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Product Description
Product Description
Christian Boltanski came to prominence in the 1980s with major exhibitions at the Centre Georges Pompidou, Paris in 1984 and the Whitechapel Gallery, London in 1990. This text explores his art, arguing that it hovers between the trauma of the extermination camp depot and the redemption of a memorial shrine. Boltanski can be described as an alchemist, philosopher, potential suicide, clown or Rasputin. His work has ranged from the creation of an "ironic museum of the self" to sensitive portrayals of ordinary people. His installations are made up of collections of everyday objects such as clothing or shoes; and photographs - such as passport photographs, school portraits and family albums. They memorialize ordinary people - the unknown children killed in the Holocaust, the people of a Swiss canton, or the employees of a Halifax carpet factory. Recently he worked on a production of Schubert's Winter Reisse at the Lyric Theatre, London, and will continue to work on theatrical and operatic productions. The book is part of a series of studies of important artists of the late-20th century. Each title offers a comprehensive survey of the artist's work, providing analyses and multiple perspectives on contemporary art and its inspiration.
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Customer Reviews
Most Helpful Customer Reviews
8 of 8 people found the following review helpful
Format:Hardcover
This is one of the best monographs I've read. Often I get books an an aritst I like, and can't get through the awful text, I end up just looking at the pictures. The text in this book adds so much to my understanding of the work, by detailing the progression of his ideas through the years, and clearly describing the installations. The writing is very clear, I found myself reading it as if it were a novel.
8 of 9 people found the following review helpful
Format:Paperback
A good book on an excellent artist. Why, then, only 8 / 10 ? Because the authors/contributors do not deal in-deep with certain AMBIGUITIES in Boltanski's life and art. Everybody always focusses on the quote >official< unquote biography and bibliography of Boltanski (e.g. in Lessons of Darkness). But CB himself is constantly re-arranging and reconstituting these 'facts'. Critics and curators, though, always seem to take the information for granted.
I think that CB plays a game with us, and that (t)his game is a very important part of his oeuvre. As such it should be properly documented and studied.
Han Geers
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
4 reviews
6 of 8 people found the following review helpful
Beautifuly haunting book, for a beautifuly haunting artist
4 Oct 1999
Format:Hardcover
I have extensively researched Christian Boltanski and would highly recommend this wonderful book. It reads like an exhibition. Five stars *****
4 of 6 people found the following review helpful
Brilliantly written book on a fascinating artist
16 April 1998
Format:Hardcover
This is one of the best monographs I've read. Often I get books an an aritst I like, and can't get through the awful text, I end up just looking at the pictures. The text in this book adds so much to my understanding of the work, by detailing the progression of his ideas through the years, and clearly describing the installations. The writing is very clear, I found myself reading it as if it were a novel.
This book will explain what you don't know about Boltanski
6 Sep 2001
Format:Paperback
I saw his exhibit in Paris a few years ago and I was intrigued about this artist.This book will give more explanation on his work and why he does it. Some of the writing can be too academic and hard to understand. There's an interview with Boltanski which I loved. He's very opinionated and an interesting artist. There's not much info on him on the internet so I'm really glad that was made.
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