Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Over the last 35 years, printmaking has been close to the center of the work I have done. Prints have never been a side journey or in the margins. When I started art school, painting on canvas was the norm and was what I spent my days doing, and I was miserable at it. Both miserable psychologically—trying to do it—and very bad at it. So it was an enormous relief (and pleasure) to suddenly discover the medium of etching. This was a medium in which it was legitimate to use no color, to work monochromatically. And having started etching I could move forward into drawing, specifically into drawing in charcoal, which I began a few years later as an extension of printmaking There have also been many projects that have ended up as either a piece of theater or an animated film which have their origins in printmaking." Excerpted from William Kentridge: Trace.
Edited with text by Ed Schad. Foreword by Joanne Heyler. Contributions by William Kentridge, Ann McCoy, Zakes Mda, Walter Murch.
Thirty-five years of South African artist William Kentridge’s dynamic, cross-genre art, with essays by Ann McCoy, Zakes Mda, and Ed Schad, a conversation between the artist and Walter Murch, and an unpublished lecture by Kentridge.
Hbk, 8.25 x 10.5 in. / 288 pgs / 250 color / 50 bw. | 12/20/2022 | In stock $65.00
Edited by Oliver Barstow, Bronwyn Law-Viljoen. Introduction by Bronwyn Law-Viljoen. Text by Alexandra Dodd, Mpho Matsipa, Zen Marie, Jonathan Cane, Mark Gevisser. Interviews by Oliver Barstow. Photographs by John Hodgkiss, Ben Law-Viljoen, Alistair McLachlan.
Slip Pbk, 7.75 x 11.75 in. / 123 pgs / 123 color. | 3/31/2012 | Not available $50.00
Published by Steidl. Edited with text by Warren Siebrits.
William Kentridge (born 1955) has been creating poignant, clever and visually arresting works across a variety of mediums for more than five decades. This book focuses on his long-standing relationships with printmaking and poster design. Over the past three years, South African scholar Warren Siebrits began compiling a five-volume catalogue raisonné of Kentridge’s prints and posters. In this first volume, focusing on graphics produced between 1974 and 1990, Siebrits presents the artist’s earliest forays into linocut, etching and monotype printing, to name but a few. While for many artists printmaking is informed by their work in what have historically been considered more valuable mediums such as painting and drawing, Siebrits emphasizes that Kentridge’s process has been quite the opposite. This intensive look at Kentridge first and foremost as a printmaker is thus crucial for a comprehensive understanding of his diverse and influential oeuvre. The chronology of the prints and posters helps reestablish many lost and obscure tributaries that will prove invaluable for following Kentridge’s trajectory.
Published by Royal Academy of Arts. Text by Stephen Clingman, Adrian Locke, Rose Thompson.
The South African artist William Kentridge is internationally renowned for the expressionism of his work in numerous mediums, among them charcoal, printmaking, sculpture and film, as well as his acclaimed theatrical and operatic productions. As elusive as it is allusive, Kentridge’s art is shaped by apartheid and grounded in the politics of the post-apartheid era, and in science, literature and history, while always maintaining space for contradiction and uncertainty. This volume presents early drawings and etchings from Ubu Tells the Truth; stills from Johannesburg, 2nd Greatest City after Paris and other films; six tapestry works; various drawing series, including Kentridge’s drawings of trees on various supports; a model theater; and more. These are punctuated by six meditations on the exhibition’s themes by Stephen Clingman: Drawn through Time; The Enigmas of Soho; Shadows of the Past, Shadows of the Present; Dualities, or How I Did Not Become; Timespaces, or Two Dancers; and Coda: Vanishings. Along the way, thought-collages, allusions and assemblages come together to create a connective, dimensional way of thinking inspired by Kentridge’s own habits of creation.
Published by DelMonico Books/The Broad. Edited with text by Ed Schad. Foreword by Joanne Heyler. Contributions by William Kentridge, Ann McCoy, Zakes Mda, Walter Murch.
This far-reaching book presents Kentridge’s dynamic art practice, which originates in charcoal drawing and expands into intersections with film, sculpture, opera and theater performances, printmaking and many other mediums. The volume is organized chronologically and thematically, emphasizing Kentridge’s destabilizing of South African and global narratives through openness to uncertainty, the generative power of the artist’s studio and perpetual change, all as conditions for illuminating repressed and silenced voices in historical records. An essay by curator Ed Schad is presented along with studio photography, archival material and illuminating illustrations of Kentridge’s work, joining essays by globally recognized literary figures and thinkers Zakes Mda and Ann McCoy. Notably, the volume features a conversation between Kentridge and the famous film and sound editor Walter Murch, as well as a never-before-published lecture by the artist. The work of William Kentridge (born 1955) has been seen in museums and galleries around the world since the 1990s, including the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia museum in Madrid, the Kunstmuseum in Basel and Zeitz MOCAA and the Norval Foundation in Cape Town. Opera productions include Mozart’s The Magic Flute, Shostakovich’s The Nose and Alban Berg’s operas Lulu and Wozzeck. In 2016 Kentridge founded the Centre for Less Good Idea in Johannesburg, a space for responsive thinking and making through experimental, collaborative and cross-disciplinary art practices. The center hosts an ongoing program of workshops, public performances and mentorship activities.
