Image of Caged Hand in Darkness Reaching for Light Art

"I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures an uncertain ending - an art (and a politics) in which optimism is kept in cheque, and nihilism at bay."

1 of eighteen

"To say that ane needs fine art, or politics, that incorporate ambivalence and contradiction is not to say that one and then stops recognizing and condemning things as evil. However, it might stop i existence so utterly convinced of the certainty of one'south ain solutions. There needs to be a stiff understanding of fallibility and how the very act of certainty or authoritativeness can bring disasters."

2 of xviii

"When I went to art school, the thought was that if y'all were going to be an creative person, you had to paint with oil paints on canvas. I discovered I was very bad at that, so it was an enormous relief to discover that in that location already existed a stiff tradition of cartoon as a chief medium of fine art-making."

3 of 18

"I am only an creative person, my job is to make drawings not to make sense."

4 of xviii

"The absurd, with its rupture of rationality - of conventional ways of seeing the earth - is in fact an accurate and a productive way of understanding the world."

5 of 18

"Information technology'southward always been in between the things I thought I was doing that the real work has happened."

vi of eighteen

"Forgetting is natural, remembering is the effort ane makes."

7 of 18

"To say that making art is a conversation betwixt the maker and the paper is to oversimplify - it is a series of attractions and repulsions that may brainstorm with intention and stop with assay just the existent meaning (the truth of the work) I arrived at in the processes and moments of making."

8 of xviii

"The drawings don't start with 'a beautiful mark.' Information technology has to be a mark of something out there in the globe. It doesn't have to exist an accurate cartoon, but information technology has to represent an observation, non something that is abstract, like an emotion."

ix of 18

"The theme and the image come together, where the world meets the deed of drawing halfway."

ten of 18

"The studio is filled with possibilities and objects waiting to come into existence. One could think of the studio in that sense as a kind of enlarged head, in the same mode you have an thought sparking from i synapse to the adjacent."

xi of 18

"There'due south a nostalgia built into the style the world works now. Technology has go more and more invisible. We are at present more than ever before continued by lines of communication. They are all invisible."

12 of eighteen

"The work is an invitation to the visitor to run across if they can notice points of connection that overlap betwixt their memory, their experiences and desires, and what they encounter on the screen and hear. Information technology'due south non as if the piece is an emotional journeying plotted for an audience. That requires a pessimism in thinking on behalf of other people. And a noesis of knowing who other people are. Neither of those things I would claim."

xiii of eighteen

"I started using quondam newspapers and books every bit scrap paper because it is cheaper, y'all don't have to take care whether I spoil it or not and these papers accept already a wonderful texture, I don't take to prepare the surface. The machines are as well a transformation of the drawings in my films and collage work. It all has to do with transformation and metamorphosis."

14 of 18

"Virtually children depict. I merely forgot to stop."

15 of 18

"I have a strategy for never writing a script nor a storyboard or a proposal. The piece comes out of the physical process. If y'all've got too clear a mind, there's no infinite for peripheral thinking."

16 of 18

"There is a desperation in all certainty. The category of political doubtfulness, philosophical dubiety, dubiousness of images is much closer to how the world is."

17 of xviii

"One can always write ones biography in the terms of the failures which have saved y'all."

xviii of 18

Summary of William Kentridge

William Kentridge stands assured as an exciting visual creative person, a profound philosopher, and a subtle symbol for peace. He e'er wears a crisp white shirt and quotes the angelic Reverend Desmond Tutu - a person with compassionate awareness of man fallibility from the self outwards - as i of his greatest influences. Born, raised, and still living today at the middle of Johannesburg, South Africa, Kentridge'southward identity is intrinsically bound within the complex history and injustices of his homeland. To say that he is primarily a political artist all the same is in many means a misleading starting betoken from which to consider Kentridge's practice. As a human who cares deeply and one who is connected to his environs, current and contemporary happenings do announced in the creative person'southward work and these can include incidents of violence, racial prejudice, and traces of the apartheid organization.

