Working with Robin Williams, and Bob Hopkins, and Dustin Hoffman and you're talking about 'gods,' really, in our industry. You look at legends everyday. It was so impactful to me as a young artist.

I think when your confidence is still growing as a young artist, your capacity for generosity and partnership can be hindered, probably in large part due to self-involvement.

When I was a young man in school, I used to read science fiction and really liked it. And as I became a young artist, I was filling up my portfolio with alien planets and spacecraft and things like that.

If I was to have a reality show, it wouldn't be a show based on my personal life. I'd want it to showcase me and my girls on tour, like living life as a young artist, not exposing what goes on in my family situations.

I would say being deeply involved in the art world would help keep a young artist on track. Doing what you love, so that your focus is your artistry.

In America, we have the feeling of the doomed young artist. Fitzgerald was the great example of that.

It is only after years of preparation that the young artist should touch color - not color used descriptively, that is, but as a means of personal expression.

Although I don't believe in censorship, I believe an artist is very responsible for his actions. Especially if he's a young artist whom young kids listen to, there's almost a sense of his being like the Bible. The kids listen to what he says and live by it. That's why I don't believe in negativity.

Revolution is Tupac showing a young artist that he can scribble in a notebook and it's worth a lot.

It's not easy to stand out as a young artist.

The transformation that happens when a young artist goes on the road - you put the acoustic guitar down and start to play the electric a little louder - it gets a little bit ragged.

Record contracts are just like - I'm gonna say the word - slavery. I would tell any young artist... don't sign.

Calling a young artist 'great' these days can give one the heebie-jeebies: The word has been denatured in the past decade.

People were more interested in the phenomena than the art itself. This, combined with the growing interest in collecting art as an investment and the resultant boom in the art market, made it a difficult time for a young artist to remain sincere without becoming cynical.

I think that I came of age in the 1970s with my own work, and it was a time of conceptual and process art, and it was very important not to tell a story. If you told a story, when I was a young artist and first came to N.Y., it was, like, an embarrassing way to make art.

As a young artist in New York, I thought about postwar Japan - the consumer culture and the loose, deboned feeling prevalent in the character and animation culture. Mixing all those up in order to portray Japanese culture and society was my work.

Definitely, it's hard being a young artist and being taken seriously.

I think the frustration you can get into as a young artist is when you realize your limitations, but you want to accomplish that rather than seeing that you don't have to do everything. Just focus on your strengths.

When I was a young artist, and I would go look at other artists' career retrospectives, and I was often disappointed with the lack of story line... What was missing to me was the story of where the artist came from and how they got to where they were.

For a young artist to really make it and make money is a lot more difficult these days.