Brian Eno Quotes

People look at film in a gallery, and if they walk out after two minutes they know they haven't seen the whole work. But then people look at a painting for two minutes and think they've seen it. Certain paintings are made to be consumed fast. But some require a slowed-down time. You have to go back to them.

I can't believe that 100% of the people who stand in art galleries looking at art are thinking, 'Well, here I am, looking at art.' They must be having some sort of other, unselfconscious experience.

I've heard that almost all the people crowding around the big art openings barely look at the work on display and are just there to hobnob. Nothing wrong with that, except that none of them ever come back to look at the art - but they will tell everyone, and actually believe, that they have seen the exhibition.

Paintings are not like the Internet. They're not like movies. They're not electronic-friendly. You have to go see them. You have to stand in front of them. That's the great thing about them.

I love the idea of bringing my work to the general public, not just people who go to gallery openings.

There are a few countries that, for whatever reason, really enjoy listening to my music.

I don't have a problem with how people receive the music. I feel like it's for everybody.

It isn't reasonable to expect that everyone in the world is a country music fan. Not yet, anyway.

I don't believe in selling art by transparencies. Art is a firsthand experience.

Museums are not normally presenting the works on the walls as provocations to work. It's more like going to a Jacuzzi.

One often forgets that even if art is a very successful field in contemporary culture, there are still a lot of people alienated by it. Even if people don't fully understand where my work is coming from, at least there's somebody who looks kind of sane standing in front of you and politely engaging with you. People react.

That which, perhaps, hears more nonsense than anything in the world, is a picture in a museum.

One challenge to the arts in America is the need to make the arts, especially the classic masterpieces, accessible and relevant to today's audience.

Egon Schiele is my favorite painter. There's just something about art - photography, painting, music, plays - whatever you see, sometimes there's a gut reaction that's more important or more visceral than what your brain is thinking about. You can't explain that reaction. It's like what happens when you fall in love.

The funny thing is musicians often love to go to see visual art because you've got all these pictures to turn into metaphors.

The problem with doing physically ambitious art is that to view it, you still have to be in your physical body.

Everybody has a favorite song, but everybody don't have a favorite painting.

You don't have to know anything about art to appreciate it or to look at it. There aren't any hidden secrets or things that you're supposed to understand.

I am privileged to be at the right end of violins: not the end holding it but to listen to it.

I am thrilled Lady Gaga has helped to teach her audience about long durational work and performance art.

When I was 13 years old, I went to visit my aunt and uncle in Washington, D.C., and they just deposited me at the National Gallery. I would go from Rembrandt to Picasso - I remember that experience so vividly.

I'm a Banksy fan. I'm also a fan of Chris Hobe, Mister Totem, Drew Wootten, Mad Clout, Hense and Sever, in visual and street art. And Jonathan Mannion and Shane Nash in photography.

Some art needs to be hung on the wall and stared at inquisitively, while other pieces require a more active approach.

Unfortunately, the general interest in art among the Japanese is very low compared to that of Western countries. I would love to be able to correct that by bringing many more pieces of interesting artwork to Japan.

Ninety percent of the time, when I put on my headphones, I forget to turn on my music. Literally 10 minutes will go by before I realize that there's no music.