| ISA Genzken Contributor(s): Lee, Lisa (Editor) |
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ISBN: 0262527111 ISBN-13: 9780262527118 Publisher: MIT Press OUR PRICE: $17.96 Product Type: Paperback - Other Formats Published: January 2015 |
| Additional Information |
| BISAC Categories: - Art | Individual Artists - Essays - Art | History - Contemporary (1945- ) |
| Dewey: 709.2 |
| LCCN: 2014019595 |
| Series: October Files |
| Physical Information: 0.4" H x 5.1" W x 9.6" (0.80 lbs) 216 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: 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. 1948) has produced a body of work that is remarkable for its formal and material inventiveness. 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. Her heterogeneous assemblages, a New York Times critic observes, are "brash, improvisational, full of searing color and attitude." 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. The texts, by writers including Yve-Alain Bois, Benjamin H. D. 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. Two texts appear in English for the first time, including a quasi-autobiographical screenplay written by Genzken in 1993. Contributors Contents |
Contributor Bio(s): Lee, Pamela M.: - Pamela M. Lee is Carnegie Professor of Modern and Contemporary Art at Yale University and the author of Object to Be Destroyed: The Work of Gordon Matta-Clark, Chronophobia: On Time in the Art of the 1960s, Forgetting the Art World (all published by the MIT Press) and The Glen Park Library: A Fairy Tale (no place press).Lee, Lisa: - Lisa Lee is Assistant Professor of Art History at Emory University. She is coeditor (with Hal Foster) of Critical Laboratory: The Writings of Thomas Hirschhorn (MIT Press, 2013).Buchloh, Benjamin H. D.: - Benjamin H. D. Buchloh is Andrew W. Mellon Professor of Modern Art in the Department of History of Art and Architecture at Harvard University and an editor of October magazine. He is the author of Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975 (MIT Press) and other books.Lee, Lisa: - Lisa Lee is Assistant Professor of Art History at Emory University. She is coeditor (with Hal Foster) of Critical Laboratory: The Writings of Thomas Hirschhorn (MIT Press, 2013).Foster, Hal: - Hal Foster is Townsend Martin '17 Professor of Art and Archaeology at Princeton University and the author of Prosthetic Gods (MIT Press) and other books.Baker, George: - George Baker is Professor of Art History at the University of California, Los Angeles, and an editor at October magazine and October Books. He is the editor of James Coleman (MIT Press) and a frequent contributor to Artforum.Bois, Yve-Alain: - Yve-Alain Bois studied at the Ecole des Hautes Etudes under the guidance of Roland Barthes and Hubert Damisch. A founder of the French journal Macula, Bois is currently a professor in the School of Historical Studies at the Institute for Advanced Study, Princeton, NJ. |