The artist is likely to be looked upon with some uneasiness by the more conservative members of society.
BEN SHAHNI’ve been asked often what is the difference between an amateur and a professional artist, and I will tell you.
More Ben Shahn Quotes
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The moving toward one’s inner self is a long pilgrimage for a painter. It offers many temporary successes and high points, but impels him on toward the more adequate image.
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I believe that if it were left to artists to choose their own labels, most would choose none.
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An amateur artist is one who works all week at something else so he can paint on Saturday and Sunday. A professional artist is one whose wife works so he can paint all the time.
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Every great historic change has been based on nonconformity, has been bought either with the blood or with the reputation of nonconformists.
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It may be a point of great pride to have a Van Gogh on the living room wall, but the prospects of having Van Gogh himself in the living room would put a great many devoted art lovers to rout.
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An ametuer is an artist who supports himself with outside jobs which enable him to paint. A professional is someone whose wife works to enable him to paint.
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Paint what you are, paint what you believe, paint what you feel.
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All art is based on nonconformity … Without nonconformity we would have had no Bill of Rights or Magna Carta, no public education system, no nation upon this continent, no continent, no science at all, no philosophy, and considerably fewer religions.
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I became interested in photography when I was sharing a studio with Walker Evans, and found my own sketching was inadequate.
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I love chaos…. It’s the poetic element in a dull and ordered world.
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It may be any one of an infinite number of concepts, none of which may have any possible bearing upon its degree of newness.
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To abstract is to draw out the essence of a matter. To abstract in art is to separate certain fundamentals from irrelevant material which surrounds them.
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What is it about conformity itself that causes us all to require it of our neighbors and of our artists and then, with consummate fickleness, to forget those who fall into line and eternally celebrate those who do not?
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The popular eye is not untrained; it is only wrongly trained – trained by inferior and insincere visual representations.
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It is not the how of painting but the why. To imitate a style would be a little like teaching a tone of voice or a personality.
BEN SHAHN