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X93;The Only Female Fool” is how Isa Genzken describes herself in the self-chosen title of her exhibition at the Kunsthalle Wien. This statement is typical of the fluid boundaries between deep seriousness and the exuberant, eccentric spirit that pervades her work. Genzken’s artistic practice is characterized by a wide spectrum of media and forms, although her roots in sculpture always remain visible. The exhibition and catalogue focus on specific aspects of her oeuvre, including the mirror motif, the examination of architecture, and space as a social sphere; where early works are juxtaposed with series from later creative periods. Genzken’s collaboration with other artists and her admiration for certain artistic positions is also brought into focus, and selected works by Dan Graham, Gordon Matta-Clark, Jasper Johns, Gerhard Richter, Wolfgang Tillmans, and Lawrence Weiner are presented in dialogue with Genzken’s multilayered work. 00Exhibition: Kunsthalle Wien, Vienna, Austria (28.05-07.09.2014).
Presents archival documents of Brancusi's second solo exhibition at Brummer Gallery, New York, which opened on November 17, 1933.
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.
"This book is based on the conference 'Art and subjecthood: the return of the human figure in semiocapitalism' ... organized by the Institut f'ur Kunstkritik on July 1, 2011, at the Staatliche Hochschule f'ur Bildende K'unste/St'adelschule in Frankfurt am Main"--P. 6.
Isa Genzken is arguably one of the most important and influential female artists of the past 30 years. Genzken's work - which spans sculptures, paintings, photographs, collages, drawings, artist's books, films, installations and public works - has been part of the artistic discourse since she began exhibiting in the mid-1970s, and a new generation of artists has been inspired by her radical inventiveness over the last decade - a period in which she has redefined assemblages. Published to accompany Genzken's first comprehensive retrospective in the USA, this book is the most complete monograph on the artist available in English. It presents Genzken's career in essays exploring the unfolding of her practice from 1973 until today and an illustrated chronological overview of her most important bodies of work and key exhibitions. 0Exhibition: Museum of Modern Art, New York, USA (23.11.2013-10.03.2014) ; Museum of Contemporary Art, Chicago, USA (12.04.-03.08.2014) ; Dallas Museum of Art, Dallas, USA (14.09.2014-04.01.2015)
Individual Stories is a refreshing and playful illustrated account of the collections belonging to 20 international contemporary artists featured in the Kunsthal Wein 2015 exhibition. Beginning with a visual collage by photo-based artist Marie Angeletti blending the artists objects, views of the exhibition, museum visitors and the community, this well-edited and -designed catalog portrays the rich relationship of artists to their personal collections. Color and black-and-white photographs accompanying essays and interviews with each featured artist provide a snapshot of the collection as both personal portrait and artistic method. Some of the collections have been incorporated into artworks, like John Stezakers; others remain separate, like Thomas Bayrles; and in the case of Hans Peter Feldmans, the act of collecting is the work of art. Contributing essays by Pinto, Schafhausen and Schmitz complement this fascinating glimpse into how artists collect and how the actual objects and areas of intrigue and interest inspire and influence their art.
The most comprehensive collection to date of the artist Bruce Nauman's writings plus all of his major interviews from 1965 to 2001. Since the 1960s, the artist Bruce Nauman has developed a highly complex and pluralistic oeuvre ranging from discrete sculpture, performance, film, video, and text-based works to elaborate multipart installations incorporating sound, video recording and monitors, and architectural structures. Nauman's work is often interpreted in terms of movements and mediums, including performance, postminimalism, process, and conceptual art, thereby emphasizing its apparent eclecticism. But what is often overlooked is that underlying these seemingly disparate artistic tendencies are conceptual continuities, one of which is an investigation of the nature of language. Unlike many of his contemporaries, Nauman has refrained from participating in the critical discourse surrounding his own work. He has given relatively few interviews over the course of his career and has little to do with the art press or critical establishment. Indeed, he granted Janet Kraynak and The MIT Press almost complete autonomy in the preparation of this volume. In contrast to Nauman's reputation for silence, however, from the beginning of his career, the incorporation of language has been a central feature of his art. This collection takes as its starting point the seeming paradox of an artist of so few words who produces an art of so many words. Please Pay Attention Please contains all of Nauman's major interviews from 1965 to 2001, as well as a comprehensive body of his writings, including instructions and proposal texts, dialogues transcribed from audio-video works, and prose texts written specifically for installation sculptures. Where relevant, the texts are accompanied by illustrations of the artworks for which they were composed. In the critical essay that serves as the book's introduction, the editor investigates Nauman's art in relation to the linguistic turn in art practices of the 1960s—understanding language through the speech act—and its legacy in contemporary art.
This is the first extensive survey catalogue of the work of Vancouver-based artist Ian Wallace—a key figure of the extraordinary artistic ferment in the Canadian city of Vancouver, a pioneer and theorist of its internationally regarded tradition of photo-conceptualism, and a teacher and colleague of such luminaries as Jeff Wall, Rodney Graham, and Stan Douglas. Energized by the dialectic tensions between monochrome painting and documentary or staged photography, between the emblematic sites of street, studio and nature, Wallace's practice fosters engagement with the persistent impulses of vanguard modernism. A distinguished company of European thinkers, curators and critics have been invited to consider Wallace's art, inspirations, and influence: Vanessa Joan Müller considers the persistence of the monochrome in the artist's oeuvre; Dieter Roelstraete addresses the dialectics of street and studio; and the eminent French philosopher Jacques Rancière pursues his on-going meditation on the politics of aesthetics, which has had a strong influence on Wallace's thinking about art. The indispensable reference includes extensive color reproductions, catalogue of exhibited works, a chronology, and thorough bibliographic information. Co-published by the Kunstverein für die Rheinlande und Westfalen (Düsseldorf), Witte de With center for contemporary art (Rotterdam), and the Kunsthalle Zürich Edited by Vanessa Joan Müller, Kunstverein für die Rheinlande und Westfalen, Beatrix Ruf, Kunsthalle Zürich, Nicolaus Schafhausen, Witte de With center for contemporary art Texts by Vanessa Joan Müller, Jacques Rancière, Dieter Roelstraete, Ian Wallace Interview by Renske Janssen
New Ways of Doing Nothing, a group exhibition at Kunsthalle Wien (2014), devoted