Words matter. These are the best Young Artist Quotes from famous people such as Jose James, Placido Domingo, Dierks Bentley, Rakim, Tiffany Darwish, and they’re great for sharing with your friends.
I think the frustration you can get into as a young artist is when you realize your limitations, but you want to accomplish that rather than seeing that you don’t have to do everything. Just focus on your strengths.
When a young artist is ready, one has to bring him into the limelight.
The transformation that happens when a young artist goes on the road – you put the acoustic guitar down and start to play the electric a little louder – it gets a little bit ragged.
As a young artist, especially in rap and at that time that I came out, originality was big.
I think, probably, being a young artist, there were a lot of things I thought I knew and I wanted to do, and I was like, ‘Oh! That’s what I want to do.’ And then it took me in a different direction with ‘I Think We’re Alone Now,’ and then all of a sudden, I was a pop star.
Definitely, it’s hard being a young artist and being taken seriously.
People were more interested in the phenomena than the art itself. This, combined with the growing interest in collecting art as an investment and the resultant boom in the art market, made it a difficult time for a young artist to remain sincere without becoming cynical.
Calling a young artist ‘great’ these days can give one the heebie-jeebies: The word has been denatured in the past decade.
When I was a young artist, and I would go look at other artists’ career retrospectives, and I was often disappointed with the lack of story line… What was missing to me was the story of where the artist came from and how they got to where they were.
For a young artist to really make it and make money is a lot more difficult these days.
I would say being deeply involved in the art world would help keep a young artist on track. Doing what you love, so that your focus is your artistry.
Revolution is Tupac showing a young artist that he can scribble in a notebook and it’s worth a lot.
When I was a young artist, I liked and was interested in belonging to the mainstream comics group. I didn’t introduce myself as an author, but only as a designer.
As a young artist in New York, I thought about postwar Japan – the consumer culture and the loose, deboned feeling prevalent in the character and animation culture. Mixing all those up in order to portray Japanese culture and society was my work.
Nothing, indeed, is more dangerous to the young artist than any conception of ideal beauty: he is constantly led by it either into weak prettiness or lifeless abstraction: whereas to touch the ideal at all, you must not strip it of vitality.
I think that I came of age in the 1970s with my own work, and it was a time of conceptual and process art, and it was very important not to tell a story. If you told a story, when I was a young artist and first came to N.Y., it was, like, an embarrassing way to make art.
It’s not easy to stand out as a young artist.
If I was to have a reality show, it wouldn’t be a show based on my personal life. I’d want it to showcase me and my girls on tour, like living life as a young artist, not exposing what goes on in my family situations.
It is only after years of preparation that the young artist should touch color – not color used descriptively, that is, but as a means of personal expression.
Record contracts are just like – I’m gonna say the word – slavery. I would tell any young artist… don’t sign.
I think when your confidence is still growing as a young artist, your capacity for generosity and partnership can be hindered, probably in large part due to self-involvement.
As a young artist working in multiple mediums, the work and especially the writings of artist Laszlo Moholy-Nagy were very important to me.
