David Zwirner is pleased to present new and recent work by Isa Genzken, on view at the gallery’s 533 West 19th Street location. This exhibition, the artist’s fourth with the gallery, will showcase the diversity of her practice and include a selection of new concrete sculptures, wall-mounted paintings and assemblages, and iterations of her ongoing Schauspieler (Actors) series.
With a career spanning over four decades, Genzken has incessantly probed the shifting boundaries between art, design, architecture, media, technology, and the individual. Her prodigious oeuvre frequently incorporates seemingly disparate materials and imagery to create complex, enigmatic works that range in medium, including sculpture, painting, collage, drawing, film, and photography. Deeply attuned to both the legacies of the twentieth-century avant-garde and the materials and forms of twenty-first-century global society, Genzken’s work interrogates the impact of our increasingly commodified and interconnected culture on our everyday lives.
"Among the things that make Genzken relevant to this cultural moment are her move from fabricated sculptures into assemblage in the 1990s, her apprehension of the way that information and images circulate in our digital age, her heterogeneous approach to art-making and, above all, her interest in, and upending of, the formal and ideological legacies of modernism—a concern shared by younger artists from Wade Guyton to Carol Bove." —Anne Doran, Art in America, 2014
"I have always said that with any sculpture you have to be able to say, although this is not a readymade, it could be one. That’s what a sculpture has to look like. It must have a certain relation to reality." —The artist in conversation with Wolfgang Tillmans in Camera Austria, 2003. Read the full interview in Genzken’s Guide.
"She operates ‘with no safety net of art-world niceties,’ the painter Elizabeth Peyton, who has been a fan for two decades, said . . . ‘Like Baudelaire said of Daumier in The Painter of Modern Life, Isa is the artist of modern life seeing her time and transcending it simultaneously, with no separation.’" —Randy Kennedy explores perspectives on Genzken’s practice in The New York Times, 2013