Published by Steidl. Text by William Kentridge, Warren Siebrits.
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 Scenes provides 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.
Published by Walther König, Köln. Edited by Anne McIlleron. Text by William Kentridge.
This volume publishes the libretto of William Kentridge’s (born 1955) 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. The images and phrases were projected on variously sized screens in the opera, sometimes in sync with the sung text, sometimes independent of any sung text. In the opera production, the right-hand page generally featured text, and the left-hand page a mixture of drawings and the shadow of a dancer cast onto its surface.
William Kentridge: Waiting for the Sibyl includes more and different drawings than are used in the opera. This book is compiled and published in the time of the COVID-19 pandemic, i.e. during a time in which it is not possible to perform the opera live. It is therefore undertaken in anticipation of the time when the opera can be seen in its full form.
Published by Walther König, Köln. Text by David Freedberg, Karel Nel.
Covering 40 years of South African artist William Kentridge's (born 1955) internationally acclaimed production in drawing, stop-frame animation, video, prints, sculpture, tapestry and large-scale installation, Why Should I Hesitate stands as a definitive statement on his vast oeuvre. This deluxe production, published in an edition of 1,800 copies, is comprised of two slipcased volumes with a unique print in lapis lazuli, each copy stamped and numbered.
The title references Kentridge’s primary practice of drawing and how this core activity informs and enables his studio practice. It also references the impact of individual action on history and the reverse—how history shapes the contemporary and the future—and serves as a commentary on various shifting hegemonies of power politics, economies, language and the authority to narrate history.
Published by Walther König, Köln. Edited with text by Sébastien Delot, Josef Helfenstein. Text by Eva Falge, Ute Holl, William Kentridge, Leora Maltz-Leca.
In more than three decades, William Kentridge (born 1955) has produced an oeuvre spanning diverse mediums including animated film, drawings, prints and rare books, stage production and sculpture. 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.
Included here are the first presentations of The Head & The Load, which premiered at the Tate Modern, London, in the summer of 2018. An extravagant production involving film projections, shadow play and an ensemble of performers, the sprawling procession, which defied conventional genre boundaries, shed light on a neglected chapter of history: Africa's role in World War I.
Published by Kerber. Edited with text by Vinzenz Brinkmann, Kristin Schrader. Text by Michaela Ott, Oliver Primavesi.
In this book, the works of William Kentridge (born 1955) enter into dialogue with the grand narratives of civilization, based on the sculpture collection of Frankfurt's Liebieghaus, which spans 5,000 years, forming a quasi-fictitious guide to the collection.
Published by Walther König, Köln. Edited with an introduction by Carlos Basualdo. Foreword by Federica Galloni. Text by Gabriele Guercio, Salvatore Settis.
Triumphs and Laments celebrates William Kentridge’s (born 1955) monumental frieze, drawn along the banks of the Tiber River in Rome, as well as the performance which inaugurated it. This reprint of Kentridge’s artist’s book serves as an illustrated guide to one of his most memorable and ambitious projects. Designed with the early Baedekers in mind, it acts as an essential component to viewing Kentridge’s erased-graffiti figures and to understanding the process of their creation. Gatefolds, a poster and a leporello of the frieze are included. The texts, which include a conversation between the artist and Carlos Basualdo, as well as two essays by Salvatore Settis and Gabriele Guercio, explore the meaning of the work and its resonance with the millennia-long history of Rome.
Published by UCCA/Koenig Books/Marta and Cosentino.
To accompany William Kentridge's (born 1955) Notes Towards a Model Opera project in China, the artist's personal notebooks--filled with annotations, drawings and ideas--were meticulously reproduced in this eponymous publication to allow the reader into Kentridge's own thought process. With an in-depth profile of Kentridge by author Andrew Solomon, and essays by China art historian Alfreda Murck and UCCA director Philip Tinari, Notes Towards a Model Opera is a personal exploration of the layered meanings behind the aesthetics and ideals of socialist China as well as an exploration of the artist himself.
Published by Whitechapel Gallery. Edited with text by Iwona Blazwick. Text by Homi Bhabha, Sabine Breitwieser, Michael Juul Holm, Joseph Koerner, Denise Wendel.
William Kentridge (born 1955) is a beloved figure, heralded for his work in drawing, film animation, sculpture and performance. Published to accompany a major exhibition which tours to four venues in Europe, William Kentridge: Thick Time undertakes an overview of the artist’s recent works, focusing on a sequence of five key pieces dating from 2003 to 2015. These encompass three immersive audiovisual installations, including The Refusal of Time, selected works on paper, and ideas for theatre and opera design.
The fully illustrated monograph includes new critical writings on each of the works presented by venue curators Iwona Blazwick and Sabine Breitwieser; Michael Juul Holm, head of publications at Louisiana Museum of Modern Art; Harvard art historian Joseph Koerner; Denise Wendel, a writer interested in the relationship between art, theater and music; and influential Harvard postcolonial studies academic Homi Bhabha. The volume also features a selected exhibition history and bibliography.