Overall, Kentridge's tendencies towards poetic, philosophical, and theatrical means of thinking are all stronger than any specific political mindset. Recurrent themes are timeless and universal; these include an interest in self, in relationships, in fourth dimension, and in the bike of life. Indeed Kentridge is and so determined to mimic the "real" experience of being human that he moves fluidly between, and combines many dissimilar genres, of fine art. He uses drawing, printmaking, film, and functioning and collages these unlike fragments of media together looking to achieve a more honest depiction of human experience than any sort of singular, linear, and tightly framed version of art. People are presented as uncertain, divided and chaotic, living in a world with much the same characteristics. Kentridge consistently well illustrates that any overarching view of life is likely not-sensical and impossible to follow, but interesting to consider nonetheless.

Accomplishments

• As a characteristically philosophical artist, Kentridge constantly reflects on the unanswerable question of what it means to be human. Starting with rigorous personal interrogation - frequently in the form of self-portraits - he successfully gives insight to a shared human story and recognises the importance of returning to ane's origins in club to practise and so. Every bit such the artist uses basic charcoal as his primary medium and ever holds onto the childhood impulse to depict.
• Typically sombre and relatively nighttime in mood, Kentridge'due south work is rooted in the Expressionist tradition and recalls images past the likes of Käthe Kollwitz and Francis Salary. For Kentridge still, the tragedy of the man condition, inevitably parading towards decease, is often balanced past some attribute of humour. Indeed more and more than in contempo stage works, slapstick comedy becomes an important part of the creative person'southward do, comparable to the likes of Charlie Chaplin and Buster Keaton.
• Kentridge quotes that he learnt more from his time studying mimic and mime in a Paris theatre school than he ever did at art school. He thus reveals his influence base of operations to exist extremely varied: moving betwixt actors, artists, philosophers, writers, scientists, and spiritual teachers. He successfully combines all of these inspirations to reveal that he is interested in getting to the bare basics and bolts of an idea, by whichever multi-media technique necessary.
• Although highly intelligent, Kentridge is determined that it is his trunk that leads his do. He says that he always encourages "the hand to lead the brain", and that overall his work is a physical undertaking. Once more this corresponds to the artist'south dearest for theatre and move on stage, but also to his lifelong involvement in Dada, the grouping of High german and French artists who successfully combined works on newspaper with trip the light fantastic and comedic action. Kentridge fifty-fifty sees his own studio as a sort of extension of his own trunk, comparing a walk across ane part of the room to another as a similar journeying from 1 synapse in the brain to another.

Biography of William Kentridge

In a way, Kentridge transcends his own time. Every bit art critic Jonathan Jones one time said: "His melancholy carnival of an exhibition is the virtually convincing endeavor I have seen past an creative person of this century to meditate on the history of the last."

Important Art past William Kentridge

Progression of Art

1990

Arc/Procession: Develop, Catch Up, Even Surpass

A motley crew of mysterious figures move backwards from right to left across Kentridge's large, fatigued curvation. Various characters can be seen, including South African miners wearing head torches, a wounded man on a crutch and a suited man shouting into a large megaphone. In the centre, a man in a suit exposes his bare breast with outstretched arms as if offer himself up for sacrifice. At that place is probable a reference here to Goya's The Third of May 1808 (1814) painting, and ane wonders if this is the effigy of the artist, of Kentridge himself. At his feet a hyena prowls below, mirroring the young hyena strapped to the human being'southward back behind him. Though generally monochrome, small touches of blueish drain through as though sprinkles of water falling from showers overhead. Overall, there is a sense that Kentridge reveals art historical influences hither - Goya, Dürer, and Picasso - whilst at the same fourth dimension, using an curvation of newspaper, makes an interesting early on link to the roll of moving picture.

Kentridge made this cartoon before his piece of work was particularly well known, equally one of many charcoal drawings in a series that explore the political unrest in his home of S Africa under apartheid rule. In excerpts of subconscious text, underlying political content slowly reveals itself - the words "Develop", "Catch up" and "Even Surpass" run from left to right. These words were lifted from a text on the downfall of anti-colonial leader Haile Selassi, former emperor of Ethiopia; as he struggled to maintain power, Selassi's staff called for Ethiopia to "develop, catch upwards, even surpass" Western, capitalist society.

