Since the mid seventies, Isa Genzken (b. 1948) has been making a name for herself with an oeuvre including sculpture, photography, film, video, works on paper and canvas, collages and books.
During this period, her work groups, which are wide-ranging and surprising in terms of both form and the media used, have involved her public in a constantly fresh examination of the meanings and function-modes of artistic propositions. Here Isa Genzken focuses on the medium of sculpture. This has not been such a presence in art in recent years, but a younger generation of artists is once more making it central to its creative activities. Genzken's work, both historically and actually, is impressive in this context, not just because of its consistent development, which is inherent in the work, but also in the precise analysis, critical of both the age and of art, that she regularly and effortlessly leaves behind her.
Her work concentrates on the ways in which the reality that surrounds and shapes us operate: architecture, design, advertising, media, socio- political themes and fields of tension linked with them, tensions between private and public, permeable and hermetic, subjective and objective.Genzken always formulates the work of art as an autonomous unit. It cannot become a mere object, and certainly not an escapist object, because it confronts us with individuality, but also with subjectivity and even intimacy, as realities. Thus the relationships, conditions and effects that make up our view of the art object itself, our view of general and social reality, are open to question.Read the Entire article hereSource:
Isa Genzken by astrid wege, sara ogger
The characterization of Isa Genzken as a traditional sculptor, along with the usual remarks concerning the heterogeneity of her method and the surprising breaks between her various bodies of work, belong firmly to the topoi of her reception. Genzken's approach, which includes recourse to photography, video, film, collages, and collage books, does, it's true, represent a continuous examination of the classic themes of sculpture: the ordering of masses and volumes; the relations between construction, surface design, and materials; the conception of and relation between objects, space, and the viewer. And regardless of the medium--from series executed in painted wood, plaster, and concrete to the more recent epoxy-resin hoods and lamps; assemblages of metal household utensils; and stelae--the artist questions the contemporary meaning of sculpture by taking up its vocabulary of forms, then expanding, discarding, and reinterpreting it.Read the entire article hereSource: