R. B. Kitaj - ACE013.3

Answers question about print-making being a separate activity to painting by saying he’s always wanted to do Cézanne over again after Surrealism; print-making is more artificial. Details from serigraph/screen print Hellebore: for Georg Trakl, the first in the Mahler Becomes Politics: Beisbol series (1964-1967). Photographs. Photography and Philosophy (1964). Mahler Becomes Politics No.15 (Go and Get Killed Comrade, We Need a Byron in the Movement, 1966). Explains about the anti-Nazi White Rose movement. Mort (1966), print deriving from page of Life magazine. Black and white interview: Kitaj talks about his books. Interviewer, Christopher Finch, suggests his paintings are closer to literary models than other modern painting. Photographs and film stills. "These motives are inevitable, like death is inevitable… If death is inevitable, so are those issues which will raise compassion and shame… There is this great case for what is so inevitable that even our art will be moved." Credits over details of more prints including Mahler Becomes Politics, No.14, His Every Poor Defeated Loser’s Hopeless Move, Loser, Buried (Ed Horn) (1990).