Interestingly though, Kentridge criticises the damaging effects of trying to impose a supposedly superior, colonial civilization onto South Africa. The idealistic slogans run from left to right, in opposition to the figures, who seem to be going culturally backwards from right to left, towards a arid wasteland, rather than progressing forwards every bit hoped. The drawing has a sardonic quality akin to the acerbic social commentaries produced by William Hogarth and afterward George Grosz, both important early on influences for Kentridge. The work also satirises the form of the classical triumphal arch, congenital to commemorate the material achievements of Roman armies acquired past violent victories. Author Michael Rothberg reflects on Kentridge's subversion: "Kentridge'due south cryptic and decidedly non-triumphalist procession all the same involves not purple booty, simply rather the detritus of the dispossessed."

Charcoal and Pastel on Newspaper - Collection of the Tate, U.k.

1994

Felix in Exile

This moving-picture show even so is taken from a brusk animated film, made from twoscore drawings by Kentridge, featuring music past Kentridge's long-term collaborators Phillip Miller and Motsumi Makhene. The central 2 characters, seen here, are Felix Teitelbaum, an artist, and Nandi, an African woman who documents the violence and massacres happening effectually her in Southward Africa with diverse art forms. Every bit the film progresses, Felix emerges as a humanitarian character lamenting the evidence presented by Nandi'south documentation in a lonely hotel room. The 2 characters detect one some other, in a two-way mirror, and then through a double-ended telescope, seen in this epitome, earlier Nandi is shot and falls away from view, as an epic, Biblical overflowing of blueish water drowns Felix's hotel room.

Kentridge says, "Felix in Exile was made at the fourth dimension simply before the commencement general ballot in South Africa, and questioned the way in which the people who had died on the journey to this new dispensation would be remembered." In drawing attention to the character of Nandi, Kentridge highlights the importance of preservation, facing up to the realities of racist colonial rule as an endeavor to forbid such future occurrences, arguing, "There's a question of people disappearing, of retention disappearing, and how do we hang on to things that we should feel so strongly, but which become weaker and weaker with time?" Kentridge highlights the important role his film also plays in this process, revealing the factual data included: "This flick uses a lot of images, which are really forensic photographs of people who died ... in the sew together to the ballot." The flood which consumes and concludes the film could be read as a mass tears shed in collective hurting and grief, however there is also a shred of hope, with the Biblical alluvion offer up the gamble to begin again.

35mm Film - Drove of the Tate, Britain

1997

Sleeper - Red

Amongst a searing sea of claret ruddy, a naked human being stretches out before us, slumped onto a hard, wooden demote. The figure's trunk is serene and relaxed, as if blissfully unaware of the drama around him. In many of his drawings, etchings and blithe films Kentridge explores the keepsake of the recumbent sleeping male person figure. Every bit action rages outside, there is always the sense that there is a private and hidden theatre unfolding in the mind of the individual.

Primal to Kentridge'south practice are ideas effectually remembrance, specially in relation to difficult, painful experiences from the by. The sleeping male figure is a powerful symbol for our latent human being desire to forget; in Kentridge'due south globe, if a figure is sleeping, they could be in a state of ignorance and deprival. More than specifically, in linking the concepts of sleep and denial, Kentridge may be addressing the latent guilt prevalent in white S African society over their horrific abuse and exploitation of African people. As Kentridge often points out in his films however, a moment of awakening must occur eventually, withal challenging, in order for lodge to move forward and progress towards acceptance and peace. Furthermore, there is besides the possibility that Kentridge associates the mode of sleeping as the time in-between consciousness and unconsciousness when the artist may receive good ideas. Far from a negative land, sleep could be equated with the "open field" that Kentridge highlights as important, the moment in life when in that location is no clear programme and ideas tin can really grow and develop.

The figure seen here is remarkably similar to some other character who appears in some of Kentridge'due south films chosen Ubu, a symbol for apartheid, who appeared in the film Ubu Tells the Truth, (1997) and a suite of etchings of the aforementioned title. The painting also makes clear reference to Kentridge's early on interest and love for the work of British painter, Francis Bacon. Kentridge'southward roots as an artist are here revealed as adult from the linage of highly charged expressionist works, starting with the likes of Francisco Goya, and moving through to the brilliant and challenging smeared and writhing scenes of George Grosz and Francis Bacon.

Carving, Aquatint and Drypoint on Paper - Collection of the Tate, Britain

2008

I am not me, the horse is not mine

This however photo documents Kentridge's moving-picture show installation I am not me, the horse is not mine, comprised of 8, 6 minute projections played simultaneously in the same space on a continuous loop. The films were made in the build up to Kentridge's operatic production of The Nose, a reworking of Shostakovich'south famous, absurdist satire in which a bureaucrat's nose leaves his face for a new life, refusing to return.

