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I don’t think artists should be sponsored. You should not rely on grants. You either make a success of your art or you don’t. I worked as an artist for a number of years without making much money – I have never had any financial backing in that way. Things are now very good for me but for a lot of the time things were not.
--
Colin Serjent, "Blake's 08, Nerve, Autumn 2006

 

Peter Blake

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Artists aren't necessarily business people. And they aren't necessarily aware of all the things that go on in their names. Some just want to make some music, but there is a lot of greed among artists as well. Whether or not we know it, we are all to blame. I think it's time — starting with the artist — to try to be a little more responsible and aware of what goes on in our name.

 

Tom Petty

 

He (Robert Rauschenberg, fh) was a kind of enfant terrible at the time (around 1960, fh) and I thought of him as an accomplished professional. He’d already had a number of shows, knew everybody, had been to Black Mountain College in South Carolina, working with all those avant-garde people.. ..Rauschenberg focused very much on working. I was prepared to do that, too. He was also involved with Merce Cunningham dance group and totally unconcerned with his success, in the cliché term. All of the activity had a lively quality, quite separate from any commercial situation.. ..(Rauschenberg moved into a loft in John’s building and they very closely worked together for a couple of years, fh) You get a lot by doing. It’s very important for a young artist to see how things are done. The kind of exchange we had was stronger than talking. If you do something then I do something then you do something, it means more than what you say.

 

Jasper Johns

 

Lenin is an artist who has worked men, as other artists have worked marble or metals. But men are harder than stone and less malleable than iron. There is no masterpiece. The artist has failed. The task was superior to his capacities.

 

Vladimir Lenin

 

Lenin is an artist who has worked men, as other artists have worked marble or metals. But men are harder than stone and less malleable than iron. There is no masterpiece. The artist has failed. The task was superior to his capacities.

 

Benito Mussolini

 

The new attitude of the critic toward the artist has been rationalized for me by a leading European art historian who is also an influential critic of current art. It is based on a theory of division of labor in making art history. The historian, he contends, knows art history and, in fact, creates it; the artist knows only how to do things. Left to himself, the artist is almost certain to do the wrong thing — to deviate from the line of art history and thus to plunge into oblivion. The critic's role is to steer him in the proper direction and advise changes in his technique and subject matter that will coordinate his efforts with the forces of development. Better still, critics should formulate historically valid projects for artists to carry out. That not all critics have the same expectations of the future of art does not, I realize, weaken the cogency of my colleague's argument. The surviving artist would be one who has been lucky enough to pick the winning critic. My own view that art should be left to artists seemed to my mentor both out-of-date and irresponsible.

 

Harold Rosenberg