Best 8185 quotes in «artist quotes» category

I want you to adore the Universe, to be easily delighted, but to be prompt as well with impatience with those artists who offend your own deep notions of what the Universe is or should be. ‘This above all ...’

I want to stay in the writing long enough to become a falling star of the up-and-coming genre, then a has-been known only by collectors, and finally a rediscovered artist who is finally recognized as a creative giant misunderstood in his own time. Then forgotten again. But if I get removed from the list, it'll probably be because there are just too many damn good writers out there, and any poll of some assortment of editors is going to come up with an equally valid, equally varied list.

I want to use every second of my life, every time that I have in my life, to make me a better fighter. That's why I'm a martial artist. For me, it's more than a job - it's a way of living

I was a 10 million-plus selling artist.

I was able to endure and play a special part in music history. And I always managed to keep working, even if I wasnt a big solo artist.

I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.

I was a big fan of Jean-Claude Van-Damme growing up, and I always wanted to be a martial artist 'cause of him.

I was a bit scared because I came from the acting world. There was a fear that people would think of me kind of as a joke. But really, people think of me as a country artist who can act. That's my favorite compliment.

I was a child but weirdly uninhibited. I talked to people and inserted myself in all kinds of absurd situations. I think some of those life experiences influenced me in terms of the main character of The Flamethrowers. But for the parts where the community of artists are speaking above her level of participation, that probably came more out of my experience of being in New York in the '90s as an adult.

I was actually dumbfounded by how some artists talked to each other. For example, it was a normal night at a bar, nothing very momentous, when in walked a painter. The other painters at the bar had a bit of an attitude about it. One said to him, "You know, I'm tired of that feeling of hot air coming out from behind your work." And I thought, "Well, that's interesting." I didn't know you could even think something like that, let alone say it right to someone's face.

I was addicted to rhythm 'n' blues pretty much directly into folk music. I had my little 45s of mostly black artists. That was as close as I got. I've never listened to heavy rock or stuff that jangles my nerves, because I'm already jangled.

I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight.

I was an observer. I liked to listen rather than openly express myself. This trait is something that I've retained over the years.

I was an only child. I lost both my parents. By the time I was twenty I was bald. I'm homosexual. In the way of circumstances and background to transcend I had everything an artist could possibly want. It was practically a blueprint.

I was a really lousy artist as a kid. Too abstract expressionist; or I'd draw a big ram's head, really messy. I'd never win painting contests. I remember losing to a guy who did a perfect Spiderman.

I was a martial artist. So, for me to be able to do all of the fights is a blast. It's so fun. It's like dancing, but more bad-ass. I really enjoy doing it.

I was a runaway girl from France who married an American and moved to New York City. Im not sure I would have continued as an artist had I remained in Paris because of the family setup.

I was a scam artist in high school for a while.

I was...attacked for being a pasticheur, chided for composing "simple" music, blamed for deserting "modernism," accused of renouncing my "true Russian heritage." People who had never heard of, or cared about, the originals cried "sacrilege": "The classics are ours. Leave the classics alone." To them all my answer was and is the same: You "respect," but I love.

I was a very introverted individual and this became an important outlet for me to express myself, to communicate, to take positions, make statements, take a stand and so forth. But I never really thought I had much a future at all So the thing that I had to do was to really go inward and really work super hard in the hope that someday it would pay off. And in using that term I don't mean necessarily money, but just the fact that I would have more depth and dimension both as a human being and as an artist.

I was a student at Harvard, and that's where I learned about so-called avant-garde music. Jackson Pollock, abstract expressionism and painting were well known at this time.

I was at a time of my life of making choices, I suppose: am I a writer, am I a visual artist? And when I was a teenager. I thought I would be a film-maker. Am I a musician? If so, what kind of musician am I?

I was been raised to believe I was an artist. I believed what my parents said and fulfilled it, like a prophecy.

I was being generous. Gia Coppola wasn't even a filmmaker at that time, but I asked her to do it, because I believed in her as an artist. And because I wanted a woman's take on the material. The book Palo Alto is very male-centric, but Gia carved out a bunch of the female characters, and brought them to the fore in the movie. And the project was richer for it.

