Ken Jacobs has been making cinema for more than fifty years. Along with over thirty film and video works; he has created an array of shadow plays; sound pieces; installations; and magic lantern and film performances that have transformed how we look at and think about moving images. He is part of the permanent collections at MoMA and the Whitney; and his work has been celebrated in Europe and the U.S. While his importance is well-recognized; this is the first volume dedicated entirely to him. It includes essays by prominent film scholars along with photographs and personal pieces from artists and critics; all of which testify to the extraordinary variety and influence of his accomplishments. Anyone interested in cinema or experimental arts will be well-rewarded by a greater acquaintance with the genius; the innovation; and the optical antics of Ken Jacobs.
#3388899 in eBooks 2011-04-13 2011-04-13File Name: B004U33G4K
Review
3 of 3 people found the following review helpful. Good but not greatBy Karen A. LebensI can recommend this book with reservations. It presents a lot of information about Bill Reid in a well written manner but it does have some serious shortcomings. It reminds me of Perfect Rigor in that way. that its worth having for the information but it can be irritating at the same time. The author is not an artist herself and very obviously has little depth of knowledge of the art she is describing. This is more of a social history but a social history of an important artist cannot avoid the art. She overstates the extent to which Haida art was continued in the interval between the death of Charles Edenshaw and the arrival of Bill Holm and Bill Reid on the scene. It made me wonder if she had actually looked at anything produced in that time period. since the differences are quite clear. She understates and denigrates the contributions of non- native artists ( common reverse racism in Canada) and relies on gossip from just a few sources for her account of some of Reids major works. I have heard gossip from direct sources too. that is not found here. and some of it paints quite a different picture of some sources she accepts uncritically. I disagree totally with her (IMHO academic) position that Reid was accepted as he was because he was non-threatening and acceptable to whites. The art speaks for him and no one else has done monumental pieces with his combination of a complete understanding of traditional forms coupled with a technical facility from the larger culture. Its like saying we appreciate the David because Michelangelo was in tight with the princes in Florence. So take this book for what it is. a lot of information about Bill Reids life and times. Sooner or later someone with a deep understanding of the art will write the real biography. And make no mistake about it. NW Coast art is ART. Like jazz or oil painting or movies it is an art form that can easily transcend its origins. that can be seen and felt anywhere on the planet because of its deep roots in the natural world. and that can be done by anyone who is willing to take the time and effort to learn the rules and techniques necessary. Bill Reid believed that and he was totally right. There is a lot of parochialism on the part of some who would like to reserve this art for themselves (and avoid embarrassing comparisons. which she neglects to mention in her brief mention of Gary Edenshaw. not the best of carvers. leaving when Reid called in a much more accomplished non native carver) . So buy it for the info and get your art from books like MacDonalds Monumental Art. The old stuff will always be of interest because it is so great and some of what is being done now is great too. see for yourself.
