| William Kentridge Contributor(s): Krauss, Rosalind E. (Editor) |
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ISBN: 0262533456 ISBN-13: 9780262533454 Publisher: MIT Press OUR PRICE: $17.96 Product Type: Paperback - Other Formats Published: February 2017 |
| Additional Information |
| BISAC Categories: - Art | History - Contemporary (1945- ) - Art | Individual Artists - General |
| Dewey: 709.2 |
| LCCN: 2016039870 |
| Series: October Files |
| Physical Information: 0.5" H x 6" W x 9" (0.85 lbs) 208 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: Critical texts and interviews that explore the drawings, animations, and theatrical work of the South African artist William Kentridge. Since the 1970s, the South African artist William Kentridge has charted the turbulent terrain of his homeland in both personal and political terms. With erudition, absurdist humor, and an underlying hope in humankind, Kentridge's artwork has examined apartheid, humanitarian atrocities, aging, and the ambiguities of growing up white and Jewish in South Africa. This October Files volume brings together critical essays and interviews that explore Kentridge's work and shed light on the unique working processes behind his drawings, prints, stop-animation films, and theater works. The texts include an interview by the artist Carolyn Christov-Bakargiev, curator of the first major retrospective of Kentridge's work; an essay by Andreas Huyssen on the role of shadow-play in Kentridge's film series 9 Drawing for Projection; and investigations of Kentridge's work for opera and theater by Maria Gough, Joseph Leo Koerner, and Margaret Koster Koerner. An analysis by influential art historian Rosalind Krauss, the editor of this volume, argues that Kentridge's films are the result of a particularly reflexive drawing practice in which the marks on the page--particularly the smudges, smears, and erasures that characterize his stop-animations--define the act of drawing as a temporal medium. Krauss's understanding of Kentridge's work as embodying a fundamental tension between formal and sociological poles has been crucial to subsequent analyses of the artist's work, including the new essay by the anthropologist Rosalind Morris, who has collaborated with Kentridge on several projects. Essays and Interviews |
Contributor Bio(s): Baker, George: - George Baker is Professor of Art History at the University of California, Los Angeles, and an editor at October magazine and October Books. He is the editor of James Coleman (MIT Press) and a frequent contributor to Artforum.Krauss, Rosalind E.: - Rosalind E. Krauss is University Professor in the Department of Art History at Columbia University, where, from 1995 to 2006, she held the Meyer Schapiro Chair in Modern Art and Theory. She is a founding editor of October and the author of Passages in Modern Sculpture, The Originality of the Avant-Garde and Other Myths, The Optical Unconscious, Bachelors, Perpetual Inventory, Under Blue Cup (all published by the MIT Press), and other books.Krauss, Rosalind E.: - Rosalind E. Krauss is University Professor in the Department of Art History at Columbia University, where, from 1995 to 2006, she held the Meyer Schapiro Chair in Modern Art and Theory. She is a founding editor of October and the author of Passages in Modern Sculpture, The Originality of the Avant-Garde and Other Myths, The Optical Unconscious, Bachelors, Perpetual Inventory, Under Blue Cup (all published by the MIT Press), and other books.Bois, Yve-Alain: - Yve-Alain Bois studied at the Ecole des Hautes Etudes under the guidance of Roland Barthes and Hubert Damisch. A founder of the French journal Macula, Bois is currently a professor in the School of Historical Studies at the Institute for Advanced Study, Princeton, NJ. |