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Drawn right on top of a 1924 reference manual for technical drawing, this flip book by William Kentridge displays his own technical approach to a mechanical problem much more fanciful than those addressed by the original Cyclopedia of Drawing:
Domestic Scenes feature the entire 54 images of Kentridge’s early series of work Domestic Scenes (1980). Domestic Scenes is published by Steidl, an international publisher of photobooks, and features an exquisite hard cover design with Kentridge’s signature on the cover page and a beautiful A1 poster of a photograph of young William Kentridge in his Parktown studio in Johannesburg, South Africa.
There are 16 variations of the book available, each distinct with a different front cover image of one of the works in the Domestic Scenes series. Clients are welcomed and encouraged to ask for the front cover variation that they would like.
Hogarth in Johannesburg is the timely product of several paths crossing. As the model of Hogarth suggests, some of these paths involve the tradition of art history and the position of the three Johannesburg artists within it.
No, It Is contains 280 new drawings by William Kentridge (born 1955), selected from a series of approximately 500 drawings made over a three-month period toward the end of 2012.
Out of stockPrints and Their Makers takes you behind the scenes to witness the creative process at the world’s top printmaking workshops. Master printer Phil Sanders offers an in-depth look at this versatile medium and places contemporary prints and practices in the context of traditions and techniques developed over more than a thousand years.
Art historian and curator Elizabeth Jacklin’s The Art of Print: From Hogarth to Hockney is a concise and beautifully illustrated introduction to printmaking that uses highlights from Tate’s extensive print collection.
This publication is devoted to William Kentridge’s (born 1955) multimedia cycle The Nose (based on Gogol’s short story of the same name), comprised of the video installation “I Am Not Me, the Horse Is Not Mine,” plus sculptures, tapestries and works on paper. Kentridge describes this cycle as an elegy for the artistic language of the Russian Constructivists.
A bold new critique of the accepted history of figurative painting in the twentieth century.
In The World New Made, critic Timothy Hyman argues that abstraction was just one of the means by which artists renewed pictorial language. Focusing on those painters who bucked tradition and opted for a new kind of figuration, Hyman presents them as a countermovement to the sometimes oppressive stylistic imperative that set in as Cubism became a movement. Around the world, artists such as Max Beckmann, Fernand Léger, Balthus, Paula Rego, Marc Chagall, Stanley Spencer, R. B. Kitaj, Philip Guston, Picasso, Matisse, Lucian Freud, and others found an idiom for human-centered painting. Together they offer a counterargument to Western formalism, but also a foundation for the figurative painters of the twenty-first century.
The Annandale exhibition UNIVERSAL ARCHIVE (Parts 7 – 23) is a comprehensive exhibition of new work encompassing all 250 metres of exhibition space at Annandale Galleries.
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.
This beautiful collectible box set of William Kentridge’s Why Should I Hesitate retrospectives from Zeitz MOCAA and the Norval Foundation consists of the two-volume overview covering 40 years of Kentridge’s internationally acclaimed production in drawing, stop-frame animation, video, prints, sculpture, tapestry, and large-scale installation.
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.
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.
Out of stockThe print companion to Kentridge’s latest film series, bringing to life the eccentric, whimsical world of the artist’s mind and his studio
The text in this book is essentially the libretto of the chamber opera WAITING for the SIBYL, which was made for the Teatro dell’Opera di Roma and first performed there in September 2019. Music for the opera was composed by Nhlanhla Mahlangu and Kyle Shepherd.
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