PRINT November 2005


With the unveiling of major new bodies of work at the 2004 Carnegie International in Pittsburgh and at her gallery in New York this year, ISA GENZKEN stretched the limits of an already-diverse oeuvre and, indeed, the very boundaries of sculpture today. To gain perspective on her innovations and influence, past and present, Artforum offers a two-part focus. First, Benjamin H. D. Buchloh, author of a seminal 1992 essay on Genzken’s work, traces the shifts in the artist’s production since she first arrived on the scene in ’70s Germany. Then, for the latest installment of “In Conversation,” collaborator and longtime friend WOLFGANG TILLMANS visits Genzken’s Berlin studio to discuss their current projects, the radicality of realism, and how to avoid the “already known.”

TO SITUATE SCULPTURE between two mutually exclusive discursive conventions, or between two equally intolerable governing

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