The titles of the eight films are: His Majesty Comrade Nose, Prayers of Apology, A Lifetime of Enthusiasm, State Dances I (Shadow), State Dances II (Paper), The Ridiculous Blank Space Again (A 1 Infinitesimal Honey Story), Commissariat for Enlightenment and The Horse is not Mine. Each film retells, or re-imagines aspects of the original story through experimental, nonsensical elements of animation, shadow puppetry and drama, set up to a soundtrack past composer Phillip Miller, Kentridge's long-time collaborator.

Kentridge conceived these films every bit a series of homages to Shostakovich, and the entire Russian avant-garde era he belonged to, with its playful spirit of hazard, particularly referencing Soviet moving picture making from the 1920s and 30s, as well as the Constructivist geometry of El Lissitsky. Nonetheless he also draws attention to the Russian avant-garde'due south untimely demise, a vision of utopia that had a spectacular fall from grace, describing the works as, "...an elegy ... for the formal artistic language that was crushed in the 1930s and for the possibility of human transformation that so many hoped for and believed in, in the revolution." Again this is an case of that big dramatic thought causing chaos, and a call to look more to the margins for "the less expert idea" and thus a more stable club.

Video, eight Projections, Colour and Sound - Collection of the Tate, Britain

2013

2d Hand Reading

Second Manus Reading is an animated short film Kentridge made past drawing on the pages of the Shorter Oxford English language Lexicon, which plough as the film progresses through time. As a narrative unfolds, Kentridge appears as a drawn grapheme in his trademark white shirt and blackness trousers, wandering aimlessly through the book with hands in pockets every bit birds, trees, and typewriters are fatigued, rubbed out and torn up as if bringing the book'south content into three dimensional life before dissolving information technology back into the text. The moving picture is accompanied by a melancholy, emotive soundtrack from Southward African musician Neo Muyanga.

This work is one of a serial in which quondam books get '2nd-paw' when filmed and transformed into a new, non-linear narrative. Much like Max Ernst'south Surrealist collages in Une Semaine du Bonte (1934), this film takes an object from the rational globe of reason and transforms it into the casuistic and absurd, highlighting the importance of play, experimentation and the chance of failure in the creative process. Kentridge refers to these actions as, "taking sense and deconstructing it, taking nonsense and seeing sense can be constructed from it ... This leads to the question of mistranslation, and the pressure that imperfect understanding gives to the human activity of imagination."

His allure to second manus books began around this time and continues today, as a mode of reworking something that is dying out by breathing new life into information technology, as he explains, "There'southward the sense of the finish of an era for these physical repositories of knowledge, and (the volume) becomes, now, like mind - completely abstract, immaterial substance." The book is likewise a tactile and highly sensual object to behold much to the contrast of much digital media created today. Furthermore, by drawing himself inside a volume, Kentridge marries the honey of marking marking with the ongoing quest and thirst for learning. He rightly re-situates the artist as an intellectual and realigns and reminds the viewer of the importance of the mind and trunk relationship.

Flipbook Film from Drawings on Single Pages of the Shorter Oxford English Lexicon, HD Video, Colour, Sound

2013

The Shrapnel in the Woods

A kleptomaniacal, dry quondam tree sprawls outwards with a circuitous network of branches amid a barren, abandoned mural, seeming to bristle and crack under the weight of its own history. Drawn with Indian ink, Kentridge's scene sits on a grid-like system of pages ripped from an edition of Crabb's Universal Technological Dictionary printed in 1826.

This work is one in a series of ink drawings featuring large, indigenous Southward African trees drawn in Indian ink onto found, encyclopaedic pages. Kentridge links the lineage of these drawings back to his babyhood. When he was a immature male child, his begetter talked of working on Nelson Mandela's "Treason Trials", which the four year old Kentridge had heard as "the copse and tiles", making him think of the trees in his garden and the tiles on his family unit table-top; hence when he draws trees, they are put together in a tile formation. Kentridge also derived the championship of this cartoon, "The Shrapnel in the Trees", from a phrase in High german forestry, relating to shrapnel from explosives left behind in forests after World War II bombings.

