Isa Genzken Quotes

25 Sourced Quotes

For me personally, the greatest art to date has been created in New York and the most uptight and conventional art in Berlin. Obviously, I am an exception to this rule! [living and working in Berlin]

Isa Genzken
Another difficult thing that I experience is when after such a year of activity I have to empty my studio – completely. And I have found that this part only gets harder. You might think it gets easier, but I really just find it gets harder.

Isa Genzken
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.

Isa Genzken
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.

Isa Genzken
Artists should not look to the left or the right. Art should be strong and nonconformist—and most importantly, art should always be personal.

Isa Genzken
You know that I don't give interviews much? There were just a few – with Lawrence Weiner, with Danny MacDonald that I published with in the 'I Love New York, Crazy City book' – do you know this one? And also the 2005 interview with Wolfgang Tillmans for 'Artforum' – that was one I particularly enjoyed. I was always a bit scared to do an interview, especially with Lawrence Weiner, I mean, he is just so articulate – he can really speak about the work so well! And did you see this interview I did with Kai Althoff – 'Why I don't do interviews?'

Isa Genzken
Yes, throughout our marriage [with Gerhard Richter during 1982 - 1993], we influenced each other mutually. We didn't have a student-teacher kind of relationship.

Isa Genzken
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.

Isa Genzken
Well, and the 'X-rays' [X-Ray, 1991, black and white photograph]... I was just interested in seeing what it looks like inside my head – and the idea that they could just examine the inside of my head like a globe. And then I photographed the facades in New York. [at the end of the 19-nineties]... I did the books at the end of the nineties, and I did the facades shortly after that.

Isa Genzken
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.

Isa Genzken
It [the first work in her show 'Wind'] is dedicated to Jasper Johns – I named it 'Homage à Jasper Johns'. As he basically did these 'flags', I mean he is so famous because of 'flags', and I was thinking of a flag too, and so I did this, so I was thinking of him because he's so incredibly famous and I'm not. [both laugh].

Isa Genzken
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.

Isa Genzken
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
She [Isa's mother] called up Lufthansa and said, 'I have this daughter, you see, and she needs airplane windows,' she said. That's how she did it.

Isa Genzken
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
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.

Isa Genzken
I always wanted to have the courage to do totally crazy, impossible, and also wrong things.

Isa Genzken
I tell you, wind is the most difficult thing to put into an object.... here it's a bit more in this next sculpture [Michael Jackson's]

Isa Genzken
I was so disappointed at first [visiting the pyramids in Egypt, in her 20's], because they looked so small, but then when you approached them, they got so big. It's an amazing effect.

Isa Genzken
One time I even said to him [Joseph Beuys], 'Architecture is a catastrophe in Germany; we've got to change that.' And he told me, 'Go ahead, you can always sign for me if you ever need to.' I've never taken him up on the offer, though!

Isa Genzken
Well, I knew I was an artist the moment I woke up in my mother's belly and, as an artist, I shouldn't have to give interviews.... in some parts of the world, you get scrutinized for saying the wrong thing about art and in other regions, you get scrutinized for saying nothing at all.

Isa Genzken
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.

Isa Genzken
Each one of those ['Ellipsoids'] took at least three months [each]. I was starting those, when I was still at the Düsseldorf Academy. There was a very nice man in the workshop there who was very helpful in the process of making them. And they were extremely complicated – to get the shape right and everything. I mean one could get them sent to a factory, and have them produced according to these computer drawings, but somehow I didn't really want to do this at the time – and also I did not have the money to do that anyway. Once I tried to have one fabricated in this way, but when it came back there was nothing there somehow. It was not like the ones that were made in the workshop

Isa Genzken
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.

Isa Genzken
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.

Isa Genzken