Isa Genzken: Sculpture as World Receiver

177 Pages·2017·7.689 MB·English

by  Genzken, Isa;Lee, Lisa

Isa Genzken

Isa Genzken
Sculpture as World Receiver LISA LEE
The University of Chicago Press
Chicago and London
The University of Chicago Press, Chicago 60637
The University of Chicago Press, Ltd., London
© 2017 by The University of Chicago
All rights reserved. No part of this book may be used or reproduced
in any manner whatsoever without written permission, except in
the case of brief quotations in critical articles and reviews. For more
information, contact the University of Chicago Press, 1427 E. 60th
St., Chicago, IL 60637.
Published 2017
Printed in China
26 25 24 23 22 21 20 19 18 17 1 2 3 4 5
ISBN- 13: 978- 0- 226- 40997- 9 (cloth)
ISBN- 13: 978- 0- 226- 41003- 6 (e- book)
DOI: 10.7208/chicago/9780226410036.001.0001
This publication is made possible in part from the Barr Ferree
Foundation Fund for Publications, Princeton University
Library of Congress Cataloging-in-Publication Data
Names: Lee, Lisa, 1978– author.
Title: Isa Genzken : sculpture as world receiver / Lisa Lee.
Description: Chicago : The University of Chicago Press, 2017. |
Includes bibliographical references and index.
Identifiers: LCCN 2016054302 | ISBN 9780226409979 (cloth : alk.
paper) | ISBN 9780226410036 (e-book)
Subjects: LCSH: Genzken, Isa, 1948– —Criticism and interpretation.
| Sculpture—Germany—20th century. | Sculpture—Germany—
21st century.
Classification: LCC NB588.G454 L44 2017 | DDC 730.943/0904—
dc23
LC record available at https://lccn.loc.gov/2016054302
 ∞ This paper meets the requirements of ANSI/NISO Z39.48- 1992
(Permanence of Paper).
For Daniel

Contents
Acknowledgments ix
Introduction 1
1 Geometries of Lived Perspective 21
2 Make Life Beautiful! 53
3 Plastic Allegories 85
4 Radical Exposure 109
Notes 139
Index 157

Acknowledgments
Isa Genzken: Sculpture as World Receiver is in the world thanks to many
who have informed it intellectually and supported it pragmatically. Brigid
Doherty has remained my most rigorous reader and committed advocate.
This book bears the marks of her mentorship throughout, whether as a
result of her incisive interventions or— less directly perhaps but no less
powerfully— of the values she instilled in me during my years at Prince-
ton University. There, too, I had the great fortune of studying with Hal
Foster, who opened doors and then conveyed his absolute certainty that
I could meet whatever intellectual and professional challenges awaited
me on the other side. His confidence bolstered mine. Brigid and Hal,
along with Yve- Alain Bois and Spyros Papapetros, read portions of this
material in nascent form. Collectively, these mentors encouraged me to
locate and to embrace my strengths as a writer and thinker. Where this
book conveys a distinct voice and perspective, I have them to thank.
I must, of course, acknowledge Isa Genzken, whose inventive, intel-
ligent, and demanding oeuvre inspired the thoughts that populate the
many pages to follow. I have benefited greatly from the support of Daniel
Buchholz, Christopher Müller, and the rest of the team at Galerie Buch-
holz. Katharina Forero de Mund, in particular, has provided logistical
support with efficiency and patience. I owe special thanks to Ekkehard
Kneer, Genzken’s longtime conservator, who patiently answered my
many detailed questions about how the sculptures are put together.
Stephanie Weber, formerly of the Museum of Modern Art and now of the
Lenbachhaus, provided encouragement and practical support at a cru-
cial juncture in the development of this project. ix
I have been fortunate to test out and refine portions of this book in
print and for responsive audiences. To the editors of October I express
my heartfelt gratitude. Their early and continued investment in my
scholarship on Genzken has been galvanizing. I am obliged to Sabine