Arguably one of the most powerful and moving female artist of the last 30 years, Isa Genzken’s works span multiple mediums -- including photography, collage, paintings and artist’s books. But it’s Genzken’s three-dimensional installation works that have been at the core of her artistic discourse since she began showing her work in the 1970s. Redefining assemblage, Genzken’s art of the past 10 years shows an astounding growth and interest in contemporary culture, history and pop-culture. With a medley of new found objects, Genzken’s works take on complex issues and translates them using fresh perspective; communicating with the viewer a vast new language that is only in the early stages of being understood.
More than 150 works in the retrospective are one view, for the first time ever, in the United States. Former wife of the equally as radical and undefined Gerhard Richter, Genzken’s retrospective is also the first major career survey of the artist’s body of work in the United states. Known for tackling issues like the collapse of the Berlin Wall and the September 11th attacks, the retrospective breathes new life into the artist’s career -- spanning an unprecedented 40 years.
Post-apocalyptic, architectural, industrially sound, inventive and, somewhat haphazard, Isa Genzken’s exhibition highlights the frustrating ordeal of categorizing her extensive and ever-changing aesthetic. Depending on the decade, historical context is a reoccurring theme, as well as consumerism. But, just as these themes are discovered, Genzken’s works take on a new state of affairs, baffling and frustrating critics; forcing Genzken out of categorization and launching her into a perpetual state of ephemera.
View photos of her work here.