We, The People. 30 years of Art and Democracy in South Africa
R850We, the People bring together 70 contemporary artists and over 100 works that actively engage, challenge, and reimagine our political life.
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Out of stockWe, the People bring together 70 contemporary artists and over 100 works that actively engage, challenge, and reimagine our political life.
Out of stockA catalogue published to accompany Sharlene Khan’s photography series of the same name.

In this, his ninth poetry collection, Kelwyn Sole gives voice to a wide range of concerns, characteristically interweaving the personal with a wider social and political focus.

What Remains is a fusion of text, dance and movement to tell a story about the unexpected uncovering of a slave burial ground in Cape Town, the archaeological dig that follows and a city haunted by the memory of slavery. When the bones emerge from the ground, everyone in the city – slave descendants, archaeologists, citizens, property developers – is forced to reckon with a history sometimes remembered, sometimes forgotten.

The drawing which Kentridge produced for his anamorphotic animated film “What Will Come” becomes a space-related sculpture through the view in the mirrored cylinder.

Published in 2019, When the moon waxes red: Negotiating Subjective Terrain as an ‘Inside-Outsider’, an ‘Outside-Insider’ accompanies the exhibition of the same name.
Out of stockThis landmark publication accompanies an international touring exhibition devoted to Black figuration in painting from the 1920s to now, featuring artists from Africa and the African diaspora.

Exhibition catalogue Standard Bank Gallery Johannesburg 25 September 2007 to 1 December 2007. Contains a fascinating 24pp interview with the artist and many colour photographs. 28 x 30cm 120pp.
Out of stockIn A Natural History of the Studio, acclaimed South African artist William Kentridge reflects on more than three decades of drawing, filmmaking and multimedia creation. Combining philosophical, autobiographical, technical and practical insight, the book draws readers into the studios and processes behind his remarkable body of work.

A Poem That Is Not Our Own establishes a link between his early drawings and films from the 1980s and 1990s and his most recent work, bringing into focus the thematic complex of migration, flight, and processions in his oeuvre. It illustrates how these themes first emerge in Kentridge’s early graphic work and grow more prominent over the years as he explores their potential in ever more opulent creations.

This book is an opportunity for Kentridge enthusiasts to catch a glimpse of this little-known early series of 14 etchings and also offers a further taste of the ongoing catalogue raisonné project.

Compiled by Kentridge expert Warren Siebrits, this second volume of William Kentridge’s (born 1955) catalogue raisonné immediately succeeds the first in its focus on graphics produced between 1991 and 2004.

In 1976, just months after the Soweto Uprising, William Kentridge created images of South Africa’s Jewish community enjoying the sun on what was then the “whites-only” Muizenberg beach in Cape Town.
The book includes all twelve plates in the series as well as a sketchbook from Kentridge’s archive documenting his preparatory drawings for the prints.

Published to accompany Kentridge’s first retrospective exhibition in the United States and South Africa, this fascinating book offers in-depth coverage of the artist’s animated films, drawings, and theater productions. Kentridge has also created 16 new, previously unpublished artist’s pages for the book.

The first installment in an epic catalogue raisonné of Kentridge’s linocuts, etchings, monotypes, posters and more… William Kentridge (born 1955) has been creating poignant, clever and visually arresting works across a variety of mediums for more than five decades. This book focuses on his long-standing relationships with printmaking and poster design. Over the past three…
Out of stockIn a brilliant exposition of Kentridge’s output, Stephen Clingman, Distinguished Professor of English at the University of Massachusetts, Amherst, undertakes a series of enquiries, of walks around the artist and his practice, through the various layers and linkages, crossings and connections of his art.
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