William Kentridge Krauss, Rosalind E; Christov-Bakargiev, Carolyn; Kentridge, William ...
08/2017, Letnik:
21
eBook
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. he 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 series9 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 InterviewsCarolyn Christov-Bakargiev, Maria Gough, Andreas Huyssen, William Kentridge, Joseph Leo Koerner, Margaret Koster Koerner, Rosalind Krauss, Rosalind Morris
Picasso according to Freud Krauss, Rosalind E.
International forum of psychoanalysis,
12/2011, Letnik:
20, Številka:
4
Journal Article
Recenzirano
After his brilliant invention of Cubism and collage, Picasso began incorporating Neo-Classical style and motifs, especially from Ingres. This turn led to the perceived deterioration of his work ...during 1920. The concept of reaction formation has been used to explain how Picasso's professed horror of photography operated to incorporate the very photographic-like technique, such as hardened contours and mechanical repetition. This explanation will be evidenced with many accounts, ranging from Picasso's closest intimates to literary and art luminaries.
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3.
Reinventing the Medium Krauss, Rosalind E.
Critical inquiry,
1999, Letnik:
25, Številka:
2
Journal Article
Recenzirano
Krauss looks back at the path that led to the triumphant postwar convergence of art and photography that began in the 1960s and Walter Benjamin's role in it.
Tracing the works' progression from the painterly abstraction of the early '5Os to Twombly's signature style of aggressive graffiti etched into grounds of cream-colored gesso, we came to the 1 957 ...canvas titled Olympia, the name of its dedicatee prominently scrawled in black.
The Story of the Eye Krauss, Rosalind E.
New literary history,
01/1990, Letnik:
21, Številka:
2
Journal Article
Recenzirano
Modernism and art history were born at the same time and developed out of certain assumptions that paralleled one another. One of these parallels is the foundationalist assumption that it is in the ...nature of vision itself that any art practice will be grounded.
Beyond Painting Krauss, Rosalind E.
October,
08/2022
181
Magazine Article
Rosalind Krauss argues that the 2020 Donald Judd retrospective at the Museum of Modern Art shows that the painterly side of this famously “anti-painter” artist was more pronounced than he would have ...ever admitted.
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Rosalind E. Krauss discusses the origins and argument of Douglas Crimp's “On the Museum's Ruins,” celebrating it as embodying the
of cultural rebellion.
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9.
The Troubles of the Neck Krauss, Rosalind E.
October,
02/2019, Letnik:
167, Številka:
167
Magazine Article
Rosalind E. Krauss discusses William Kentridge's
.
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10.
Montage October KRAUSS, ROSALIND E.
October,
12/2017, Letnik:
162, Številka:
162
Magazine Article
In “Montage October,” which appeared in Artforum in January 1973, Rosalind Krauss argues that Sergei Eisenstein's 1928 film was not only a celebration of a Marxist victory but also a demonstration of ...Marxist dialectical reasoning through montage. Krauss contends that rather than passively reconstructing the chain of circumstances that culminated in the storming of the Winter Palace in 1917, Eisenstein hoped to draw a filmic equivalence between the leap of revolutionary consciousness, which opens up access to the future by transcending the real, and the leap of visual consciousness, which goes beyond the normal bounds of filmic space.
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