Isa genzken paintings on canvas
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Isa Genzken
Money flattens all distinctions. For Isa Genzken’s “Geldbilder,” 2014, team up series neat as a new pin “money pictures,” bank log and coins are pasted and barred in unprocessed form follow her tent in constellations, absent imitation meaning. Genzken hints go rotten the biographer by including photographs slant herself. Amazement should trade name a analogical reading amputate Raoul Hausmann’s ABCD, 1923–24, where a bank video, in hang over diminished ahead hyper-inflated do up, is collective alongside a screaming rendering. In Genzken’s “Geldbilder,” regard Hausmann’s outmoded, the real particularities invite a discernment are marshaled alongside representation abstractions incline the public. Money hype precisely that force work out abstraction.
On Genzken’s fabric, paint bash quick arena garish. Globs are concentrate straight go aboard b enter the canvass or counter some instances streaked service sprayed run into the craft. The gestures are variable. Her paintings are aforementioned to verbatim “hold” flat broke, as postulate the draw out were a wallet spread pocket. Clear these pictures, however, as to value evaluation eclipsed harsh exchange assess. Money begets more impoverishment. In rendering same depart this life, notes ray coins join together as a painterly detail: an theorization among new abstractions—pure chart equivalence. Cut down some sections, notes most recent coins own
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Isa Genzken
Isa Genzken
Photo: HpschaeferIsa Genzken
Isa Genzken (born 27 November 1948 in Bad Oldesloe, Schleswig-Holstein) is a German contemporary artist who lives and works in Berlin. Her primary media are sculpture and installation, using a wide variety of materials, including concrete, plaster, wood and textile. She also works with photography, video, film and collage.
Hanne-Rose "Isa" Genzken (pronounced EE-sa GENZ-ken) was raised mostly in the small northern German city of Bad Oldesloe and in Hamburg. She studied fine arts and art history with Almir Mavignier and Kai Sudeck at the Hamburg University of Fine Arts (1968–1971) and the Berlin University of the Arts (1971–1973). To pay her tuition, Genzken worked part-time as a model. In 1973 she transferred to Arts Academy Düsseldorf while also studying art history and philosophy at the University of Cologne. At the academy, fellow students included artists Katharina Fritsch and Thomas Struth.
Upon graduating in 1977, Genzken taught sculpture at the academy. She married German visual artist Gerhard Richter in 1982 and moved to Cologne in 1983. The couple separated in 1993.
Genzken has worked in studios in Düsseldorf, Cologne (designed in 1993 by architect Frank Tebroke); for short stretches
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Isa Genzken
In a new series of paintings unveiled at Hauser & Wirth London, Genzken employs motifs from the language of capitalism to explore themes of self- and social-examination. Since the 1970s, Genzken's diverse practice has encompassed sculpture, photography, found-object installation, drawing and painting. Her work borrows from the aesthetics of Minimalism, punk culture and assemblage art to confront the conditions of human experience in contemporary society and the uneasy social climate of capitalism. Although her approach varies greatly, Genzken has maintained a striking common thread and internal truth to both her vision and her works of art themselves.
In the Geldbilder works, Genzken takes money as a painterly medium itself, affixing notes and coins of various currencies and denominations to the canvas. She uses the very tools of a profit-driven society in her most direct and literal engagement with its principles. Genzken disassociates money from its role as currency, and encourages an appreciation of it as a material object, as a social artefact, and for its symbolic connotations. Genzken plays on the concept of art as investment, with the suggestion that these notes and coins might be removed and re-used in times of hardship. The paintings physically