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.
When I was growing up and going to art school and learning about African-American art, much of it was a type of political art that was very didactic and based on the '60s, and a social collective.
I went to art school actually when I was sixteen years old.
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.
In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.
If you ever have a kid who doesn't know what to do, stick him in art school. It's amazing what evolves.
I'd love to go to art school. I'd love to learn how to draw. I'd love to be fluent in Spanish. I'd like to be a brain surgeon.
Teaching at university isn't like teaching in an art school.
I was at the Royal Art School. That was a preparatory school specially for art teachers. You see, it was not so much for the development of artists. But we had there terribly stiff training.
I was brought up on art. My father thought I had a great hand at art and sent me to art school. But he did not want me to become a photographer.
I began painting well before I started doing comedy. In fact, when I came out of the war in 1946, I enrolled in art school in Dayton, Ohio. I painted for three years, and then show business took hold.
Before I was ever a baker, I was a teacher. Or, at least, that is what I thought I was going to be. After O-levels, I went to art school in Wallasey on the Wirral, and my mate Cavan and I did a teacher training course.
I didn't start to collect records and listen to guitar players properly until I went to art school, when I'd already been playing for five years. So my style was already formed, and that's why I think it's so unique.
There was a big drive when I was at art school to make you aware of the economy of meaning - after all, this was still during the tail end of minimalism. Being responsible for everything you put in your picture, and being able to defend it. Keeping everything clear around you so you know what is operating. To open the wound and keep it clean.
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 was quite keen on silviculture, the growing of trees, and that was something I gave a lot of thought to. Maybe I could've gone in that direction. But it just so happened that while I was trying to make up my mind, I enrolled in art school, and there I began to develop my interest in music, parallel with my interest in the visual arts.
When I decided to go to art school, it wasn't necessarily something I thought I needed. No one talked about graduate school when I was an undergrad. I went on to a residency at the Studio Museum in Harlem, and that transition from Yale to the Studio Museum, that was the real beginning of my professional career.
I remember being an art student and going to the Whitney in 1974 to see the exhibition of Jim Nutt, the Chicago imagist. It was then I transferred to school in Chicago, all because of that show.
It was definitely a very appealing prospect to be in a company, especially as an art student: we had it hammered into us that the odds of us finding a job, especially fresh out of school, was very slim, and we could expect to work as a bartender for the next three years after we graduate.
Anyone having to do with medicine will have looked at Frank Netter's art work... I decided I would make him my model... getting my degree in medical illustration and then going on to medical school.