In cartoon attention to hidden meanings beneath the apparently picturesque surface, Kentridge highlights the ways social and political history infiltrates into all aspects of our daily lives, equally writer Margaret Koster Koerner points out, "Trees of the noesis of skilful and evil, neither they nor the woods they inhabit is innocent."

Equally with many of his artworks Kentridge also emphasises the importance of process in this work, composed of separate tiles that are worked individually and collectively in a push-pull process of discovery akin to the natural growth of a real tree, as Koerner points out, "Patching the pages together, the artist shifted, layered, tore, and added ink-marked pages, with the idea that before a affair as complex as a tree, an creative person does better to evoke than to re-create." Ultimately in his tree series, Kentridge is quilting together so many aspects of history, some intrinsic to his ain family, and others experienced in faraway lands. As the artist has always expressed, he feels that the most fitting way to present multi-layered homo experience - with views to the past, in the nowadays and also to the time to come - is to laurels the fragmentary nature of the experience past using the disparate method of collage, albeit of his own variety.

Indian Ink on Crabb's Universal Technological Dictionary, 1826 - Marian Goodman Gallery, New York

2015

More Sweetly Play the Trip the light fantastic toe

In one of his most ambitiously scaled projects, this 8-screen moving picture installation presents a moving pageant of figures every bit they march towards an unknown fate, to the sound of a trumpeting contumely band (with the pageant quality making reference to much earlier works). In a similar fashion to the cut-outs of Kara Walker, Kentridge's characters appear as faceless silhouettes before united states, with merely the possessions they carry giving u.s.a. clues on their identity; some pull along intravenous drips suggesting chronic illness, others acquit enigmatic objects including bird cages and classical busts, while others wave victorious flags into the wind or hold upwards funereal lilies.

In contrast with his earlier work, which at times directly addressed South African apartheid, in more recent works Kentridge has widened his field of study matter to comprehend more cryptic territory relating to themes of displacement or marginalisation, no matter where this may be. He writes, "My business organization has been both with the existential solitude of the walker, and with social solitude - lines of people walking in single file from i country to another, from one life to an unknown futurity." In light of the recent refugee crisis, this piece of work has taken on greater poignancy, suggestive of the many thousands who accept had to flee from their home country into new, unfamiliar territory.

The work also makes reference to the medieval danse macabre, a literary, pictorial, or theatrical representation of a procession or dance where living and expressionless figures from all walks of life are led in a morbid trip the light fantastic toe together towards the grave, revealing death to be a bang-up leveller that comes for u.s. all in the stop. At that place is also the suggestion that these figures could be ghostly spectres from the past, whose lives were marred past injustice, serving every bit a reminder of the struggle then many have faced and lost. Whilst the light seedling seemed to recur equally an important motif in Kentridge'south earlier work, the megaphone appears more often in contempo pieces, both constructed every bit art and really, as a prop in stage productions. Indeed, Kentridge has ever been interested in emblematic and symbolic objects. It seems that both the lite bulb and the megaphone have developed particular weight and meaning for the artist. This is a personal language then without Kentridge'due south direct translation nosotros can only speculate that the low-cal seedling, often nowadays in early on works represented a fourth dimension of generating and collating ideas, whereas the megaphone, now used regularly, is a sign that the artist is fix to speak and disseminate his ideas.

viii Channel Video Installation with four Megaphones, Sound - Marian Goodman Gallery, New York

2017

Drawings for 'The Head and the Load'

In this serial of monochrome drawings we see an array of menacing insects including wasps, scorpions, mosquitoes, and fleas, all drawn in Kentridge's signature charcoal onto the pages of a second-mitt volume. When scaled upward larger than life and softly rendered in rich black and white tones they have on a foreign, grotesque form of beauty, yet we are also forced to consider the misery and uncontrollable disease such tiny creatures tin cause.

Kentridge made these drawings equally role of his aggressive commission, The Head and The Load for 14-18 NOW, a Great britain based programme commemorating the Kickoff World War's centenary. He chose to heighten awareness of the plight faced by millions of African porters and carriers who served in British, French, and German forces during the Starting time World War by producing a dramatic stage production at Tate Modern's Turbine Hall. The prove featured elements of film, projected drawing, music, mechanised sculptures and shadow puppets, all brought together every bit a series of complex and multi-layered performances, described by writer Juliet Hindell as, "as much a living sculpture as a traditional play."

