Isa Genzken

Born 1948
Hometown Bad Oldesloe, Germany
Lives and Works Berlin, Germany
State Art Academy, Dusseldorf, Germany, 1977
Art History and Philosophy at the University of Cologne, Germany, 1975
University of the Arts, Berlin, Germany, 1973
University of Fine Arts, Hamburg, Germany, 1971

21st Century Museum of Contemporary Art, Kanazawa, Japan

Carnegie Museum of Art, Pittsburgh, PA

FRAC Fonds Régional d’Art Contemporain Nord Pas-de-Calais, Dunkerque, France

Hamburger Kunsthalle, Hamburg, Germany

Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Kunstbesitz der Landeshauptstadt Kiel, Stadtgalerie im Sophienhof, Kiel, Germany

Kunsthalle Kiel, Kiel, Germany

Kunsthalle Nürnberg, Nuremberg, Germany

Kunstmuseum Winterthur, Winterthur, Switzerland

Le Consortium, Dijon, France

Mori Art Museum, Tokyo, Japan

Musée de Grenoble, Grenoble, France

Museum of Contemporary Art, Los Angeles, CA

Rijksmuseum Kröller-Müller, Otterlo, The Netherlands

Sammlung Burda, Baden-Baden, Germany

Sammlung der Bundesrepublik Deutschland, Berlin, Germany

Sammlung Hoffmann, Berlin, Germany

Skulpturenmuseum Marl, Marl, Germany

Städtische Kunsthalle Mannheim, Mannheim, Germany

Van Abbemuseum, Eindhoven, The Netherlands

David Zwirner, New York and London

Hauser & Wirth, New York, London, and Zürich

The work of German artist Isa Genzken is emblematic of what has been described the “post-medium condition” of post-1960s art, drawing from—and blurring the boundaries between—painting, sculpture, photography, and installation. In her work, she explores aspects of consumer society, media, design, and the everyday environment, considering the social and ideological implications embedded within aesthetic choices. Genzken first rose to prominence in the 1970s with architectonic sculptures that suggested a dialogue with Minimalism and Constructivism, but over the course of her decades-long career, has continually explored new modes of working, ranging from Pop-inspired public art works such as Rose (1993), a massive sculpture of a single long-stemmed rose in Leipzig (a replica of which, Rose II, was placed on the façade of the New Museum in 2010) to chaotic, DIY assemblages comprising found objects, photographs, and various building materials.

Genzken’s exhibitions include solo shows at institutions such as the Whitechapel Gallery, the Vienna Secession, and the Malmö Konsthall, and she represented Germany at the 2007 Venice Biennale. Her work is the subject of a forthcoming exhibition at the Museum of Modern Art in late 2013, which will travel to the Museum of Contemporary Art Chicago and the Dallas Museum of Art.  

Works Available for Purchase



Eleven Art Books to Add to Your Summer Reading List
Robert Rauschenberg's Innovations in Art
Bildhauer: 3 German Women Rethinking Sculpture
Monica Bonvicini on Shaping Power and Identity
Isa Genzken on Finding Her Place in Art History
10 Remarkable Recent Sculptures You Need to Know
Sarah Sze on Inventing a New Mode for Sculpture
10 of the Best Artworks at Art Cologne 2016
A Few Questions for Maria Lynch
Why Isa Genzken Loves New York City
10 of the Best Artworks at EXPO CHICAGO 2015
Wolfgang Tillmans on His Art and Influences
How to Pronounce Artists' Names, Vol. 4
10 of the Best Artworks at FIAC 2014
Lurking Limbs & Other Trends at Frieze NYC
The History of the Found Object in Art
10 Exhibitions That Changed Contemporary Art
On Isa Genzken’s Schizoconsumerist Aesthetic
6 Artworks to Invest in This December
9 Artists to Watch This November


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