I attended an extremely small liberal arts school. There were approximately 1,600 of us roaming our New England campus on a good day. My high school was bigger. My freshman year hourly calorie intake was bigger.
The work ethic at art school is completely different than the work ethic amongst people who get into music. People who paint, it's an honorable thing to spend all day and all night in front of your canvas - that is the romantic vision of the painter.
I sang in art school, just to get money to smoke.
My life as a painter influences my teaching and my duties as president of CCA - and I hope some of the experience of working at an exciting art school also spills over into my studio work. I believe most artists are adept at juggling multiple responsibilities - whether it's work, teaching, caring for family members or attending to relationships - with their studio commitment.
I didn't go to art school. So, I never had this moment of taking time to actually learn how to make things and learn about art history and learn about people that came before me.
I got into architecture because I was searching for a way to produce in the world. I went to art school and thought I would do it through art, but I realized very quickly that I was interested in the social ramifications of form making. So buildings became the vehicle and fulfilled that thing. That satisfied me when I produced them. I decided this is what I wanted to do with the rest of my life.
When I got into art school, I thought it was paradise. I wanted to be an artist so much that I was really driven and nothing could stop me.
It's hard sometimes when you're in a regular high school, you just feel like the odd kid out. The great thing about going to an art school [is] it's kind of like it's all the odd kids. It's all the kids that don't fit in at their regular schools, because you're into something and excited about something that other kids really aren't into. When you go to art school, everybody's kind of on the same page.
It's because the idea of what's cool is different. When you talk to a girl who goes to regular school, what's cool is whether or not you've been to jail, or if you have a car. If you talk to a girl who goes to art school, what's cool to her is if you do art projects on the weekend with your dad, if you can build something - out-of-the-norm stuff.
Publishing has gone very middlebrow. It's turned its back on legacy of modernism and gone into a humanist mode. When people go through art school they are exposed to the history of the avant-garde, and there's a general understanding that what you're doing as an artist is to a large extent, not just regurgitating that history, but engaging with it. There's this denial of that in the mainstream publishing world.
I went to comprehensive school in North London and left without any qualifications [diploma]. And I was doing bits of acting and improv in a drama club in the evenings. Then I discovered you didn't need qualifications to go to art school, you just needed a body of work.
I went to art school for about a year. I was born and raised in the Willamette Valley in Oregon into a middle-class family who didn't have the funds to say, "Here, kid. Here's your money for school." So I worked real hard during the summer and saved money and was able to go to school for a year and borrowed a little money which I paid back after that first year.
In art school, they teach you to struggle through the process: If you have your image down, you've painted it, and it's not looking the way you wanted it to, you can do wet on wet - you just keep moving the image around.
Really the moment I decided I wanted to do art seriously, I left art school. I wanted to be with people who were interested in the same things I was: popular culture.
I had wanted a tape recorder since I was tiny. I thought it was a magic thing. I never got one until just before I went to art school.
I design all my sets. With my tour and my album artwork, I co-design that with people who are better at drawing than me. But I've got a good imagination. I went to art school so I understand how to communicate my ideas.
I went to art school actually when I was sixteen years old.
I went to art school... but I worked at the Museum of Modern Art. I worked in fundraising at the information membership desk. I ended up, over a period of time, doubling the amount of membership revenue that came in through people entering the museum, so people would ask me to come and work for them.
I think it was a matter of, like, I'm not going to have my kids in these wild streets. Both my twin brother and I were in art school together.
In the period of '60s to the '90s, British art schools were small, and the number of student was small. The personal contact was great.
When I was in Wuhan, I went to the art school, which was one of the most important art schools in China, an enormous art school. One of the things that I saw is that the schools are very big and there are so many students. It is very difficult to me to teach creative activity to great numbers of people, because I think you need personal contact with students, you need to speak individually, you need individual contact between teachers and students, you need continuity. To me this is a problem in mass education in every society now.
In an art school it's very hard to tell who is the best.
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
I did this Super-8 film at art school called Tissues, this black comedy about a family whose father has been arrested for child molestation. I was absolutely thrilled by every inch of it, and would throw my projector in the back of my car and show it to anybody who would watch it.
I think that many things that go on in an art school have a tendency to undermine confidence, and that shouldn't be part of the ballgame, ever.
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