“At present there is an extremely exaggerated formation of groups (students on the School of Art in Vitebsk) around 'trend'; there are 1. young people following Malevich and 2. young people following me. We both belong to the left-wing artistic movement, although we have different ideas about ends and means. Obviously it would take too long to talk about this problem now… But there is one thing I will tell you: Although I was born in Russia - and what is more: in the "settlement territory" – I was trained abroad and am all the more sensitive to everything that is taking place here in the field of art (the fine arts). The memory of the splendour of the original is much to painful for me.. [to live – crossed out]”

— Marc Chagall

Quote in Chagall's letter to Pavel Davidovitch Ettering, 2 April, 1920, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 73
1920's

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Marc Chagall35

French artist and painter 1887–1985

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 14

“I thought that young people had more problems than old people, and I hoped I could last until I was older so I wouldn't have all those problems. Then I looked around and saw that everybody who looked young had young problems and that everybody who looked old had old problems. The "old" problems to me looked easier to take than the "young" problems. So I decided to go gray so nobody would know now old I was and I would look younger to them than how old they thought I was. I would gain a lot by going gray: (1) I would have old problems, which were easier to take than young problems, (2) everyone would be impressed by how young I looked, and (3) I would be relieved of the responsibility of acting young—I could occasionally lapse into eccentricity or senility and no one would think anything of it because of my gray hair. When you've got gray hair, every move you make seems "young" and "spry," instead of just being normally active. It's like you're getting a new talent. So I dyed my hair gray when I was about twenty-three or twenty-four.”

Andy Warhol (1928–1987) American artist

Source: 1975, The Philosophy of Andy Warhol (1975), Ch. 6: Work

“I can see the evidence of that when I listen to music or hear young artists talk and they’re not shy at all about telling me thank you for the things I’ve contributed to them.”

Erykah Badu (1971) American neo-soul singer

On her influence on younger artists in “'I'm not sorry I said it': Erykah Badu on music, motherhood and wildly unpopular opinions” https://www.theguardian.com/music/2018/may/24/erykah-badu-interview in The Guardian (2018 May 24)

“I don't know who my audience is. People have said there is an integrity about me, and I think there is. I don't try to follow a trend. I have my own little path, and although I delve into things, I stay with what I am. I'm quite natural with it. Maybe people feel comfortable with that and they trust it, so they buy it. They'll come and see me in concert. I think I always do a good job in that area.”

Sarah Brightman (1960) British soprano, musical theatre actress, and dancer

The Irish Times (1999)

“I think you just have to space out selfies with not too many professional photos. Followers want to see you and get to know you. Posting consistently is important, and with captions I try to talk about what I’m doing. I use quotes, but only if they aren’t cliché. I do less group pictures, because followers want to see what you’re doing and not what other people are doing. So not too many group photos. You have to cater to your audience, remember why they followed you.”

Antje Utgaard (1994) American actress

Antje Utgaard Spills The Top Mistakes You're Making On Instagram https://galoremag.com/antje-utgaard-spills-the-top-mistakes-youre-making-on-instagram/ (November 3, 2016)

“I tell young people who ask me about their careers, "Wake up on Saturday and ask yourself, Which job would I go to right now? Then choose that one." Because what it tells you is that you're going to your passion; your passion is your work. And I feel that way about my work.”

Regina E. Dugan (1963) American businesswoman, inventor, and technology developer

Fast Company interview (2011)

“Where I used to stand up alone seven years ago, now I belong to a community of many people who stand up with me. I am no longer alone when I stand up to speak about these things. I belong to a group of young people who are passionate about the country, who want to bring about change, and they're no longer afraid, and they're no longer smart cowards. So that was my story.”

Boniface Mwangi (1983) Kenyan photojournalist

The day I stood up alone

“Today’s young people want to know everything about everyone. They think talking about a problem will solve it. I come from a quieter generation. We understand the value of forgetting, the lure of reinvention.”

Kristin Hannah book The Nightingale

Source: The Nightingale

“Here is the crisis of the times as I see it: We talk about problems, issues, policies, but we don't talk about what democracy means — what it bestows on us — the revolutionary idea that it isn't just about the means of governance but the means of dignifying people so they become fully free to claim their moral and political agency.”

Bill Moyers (1934) American journalist

"The Power of Democracy", speech accepting the Public Intellectual Award of the Woodrow Wilson National Fellowship Foundation (7 February 2007), as quoted in Moyers on Democracy (2008), p. 92

“I even belief that the schools and artistic movements is past. After the Romantic movement, born of classicizing exaggeration, after the Realist movement, product of the follies of Romanticism, it may be seen that there is a great foolishness in all these ideas. We are going to achieve a personal manner of feeling.”

Henri Fantin-Latour (1836–1904) painter from France

quote in Fantin-Latour's letter to his English friend Edwin Edwards 14 April, 1866; as quoted by Colin B. Bailey, in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. Metropolitan Museum of Art, New York, 2009, p. 48

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