This book is more than just a simple record of The Nose. The opera serves as a springboard into a bracing conversation about how Kentridge’s methods serve his unique mode of expression as a narrative and political artist.
Kentridge made roughly one hundred drawings for the book, using collage on text pages torn from books he has cannibalized for years, such as Mrs Beaton’s Book of Household Remedies, and the French Larousse Encyclopaedia, favouring ink and brush drawing with crayon on the text pages.
This, the first major monograph on the widely acclaimed South African artist William Kentridge brings together nearly two hundred of his works made between 1989 and 2012. Exploring Kentridge’s diverse expressions across a wide range of media, from film and video to sculpture, design, drawing, and printmaking, the book is lavishly illustrated with more than 2,000 images.
For more than three decades, artist William Kentridge has explored in his work the nature of subjectivity, the possibilities of revolution, the Enlightenment’s legacy in Africa, and the nature of time itself. At the same time, his creative work has stretched the boundaries of the very media he employs.
William Kentridge: Thick Time undertakes an overview of the artist’s recent works, focusing on a sequence of five key pieces dating from 2003 to 2015. These encompass three immersive audiovisual installations, including The Refusal of Time, selected works on paper, and ideas for theatre and opera design.
This visually compelling publication highlights The Museum of Modern Art’s unparalleled collection of prints and books by William Kentridge – nearly fifty works spanning the past three decades. The book also features a succession of artistic interventions made by Kentridge especially for the occasion. Kentridge’s practice brings together drawing, film animation, books, sculpture and performance.
Black Box evokes all that, and the joyful mechanics of pre-cinematic visual spectacles, magic lanterns, the camera obscura and the zoetrope. A unique and richly layered meditation on the act of seeing, on vision and experience, and on the nature of knowledge itself.
Carnets D’Egypte is William Kentridge’s multimedia excavation of one of his favorite subjects: ancient Egypt. “Egypt has to be both believed and disbelieved at the same time,” he proposes, explaining his attraction to its intermingling of myth and history in the era of the pharaohs; here, he approaches this intermingling, and attendant questions of oriental-ism,…
With a searing body of work ranging from films and drawings to prints, sculptures, and theatrical productions, William Kentridge has offered a fresh and distinctive perspective on the contemporary social landscape, with a particular emphasis on his native South Africa.
In 2005, William Kentridge’s production of The Magic Flute premiered at La Monnaie in Brussels. It went on to venues in France, Italy, Israel and the United States to critical acclaim. In September 2007 it opened in Cape Town and Johannesburg.
The publication I Am Not Me, The Horse Is Not Mine (a Russian peasant expression used to deny guilt) is published by the Goodman Gallery, and contains a series of essays lecture notes, lecture extracts and commentary by William Kentridge on the eight films and performance event that was first presented to international acclaim at the Sydney Biennale, 2008.
David Krut Publishing is delighted to announce the publication of William Kentridge Nose. This book accompanies the launch of a suite of thirty new limited-edition prints by Kentridge called ‘Nose’, the culmination of a four-year collaboration between the artist and David Krut Print Workshop.
This is the first book to document the work of this extraordinary artist, who exploded on the international art scene in 1997 after working for some 20 years little known outside of his native South Africa. The images in Kentridge’s films depict political realities, expressed in terms of individual human suffering.
William Kentridge is well known for his films, drawings, and theatre productions, but he began his artistic career learning etching at the Johannesburg Art Foundation under Bill Ainslie. He spent two years teaching printmaking at the Foundation and his earliest exhibitions featured his monotypes and etchings such as the Domestic Scenes series.