From Cinematic to Static: Isa Genzken’s 75/75 Retrospective in Berlin
Why is time rarely foregrounded in our experience of sculpture? Isa Genzken intends her works to function more like “moving images than as sculptures,…
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Wire and String: Olga Balema’s Sinewy Abjection
What does it mean when the most meaningful thing is damn near nothing at all? Not the antiseptic nothing of Marie Kondo’s puritan minimalism,…
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Isa Genzken Plays with the Artworld’s Insides in “I Love Michael Asher”
“And why is this dedicated to Michael Jackson?” journalist Randy Kennedy asked Isa Genzken last February as both sat on a stage at the…
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Morbid Symptoms: In Search of the Post-Contemporary at the 2016 Montreal Biennial
In the aftermath of Donald Trump’s nauseating election victory, hard on the heels of this year’s earlier Brexit vote in the UK, it has…
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Robert Rauschenberg and Rachel Harrison Mirror Media and More Across Time
In 1970, a powerful bomb detonated Rodin’s Thinker (1880-81) outside the Cleveland Museum of Art. This edition of the sculpture was a rare version of the existing 25…
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Bad Dream of the Bauhaus: Juan Ortiz-Apuy’s IKEA Fantasia
Entering Juan Ortiz-Apuy’s Out of This Light, Into this Shadow, his second solo exhibition at galerie antoine ertaskiran, the first thing that strikes me…
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Looking At Us Looking At You: Looking Down on Isa Genzken
Isa Genzken is one of the most respected German artists working today, whose brittle sculptures and shiny, glittery collages document a world of trash…
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