Best 8185 quotes in «artist quotes» category

In terms of covers, it's always nice to do ones that aren't actually getting played by the original artist anymore. I just love the song; I love that band, and it's nice to be able to play it.

In terms of my inspirations to become an artist, I think they come from early ideas and impressions about community, and the type of community I wanted to be in, and the type of thinking I wanted to do.

In terms of being a kind of popular artist figure and knowing how isolating that is, and knowing what it feels like to be skeptical of people, and to be taken advantage of, especially by your friends. That's a hard to pill to swallow, and we've been through that together, or watched each other go through it. It helps to have somebody that close to you who can relate. I can say with some confidence that I feel like Sky saved my life.

In the 2000s, I became an artist. I started preserving and educating. I became more obsessed with making iPod playlists for people.

In the 20th century, artists did a great disservice to fairies. They painted fairies in a way that was shallow and trite. So when people see my stuff, they suddenly realize the depth of fairies.

In the 1970s, for all the Stevie Wonders, I'm sure there were five artists that were making forgettable music.

In the '60s, people were still very protective of each field that they belonged to. Avant-garde artists didn't know about rock or pop or jazz. And the jazz people of course didn't want to know about any other music. They were all just kind of protecting their territory.

In the animation world, people who understand pencils and paper usually aren't computer people, and the computer people usually aren't the artistic people, so they always stand on opposite sides of the line.

In the attacks on the old ways of doing things on word in particular came into currency. That word was "kitsch." Once introduced, the word stuck. Whatever you do, it musn't be kitsch. This became the first precept of the modernist artist in every medium.

In the beginning I was just a makeup artist and I never really pictured myself doing anything else. But now that I have so many doors open, I kind of want to be that indie rock Paris Hilton - but with actual intelligence - she's just stupid.

In the business of portrait photography, one must combine the artist and the craftsman.

In the beginning Marvel created the Bullpen and the Style. And the Bullpen was without form, and void; and darkness was upon the face of the Artists. And the Spirit of Marvel said, Let there be The Fantasic Four. And there was The Fantasic Four. And Marvel saw The Fantasic Four. And it was good.

In the beginning, we had a great deal of freedom, and Jerry wrote completely out of his imagination - very, very freely. We even had no editorial supervision to speak of, because they were in such a rush to get the thing in before deadline. But later on we were restricted.

In the created world around us we see the Eternal Artist, Eternal Love at work.

In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions.

In the cycle of a great civilization, the artist begins as priest, and ends as a clown or buffoon.

In the context of a question regarding what an artist might be, I would want to raise the question of what a theorist might be, to signal how inextricably linked these existences and practices might be.

In the early days of my carer as an actor, I shared what was then the prevailing attitude of Negro performers :;that the content and form of a play or a film scenario was of little importance to us. What mattered was was the opportunity, which came so seldom to our folks ... Later I came to understand that the Negro artist could not view the matter simply in terms of of his individual interests, and that he had a responsibility to his people who rightfully resented the traditional stereotyped portrayals of Negros on stage and screen.

In the end, it's always a single person who makes change. But I do think we should try to send artists out into the world and not have them all stick together in the big cities.

In the history of everyone in whom the artist-within has survived conditioning, schooling, training - there are (persons) influences that have kept him alive, awake .. who have encouraged him without even trying - just by being. They have been One's real teachers.

In the future, a new generation of artists will be writing genomes as fluently as Blake and Byron wrote verses.

In the future, artists will get record deals because they have fans-not the other way around...The only memento 'kids these days' want is a selfie. It's part of the new currency, which seems to be 'how many followers you have on Instagram'.

In the hierarchy, the artist faces outward. Meeting someone new he asks himself, What can this person do for me? How can this person advance my standing?   In the hierarchy, the artist looks up and looks down. The one place he can't look is that place he must: within.

In the future, I see me as being my own artist and definitely not a ballad singer!

In the great artist you see daring bound by discipline and discipline stretched by daring.

In the inner place where true artists create there exists a pure child.

