Focusing on the "Carlton Centre Games Arcade" series from 1977, this book offers an intimate exploration of William Kentridge's early etchings, which have rarely been exhibited. The Carlton Centre, a significant landmark in Johannesburg, inspired Kentridge's observational drawing and marked his initial foray into intaglio printing. This work not only showcases 14 unique etchings but also serves as a continuation of Kentridge's comprehensive catalogue raisonné, appealing to both enthusiasts and art historians alike.
An exploration of phrases and excerpts that inspire a major contemporary artist. Over the past several years, renowned South African artist William Kentridge has made a collection of particular phrases and sentences that have called out to him from the pages of whatever he has been reading. And these phrases, which he has written into a studio notebook titled Words, have been put to work in many of his artistic projects. Kentridge has often begun a project by paging through the notebook, waiting for a phrase to claim its place in the new work. The text excerpts come from many sources: Aimé Césaire, Yehuda Amichai, Sigmund Freud, James Joyce, Setswana proverbs, the Book of Ecclesiastes, Tristan Tzara's Dada Manifesto, and a range of eastern European poets. This volume presents a selection made from the notebook, with phrases arranged neither randomly nor with a clear agenda but finding a space in between. Cleverly designed by the artist and beautifully produced, Words is a thought-provoking collection that provides a window to the mind of a contemporary creative genius.
Focusing on the artist's printmaking and poster design, this book delves into William Kentridge's early works from 1974 to 1990, showcasing his pioneering techniques in linocut, etching, and monotype printing. Compiled by art authority Warren Siebrits, it emphasizes Kentridge's unique approach, where printmaking serves as a foundation rather than a secondary medium. The detailed chronology reveals overlooked aspects of Kentridge's creative journey, providing essential insights into his influential body of work and enriching the understanding of his artistic evolution.
A luxuriously produced clothbound presentation of Kentridge's formative print series, with previously unseen images This book documents, for the first time, the entire 54 images--as well as an additional 65 plate progressions not previously known to exist--in William Kentridge's important early series of etchings and aquatints, Domestic Scenes(1980). One of today's most respected contemporary artists, Kentridge (born 1955) was only 25 years old and relatively unknown when he made these images, which are pivotal in how they shaped his thinking, studio practice and conceptual approach. Presenting a range of human interactions in domestic environments and revealing influences from Matisse to Francis Bacon, from Giacomo Balla to Niki de Saint Phalle, the prints receive in this book fascinating new commentary from Kentridge, who shares his working methods as well as personal memories of the prints' subjects and creation. Framed by detailed research by Warren Siebrits, the compiler of Kentridge's upcoming catalogue raisonné of prints and posters, Domestic Scenesprovides some of the earliest evidence of the artist "stalking the drawing": returning to the etching plate time and again to make additions and alterations. The book features a tipped-in image and a pull-out poster.
An essay by Aimee Ng, Frick Curator, paired with a contribution by artist William Kentridge bring to life one of Constable's most serene depictions of rural life, the artist's personal favorite.
South African artist William Kentridge's practice spans an impressive range of medias and disciplines, including drawing, animation, film, sculpture, performance, music, theatre, opera, and collaborative, cross-disciplinary projects. His works are grounded in politics, history, and science, and yet maintain a space for contradiction and play. The two publications found within this boxset showcase two complimentary exhibitions, which together form the largest, most comprehensive presentation of Kentridge's work, anywhere, ever. The first volume includes essays, conversations, a lecture, and a meticulous timeline of the history of twentieth-century South Africa, interwoven with a chronology of the artist's life, work, and thinking over the decades. The second volume includes a visual index of William Kentridge's sculptural practice; a photo essay charting the development of his large Lexicon sculptures; and a comprehensive essay by Columbia University's Dr. David Freedberg, which locates Kentridge's work within several key artistic movements. Enclosed in every publication is one unique silkscreen print with Lapislazuli on found book page. In total 18 different motives exist, which are each stamped by William Kentridge
Im Verlauf von mehr als drei Jahrzehnten hat Kentridge ein Œuvre hervorgebracht, das unter anderem Animationsfilme, Zeichnungen, Drucke und Künstlerbücher, Inszenierungen und Bildhauerarbeiten umfasst. „A Poem That Is Not Our Own“ zielt darauf ab, eine Verbindung zwischen Kentridges frühen Zeichnungen und Filmen aus den 1980er- und 1990er-Jahren und seinen neuesten Arbeiten herzustellen, wie beispielsweise Elemente aus der im Sommer 2018 an der Tate Modern in London uraufgeführten Inszenierung „The Head & The Load“. Hier greift Kentridge die wenig erforschte Rolle Afrikas im Ersten Weltkrieg auf und realisiert mit Filmprojektionen, Schattenspielen und einem Ensemble eine raumeinnehmende Prozession, die sich einer gängigen Genrezuweisung verweigert. Text: Sébastien Delot, Eva Falge, Josef Helfenstein, Ute Holl, William Kentridge, Leora Maltz-Leca
For more than three decades, artist William Kentridge has explored in his work
the nature of subjectivity, the possibilities of revolution, the
Enlightenment's legacy in Africa, and the nature of time itself. At the same
time, his creative work has stretched the boundaries of the very media he
employs. Though his pieces have allowed viewers to encounter the traditions of
landscape and self-portraiture, the limits of representation and the
possibilities for animated drawing, and the labor of art, no guide to
understanding the full scope of his art has been available until now. For five
days, Kentridge sat with Rosalind C. Morris to talk about his work. The result
--That Which Is Not Drawn--is a wide-ranging conversation and deep
investigation into the artist's techniques and into the psychic and
philosophical underpinnings of his body of work. In these pages, Kentridge
explains the key concerns of his art, including the virtues of bastardy, the
ethics of provisionality, the nature of translation and the activity of the
viewer. And together, Kentridge and Morris trace the migration of images
across his works and consider the possibilities for a revolutionary art that
remains committed to its own Transformation.
NO IT IS ! wurde von Kentridge als Künstlerbuch entwickelt. Es enthält neben eigenen Texten neue kalligrafische Blätter und erzählt aus erster Hand die Entstehungsgeschichte der gezeigten Werke. Zugleich vereint das Buch alle wichtigen Werkgruppen und großen Installationen seit 1989. Durch eine implementierte App lassen sich zu vielen der Abbildungen bewegte Bilder abspielen. ***** This artist’s book incorporates a libretto for a performed guided tour of the exhibition — a performance which is both a guide to the exhibition and an exhibit within it — and writings by or conversations with Kentridge about the two projects.
