There's a bunch of songs that I call B-sides on the record that you could argue could maybe have some potential commercial success with another artist, but for me, they just felt really whack.
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.
Some artists leave remarkable things which, a 100 years later, don't work at all. I have left my mark; my work is hung in museums, but maybe one day the Tate Gallery or the other museums will banish me to the cellar... you never know.
every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself.
The only people I would care to be with now are artists and people who have suffered: those who know what beauty is, and those who know what sorrow is: nobody else interests me.
My process for the parodies is that I get an idea for a song and then get approval from the artist and then go in and record it and probably try to get it out as soon as possible.
Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.