Information technology was Kentridge's friend and long-time collaborator, South African TV and flick director Catherine Meyburgh who suggested Kentridge include the images of insects seen here every bit a role of this project, which when projected onto theatrical backdrops on a 40 pes high scale, highlight just 1 function of the overwhelming malaise that the enlisted porters endured daily; every bit strong men forgotten past history enduringly carried equipment and supplies, these seemingly tiny and insignificant creatures sadly carried the diseases that could kill them.

Kentridge lifted his championship for the bear witness from a Ghanaian proverb "the head and the load are troubles for the neck", drawing attention to the vital role these unsung heroes played, through performing arduous, countless, Sisyphean efforts. Hindell writes, "...this prove expands, in both form and content, the horizons of what a performance can embrace." The piece of work is at one time beautiful, muli-layered, and ambiguous, too equally connected to a particular moment of human being suffering, a typical bloodshot Kentridge recipe.

Charcoal on Found Pages - Marian Goodman Gallery, New York

Similar Fine art

Influences and Connections

Influences on Creative person

Influenced by Creative person

• Catherine Meyburgh

• Phillip Miller

• Motsumi Makhene

• Tacita Dean

• Katy Dove

• Luke Fowler

• Wayne Barker

• Hasan and Husain Essop

• 

  Performance Art

• 

  Contemporary Art

Useful Resources on William Kentridge

Books

websites

articles

video clips

Books

The books and articles below constitute a bibliography of the sources used in the writing of this folio. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the cyberspace.

biography

• William Kentridge: Process every bit Metaphor and Other Doubtful Enterprises Our Option

  By Leora Maltz-leca

• William Kentridge: Fortuna

  By Lilian Tone

• William Kentridge: Five Themes Our Pick

  By Mark Rosenthal, Michael Auping, Carolyn Christov-barkargiev, Rudolf Frieling

• William Kentridge: WEIGHING...AND WANTING

  By Hugh Davies and Leah Ollman

• William Kentridge: Repeat-from the Beginning Our Pick

  By Francesca Pasini;Janet Taylor, Angela Vettese, William Kentridge

• William Kentridge (Supercontemporanea)

  Past Andrea Lissoni, Francesco Bonami

• William Kentridge: Flute

  By Bronwyn and Law-Viljoen

• William Kentridge: Tate Modernistic Artists

  By Kate McCrickard

• William Kentridge: The Refusal of Time

  By Peter Galison, Catherine Meyburgh, Philip Miller and William Kentridge

written by artist

• Six Drawing Lessons (The Charles Eliot Norton Lectures)

  By William Kentridge

• Thinking Aloud: Conversations with Angela Breidbach

  By William Kentridge

• 2nd Mitt Reading

  By William Kentridge

artworks

• William Kentridge: Tapestries

  By William Kentridge, Carlos Basualdo, Gabriele Guercio, Okwui Enwezor, Ivan Vladislavic

• William Kentridge: Trace: Prints from The Museum of Modern Art

  By Judith B. Hecker

• William Kentridge: Streets of the City

  Past Lia Rumma and Achille Bonito Pliva

• William Kentridge: Carnets D'Egypte

  By Marie-Laure Bernadac

• William Kentridge: Thick Time

  By Iwona Blazwick, Sabine Breitwieser

• William Kentridge: No, it is

  Martin-Gropius-Bau, Berlin

articles

• William Kentridge: love and propaganda on a trip through the stars

  By Jonathan Jones / The Guardian / Sept 21 2016

• William Kentridge: The Refusal of Time - interview

  By Andrew Frost / The Guardian / February 21 2014

• William Kentridge: The New Museum, New York, USA

  By Jenni Sorkin / Frieze Magazine / Nov 11 2001

• Swords Drawn: William Kentridge

  By Okwui Enwezor / Frieze Mag / March iii 1998

• Frieze London Special: In chat with William Kentridge

  By Anna Wallace-Thompson / Frieze Mag

• William Kentridge

  By Rosetta Brooks / Artforum Mag / April 1998

• William Kentridge in Conversation

  Past Keli-Safia Maksud / Ocula Magazine / June 1 2018

• William Kentridge - Instructions on making sense of the earth Our Option

  By Kerri von Geusau / TL Magazine / Jan xix, 2019

• William Kentridge: Drawing Has its Own Retentiveness

  Past Kate McCrickard / Art in Print Magazine / Book 6, Number 5

• William Kentridge Tackles the History of Apartheid and Colonialism in His Latest Production

