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For more than 30 years, the German artist Isa Genzken (born 1948) has been amassing a body of work in sculpture, installation, photography, collage and film. As one of Germany's brightest stars in the art world, she was well suited to represent her country at the Venice Biennale in 2007, an occasion which this volume commemorates. The title of this book and of her installation at the German pavilion plays with the word's associations as a global and globally contested resource, through a series of sculptural installations invoking in particular America's dependence on oil.

Paperback.Width: 22 cm. Height: 30cm. 330 pages. English & German text.

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.

149 S. Hardcover mit Schutzumschlag. 4°. Zweisprachig: deutsch, englisch. Sauberes Exemplar ohne Stempel und Anstreichungen. Zahlreiche Abbildungen und Tafeln. Sehr gut erhalten. Sprache: deu

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.

The work of German sculptor Isa Genzken is brilliantly receptive to the ever-shifting conditions of modern life. In this first book devoted to the artist, Lisa Lee reflects on Genzken’s tendency to think across media, attending to sculptures, photographs, drawings, and films from the entire span of her four-decade career, from student projects in the mid-1970s to recent works seen in Genzken’s studio.             Through penetrating analyses of individual works as well as archival and interview material from the artist herself, Lee establishes four major themes in Genzken’s oeuvre: embodied perception, architecture and built space, the commodity, and the body. Contextualizing the sculptor’s engagement with fellow artists, such as Joseph Beuys and Bruce Nauman, Lee situates Genzken within a critical and historical framework that begins in politically fraught 1960s West Germany and extends to the globalized present. Here we see how Genzken tests the relevance of the utopian aspirations and formal innovations of the early twentieth century by submitting them to homage and travesty. Sure to set the standard for future studies of Genzken’s work, Isa Genzken is essential for anyone interested in contemporary art.

One of Germany's most influential contemporary sculptors, Isa Genzken chosethe title The Only Female Fool for this slender volume accompanying thecomprehensive exhibition of her work at the Kunsthalle Wien (2014), whichcomes on the heels of her major retrospective at MoMA, New York. Her fascinationwith architecture and space as social spheres is here explored in the collision ofthe minimal and abstract urban high rise, the decorative clothing and mirroredsurfaces in her work from 1973 to the present. Genzken's collaboration with artistsDan Graham, Gordon Matta-Clark, Jasper Johns, Gerhard Richter and WolfgangTillmans is brought into focus in the accompanying essays by New York-basedtheorist Joshua Decter and art historian Tom McDonough. Preface by curatorNicolaus Schafhausen. This easy-to-carry pocket-sized catalog is an excellent go-topublication on Genzken s work and history.

Created in Berlin around 15 years ago, this large-format collage book by Isa Genzken (born 1948) is both a personal diary and artistic manifesto. In it are portraits of the artist and her friends; clippings from advertisements and glamour magazines; male pinups; illustrations of fences and grates from animal enclosures; mostly bare trees, bushes and forests; columns, faces and strange details from the artist’s work and installations; postcards of historical paintings and handwritten notes. Genzken uses brown sticky tape and silver textured textile tape; black, blue, red and vibrant green neon papers give the book a dramatic structure, creating windows and doors with views in and out. The format of the pages gradually becomes larger throughout the course of the book, giving it an astounding physicality.

Book is in NEW condition. 0.81

The work of German sculptor Isa Genzken is brilliantly receptive to the ever-shifting conditions of modern life. In this first book devoted to the artist, Lisa Lee reflects on Genzken’s tendency to think across media, attending to sculptures, photographs, drawings, and films from the entire span of her four-decade career, from student projects in the mid-1970s to recent works seen in Genzken’s studio.             Through penetrating analyses of individual works as well as archival and interview material from the artist herself, Lee establishes four major themes in Genzken’s oeuvre: embodied perception, architecture and built space, the commodity, and the body. Contextualizing the sculptor’s engagement with fellow artists, such as Joseph Beuys and Bruce Nauman, Lee situates Genzken within a critical and historical framework that begins in politically fraught 1960s West Germany and extends to the globalized present. Here we see how Genzken tests the relevance of the utopian aspirations and formal innovations of the early twentieth century by submitting them to homage and travesty. Sure to set the standard for future studies of Genzken’s work, Isa Genzken is essential for anyone interested in contemporary art.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.81

