Real artists free of the tedium of money can use, now, all of society as an idea factory.
Our culture is intent on taking the lines out of people’s faces – surgically, with costly creams, and with fear and trembling – when, in fact, the opposite should be the case. As artists know, if there is anything behind a face, that face improves with age.
The bohemian life that reigned in Paris until the end of the ’50s is gone. The artists had more time to think, to reflect; success didn’t come so suddenly.
If contemporary artists sincerely seek to be original, unique, and new, they should begin by disregarding the notions of originality, individuality, and innovation: they are the cliches of our time.
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.
There is a slight problem with being a conceptual artist these days: You won’t get paid. But this levels the field and takes the art of money out of the field of serious art. The only conceptual artists who would conceive of making money on the Internet are a lowbrow species known as hustlers.
I tell my workshop students, ‘I want you to think of yourselves as artists. Then, when you’re writing, you’re painting, you’re crafting, you’re making a design, you’re sculpting, you’re creating choreography, sound, a sound script.’
I think this is true for all artists. My senses are very important to me.
Filmmakers and artists always thrive during more liberal times.
Artists and writers have to deal with the element that makes the real real and the dream real while you are dreaming it. That’s where stories and poems get their power.