“If just one child has been inspired to pick up a can of paint and make some art, well that would be statistically disappointing considering how much work I put in. Outside is where art should live, among us, and rather than street art being a fad, maybe it’s the last 1,000 years of art history are a blip, when art came inside in service of the church and institutions.
But art’s rightful place is on the cave-walls of our communities, where it can act as a ‘public service’: provoke debate, voice concerns, forge identities.
The world we live in today is run by, visually at least, traffic signs, billboards, and planning committees. Is that it? Don’t we want to live in a world made of art, not just decorated by it?”—
“One of the things I’m concerned about is that I really want to make sure the races of all the characters are kept. I don’t like it when black characters become white in movies, or things like that. That was something I found deeply problematic with the attempt by some people who had a lot of money and a lot of clout, and who wanted the rights to Anansi Boys, at one point. Somewhere in there, they made the fatal mistake of saying to me, “And, of course, the characters won’t be black in the movie because black people don’t like fantasy.” They were suddenly very surprised that we were no longer interested in selling them the book. So, I want to keep the racial mix in American Gods the same.”—Neil Gaiman on HBO’s American Gods adaptation. (via racebending)
“They can’t understand why a pretty, educated girl like me can’t nab a man, like my only value is my marriageability, and since I appear to be perfectly desirable, they just figure I’m an artist and strange.”—More, Now, Again: A Memoir of Addiction by Elizabeth Wurtzel (via thechocolatebrigade)