“There was a lot of revision that went into [making] the [Wind] sculptures, [c. 2009 - meant as her response to the death of Michael Jackson which she admired]. It might look like I just went in the gallery and they just went up – just like that – but it was not like that. It was really a long process to get the things to look the way they do, to have that balance especially in relation to what I already said about minimalism, and to also have this light touch to them.”

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

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Isa Genzken33

German sculptor 1948

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“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.”

Isa Genzken (1948) German sculptor

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

“Hespe's mouth went firm. She didn't scowl exactly, but it looked like she was getting all the pieces of a scowl together in one place, just in case she needed them in a hurry.”

Patrick Rothfuss book The Wise Man's Fear

Source: The Wise Man's Fear

“The show is called 'Wind'. I tried here to make work which looks like wind, and it is the most difficult thing to do; I was thinking of Leonardo da Vinci – as he was, for instance, always wanting to fly. And then, this hand of Michael Jackson is like 'ffffffff', 'I'm leaving' (makes gesture with her hand and mouth in the mirror in the hallway of the gallery, mimicking the action that Jackson is depicted making on the invitation card of her show - Simon Denny). Not in a sad way, but…. in a way a little bit sad too. And then I said 'Isa Genzken', because I always liked him so much. For instance, I would always have jackets like this one. This is my favourite kind of style, and so I said 'ffff' [blowing gesture] 'Now I'm coming'… It's like 'don't be afraid, don't be sad, you know… I'm here.”

Isa Genzken (1948) German sculptor

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

“Well, what? Sophie-"
"I hit her on the head with a mirror," Sophie said hopelessly. "One of those silver-backed ones, so it was quite heavy. She went down just like a stone, miss. So I… I tied her to the bed and I came looking for you.”

Cassandra Clare book Clockwork Prince

Source: Clockwork Prince

“As a matter of fact," the other voice went on, "if you do tie her up from time to time, or whip her just a little, and she begins to like it, that’s no good either. You have to get past the pleasure stage, until you reach the stage of tears.”

Pauline Réage book Story of O

Source: Story of O

“She took us to see her granddaughter who was teaching in the Dominican convent in San Raphael, we went across the bay on a ferry, that had not changed but Goat Island might just as well not have been there, anyway what was the use of my having come from Oakland it was not natural to have come from there yes write about it if I like or anything if I like but not there, there is no there there.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

Source: Everybody’s Autobiography (1937), Ch. 4, p. 289

“In 1966 there was a Scripture Rally in Trafalgar Square. A widower, Mr. Honick, went to it. He was about 63. A widow, Mrs. Rawnsley, also went. She was about 60. He went up to her and introduced himself. He was not much to look at. "He looked like a tramp," she said. "He has been picking up fag ends." They got on well enough, however, to exchange addresses. His was 36 Queen's Road, Waltham Cross, Hertfordshire. Hers was 74 Downton Avenue, Streatham Hill, London, S. W.2. Next day he went to her house with a gift for her. It was a rose wrapped in a newspaper. Afterwards their friendship grew apace. She was sorry for him, she said. She smartened him up with better clothes. She had him to meals. She went to his house: he went to hers. They wrote to one another in terms of endearment. We were not shown the letters, but counsel described them as love letters.”

Alfred Denning, Baron Denning (1899–1999) British judge

Burgess v. Rawnsley (1975) 30 P. & C.R. 221.
Judgments

“Simply because I liked it so much I saw it in Venice and thought: I'd like to have that for myself. To start with I only meant to make a copy, so that I could have a beautiful painting at home and with it a piece of that period, all that potential beauty and sublimity... Then my copy went wrong, and the pictures that finally emerged went to show that it just can't be done any more, not even by way of a copy. All I could do was to break the whole thing down and show that it's no longer possible”

Gerhard Richter (1932) German visual artist, born 1932

Richter's quote refers to his 'Annunciation after Titian', he made in 1973
Source: after 2000, Doubt and belief in painting' (2003), p. 104, note 52

“I admired [c. 1952-54] his [ Motherwell's] painting. But the rest of the painters I was involved with --. I mean I didn't know [Clyfford] Still either and therefore Still didn't come up in my life as much. But I liked to look at Still. And I went of course to all of his [Robert Motherwell's] shows. But Bill de Kooning and Jackson [Pollock] were all around all the time. And it wasn't just following a career and a gallery and a social scene then, and a party scene, and the peripheral part of it at all. And I knew Bob [Motherwell] not personally at all”

Helen Frankenthaler (1928–2011) American artist

till 1957-58
quote about several contemporary artists
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“There came a point in time when Michael was under a great deal of pressure to alter the film in a way that was just disturbing to him. I had not seen the movie, yet. He phoned me in July of '92 to look at his version. It was exactly what was released two months later with the exception of a couple of reaction shots which we went back in to get. I liked the movie very much and asked him what the studio's problem was. I felt that he was at a point where they might have worn him down”

Madeleine Stowe (1958) American actress

if that's at all possible
Mohican Press interview (2005)

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