm about ready to press the cable release on the View camera, I've tried to anticipate some of the challenges I'm going to encounter in the darkroom.

When I'm dead and no longer the threat. My comfort is that all the great artists since the beginning of time have always been completely misunderstood and never fully appreciated until they were dead.

When I look at a body it gives me choice of what to put in a painting, what will suit me and what won't

When I'm not working on a children's book, I'm painting abstract paintings. That's probably the most joyous thing for me as an artist. But I do love children's books.

When I moved to New York a year and a half ago, I feel like I really was able to access my sense of humor and personality through my work for maybe the first time. The city has a really nurturing, positive kind of reinforcement...for young artists. Nothing is considered weird. Nothing is frowned upon. It's sort of a free-for-all in terms of experimentation, and I think that's a really great environment for someone who wants to work in a multimedia modality.

When I'm picking songs for an album I always want a song that I can relate to and that I have experienced. There's nothing worse than watching an artist try and sell a song that isn't believable coming from them.

When I'm talking to an artist, I'm not being malicious when I tell them their music is wack. These are artists with mad money and fame so why should they care about my critique?

When I'm writing, those ideas are seldom inspired by music itself. I won't often listen to an artist and come up with an idea.

When I paint a person, his enemies always find the portrait a good likeness.

When I paint I feel that all the artists of the past are behind me.

When I paint, I liberate monsters They are the manifestations of all the doubts, searches and groping for meaning and expression which all artists experience One does not choose the content, one submits to it.

When I put out my first mixtape, '50 Cent is the Future,' it was the first tape where an artist did the entire tape in song format.

When I propose a candidate for a job I don't do it because the person in question is the best but because he is the one the client will employ. I provide them with a head that is good enough, placed on a body they want. [...] The world is full of people who pay serious money for bad pictures by good artists. And mediocre heads on tall bodies.

When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.