I'm not a writer, but today I think you have to be everything. As an artist you have an obligation to let people know what is on your mind and why you're doing this.
There are selections so acute that they come to define a place, with the result that we can no longer travel through that landscape without being reminded of what a great artist noticed there.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
You really can't be a good artist if you can't say what you really feel. And people may be offended, but, you know, that's how you feel, and that is your right, and that is your gift as well.
You know, it's no accident that the great painters came from areas like Europe where there is a lot of clouds and rain, which begets color and subtle washes of tone. Most great graphic artists come from areas with prevalent sun, where line and shadow are paramount.
Human society is the embodiment of changeless laws which the whimsicalities and circumstances of men and women involve and overwrap. The realm of literature is the realm of these accidental manners and humours--a spacious realm; and the true literary artist concerns himself mainly with them.
Warhol came from an ordinary family and he had a profound understanding about capitalism and material culture. He was probably one of the few Western artists - or artists from the United States - that could be considered a true product of his time and brought out that kind of spirit of the culture.
Without fail, every cartoonist that I asked advice from bent over backward to be helpful and encouraging. It took many forms: some of it was just an implicit acceptance, like being invited along to the dinner with all of the good cartoonists, or sitting down at a drafting table with an artist and him showing me how to draw backgrounds and perspectives.
Making music videos, I try to bring musicians into the logistics of filmmaking, and I try to preserve whatever's of value and achievable in their idea. If it's something I can't achieve, I tell them straight. You want to make sure that the artist really loves the idea and is committed to it, otherwise they're not going to feel great when they're up there miming it.
What to paint was a problem for the war artist... the old heroics, the death and glory stuff, were gone forever... the impressionistic technique I had developed was now ineffective, for visual impressions were not enough.
Naturally one would rather be a broad artist with power to evoke beauty from every phase of experience--but when one unmistakably isn't such an artist, there's no sense in bluffing and faking and pretending that one is.
I think in terms of getting new artists who are not in that sort of stereotypical teenage boy demographic; there's been a lot of progress recently. And I shouldn't make a definitive statement about this, but my impression is that the main impediment to progress in that regard is the number of people who are choosing to make a go of it.
I want to go and see things as a fan again. I am a fan, but I can't remember what it feels like to be a fan anymore. Because I've become an artist. I've become the artist.
This perversion of the truth, familiar to the artist though it was, always unnerved him afresh and proved too much for him. What was a consequence of the premature ending of his fast was here presented as the cause of it! To fight against this lack of understanding, against a whole world of nonunderstanding, was impossible.
You are right in demanding that an artist should take an intelligent attitude to his work, but you confuse two things: solving a problem and stating a problem correctly.
The understanding of the intent of the artist which I can achieve when high sometimes carries over to when I’m down. This is one of many human frontiers which cannabis has helped me traverse.