Anne Waldman Quotes

You'd be surprised. A number of developers recognize that having a cultural activity in their space brings kudos. People like the idea of being near to creatives.

If I had a place with a studio where I could paint I'd be happy.

To me... San Francisco is an ideal city, intellectually stimulating and naturally beautiful. The oceans and forests are close enough to refresh the spirit; the architecture is always exciting.

My studio was on 9th Street between University and Broadway.

I have to go someplace where I can soak myself in a creative atmosphere.

You cannot just be working in a vast, air-conditioned loft space and think you are going to make a decent painting. Francis Bacon had a special studio built, and he felt completely emasculated in there. I have to be somewhere comfortable.

I think New York audiences are some of the brightest in the world, and certainly the most enthusiastic.

We're the Tom Tom Club and our studio is the Clubhouse. It a way of making it a little more personal.

I'd been doing projects outdoors for the public. I made pigeons eat geometry by putting bread out in rhomboids and triangles. I don't know if this activity made sense, but the work was available.

When I am in New York, you know, my studio is big, about 20,000 to 25,000 square feet, and I have painting rooms and rooms I do etching in, rooms I do lithographs.

I wanted to make a place for filmmakers and artists to come and 'do their stuff,' but I didn't expect it to have had the impact that it has.

A creative space is an important thing. There are so many studios that feel like doctor's offices in Nashville. I couldn't write there.

My dream is to have a creativity barn, in my back yard, which is full of musical instruments and every kind of paint and oils and paper, and you can just go in and make something.

The farm uses up a lot of my creative urges. It's a sort of rough and ready space, I don't film there.

One of the reasons I stay in New York is because you're always around so many other types of arts, and it's easy to just get lost in it.

Barcelona is a beautiful city. I love the buildings and the architecture and always enjoy being close to that. It makes sense as an art person to work in places like that, it always feels nice and creative.

I think that's what Dylan's trying to do: to create a space artistically where something else can take shape, can take life - where there's hope.

I have a long history with Soho: even when I was at art college, I came down to Soho to work in the summer.

A canvas is an arena in which to act.

I really consider myself very fortunate over the years to have the experiences that I had and to be able to come out on top tonight means the world. It's been a long road and it's a lot of hard.

A lot of different things had to come together over the years, accumulated experiences of a general and personal nature, before the idea and the decision were developed and then carried out.

For a hundred years, modern painters, stubbornly and in the face of incessant hostility, have moved, step by step, leaving superb monuments by the wayside, towards an art of arrangement whose expressiveness depends less and less upon its elements imitating the objects of the external world.

I've always wanted to have my own studio because this is a way for me to finally take all things that I've always dreamt about and actually put them into action.

I'm certain, as we filled down the great staircase, that I appeared the same as ever, a moping twelve years-old, all arms and legs. But secretly I knew I had been transformed, moved by the revelation that human beings create art, that to be an artist was to see what others could not.

When I got back to NY had the opportunity to work with the beginning years of the poetry project which was founded with money from the OEO under Lyndon Johnson to work with alienated youth on the lower East side. This was extraordinary, to be able to help then to create a culture that would capture the energy that I felt at Berkley.