Born in 1948, Isa Genzken is one of the most prominent figures within the postwar generation of German artists, and among the most influential female artists working today. If New York art audiences are familiar with her output at all, it's probably been via the works she has produced during past ten years or so, which have mainly consisted of surreal sculptural assemblages and installations that vividly aggregate painting, found objects (toys, strollers, suitcases, backpacks, dolls, wheelchairs, umbrellas and houseplants among them), images, fabrics, textiles and other materials, such as colored streamers, Mylar sheets and tinted Plexiglas. Her best-known work here is probably the gigantic rose she created for the New Museum's facade. Prolific as she's been in recent years, this production only scratches the surface of a four-decade career that has taken a sharply incisive, postfeminist perspective on our globalist society and the way culture functions within it.
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