William Shakespeare x Rose Wylie: The Tempest

Description

Likely the last play written entirely by Shakespeare, The Tempest brings together various themes the bard explored in his prior plays, including magic, revenge and forgiveness, order and society, and nature versus art. The shipwreck and remote island, the spirits, and the dukes and their children, offer rich material for Wylie's works on paper and canvas. As the third title in David Zwirner Books's Seeing Shakespeare series, this book pairs a complex narrative with equally layered works by a contemporary artist who approaches the play and art-making from a unique perspective.

British artist Rose Wylie (b. 1934) paints uniquely recognizable, colorful, and exuberant compositions that at first glance are instantly accessible, not seeming to align with any discernible style or movement, but on closer inspection are revealed to be wittily observed and subtly sophisticated meditations on the nature of visual representation itself. Katie Kitamura's most recent novel is Intimacies (2021). Her previous novel, A Separation (2017), was a finalist for the Premio von Rezzori. She has twice been a finalist for the Young Lions Fiction Award and has received fellowships from the Lannan and Santa Maddalena Foundations. Her work has been translated into eighteen languages and is being adapted for film and television. She teaches in the creative writing program at New York University.

"She developed her own visual language by 'unlearning.' It is a result of strongly observing the subject and interpreting it in her own way."--Kwon Mee-Yoo "The Korea Times" "The ordinary is important to Wylie: she can get her inspiration anywhere."--Louis Wise "The Sunday Times" "Wylie fearlessly tackles the thorniest topics head-on, committing her thoughts and questions about politics, religion, fame, love, history, money and nature to canvas."--Charlotte Brook "Harper's Bazaar" "Wylie paints freewheeling pictures, often with words loosely scrawled across them, that are gloriously big and crude, and full of a certain dry British humor that sends up any whiff of orthodoxy or pretension."-- "The New York Times Style Magazine"