To be an artist you have to give up everything, including the desire to be a good artist.
Jasper JohnsRead
Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither.
Interpretation
The quote reflects the complex relationship between perception and creation in the artistic process.
Jasper Johns expresses a nuanced view of the artistic experience, highlighting the interplay between seeing and creating art. He acknowledges that sometimes an artist may perceive an image before painting it, while at other times, the act of painting leads to a new perception. Both scenarios, according to Johns, are imperfect as they blur the lines between initial inspiration and execution.
In practice
In an art class, when discussing the nature of artistic inspiration.
To be an artist you have to give up everything, including the desire to be a good artist.
The only logical thing I can think of is that I knew there were such things as artists, and I knew there were none where I lived. So I knew that to be an artist you had to be somewhere else. And I very much wanted to be somewhere else.
This image of wanting to be an artist - that I would in some way become an artist -was very strong. I knew for a long, long time that that's what I would be. But nothing I ever did seemed to bring me any nearer to the condition of being an artist. And I didn't know how to do it.
One wants one's work to be the world, but of course it's never the world. The work is in the world; it never contains the whole thing.
Sometime during the mid-50s I said, 'I am an artist.' Before that, for many years, I had said, 'I'm going to be an artist.' Then I went through a change of mind and a change of heart. What made 'going to be an artist' into 'being an artist', was, in part, a spiritual change.
Make something, a kind of object, which as it changes or falls apart (dies as it were) or increases in its parts (grows as it were) offers no clue as to what its state or form or nature was at any previous time. Physical and Metaphysical. Obstinacy. Could this be a useful object?
You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.
If you think about the way we experience art, the paradigm is still Western European. If I go to the National Gallery, what am I going to see the most of? I'm not going to see a whole lot of black figures in pictures.
You have to write the story that's at the front of your head. There is no point in trying to write for the market; it won't ring true.
My understanding of the creative process is simply that all cultures and all concerns meet at a certain point, the human point in which everything is related to one another. That has been my creative experience. I never know who's influencing me at any time.
Of course, my interests and my focus change and become more diverse, more worldly. At the same time, I am interested in the simple basics, which is I love to dance and I love to make people dance.
I agree with Balzac and 19th-century writers, black and white, who say, 'I write for money.' Yes, I think everybody should be paid handsomely; I insist on it, and I pay people who work for me, or with me, handsomely.
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