I'm not photographing anything naked these days. I haven't been concentrating on bodies recently.
I use a retouching varnish which is made in France, Libert, and that's all the varnish I use.
In its most limited sense, modern, art would seem to concern itself only with the technical innovations of the period.
If the technical innovations of the Impressionists led merely to a more accurate representation of nature, it was perhaps of not much value in enlarging their powers of expression.
It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method.
Writing for other artists helped me figure out that magic you have to capture to make everyone connect with a song.
Well, I've always been interested in approaching a big city in a train, and I can't exactly describe the sensations, but they're entirely human and perhaps have nothing to do with aesthetics.
You're hot for two seconds, and you're struggling to get work again. If it were easy, I don't think that's a good place for an artist to work from.
I just love expanding my horizons and growing as an artist. The only way you get to do that is by doing something that scares you or takes you out of your comfort zone.
When an artist leaves his work to amuse people, he loses his time and their respect. If people are to be amused by artists, it must be by employing them in their legitimate occupation.
Artists are taught to be humble about their impact, especially in folk music. It's so ingrained that I have a hard time even thinking I had any impact other than what a normal hit song would have.
The one thing I've learned in the last ten years is that successful artists don't get paid to write and sing songs, they get paid for the psychological roller coaster they're going to have to ride. That's the hard work.
The world is crawling with authors touring now. They're like performance artists.
Sometimes you have to be a diva. All the artists I admire from Madonna to Whitney to Mariah have all been called divas. If you are strong, if you have vision, if you are an artist, you have to do what you believe in. And if you get called a diva for it, then so what.
I always wanted to be an artist; being a songwriter for myself was always a must but being a songwriter for others has been a bonus.
I was listening to Jimi Hendrix; I just admire his artistry and creativity as an artist.
I feel like my peers now are artists like Madonna and the Stones, Michael Jackson and Prince. These are people who were able to take their careers beyond the normal here-today-gone-tomorrow life span.
When I put out my first mixtape, '50 Cent is the Future,' it was the first tape where an artist did the entire tape in song format.
I have a lot of tattoos. My first tattoo I had when I was a teenager was just a little heart. I am very friendly with a great artist, Scott Campbell, and I started going to him to get tattoos. I'm very spontaneous about what I get.
Marc Jacobs is full of creative people and Louis Vuitton is again a name on the door, a name that has existed for many years but I'm a collaborator there and I bring in other people, other artists and I work with a great creative design team.
I don't really count myself as a very sophisticated businessperson. I'm a creative artist. All I know from business I've picked up along the way.
I'm a fairly tormented artist, and I'm less willing to indulge myself in self-pity, outside of songwriting.
Amazingly, I've been sort of an anomaly in the music industry. I feel like I've been able to exist as kind of a throwback artist.
Art is anything you can get away with.
How does an artist know when the line that he just painted is good or not good? That's the catch. De Kooning was the greatest of my contemporaries in art, and he knew when he'd done a good line. When he didn't, he threw it away. I wish I'd thrown away some of mine.
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