For more than 30 years, the German artist Isa Genzken (born 1948) has been amassing a body of work in sculpture, installation, photography, collage and film. As one of Germany's brightest stars in the art world, she was well suited to represent her country at the Venice Biennale in 2007, an occasion which this volume commemorates. The title of this book and of her installation at the German pavilion plays with the word's associations as a global and globally contested resource, through a series of sculptural installations invoking in particular America's dependence on oil.

Zu den Ausstellungen in Bonn, Winterthur, Rotterdam - // Text in dt. u. englisch von Klaus Honnef u. Dieter Schwarz (Gutes sauberes Exemplar / good clean book) Sprache: Deutsch Gewicht in Gramm: 1100 OPappband (mit Schutzumschlag) / Hardcover (with dust-jacket)

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 1.11

As the Cold War drew toward its tumultuous close, artists in the United States and Germany such as Isa Genzken, Félix González-Torres, Mike Kelley, Martin Kippenberger, Jeff Koons, Zoe Leonard, Albert Oehlen, Richard Prince, Julian Schnabel, Cindy Sherman, Thomas Struth, Rosemarie Trockel, Franz West and Christopher Wool responded in ways direct and indirect to the shifting order happening under their feet. This volume, published on the occasion of a group show at Galerie Max Hetzler, travels between the centers of art in America and German-speaking Europe: Los Angeles and New York, Cologne and Vienna. As these cities, at the center of the world's realignment of values and politics, conversed with each other, it became apparent that their artistic rebellion was poised to overthrow the aesthetics of the past for a new freedom of idiosyncratic approaches.

As the Cold War drew toward its tumultuous close, artists in the United States and Germany such as Isa Genzken, Félix González-Torres, Mike Kelley, Martin Kippenberger, Jeff Koons, Zoe Leonard, Albert Oehlen, Richard Prince, Julian Schnabel, Cindy Sherman, Thomas Struth, Rosemarie Trockel, Franz West and Christopher Wool responded in ways direct and indirect to the shifting order happening under their feet. This volume, published on the occasion of a group show at Galerie Max Hetzler, travels between the centers of art in America and German-speaking Europe: Los Angeles and New York, Cologne and Vienna. As these cities, at the center of the world's realignment of values and politics, conversed with each other, it became apparent that their artistic rebellion was poised to overthrow the aesthetics of the past for a new freedom of idiosyncratic approaches.

Iwan Wirth and Ursula Hauser founded the Hauser & Wirth Gallery in 1992, some years before the global proliferation of fairs, auctions, biennials and festivals. Alongside its gallery platform and its 50-plus roster of artists such as Louise Bourgeois, Isa Genzken and Paul McCarthy, Hauser & Wirth regularly presents museum-like exhibitions of artists such as Egon Schiele, Francis Picabia and Hans Arp. With more than 50 generously illustrated chapters, and 1080 pages, this volume includes an extensive chronology, archival material and photographs of more than 200 Hauser & Wirth exhibitions.

Iwan Wirth and Ursula Hauser founded the Hauser & Wirth Gallery in 1992, some years before the global proliferation of fairs, auctions, biennials and festivals. Alongside its gallery platform and its 50-plus roster of artists such as Louise Bourgeois, Isa Genzken and Paul McCarthy, Hauser & Wirth regularly presents museum-like exhibitions of artists such as Egon Schiele, Francis Picabia and Hans Arp. With more than 50 generously illustrated chapters, and 1080 pages, this volume includes an extensive chronology, archival material and photographs of more than 200 Hauser & Wirth exhibitions.