Artistic Outreach Quotes

Hip-hop's always reached out to kids. If you look at the last 10 big albums it might seem ironic. But when I look at the history of this music it's always had a lot of positivity.

Overall, I think any opportunity to expose people to art on a mass level - to have some kid in Oklahoma say to his mother, 'I want to be an artist' - is a good thing.

I don't make films for myself; I make them in order to communicate with an audience.

You need to find a way to propel this creativity to the masses. People get brainwashed and they start to forget what's good.

I hope to make the process of producing my take of the Biennial a transparent and interesting one for artists.

Christians who enjoy and support art and culture, who make it a priority in their lives, and who reach out to those in the arts instead of reflexively pushing them away, can help bring the culture toward a renewed appreciation of goodness, truth, and beauty. And that is good for everyone.

To just get in front of different kinds of audiences is important for me. I do think it's important for music to be a big family. Whether it's country or not.

I realized my calling was to use the arts and ministry to help young people.

I continue to work on plays, but I've always felt that you could put a note in a bottle and send it offshore, and you'd have as much chance communicating with people.

I would love to be able to share my artwork with as many people as possible so that I can help spread an appreciation for art in general.

I'm always going to use music, use culture as a tool to engage people to have this dialog, to enable others. That's very important.

Part of my agenda has been to support art that engages life with people.

I want people to discover my movies, and however they choose to receive it is their business.

Direct address has been a consistent tactic in my work, regardless of the medium that I'm working in.

I wish I could create an IMAX film that would make my work accessible to a broader audience.

I think we musicians are emissaries. Every time we go before the public, we're there to make converts.

I wish a book could reach as many people as film, but we have to be realistic about it.

I want to make sure that people with talents, who want to perform or to develop their act, know that the Peacock Theater exists and to reach out to us and know that there's a safe and fun place for them to develop their material.

Part of being an artist is that you want to express yourself to as many people as possible. But you don't want to exclude anyone.

To have a platform like So You Think You Can Dance, where you're reaching this audience that's been created over the 10 years that they've been on the air. People who didn't know anything about dance and aren't going to go to the theater are learning about it, even if it's ballroom and jazz, by just turning their television ono. They're building this audience that's advanced and educated enough to introduce them to ballet.

[The writer] wants both to do the best possible work and also to reach the largest possible audience. The result is a fairly normal condition of discouragement.

I love the idea of bringing my work to the general public, not just people who go to gallery openings.

I think all groups who don't fit in clearly with Western music have to think, 'How can I expand my market? Where else can I perform?'