As quoted in Moment of Grace: The American City in the 1950s (2002) by Michael Johns.
From American Gothic: An Interview with Elliott Carter http://edwebproject.org/carter.html (1993) by Andy Carvin.
On becoming an artist in “‘There’s No Diploma in the World That Declares You an Artist’: Watch Kara Walker Lay Out Her Advice for Art Students” https://news.artnet.com/art-world/watch-kara-walker-art-21-1316030 in artnetnews (2018 Jul 12)
Awake in the Dark: The Best of Roger Ebert (2006)
Context: Herzog by his example gave me a model for the film artist: fearless, driven by his subjects, indifferent to commercial considerations, trusting his audience to follow him anywhere. In the 38 years since I saw my first Herzog film, after an outpouring of some 50 features and documentaries, he has never created a single film that is compromised, shameful, made for pragmatic reasons or uninteresting. Even his failures are spectacular.
Fuckin' Perfect, written by Pink, Max Martin, and Shellback
Song lyrics, Greatest Hits... So Far!!! (2010)
Poppin (1969)
Context: We can only take it so far, because man can only take it so far, lower self can only take it so far, and you have to realize that the public is only at a certain place. We won't see the day when the public accepts what we wanna project, even though they are accepting a lot now. By the time they're accepting it, maybe they'll be too old.... If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play. A total silence trip is the ultimate.... We do antagonize them psychologically. People look at us and react. They either go "Wow! Hey-hey-hey, baby!" and we say that's great. They're reacting and that's wonderful. It's better than them sitting there doing nothing. I say make them react — do whatever's in your power to move the audience, and if that's where it is, and there where it is with America, sex and violence, then I say project it.
As quoted in The Fabulous Fanny : The Story of Fanny Brice (1953) by Norman Katkov, p. 71
Context: Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience. You step out on the stage and you can feel it is a nervous audience. So you calm them down. I come out before an audience and maybe my house burned down an hour ago, maybe my husband stayed out all night, but I stand there. I'm still. I don't move. I wait for the introduction. Maybe I cough. Maybe I touch myself. But before I do anything, I got them with me, right there in my hand and comfortable. That's my job, to make them comfortable, because if they wanted to be nervous they could have stayed home and added up their bills.
Leslie Berger (January 28, 1982) "A Little Night Humor", The Washington Post, C1.
