Kentridge's Triumphs & Laments by Andrea Foschi
William Kentridge's Triumphs & Laments - A Guidebook App - 2016, 2016
FOR THE FORMATTED VERSION WITH KENTRIDGE'S DRAWINGS GO TO: https://eternaltiber.net/triumphs-and-... more FOR THE FORMATTED VERSION WITH KENTRIDGE'S DRAWINGS GO TO: https://eternaltiber.net/triumphs-and-laments-research/
This is a guide to the iconography of William Kentridge’s Triumphs & Laments, the 500-meter-long frieze of colossal figures traced into the black accretions on the Tiber Embankments between Ponte Sisto and Ponte Mazzini in Rome in early Spring 2016: http://www.tevereterno.it/arts/triumphs-and-laments/. The guide was compiled at the request of Kristin Jones, artistic director of the project, and was initially part of a Guidebook cell phone app, which has since been discontinued.
Prior to compiling the guide texts, with generous help from dozens of colleagues and students, I had the immense pleasure of serving as Curator of Historical Research for Triumphs & Laments, overseeing the research group at John Cabot University which formulated the chronological database ('timeline') of images from the history of art, cinema, and journalism provided to William Kentridge to inspire his drawings for the frieze. Our research continued and augmented that of Andrea Biagioni and Sara Spizzichino of Tevereterno.
Please share these texts with friends, colleagues, and students. Writing the guide was our labor of love for Rome, for William Kentridge and his work, and for the joy of collective creativity that made Triumphs & Laments a reality.
NOTE: In the pdf version available online before May 20, 2017, the hyperlinks were inoperative. In the current Word document, they work.
Thesis Chapters by Andrea Foschi
Thesis (B.A. in Art History) – John Cabot University, 2017
In the 1924 Venice Biennale, an entire room was dedicated to a personal exhibition by Felice Caso... more In the 1924 Venice Biennale, an entire room was dedicated to a personal exhibition by Felice Casorati (1883-1963). The paintings on display shared a limpid volumetric plasticity and a naturalistic but geometrical figure style – features that the critics did not hesitate to describe as neoclassical, associating Casorati’s style to other tendencies of the so-called return to order. Six years later, in 1930, Casorati came back to the Venice Biennale with a fresh set of paintings that marked a stark contrast with the previous works: elegant deformations, softer hues, an emphasis on surfaces distinguished a new style that critics now recognized as dissonant from surrounding tendencies. The present work will study the shift in Casorati’s style exemplified by his 1924 and 1930 Biennale exhibitions, with the aim of assessing its implications and presenting possible explanations behind it. The thesis reconnects to recent historiographical trends that have assimilated investigations of individual artist’s styles with explorations of the period of the return to order. The examination of Casorati’s experience will be an opportunity to reflect on the validity of some approaches to the study of this period that rely on broad, overarching narratives and interpretative schematizations. A picture will emerge of the intricate urgency of discourses on style at the time, and will allow for an assessment of the capability of Casorati’s style to validate, evade, or undermine interpretative efforts and their frequent implicit attempts of exhortation, categorization, association, and appropriation. Further considerations on Casorati’s relationship with the surrounding artistic world will reveal that possible motivations for his stylistic change can be found in his attitude towards state art and fashions, in his friendship with Gobetti, in his activity and philosophy as a teacher, and in his relationship with the Sei pittori di Torino.
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Kentridge's Triumphs & Laments by Andrea Foschi
This is a guide to the iconography of William Kentridge’s Triumphs & Laments, the 500-meter-long frieze of colossal figures traced into the black accretions on the Tiber Embankments between Ponte Sisto and Ponte Mazzini in Rome in early Spring 2016: http://www.tevereterno.it/arts/triumphs-and-laments/. The guide was compiled at the request of Kristin Jones, artistic director of the project, and was initially part of a Guidebook cell phone app, which has since been discontinued.
Prior to compiling the guide texts, with generous help from dozens of colleagues and students, I had the immense pleasure of serving as Curator of Historical Research for Triumphs & Laments, overseeing the research group at John Cabot University which formulated the chronological database ('timeline') of images from the history of art, cinema, and journalism provided to William Kentridge to inspire his drawings for the frieze. Our research continued and augmented that of Andrea Biagioni and Sara Spizzichino of Tevereterno.
Please share these texts with friends, colleagues, and students. Writing the guide was our labor of love for Rome, for William Kentridge and his work, and for the joy of collective creativity that made Triumphs & Laments a reality.
NOTE: In the pdf version available online before May 20, 2017, the hyperlinks were inoperative. In the current Word document, they work.
Thesis Chapters by Andrea Foschi
This is a guide to the iconography of William Kentridge’s Triumphs & Laments, the 500-meter-long frieze of colossal figures traced into the black accretions on the Tiber Embankments between Ponte Sisto and Ponte Mazzini in Rome in early Spring 2016: http://www.tevereterno.it/arts/triumphs-and-laments/. The guide was compiled at the request of Kristin Jones, artistic director of the project, and was initially part of a Guidebook cell phone app, which has since been discontinued.
Prior to compiling the guide texts, with generous help from dozens of colleagues and students, I had the immense pleasure of serving as Curator of Historical Research for Triumphs & Laments, overseeing the research group at John Cabot University which formulated the chronological database ('timeline') of images from the history of art, cinema, and journalism provided to William Kentridge to inspire his drawings for the frieze. Our research continued and augmented that of Andrea Biagioni and Sara Spizzichino of Tevereterno.
Please share these texts with friends, colleagues, and students. Writing the guide was our labor of love for Rome, for William Kentridge and his work, and for the joy of collective creativity that made Triumphs & Laments a reality.
NOTE: In the pdf version available online before May 20, 2017, the hyperlinks were inoperative. In the current Word document, they work.