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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.
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.
Triumphs and Laments is not only a celebration of William Kentridge’s (born 1955) monumental frieze drawn along the banks of the Tiber River in Rome and the performance which inaugurated it, but a gorgeously produced guide to one of his most memorable and ambitious projects to date.
William Kentridge’s WEIGHING and WANTING focuses in detail on the artist’s 1998 film of the same name and the drawings he used to make the film. Over 80 film stills punctuate the catalogue, enabling the reader to follow the film sequence. An insightful essay on the drawings and film, and biographic information about the artist…
Wim Botha won the Standard Bank Young Artist award for Visual Art 2005. This wonderfully produced catalogue documents the eight years of work leading up to that achievement.
This book takes readers on an informative and picturesque stroll through the sun-drenched regions of the south of France, which in the past 15 years has dramatically revamped its wine-growing and vinification procedures.
This gift book celebrates the highs and lows of the winter season through art drawn from Tate’s collection. Divided into key themes – ‘Seasonal Views & Landscapes’, ‘Religious Imagery’, ‘Celebration & Festivity’ and ‘Friends & Family/Journeying’ – each of the works of art included has been individually selected for the particular way in which the artist has attempted to capture this special time of year.
Wired presents a distinctive art form created within the rich cultural context of contemporary Zulu/South African culture. The book showcases hundreds of extraordinary, colourful telephone wire baskets – a craft based on Zulu traditions, using recycled materials.
Ben Turok, a former antiapartheid activist and veteran ANC MP, played a key role in the writing of the Freedom Charter, in particular its chapter dealing with economic equality. In November 2011, he broke party ranks and did not vote for the controversial Protection of Information Bill, also known as the Secrecy Bill.
Azaria Mbatha is one of South Africa’s most important contemporary artists in the last century. This autobiography is rooted in the traditional Zulu heritage of his childhood and the tenets of Christianity imparted by his father. Mbatha weaves his own history into the history of his family, into the history of South Africa and into the history of his time, as he experienced it.
This remarkable exhibition assembled a diverse group of Cuban contemporary artists devoted to two fascinating themes: on the one hand, an insight into contemporary Afro-Cuban cultural and religious traditions and, on the other, an intense dialogue on the complex racial issues affecting the country today
An inspiring illustrated history of a century of great women and their impact on the world. Many of the world’s greatest pioneers, record-breakers, and achievers over the last century were women.
Developing the argument that through aesthetic force emerges the truly political, the book moves beyond polarization of the aesthetic and the cultural. Instead, photographic works are read for their subversive political and cultural force, as it emerges through the aesthetics of the image.
This book is ideal for students of Photography, Art History, Art and Visual Culture, and Gender.
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