Last month the Institute of Contemporary Art debuted two new exhibitions in their main galleries. One is a phenomenal video installation by William Kentridge, which I cannot recommend enough, but I’m not here to talk about that. I’m here to talk about Nick Cave. The Chicago-based sculptor and performance artist who’s been making a big splash in the art world just within the past few years. I don’t think I’d heard of him before 2011 or so, and now I feel like I see him everywhere. He is known for his Soundsuits, a series of meticulously crafted wearable sculpture that can be displayed statically or worn in dance performances.
With a career spanning nearly forty years (and counting) and a body of work notable for both its breadth and variety, Isa Genzken is an artist well worth a look. Her current show at the Museum of Modern Art in New York is a compelling retrospective, covering everything from her early minimalist sculpture and miniature assemblages to her street photography and memorial designs for the World Trade Center. Born and raised in Germany, Genzken has primarily worked in Cologne and Berlin, with some stints in New York. She studied under painter Gerhard Richter at the Dusseldorf Fine Arts Academy, and the two were married for a time after she graduated.
The human body as a subject has long fascinated visual artists. It has fallen prey to distortion and monstrosity, to sexualization and idolization, and so many other representations. In the 1970s many artists involved in the rising feminist movement turned to the female form as a symbol of oppression as well as power, some referencing Mother Earth metaphors and others satirizing 1950s domesticity and feminized consumerism. It became easy for any woman artist to be labeled “feminist” (a dirty word to many) regardless of her actual intentions or activism.