“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)

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Isa Genzken33

German sculptor 1948

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“I think that photography has a lot to do with sculpture – because it is three-dimensional and because it depicts reality. For example, I have always been able to relate to photography more than to painting. When I was photographing the hi-fi adverts ['Hi-Fi-Serie' (1979)] I thought to myself, everyone has one of these towers at home. It's the latest thing, the most modern equipment available. So a sculpture must be at least as modern and must stand up to it. Then I hung the pictures on the wall and put an ellipsoid on the floor and thought, the ellipsoid must be at least as good as this advert. At least as good. That's how good a modern sculpture has to be. Do you see what I mean? That was the dialogue…”

Isa Genzken (1948) German sculptor

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

“Personally, I don't believe in having expectations, but I can say that, regarding my exterior sculptures, I will only exhibit sculptures in the future that will enrich their surroundings.”

Isa Genzken (1948) German sculptor

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

“Yes, Wordsworth often personified objects in nature and gave them the human aspect, and personally I have done rather the reverse process in sculpture. I’ve often found that by taking formal ideas from landscape, and putting them into my sculpture I have, as it were, related a human figure to a mountain, and so got the same effect as a metaphor in painting.”

Henry Moore (1898–1986) English artist

Quote in 'The Listener', 13 November 1941, pp. 657-9; as cited in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, pp. 126-27
1940 - 1955

“I don't want to make plop art — sculpture that just gets plopped down in places. I wouldn't want to litter every corner of the world with my sculpture.”

Rachel Whiteread (1963) British sculptor

As quoted in "Boxing clever" by Lynn Barber inThe Guardian (16 October 2005) http://observer.guardian.co.uk/review/story/0,6903,1593050,00.html

“But I am no longer trying to formulate a stylised version of anxiety such as we find in the Laocoon group and in so many other sculptures of the Silver Age of antiquity. I feel that these works are always a bit too melodramatic. If you really want to find the sources of my present style [1958] in antiquity, I must confess that you will find them in the remains of the life of the past rather than in those of its art. The fossilized corpses that have been unearthed in Pompeii.... if the whole earth is destroyed in our atomic age, I feel that the human forms which may survive as mere fossils will have become sculptures similar to mine.”

Marino Marini (1901–1980) Italian sculptor

Source: Interview with Edouard Roditi' (1958), p. 88

“My photographs are facts which bring the right accessibility to remote, lonely or otherwise unrecognizable works. Some sculptures are seen by few people, but can be known about by many. My outdoor sculptures and walking locations are not subject to possession and ownership. I like the fact that roads and mountains are common, public land. My outdoor sculptures are places. The material and the idea are of the place; sculpture and place are one and the same. The place is as far as the eye can see from the sculpture. The place for the sculpture is found by walking.”

Richard Long (1945) artist

Richard Long & Kenneth Martin (1980) in: D. Ashton (1985), Twentieth-Century Artists on Art, p. 151
1980s

“All my life as an artist I have asked myself: What pushes me continually to make sculpture? I have found the answer — at least the answer for myself. Art is an action against death. It is denial of death.”

Jacques Lipchitz (1891–1973) American and French sculptor

Source: Jacques Lipchitz: The Artist at Work, 1966, p. 202

“I have a weakness for Egyptian sculpture: its figures are sculptured gods, sculptured ideas. Very different in expression, Hindu sculpture is based on very similar assumptions... The oriental people are much more artistic than we. When nations grow old, their art grows complicated and soft.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 406

“I alternate my aims; at one time, I concentrate on poetry, on a more expressionist kind of sculpture; at other times on form – I mean on a kind of sculpture that concerns itself with formal relations rather than emotions or ideas. I suppose that this principle of alternating my aims leads to a kind of oscillation in the evolution of my own particular style as a sculptor, but I feel that it prevents me from repeating myself.”

Ossip Zadkine (1890–1967) French sculptor

c. 1960
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, p. 154

“All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know.”

Henry Moore (1898–1986) English artist

Elizabeth Day, "The Moore Legacy," http://www.guardian.co.uk/artanddesign/2008/jul/27/1 The Observer (2008-07-27), <br class="br">Henry Moore is quoted here by Mary Moore, the artist's niece <br class="br">1970 and later

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