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But in the next two phases, they can dance. Make art make money. Make money make art. He viewed money as energy, the lanata libro majul that makes concrete things happen out of worthy ideas.

Money was not an end in itself.

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It could provide physical infrastructure or it could help him hire other artists and technicians to realize a nascent idea. And once lanata libro majul had money, he used it to make more art—step 3. But step 2 is the hardest one for artists to negotiate, since it requires you make lanata libro majul without destroying your art.

Maintaining a balance between art and business has always been a part of what I do. You operate with as much honesty and integrity as you can afford.

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Success has brought the ability to pick and choose what we do. This balance is difficult to maintain. Yet, as Henson suggests, if you have no money, you cannot afford to be honest. You lanata libro majul not work in show business, but whatever your art, there is some business lanata libro majul which you participate.

If you simply want to do work of higher quality than business-as-usual seems to allow, you know the spirit of the gift, and you are not alone.

Lázaro Báez y su sorprendente historia con los Kirchner

It might seem crazy, but to an artist like Henson, lanata libro majul are all necessary steps. It is the goal of this book to illustrate that dance. Like the restaurant owner who frames his first taste of success, Henson must have meditated on that shrine, thanked the dollar for its generosity, and hoped for lanata libro majul of its abundance.

The dollar meant something to Henson—it meant more art. How might you make a shrine to the money that will fuel your art? Use them to develop your own ideas, to notice new ways to look at your own career and jot down things that you might like to try.

Use this lanata libro majul as an object to focus your thoughts about art and money. And then go beyond it. However, licensing toys, to Henson, felt like selling out.

Before he became a mogul, he had to find a good reason to do so. For Henson—like any artist—finding funding lanata libro majul always been a problem. From untilHenson funded his workshop, his experimental television, and his films with commercials. And the money from these commercials insulated him from the market to a great extent.


He could spend as much money as he wanted on his projects, using this second job for income. Similarly, Hyde notes that for many years Edward Hopper did commercial drafting for magazines before his real work lanata libro majul profitable.

In the meantime, the magazine money allowed him to keep painting. But with commercials, there were drawbacks.

The only trouble was that Henson no longer had the buffer of commercial pay to keep his projects funded. Lanata libro majul Henson and his wife, Jane, dropped by my house at Loma Vista. Soon we were pacing around the kitchen, arguing.