  Past Julie Belcove / The Wall Street Journal / Dec. 4, 2018

• Opera and politics: William Kentridge and the art of allegory

  By Michele Chan / Art Radar Journal / July 7 2015

• William Kentridge: the boorishness of the 'Groovy War' told through an African lens

  By Michael Godby / The Conversation / November v, 2018

• Lines of Resistance: William Kentridge'southward crude magic Our Pick

  By Calvin Tomkins / The New Yorker / Jan 10, 2010

• The Pages of a Mind: Interview with William Kentridge

  By Brian Boucher / Art in America Magazine / Sep 17, 2013

• Failing Amend: William Kentridge'southward Drawing Lessons Our Option

  By Harry Swartz-Turfle / Hyperallergenic Mag / April viii, 2010

• Nosing Around in Many, Many Forms

  By Jori Finkel / The New York Times / March 10, 2009

• Cinematic Drawing in a Digital Age

  Past Ed Krčma / Tate Papers / Autumn 2010

• William Kentridge Interview: 'Ane needs sometimes to testify the power of the irrational world equally a sit-in of the limits of the rational world'

  Past Natasha Kurchanova / Studio International Magazine / December xi 2017

• William Kentridge: Fortuna by Nell McClister

  By Nell McClister / Bomb Magazine / Jan ane, 2014

• William Kentridge's new exhibition is a powerful reflection on man and machine

  By Sleek Squad / Sleek Magazine / June 27 2018

• The Caput and the Load Is a Kaleidoscopic Tour of Africa's Colonial History

  Past Josephine Livingstone / New Democracy Magazine / December seven, 2018

video clips

• William Kentridge - 'Fine art Must Defend the Uncertain', TateShots: William Kentridge's studio in Johannesburg is a 'vital physical and psychic space' where he conceives and develops his ambitious projects and artworks. Published on 20 April 2018 Our Choice

• Southward Africa'south Picasso: William Kentridge | Vivid Ideas Ep. 41, Bloomberg, Nov 28 2016

• The artistic process of a master creative person: William Kentridge, TEDx Johannesburg Salon, Nov 15 2016

• William Kentridge on his Blitheness Process, San Francisco Museum of Modern Art, Jun 30 2010

• William Kentridge Interview: How We Make Sense of the World, Louisiana Channel, Oct ane 2014

• William Kentridge Interview: Reduced to Being an Artist, Louisiana Channel. Meet South African artist William Kentridge in this extensive and humorous reflection upon life and his relationship with art, Jul 12 2016

• Artist William Kentridge, Fine art Gallery of NSW. Hear from one of the nigh powerful voices in art - William Kentridge in chat with the Art Gallery of New South Wales managing director Dr Michael Brand, Oct xi 2018

• William Kentridge Interview on 'The Refusal of Time', Louisiana Channel. How tin we get a hold of time with our body and mind? This question is the crux of South African artist William Kentridge's immersive installation 'The Refusal of Fourth dimension.' Bring together the artist for a detailed bout of his pulsing, breathtaking work. Published on xviii Apr 2017

• Conversation - William and Sir Sydney Kentridge. William Kentridge in conversation with his father, the esteemed lawyer Sir Sydney Kentridge at Haus der Kunst, Jun nineteen 2013

• Print Quarterly Platform: Paul Coldwell in conversation with William Kentridge, artslondoncamberwell. The renowned artist William Kentridge visited Camberwell to talk about his practice ahead of his evidence 'The Head at the Load'' at Tate Mod, 30 May 2018

Content compiled and written by Rosie Lesso

Edited and revised, with Summary and Accomplishments added past Rebecca Baillie

"William Kentridge Creative person Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Rosie Lesso
Edited and revised, with Summary and Accomplishments added by Rebecca Baillie
Available from:
Commencement published on 22 Jul 2019. Updated and modified regularly
[Accessed ]

goodwinplawn1995.blogspot.com

Source: https://www.theartstory.org/artist/kentridge-william/