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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.
100 Notes, 100 Thoughts: Documenta Series 009
Our grasp of time continues to change, in wrenching ways. This is an exploration of these shifts and struggles, across drawing and text, music and movement, film and concepts.
In the course of designing his recent production of Mozart’s “The Magic Flute, ” artist and animated filmmaker William Kentridge created a mechanized theater maquette. When he saw the miniature stage’s potential as sculpture, projection site, and installation, he began to imagine “Black Box, ” the freestanding structure whose development and installation are documented here. A movement-filled, visually charged piece, it is peopled with two-dimensional mechanical figures, completed with scenic elements and lit by flickering video. A digital projector displays animated films created from Kentridge’s charcoal drawings and sculptures. Kentridge considers his title term in three senses: a “black box” theater, a “chambre noire” as it relates to photography, and a “black box” flight data recorder, as used in airline disasters. The clandestine fourth reference may be to his ongoing exploration of German history and its convergence with South African history through Namibia, a former German colony that came under South African control prior to gaining its independence. “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.
Out of stockThe 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.
Lexicon is a facsimile cloth edition of an antiquarian Latin-Greek dictionary which William Kentridge has embellished with black ink drawings of what might seem at first to be animal silhouettes.
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.
Out of stockThis 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.
Out of stockWilliam 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.
Out of stockWilliam Kentridge emerged as an artist during the apartheid regime in South Africa. Grounded in the violent absurdity of that period in his country’s history, his artworks draw connections between art, ideology, history and memory. Curated by the artist, this exhibition encourages viewers to trace visual and thematic links between diverse aspects of his practice, from his engagement with opera to his interest in early cinema, from his inimitable animated drawings to sculpture and works on paper.
The Refusal of Time combines music, readings, dance, chants, videos, drawings and performance and brings Kentridge’s questioning of the notion of time to the stage. Echoing this theatrical performance that is constantly evolving, the book is a mise en abyme: it presents highlights from the show, drawings that were especially produced by the artist for the book, many sketches and study notebooks, all of the texts read during the performance, as well as interviews with Peter Galison and images from the workshop.
Thinking aloud is a conversation between William Kentridge and German critic Angela Breidbach. Prompted by Breidbach’s questions, Kentridge discusses his philosophy of image making.
Thinking aloud is a conversation between William Kentridge and German critic Angela Breidbach. Prompted by Breidbach’s questions, Kentridge discusses his philosophy of image making.
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