Artwork Quotes
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The artwork for the record is kind of an homage to that. It's a collage, which rhymes with homage, I just realized. It's an homage to this kind of almost like a teenager's idea of what the future might look like, if he were using a Xerox machine and cut-and-pasting it together. Which is exactly what we did to come up with the artwork.
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In the Seventies, album artwork became really beautiful items. The whole process of doing an album sleeve, it became a very artistic thing.
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If what you want to do is make artwork for bands, you have to love doing it because there is almost no money in it. In order to start doing it, you just have to put yourself out there, work for bands you love and for as little as possible to start, if not free, that's what I did for years.
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You make an open-ended proposition and the audience completes it somehow. That’s what you hope an artwork to be-a constantly living thing.
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If I'm in the business of making artwork that is designed on some level to sell a product, then I have to be very comfortable with the people I'm working with and I'd like to be proud of the end result regardless of its sale-ability.
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I don't even know how to sell a piece of artwork of mine because it's so personal.
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All the videos we have done have been our ideas, our concepts. We're a very conscious band of the way we present ourselves onstage and the artwork for the record and everything like that. So every time we do videos, it's the same thing. We sit down with the director and have him make our vision come true.
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I sometimes say the conflict in the work is the conflict of my own thoughts and anxieties. It's a civil war in my head. The top part of my artwork is you letting go and floating. You become part of the air and you've tapped into the heartbeat of the universe. I guess that's what people do when they meditate.
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I personally really like getting a proper album with artwork and everything.
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I have been asked to collaborate with fashion houses using my artwork, which I will probably do.
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I haven't made art about Israel. There's a covert subtext of Jewish identity in my artwork.
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It's the idea that we as people can control our own destinies. The government and the corporations, more even than the government, can't dictate what artwork we're supposed to like or what comedy we're supposed to laugh at.
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The record [American Idiot ] felt special to us, when we recorded it, with all of the artwork and the concept behind it and it being a rock opera, but we didn't really know where it was going to go. It's like I always say, you just follow the music. Not only was American Idiot a special moment for us, but it also led to Ordinary World, too.
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Artwork can be a portal, a kind of rethinking and reseeing of the world as we live it.
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If an artwork never gets any attention from anybody, then obviously it's got problems. If it gains attention from a very small elite, then it's presumably doing something. Finnegans Wake gets a lot of attention from certain people who become passionate about it, who are usually very good readers in general. Although - I often talk about costs and benefits - it seems to me the costs of reading Finnegans Wake are not worth the benefits, however many there may be. And it's the same with the more arcane among poets, Zukofsky and so on.
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If you haven't been to Burning Man, you should do it once. It's an extraordinary experience. Some of the best artwork I've ever seen in or out of a museum. Amazing.
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Unfortunately, the general interest in art among the Japanese is very low compared to that of Western countries. I would love to be able to correct that by bringing many more pieces of interesting artwork to Japan.
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People quickly look through things and don't sit and experience. That's a problem with artwork, because it's more of an experience than something to quickly look at. It takes a while for everything to unveil itself.
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Record stores are great because it's good to physically get your hands on the music instead of downloading. It's always better to get the artwork too.
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I couldn't know about my culture, my history, without learning the language, so I started learning Arabic - reading, writing. I used to speak Arabic before that, but Tunisian Arabic dialect. Step by step, I discovered calligraphy. I painted before and I just brought the calligraphy into my artwork. That's how everything started. The funny thing is the fact that going back to my roots made me feel French.
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I wrote a graphic novel called 'Soul Stealer' with big, beautiful, epic artwork by Chris Shy. It grew into a trilogy.
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Whenever I work on an album and the time comes to do all the artwork, the only thing I think of is the LP artwork. When we worked on the 'Electric Trim' artwork, we spent weeks and weeks making the LP artwork great, and then the CD artwork came together in a day or two. The LP is what's important to me.
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I began collecting artwork as a way to help young artists to promote their work as well as to increase awareness of contemporary art among the younger generation.
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I ride a bicycle. I make artwork and do other kinds of stuff - but in terms of unwind, I like to play tennis and ride.
