The Taschen Collection
Interview with Benedikt Taschen. By Marga Paz, Museo Nacional Centro de Arte Reina Sofía. On the occasion of the exhibition at the museum. 20th October 2004 – 15th January 2005
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MP: What makes you interested in a particular artist? How are your personal relationships with the artists you collect?
BT: In the 80s, I was rather shy and had somewhat distant relationships with the artists I collected. I remember addressing Albert Oehlen and Martin Kippen-berger rather formally for many years instead of calling them by their first names. Besides, I wasn`t very communicative at that time, but the real reason for my reserved attitude was my fear that I would be influenced in my buying decisions or even corrupted by knowing these artists more intimately. Then again, maybe this was just an excuse I made up because I often didn`t understand a word they were talking or joking about when I met them at dinner parties or gallery openings.
Over the years, that has changed. Today I think I understand the better part of their jokes. I personally know all the artists I collect, and with the majority I enjoy a close, with some a very close friendship. Of course this is a unique privilege, both as a collector and a publisher; but even more so on a private level. I learned a great deal in the year I worked closely with Helmut Newton, not only about his work and photography as a medium, but also about art and history. The same applies to Martin and Albert, both of whom lived in Cologne part of the year (Albert Oehlen still does). Not to mention Jeff Koons and Julius Shulman. They have all given me so much more than I will ever be able to pay back. I consult with my friends all the time on all different levels and I am most grateful for their advice.
MP: Which is your favorite piece of art?
BT: There are a number of pieces which are most valuable to me, but I can`t say which one I prefer. Like with my own children, I don`t have favorites: I love them all.
MP: Do you have people who advise you, or is your collection exclusively a matter of personal choice?
BT: Basically, I follow my instincts, both with artists and dealers. When asked how he found talents a famous record producer once said, "Well, walk very slowly and all of a sudden a genius bumps into you and makes you rich." Thank God I was always a lucky man and I "bumped" into a small herd of geniuses.
Plus, I found in Max Hetzler a most passionate and brilliant art dealer as well as one of my closest friends. I met him in Cologne, and later we traveled throughout the world meeting artists, collectors and dealers. I believe in certain people instantly, and know I can rely on their expertise and advice. Max is such a man. Artists love him and collectors and curators trust him. For many years people thought our relationship simply benefited Max, but I never felt that way. I think great artists usually have the best dealers because they are smart. Look at any major collection advised by dealers from Henry Kahnweiler to Leo Castelli and you will see that it could have gone worse. And Max is one of those.
Page 1 2 3 4
Page 1 2 3 4
MP: What makes you interested in a particular artist? How are your personal relationships with the artists you collect?
BT: In the 80s, I was rather shy and had somewhat distant relationships with the artists I collected. I remember addressing Albert Oehlen and Martin Kippen-berger rather formally for many years instead of calling them by their first names. Besides, I wasn`t very communicative at that time, but the real reason for my reserved attitude was my fear that I would be influenced in my buying decisions or even corrupted by knowing these artists more intimately. Then again, maybe this was just an excuse I made up because I often didn`t understand a word they were talking or joking about when I met them at dinner parties or gallery openings.
Over the years, that has changed. Today I think I understand the better part of their jokes. I personally know all the artists I collect, and with the majority I enjoy a close, with some a very close friendship. Of course this is a unique privilege, both as a collector and a publisher; but even more so on a private level. I learned a great deal in the year I worked closely with Helmut Newton, not only about his work and photography as a medium, but also about art and history. The same applies to Martin and Albert, both of whom lived in Cologne part of the year (Albert Oehlen still does). Not to mention Jeff Koons and Julius Shulman. They have all given me so much more than I will ever be able to pay back. I consult with my friends all the time on all different levels and I am most grateful for their advice.
MP: Which is your favorite piece of art?
BT: There are a number of pieces which are most valuable to me, but I can`t say which one I prefer. Like with my own children, I don`t have favorites: I love them all.
MP: Do you have people who advise you, or is your collection exclusively a matter of personal choice?
BT: Basically, I follow my instincts, both with artists and dealers. When asked how he found talents a famous record producer once said, "Well, walk very slowly and all of a sudden a genius bumps into you and makes you rich." Thank God I was always a lucky man and I "bumped" into a small herd of geniuses.
Plus, I found in Max Hetzler a most passionate and brilliant art dealer as well as one of my closest friends. I met him in Cologne, and later we traveled throughout the world meeting artists, collectors and dealers. I believe in certain people instantly, and know I can rely on their expertise and advice. Max is such a man. Artists love him and collectors and curators trust him. For many years people thought our relationship simply benefited Max, but I never felt that way. I think great artists usually have the best dealers because they are smart. Look at any major collection advised by dealers from Henry Kahnweiler to Leo Castelli and you will see that it could have gone worse. And Max is one of those.
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