I'm not making films just to be bold.
I will die for the art & what I believe in. The art ain't always gon' be polite.
I intend to do a large painting of the cliff at Etretat, although it is terribly bold of me to do so after Courbet has painted it so admirably, but I will try to do it in a different way.
My father, John Marcellus Huston, was a director renowned for his adventurous style and audacious nature.
I was always just blown away by David Bowie and how mannered the guy was willing to be. It was so far from what I imagined someone with my confidence to be capable of.
He found it was as easy to hurl beauty as anything else. (On Robert Mapplethorpe)
Art should be appreciated with passion and violence, not with a tepid, depreciating elegance that fears the censoriousness of a common room.
You need a certain amount of nerve to be a writer.
A sculptor is supposed to be a dull dog anyway, so why should he not break out in colour sometimes, and in my case I'd as soon be hanged for a sheep as a lamb.
Above all, film is a business... Independence is a really cool thing as you can be a bit more bold, and take a few more chances with what you do.
From the ashes of Bauhaus, Love and Rockets transformed its grandiosity and excesses into boldness and virtuosity. Plus, it wasn't afraid of a catchy hook or two.
Lauryn Hill is quite political and is very bold and isn't afraid of wearing her heart on her sleeve, and same with Bjork, except she is a little bit more kind of fragile.
I think if you don't risk something in art, it's not really important.
What I find really attractive is something that's going to be a little dangerous. Something that might get me into trouble; you know, you turn up in London and you've just rewritten Dickens. And, of course, then you think, 'What have I done?'
I decided that if I could paint that flower in a huge scale, you could not ignore its beauty.
'Basic Black with Pearls', upon its publication in 1980, was greeted with a mix of praise and misunderstanding. Critics sensed its daring and applauded its formal inventiveness, but those qualities also kept people at bay.
I'm glad [Ornette Coleman] is such an individualist. I like the firmness of thought and purpose that goes into what he's doing, even though I don't always like to listen to it. It's like living in a house where everything's painted red.
You don't hire Kehinde Wiley to have a tame painting.
There's the brilliant audacity of youth that poets strike upon in their earliest work sometimes that they never can hit upon again.
What I've always seen in writers and artists is the courage it takes to make an original work of art. I think the real risks in literature are linguistic and intellectual, and I hope we can highlight those, as well as political courage.
Much arrogance is necessary equipment for an artist, I think. Not sufficient, but necessary. It carries one across the gaps.
For me, what I've always seen in writers and artists is the courage it takes to make an original work of art. I think the real risks in literature are linguistic and intellectual, and I hope we can highlight those, as well as political courage.
I am not very extreme in my life. But I'm very attracted to art that works with extremes and works with limits, that transgresses limits and transcends limits and crosses borders and has a certain boldness.
