Brian Eno Art Quotations

Reggie Watts is a most unusual talent: a huge vocal range, a natural musicality, and a sidesplitting wit. Is he a comedian? A singer? A performance artist? I've seen him a few times since then and I still can't decide. Whatever, he ain't like nobody else.

At the party, Rob Partridge said to me, "You gave hope to other balding men." My new epitaph: "Co-wrote a couple of decent songs and went bald shamelessly.

When I was at art college, the teachers who helped me were not the ones I agreed with, or the ones who encouraged me, but the ones who took very strong positions. Because if someone does that, you can find your own position in relation to it: what is it that I don't agree with? In the studio I want to articulate a position clearly enough so that other people can use it - or chuck it away if they don't want it.

The artists of the past who impressed me were the ones who really focused their work.

As struggles go, being an artist isn't that much of one.

Something I've realized lately, to my shock, is that I am an optimist, in that I think humans are almost infinitely capable of self-change and self-modification, and that we really can build the future that we want if we're smart about it.

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.

Being an artist is a job for life.

One of the things you're doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.

At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.

W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you.

People in the arts often want to aim for the biggest, most obvious target, and hit it smack in the bull’s eye. Of course with everybody else aiming there as well that makes it very hard and expensive to hit. I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.

The whole point of art, as far as I’m concerned, is that art doesn’t make any difference. And that’s why it’s important. Take film: you can have quite extreme emotional experiences watching a movie, but they stop as soon as you walk out of the cinema. You can see people being hurt, but even though you feel those things strongly, you know they’re not real.

Art is not an object, but a trigger for experience.

Rationality is what we do to organize the world, to make it possible to predict. Art is the rehearsal for the inapplicability and failure of that process.

I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.

I think there's a lot of similarity between what people try to do with religion with what they want from art. In fact, I very specifically think that they are same thing. Not that religion and art are the same, but that they both tap into the same need we have for surrender.

I've always thought that art is a lie, an interesting lie. And I'll sort of listen to the "lie" and try to imagine the world which makes that lie true...what that world must be like, and what would have to happen for us to get from this world to that one.

Composition is a way of living out your philosophy and calling it art.

In art, you CAN crash your plane and walk away from it

I think that sex, drugs, art and religion very much overlap with one another and sometimes one becomes another.

I would like to see a future where artists think that they have a right to contemplate things like global warming.

The smart thing in the art world is to have one good idea and never have another.

Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing - 'Oh, let's put that sentence there, let's get rid of this' - have become commonplace in films and music too.

Stop thinking about art works as objects, and start thinking about them as triggers for experiences.

The English don't like concepts, really, not from a pop star. It's alright if they come from an 'intellectual,', but from a pop star you're getting ahead of yourself. Part of the class game is that you shouldn't rise above your station, and to start talking about concepts if you're in the pop world is getting a bit uppity, isn't it?

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.

One of the things you do when you make a piece of art is you try to make the world you'd rather be in.

The problem with fine art is that in most cases people have to make a special excursion to go and look at it: they can't afford to own it. So it isn't really part of their life in the way that music can be.

Our experience of any painting is always the latest line in a long conversation we've been having with painting. There's no way of looking at art as though you hadn't seen art before.