Channing Tatum Quotes

Creative activity could be described as a type of learning process where teacher and pupil are located in the same individual.

The whole point of art school is that you're going to be able to have nudes all day long and a teacher who is there to move you. It's great. I did a tiny bit in the one school in Paris, and it was wonderful because you'd have a nude taking a crazy position, and you'd have 10 seconds to do a drawing. Then you'd do a one-minute drawing.

I also thought of playing improvisational jazz and I did take lessons for a while. At first I tried to write fiction by making up things that were completely alien to my life.

I consider all my films experiments.

You never know what an artist is going to create next.

I just try to do as good job with the material as I can and play some jazz as well, some improvised music, and do that every night. Just see where it goes.

I have always just made things. I don't see what I make as being defined by a medium or aesthetic. It probably comes more from a fundamental restlessness, an attempt to create tools for questioning or understanding, and I have always been interested in using a wide spectrum of mediums to do this.

I always wanted to be really experimental.

Whatever the medium, there is the difficulty, challenge, fascination and often productive clumsiness of learning a new method: the wonderful puzzles and problems of translating with new materials.

As an artist, I want to explore as much as I can.

For me, as an artist, I think you have to experiment.

I’m an actor who’s accustomed to bringing a lot of stuff to the table, and you have to be ready because some of them will be accepted and some of them will be rejected. Then you need a generous, free, fearless, loving director like Tarantino to allow you to take those risks.

The moment we live in is a great time to make art. We have different technologies to play with, and we're left with the opportunity to focus on our work.

On the ridge where the great artist moves forward, every step is an adventure, an extreme risk. In that risk, however, and only there, lays the freedom of Art.

Creative risks will always outweigh technical mistakes.

Making art is complicated because the categories are always changing. You just have to make your own art, and whatever categories it falls into will come later.

An artist should be taking risks. That's the whole idea of being an artist.

I began in 1976, with small abstract paintings that allowed me to do what I had never let myself do: put something down at random. And then, of course, I realized that it never can be random. It was all a way of opening a door for me. If I don't know what's coming - that is, if I have no hard-and-fast image, as I have with a photographic original - then arbitrary choice and chance play an important part.

I like making movies. I like the process. I like trying out new ideas, and if they don't work, they don't work. That's the reason I generated the money in the first place, to be able to try things. That's where I spend my money.

If you are on to something creative, school can also inhibit you. The wrong teacher, man, can really mess you up.

See, if you put a musician in a place where he has to do something different from what he does all the time, then he can do that - but he's got to think differently in order to do it. He's got to play above what he knows - far above it. I've always told the musicians in my band to play what they know and then play above that. Because then anything can happen, and that's where great art and music happens.

Jazz today, as always in the past, is a matter of thoughtful creation, not mere unaided instinct.

Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where , the painting is always saying, 'What do you want from me? I can only be a painting.' You have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point.

When I was living in Mexico, I started reassessing my drawing style, and plunged into a period of doing exercises and research to develop a new way to draw. The result was a style that implies more than it shows, and so, ironically, feels more "true" to the scene I want to draw than a style that is more specific. It seems to me that the reader's imagination is able to fill in the gaps more effectively than I ever could. Plus it's a lot faster and more fun to do.

Serious art is born from serious play.