Critical texts and interviews that explore the drawings, animations, and theatrical work of the South African artist William Kentridge. Since the 1970s, the South African artist William Kentridge has charted the turbulent terrain of his homeland in both personal and political terms. With erudition, absurdist humor, and an underlying hope in humankind, Kentridge's artwork has examined apartheid, humanitarian atrocities, aging, and the ambiguities of growing up white and Jewish in South Africa. This October Files volume brings together critical essays and interviews that explore Kentridge's work and shed light on the unique working processes behind his drawings, prints, stop-animation films, and theater works. The texts include an interview by the artist Carolyn Christov-Bakargiev, curator of the first major retrospective of Kentridge's work; an essay by Andreas Huyssen on the role of shadow-play in Kentridge's film series 9 Drawing for Projection; and investigations of Kentridge's work for opera and theater by Maria Gough, Joseph Leo Koerner, and Margaret Koster Koerner. An analysis by influential art historian Rosalind Krauss, the editor of this volume, argues that Kentridge's films are the result of a particularly reflexive drawing practice in which the marks on the page—particularly the smudges, smears, and erasures that characterize his stop-animations—define the act of drawing as a temporal medium. Krauss's understanding of Kentridge's work as embodying a fundamental tension between formal and sociological poles has been crucial to subsequent analyses of the artist's work, including the new essay by the anthropologist Rosalind Morris, who has collaborated with Kentridge on several projects. Essays and Interviews Carolyn Christov-Bakargiev, Maria Gough, Andreas Huyssen, William Kentridge, Joseph Leo Koerner, Margaret Koster Koerner, Rosalind Krauss, Rosalind Morris
Beautifully written, the text retains clarity in complexity."—Jennifer A. González, Professor of History of Art and Visual Culture, Contemporary Art, and Race and Representation, University of California, Santa Cruz
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 ...
William Kentridge: Drawing Us Into a New World
In 2010, and again in 2013, he staged Dmitri Shostakovich’s The Nose at the Metropolitan Opera; after the premiere, the New York Times noted that “Kentridge, who directed this production, helped design the sets and created the videos ...
This is the real meaning of “drawing lessons.” Incorporating elements of graphic design and ranging freely from discussions of Plato’s cave to the Enlightenment’s role in colonial oppression to the depiction of animals in art, Six ...
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...
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.
MoMA's presentation will be unique in its addition to the numerous collection works, including most of the prints reproduced in this volume.
It is both a narrative and an acknowledgement of the necessity of repetition, inconsistency and the illogical. Kentridge has made many flip books, but at 800 pages this is his most ambitious.
South African artist William Kentridge makes drawings that he erases, alters, or augments, all the while filming them to bring the drawings to life. William Kentridge: Weighing... and Wanting focuses...