Clth, 9.5 x 12 in. / 315 pgs / 320 color.
Pub Date 12/31/2013
Out of stock indefinitely
Catalog: FALL 2013 p. 47
ISBN 9780870708862 TRADE
List Price: $75.00 CDN $99.00
The Museum of Modern Art, 11/17/13-03/10/14
Museum of Contemporary Art, 04/12/14-08/03/14
Dallas Museum of Art, 09/14/14-01/04/15
Prolific and epically diverse, Genzken is one of Europe’s most influential artists.
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Isa Genzken: Retrospective
Dedicated to Jasper Johns and Myself
Text by Sabine Breitwieser, Laura Hoptman, Michael Darling, Jeffrey Grove, Lisa Lee.
Isa Genzken is arguably one of the most important and influential female artists of the past 30 years, yet the breadth of her achievement--which spans sculptures, paintings, photographs, collages, drawings, artist’s books, films, installations and public works--is still largely unknown in the United States. Published in conjunction with the first comprehensive retrospective of the artist’s epically diverse body of work, this publication encompasses Genzken’s work in all media over the past 40 years and is the most complete monograph on the artist available in English. Genzken has been part of the artistic discourse since she began exhibiting in the mid-1970s, but over the last decade a new generation of artists has been inspired by her radical inventiveness. The past ten years have been particularly productive for Genzken, who has created several bodies of work that have redefined assemblage for a new era. The catalogue presents Genzken’s career, through essays exploring the unfolding of her practice from 1973 until today, as well as an expansive plate section that provides a chronological overview of all her most important bodies of work and key exhibitions.
Born in Germany in 1948, Isa Genzken is one of Germany’s most important living artists. In the mid-1970s, as a student at Düsseldorf’s renowned Kunstakademie, she created geometric wood sculptures, which gained her early international acclaim (she exhibited these works at Documenta 7 and the Venice Biennale in 1982). Since then, she has made sculptures in plaster, concrete and epoxy resin. Ranging in size from maquettes to monumental, these abstract works are influenced by Minimalism, but are decidedly narrative. Paintings that examine ideas of surface and light, as well as photographs, collages, artist’s books and films, followed in the 1990s. From the late 90s on, Genzken began to create increasingly complex sculptural installations.
Featured image, "Empire/Vampire III, 13" (2004), is reproduced from Isa Genzken: Retrospective.
PRAISE AND REVIEWS
The Art Newspaper
"Hers is a career in which she is constantly reinventing herself, and yet she remains very focused on architectural forms," Hoptman says. Raised in Berlin immediately after the Second World War, Genzken was fascinated by the destruction and construction of cities. " Her concrete sculptures look just like the rubble that was Berlin after 1945," Hopman says. But Genzken's work is not purely, or even primarily, autobiographical. It also deeply engaged with art history.
As almost every rigorous essay here is at paints to point out, Genzken's oeuvre is as diverse as it is directed. How do we understand work spanning such a wide spectrum of material and meaning, work that, as Lee writes, is just as likely to reference Donald Duck as Donald Judd? In these pages we encounter post - Minimalism via giant "knitting needle" sculptures from the 1970s; photographs featuring the ears of strangers encountered on the street; the stunning Weltempfanger (World Receiver), 1987-1989, its radio antennas sticking out from mute concrete blocks; [...] Like the best of its genre, this catalogue makes one impatient to see the exhibition. Everybody needs her own view.
[...] Among the nearly 150 works, it's Genzken's towering assemblages of found objects (from a metal dolly to plastic flowers) that best convey her acute inventiveness.
Art in America
Even for those familiar with Genzken's art, the size and breadth of her oeuvre is likely to come as a surprise.
D. L. Schuld
This catalogue accompanies a comprehensive exhibition of the same title organized by curators in New York, Chicago, and Dallas. Breitweiser (formerly, MoMA) provides a narrative description of Genzken's early career from 1970 to 1996, interweaving artistic development and biography. Laura Hoptman does the same for the years 1993 to the present, the period of assemblage constructions for which Genzken is now best known. The remarkable diversity of Genzken's oeuvre across four decades--from early minimalist sculpture to film to assemblage--is evident in the extensive selection of color images. Shown together, they reveal Genzken to be a consummate experimenter. The heterogeneity of her practice is also the topic of an essay by Michael Darling. Jeffrey Grove explores the self-referential elements that thread through much of Genzken's work. Lisa Lee examines how Genzken's sculptural constructions model historical precedents, revealing Genzken's acuity as a student of art history. The catalogue includes a biographical chronology and selected exhibition history. Summing Up: Recommended. Lower-level undergraduates and above.
STATUS: Out of stock indefinitely.
FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 11/15/2013
This detail of “I Love New York, Crazy City” (1995-96, in three books), is reproduced from Isa Genzken: Retrospective, MoMA's definitive catalogue (endearingly subtitled Dedicated to Jasper Johns and Myself) to the artist's traveling exhibition opening in New York this week. Sabine Breitwieser writes, "Genzken's oeuvre is distinguished by a constant inventiveness, a highly idiosyncratic artistic approach, and an unmistakable idiom within each of her diverse groups of work. Although she has veered off in new, unexpected directions at regular intervals, reviewing her work over the course of four decades reveals a surprising coherence, one rooted in the logic of her successive artistic choices as well as in the way in which her series, in all their remarkable heterogeneity, relate to one another. Individual works, or groups of work, appear as protagonists in an openended play, one in which personal, autobiographical, and fictional elements enter into a dialectic with techno-scientific principles and structural concerns in ways previously considered incompatible." continue to blog
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