I was born in Suzhou, a city not very far from Shanghai. It's a very interesting town - there is a long artist's tradition there, especially during the Ming and Ching dynasties, which produced many, many scholars and painters and so forth. That's where my family lived for 600, 700 years.

I was backstage at the House of Blues in L.A where I was about to perform, and Stevie Wonder and Prince turned up at my dressing room together! Stevie started beat boxing and Prince started singing one of my songs, all of a sudden it was like I was in a cypher with these incredible artists.

I was being an artist, being sensitive and technical as artists are. I'm sure Leonardo Da Vinci did that. Artists don't always feel the same as others feel about their work.

I was born in Philadelphia, Pennsylvania, and am a product of a family that were jazz aficionados and also very interested in progressive politics. And so I had a lot of artists and musicians in my home. Lots of Latin music, folk, and jazz and blues, bluegrass-type of stuff. Painters and stuff like that.

I was constantly being around artists and Bohemian types.

I was exposed to the arts, but there was no one in my family who was an artist.

I was dominated, soul, brain, and power by you. You became to me the visible incarnation of that unseen ideal whose memory haunts us artists like an exquisite dream.

I was forced to be an artist and a CEO from the beginning, so I was forced to be like a businessman because when I was trying to get a record deal, it was so hard to get a record deal on my own that it was either give up or create my own company.

I was forgetting that an artist also just stares at a piece of paper or canvas all day. It somehow never occurred to me to connect these two diverse creative modes.

I was given the gifts of the artist, and the trouble that goes with them: So I have that blessing, and there was never a time thatI questioned it or doubted it.... For forty years, I wanted to jump out of windows.

I was in a group show at a museum in Torino, a lot of American artists installed in a floor of this museum. Another floor of the museum houses the most refined collection of arte povera in the world, which is perfectly selected and perfectly installed. I remember being struck by the contrast between the Italian works and the American. I would say the hallmarks of the Italian style are a poetical connection to nature and to materiality, materials, and exquisite taste. On contrast, the American work was essentially a bunch of bad-tempered, complaining kids.

I was in Nashville and I was having just the most amazing time there, discovering who I was as an artist because that is such a music city. Everyone there is so friendly and inspiring and down to jam.

I was interested in [Hunter S. Thompson novels]. The rebel in me fell in love with it, and the artist in me was confused by it, and interested and turned on. Ever since, his work has meant different things to me, at different times, and I still get new meaning out of it and appreciate it, in a different way. His work is very visceral, and you can take from it what you want, in various moments of your life.

I was interested by the idea that artists working in a totalitarian dictatorship or tsarist autocracy are secretly and slightly shamefully envied by artists who work in freedom. They have the gratification of intense interest: the authorities want to put them in jail, while there are younger readers for whom what they write is pure oxygen.

I was interested in the ways that artists responded to totalitarianism - the Czech Jazz Section, Romanian absurdist theatre, Brecht's alienation effect. The anything-goes, anarchic qualities of jazz and Surrealism seemed to offer a way to cross some of the forbidden frontiers of Eastern Europe.

I was invited to photograph Hollywood. They asked me what I would like to photograph. I said, Ugly men.

I was involved with the anti-apartheid movement through my work as an artist and also through my political commitment.

I was just, like, not at all the office type; I was the artist type.

I was keen to challenge this vernacular as the role of the photojournalist was changing, and images were becoming urgent and more succinctly linguistic. This is why I moved to publishing artists who were challenging the veracity of both the medium and the profession through their works.

I was judgmental of artists who were exploring their sexuality, and I thought, Why are they doing that? They don't have to. They've got a good voice.

I was more than just a moody artist.

I was listening to Jimi Hendrix; I just admire his artistry and creativity as an artist.

I was lucky enough to be given books that weren't top sellers; books that were kind of under the radar

I was lucky enough to first meet Elvis at his house in Bel Air and he used to invite different artists, singers and musicians, to come and jam with him at his house.

I was mostly surprised by the rap artists, actually, that were influenced by Sabbath. That was a surprise. But it's very nice and I'm very honoured. It's nice to know after 27 years now that what I said in the first place has stuck, and that was the belief in it.

I wasn't allowed to grow as an artist. My albums were nicer to look at than to listen to.