In the interests of everyone the artist had a responsibility to use his medium well. In the Tibetan culture, most of the paintings are of deities or Buddhas, and they try to send a message of the value of the spiritual.

In the late 80s, artists could be signed to labels and be nurtured. It wasn't, "We're going to give you one shot, and if you don't measure up, you're gone".

In the interest of the ethical and moral health of the country, the writer, the poet, the artist, the thinker, must hold a mirror up his or her country and say, look, this is who we are, this is how we live, this is our past, we must own it, forgive ourselves, transcend our transgressions, and become better people. Turning the tide must be a continuous effort.

In the last analysis, the artist may shout from all the rooftops that he is a genius; he will have to wait for the verdict of posterity.

In the middle classes the gifted son of a family is always the poorest -- usually a writer or artist with no sense for speculation -- and in a family of peasants, where the average comfort is just over penury, the gifted son sinks also, and is soon a tramp on the roadside.

In the media, a reviewer has his personal vision but it's passed along to a million readers or whatever. He might think that this particular song sounds like Jo Blow. Or like a Bo Diddley record that he heard six years ago. But the artist who made the record may never have even heard the Bo Diddley song. We all respond differently.

In the mirror of your paper you will discover your identity as an artist.

In the mind of every artist there is a masterpiece

In the past, people were going to record stores and buying albums or CDs. And the label was exposing their artist as much as possible and maybe getting them picked up by a major. Now I tell people to cut a good tune and have it up in the marketplace the next day. You better be prepared to give it away, and people will come pay to see you.

In the Renaissance there wasn't a distinction. Bernini was an artist and he made architecture, and Michelangelo also did some great architecture.

In the recording process I do listen to other artists a lot and other albums and albums I am loving lately, or ones that I still love that came out in the 80s or 70s.

In the pop world, instead of saying I want to get an album by such and such a group, it's I like this particular tune and that one I like less. I think it's much better to get involved with an artist instead of riding up and down the works you like and disregard the works you don't like.

In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned.

In the tradition of great female artists, Karla Bonoff, Bonnie Raitt, Christine McVie, Shawn Colvin, Sarah McLachlan....now enter Maia Sharp.

In the tradition of the classic songwriter rooms like The Bluebird in Nashville, Strange Brew is a gift to the music community in Austin, for artists and audiences alike

In this context of achievement-and-death, artist who make Happenings are living out the purest melodrama. Their activity embodies the myth of nonsuccess, for Happenings cannot be sold and taken home; they can only be supported.

In this tour around the world I was not interested in contemporary buildings because I had seen contemporary buildings actually until they came out of my ears in a sense.

In times of dread, artists must never choose to remain silent.

In this same tradition, beauty is inextricably bound up with the principles of order and harmony believed to underlie the cosmos. Artists in the Classical tradition, inspired by Platonic idealism, strove to create images that represented not the world of particulars-with all its defects-but an ideal image conceived in the mind, which was taken as representing some absolute, pure, ideal form of which all particular, material forms are but a mere shadow.

In this world, artists are joyous. Unpredictability is the life of their paintings, their music, their novels. They delight in events not forecasted, happenings without explanation, retrospective.

In times of widespread chaos and confusion, it has been the duty of more advanced human beings--artists, scientists, clowns and philosophers--to create order. In times such as ours, however, when there is too much order, too much management, too much programming and control, it becomes the duty of superior men and women to fling their favorite monkey wrenches into the machinery. To relive the repression of the human spirit, they must sow doubt and disruption.

In those countries with centuries of a craft tradition behind their building methods, techniques are tightly coordinated under the direction of the architect.

In your twenties, if you have any amount of complexity in your childhood, or any trauma that you haven't dealt with, it comes out. That's why you have a lot of artists that don't make it through.

In volume and velocity, the new media are making available testimony on a previously unimaginable scale. I'm neither as romantic about the new media landscape, nor cynical. But what's indisputable is the experimental energy that digital forms are unleashing. Among my students and among up-and-coming artists, I find myself startled by the creative responses to the technological, environmental, and political upheavals of our time.