Isa Genzken: Something

Isa Genzken is German sculptor. Explore interesting quotes on something.

Isa Genzken: 66 quotes6 likes

“I like to work alone, because it irritates me if people say something stupid — I just can’t stand it… I have a Polish guy who comes in and cleans the studio, but pretty much no one else. [talking over a cappuccino, at the Museum of Modern Art New York, during her show there in 2013]”

after 2010, No, It Isn't Supposed to Be Easy' (2013)

“Because I'm a person who always has to do something. If I cannot do anything, I'm in a very bad way. But really I'm always working on something. And I always want to work, too. Well, the few artists I know really well, they are all so... It's a really bad block when you think, right, now I've got to do art. It really is very important to learn that that is not the most important thing.”

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

“Something that bothers me with some of my students is that their works are so cold towards the viewer. I have always told the students that they have to imagine how the viewer sees something, too. You've got to put yourself in the viewer's shoes when you do something. That's important to me. It may be complicated, but it's important to me. Otherwise I find it too cold or too arrogant.”

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

“Well, at first I wanted to put blinds on the building [of the outdoor-sculpture Josef Strau did for her recently]. But when I do something I've already done before, I sometimes have a certain feeling of uncertainty. Although I am falling back on something that I know is safe and pretty good. But then it was all too expensive. I had seen glowing green, fresh bamboo at the KaDeWe store. It had attracted my attention and I thought it would be nice to do something with it. Back home, sitting over the photo, drawing some things on it, I remembered this lovely green bamboo again and also that there was this fascist building – or partly fascist building – next to the store, a theater, an ugly building. And then I thought, bamboo is politically correct, that's just the thing. But I also think it's visually beautiful. Simple. The work is called 'Haare wachsen wie sie wollen”

'Hair grows the way it wants'
2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

“I was twenty-one when I first went to New York, and I was so fascinated by the architecture and glad that something like that existed and that I was able to have this visual experience that I thought to myself, this is where I want to live. To me, New York had a direct link with sculpture – that must have been it. Although at twenty-one I wasn't a sculptress yet, I was just starting my studies and I didn't even know what I wanted to do... New York is a city of incredible stability and solidity. And then the height of the buildings – that impressed me, like the people who always seemed a bit happier than the Germans in the street. When I came back to Germany it seemed to me that it wasn't particularly nice, my visual surroundings – it was all so dreary. And modernism hardly features at all in Germany. Okay, there was Bauhaus and there was this and that, but modernism is practically non-existent in architecture.”

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

“I photographed the ears. Something organic. Something from the inside out. Coming from the head. I did this ear series in New York ['Ohr' (Ear). c. 1980] and I asked people, women, on the street if I could photograph their ear. Not a single woman said no. Because I didn't ask for their face, but for something largely anonymous.... just women on the street... It only took a moment. The women always said, what, my ear? Sure! But I never offended anyone by examining them. It was just the ear. And everyone thought that was great. That was a nice experience. For me as a photographer, too. Of course, I did work with some light and hair shining in the sun... I tried to make the situation nice for the ear.”

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

“I had just had an operation, I was totally bored and so I just took my camera and took some pictures of myself. Out of boredom. I only realised afterwards that this work was something special. Taking photos in the clinic and publishing them in a catalogue.... it suddenly took on a kind of seriousness. Everyone's scared of clinics, and no-one wants to see what a clinic looks like from the inside. Well not really. And everyone's a bit scared of having to go there themselves. And there I was in there. And I stand by it. And I used the clinic as a studio and started taking photos. And then I felt better. Just because it let me do something.”

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

“Considering that Beuys was born in a small German town called Kleve and I was born in another small German town called Bad Oldesloe, I believe that even an airport can be an inspiring place for an artist. A Nobel Prize laureate once said something along the lines of, 'The more one travels, the more intelligent one becomes,' however, I think that you can still travel a lot and remain sheltered.”

after 2010, Isa Genzken, the artist who doesn't do interviews' (2014)

“they [her two shows in 2009] are so different, and actually it was a lot of work to make those two shows – I have never done that, two shows simultaneously. I worked on them for a whole year. It was very hard, because I was trying to get this balance between minimalism and something else beyond that – in dialogue with Minimalism, but with content. That was always the thing with minimalism, there was no content allowed of course, but only the thing in the space, that was what Sol LeWitt was always about, and Carl Andre – it was all about avoiding content. I was always very interested in this, right from the beginning, especially with my 'Ellipsoids' [she made 1981 - 1983]. They look like minimalism, but in the end there is a lot going on there.”

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

“I have always said that, with any sculpture, you have to be able to say, 'although this is not a ready-made, it could be one'. That's what a sculpture has to look like. It must have a certain relation to reality. I mean, not airy-fairy, let alone fabricated, so aloof and polite… And I don't see this aspect in many artists' work. Often, my feeling is that they think something up that is supposed to be art. That's not what I want at all. Rather, a sculpture is really a photo – although it can be shifted, it must still always have an aspect that reality has too.”

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

“Yes. Basically, I can read your photography [of Wolfgang Tillmans, who is interviewing her] and see what moves you. What really moves you and not just faked emotion. I don't think it's good when it's like that in art – but unfortunately it often is. That's why I like Bruce Nauman, for example, as a sculptor. With his work, sometimes I have really thought to myself, that's simply beautiful... Above all, it is difficult enough to depict something that moves you deep down inside. But that's ultimately what art is all about, and that's also what appeals to people – if an artist can do it.”

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)