Generously illustrated essays consider Isa Genzken\'s remarkable body of work, from her early elegant floor pieces to her later explosive assemblages.
Since the late 1970s, the Berlin-based contemporary artist Isa Genzken (b.
Buchloh: All Things Being Equal (2005) - Wolfgang Tillmans: Isa Genzken: A Conversation with Wolfgang Till.
D.
Lee: The Skyscraper at Ear Level (2003) - Benjamin H.
Architecture, Design, and Photography in Reverse (2014) - Isa Genzken: Sketches for a Feature Film (1993) - Isabelle Graw: Free to Be Dependent: Concessions in the Work of Isa Genzken (1996) - Diedrich Diederichsen: Subjects at the End of the Flagpole (2000) - Pamela M.
Buchloh: Isa Genzken: Fuck the Bauhaus.
D.
Buchloh: Isa Genzken: The Fragment as Model (1992) - Benjamin H.
D.
Lee, Birgit Pelzer, Juliane Rebentisch, Josef Strau, Wolfgang Tillmans, Lawrence WeinerContents Isa Genzken: Two Exercises (1974) - Birgit Pelzer: Axiomatics Subject to Withdrawal (1979) - Benjamin H.
Buchloh, Diedrich Diederichsen, Hal Foster, Isa Genzken, Isabelle Graw, Lisa Lee, Pamela M.
D.
Contributors Yve-Alain Bois, Benjamin H.
Two texts appear in English for the first time, including a quasi-autobiographical screenplay written by Genzken in 1993.
Buchloh, and the artist herself, consider her formation in the West German milieu; her critique of conventions of architecture, reconstruction, and memorialization; her sympathy with mass culture; and her ongoing interrogation of public and private spheres.
D.
The texts, by writers including Yve-Alain Bois, Benjamin H.
Genzken, the recent subject of a major retrospective at MoMA, offers a highly original interpretation of modernist, avant-garde, and postminimalist practices even as she engages pressing sociopolitics and economic issues of the present.
These illustrated essays address the full span of Genzken\'s work, from the elegant floor sculptures with which she began her career to the assemblages, bursting with color and bristling with bric-a-brac, that she has produced since the beginning of the millennium.
Her heterogeneous assemblages, a New York Times critic observes, are brash, improvisational, full of searing color and attitude.
In her sculptural practice, Genzken has developed an expanded material repertoire that includes plaster, concrete, epoxy resin, and mass-produced objects that range from action figures to discarded pizza boxes. 1948) has produced a body of work that is remarkable for its formal and material inventiveness.
Generously illustrated essays consider Isa Genzken\'s remarkable body of work, from her early elegant floor pieces to her later explosive assemblages.
Since the late 1970s, the Berlin-based contemporary artist Isa Genzken (b
