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?
When I'm dancing, I'm not thinking about anything. I am here. I am totally there. You know? And the feeling is a sensation of being away from myself. My soul dances with the angels, and my body dances with my wife.
All I want to see from an actor is the intensity and accuracy of their listening.
Onstage, you just have to tell the absolute truth about the character you are playing. You hope you communicate it, and you hope it comes back like a tennis ball. If you're listening to the sound of your own voice, nobody else is. The audience knows, and they freeze on you.
I have a feeling, one of those gut feelings, that I'll make pretty good movies the rest of my life.
Compassion may be called the fundamental of all good art because it alone can tell you what other beings feel and experience. Only compassion severs the bonds of your personal limitations, and gives you deep access into the inner life of the character you study, without which you cannot properly prepare it for the stage
It is hard to think of any work of art of which one can say 'this saved the life of one Jew, one Vietnamese, one Cambodian'. Specific books, perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920's is that they they thought such a work of art could be made. Perhaps it was a certain naivete that made them think so. But it is certainly our loss that we cannot.
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