Isa Genzken’s retrospective at the Museum of Modern Art, organized by a royal flush of curators (MoMA’s Sabine Breitwieser and Laura Hoptman, the MCA Chicago’s Michael Darling and the Dallas Museum of Art’s Jeffrey Grove, with Stephanie Weber) is one of the best major shows the museum has put on in a long time. Sculptors especially will find much of interest in Ms. Genzken’s approach to materials, and those curious about German postwar art have a lot to celebrate in the show, which puts on view many works never before seen in the U.S.
Like the work of a pop star skilled at self-reinvention, Ms. Genzken’s career is a bit of a hat trick. A thoughtful post-minimal sculptor in the late 1970s, she morphs momentarily into a painter only to become, in recent years, a political installation artist. With shows entitled things like “Fuck the Bauhaus, New Buildings for New York” (2000) and artworks that deal with terrorism and oil dependency, she is always topical. Read More