Isa Genzken: Sculpture as World Receiver PDF
Preview Isa Genzken: Sculpture as World Receiver
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
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