William Kentridge was born in 1955 in Johannesburg, South Africa, where he continues to live and work. He is the recipient of several awards, including the Carnegie, and is represented by the Marian Goodman Gallery in New York. A major retrospective co-organized by the Hirshhorn Museum and Sculpture Garden; the New Museum of Contemporary Art, New York; and the Museum of Contemporary Art, Chicago recently toured the U.S. and appeared in Capetown, South Africa. In 2005 his production of The Magic Flute opened at La Monnaie opera house in Brussels, Belgium.
Homi Bhabha is a central figure in cultural studies and has been invited to to deliver lectures around the world at important institutions, including The University of London, England, whilst holding a more permanent position at the University of Chicago and Harvard University since 1997.
No It Is documents two recent major presentations of work by South African artist William Kentridge (born 1955): his exhibition at the Martin-Gropius-Bau in Berlin and his performances at the Berliner Festspiele in summer 2016. 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.
The exhibition includes early drawings, animated films, installations, large-scale projections such as More Sweetly Play the Dance and theatrical pieces ranging from Winterreise, an evening of Schubert lieder, collaborations with the Handspring Puppet Company and chamber opera. In the performance series, titled Drawing Lessons, Kentridge discusses his working methods and his political context, from the Apartheid era to the present.
Published by nai010 publishers. Text by Jaap Guldemond, William Kentridge.
The South African artist William Kentridge (born 1955) has achieved a worldwide reputation with his large, poetic and incisive installations. Over the last decades the versatile artist has developed a multidisciplinary way of working that combines film, animation, drawing, music and theater. Typical of his work are the powerful charcoal drawings that he turns into moving images. Kentridge's work explores the historically charged past of his native country. The artist is producing an impressive large-scale installation for EYE Filmmuseum in Amsterdam, to be shown on eight large screens and accompanied by a soundtrack of an African brass band. This publication of Kentridge's texts, sketches, set photographs and film stills lays bare the process by which this unusual project came into being and places it within the context of his oeuvre.
Published by RM/MUAC. Text by Amanda de la Garza, Néstor García Canclini, Lilian Tone.
South African artist William Kentridge (born 1955) has produced a body of work in which he traverses the boundaries of traditional media such as drawing, etching and stop-motion animation. Fortune surveys his exhibitions and projects from the Museo Universitario de Arte Contemporáneo (MUAC) in Mexico.
Published by Walther König, Köln. Edited with foreword and introduction by Sabine Schaschl. Text by William Kentridge, Jane Taylor.
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.
Secondhand Reading began life as a film constructed from a succession of drawings made by William Kentridge (born 1955) in 2013, on the pages of old books. Conceived as a kind of secondhand reading in which books are translated into a filming of books, it is both a narrative--it begins at the beginning and will eventually get to the end--and an acknowledgment of the necessity of repetition, inconsistency and the illogical. One of today's most preeminent and popular artists, Kentridge has made many flip books and book-length works that attest to his longstanding interest not only in film (he has been making animated films for two decades) but also in the relationship between drawing, photography and filmmaking. At 800 pages, Secondhand Reading is by far his most ambitious volume. An exquisitely produced publication, it boasts a robust French-fold dustjacket.
PUBLISHER Fourthwall Books
BOOK FORMAT Clth, 8 x 11 in. / 800 pgs / 800 color.
PUBLISHING STATUS Pub Date 10/31/2014 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 125
PRODUCT DETAILS ISBN 9780992226312TRADE List Price: $85.00 CDN $112.50
Published by Editions Xavier Barral. Introduction by William Kentridge. Text by Peter Galison, William Kentridge, Catherine Meyburgh, Philip Miller.
William Kentridge’s recent work is situated on the border between art and science: by examining our perception and understanding of time, he reconsiders the creative process. A work in progress in the truest sense, The Refusal of Time continues and deepens the polymorphic, dreamlike, political and humanist body of work developed by Kentridge from his very earliest days as an artist. An installation with performance elements, The Refusal of Time was conceived by Kentridge and science historian Peter Galison for Documenta 13, and realized in collaboration with video filmmaker Catherine Meyburgh and composer Philip Miller, both of whom worked with Kentridge and Galison for a year. Time in its various manifestations--narrative, fragmented, slowed down and speeded up; distortions of space-time; simultaneity--is explored through various media, including dance, film, music and spoken word. The book itself is a work of art; it includes sketches and notebooks, all the texts read during the performance, pictures from the rehearsals and workshop as well as highlights of the show, interviews and drawings created specially for it by Kentridge.
This comparative study of contemporary artists William Kentridge (born 1955) and Nalini Malani (born 1946) focuses on their use of the shadow play as a medium of memory. Independently of each other, both artists have deployed this centuries-old performative art form in works that are widely considered to be highpoints of their respective careers--works such as Kentridge’s installation The Refusal of Time and Malani’s video/shadow play In Search of Vanished Blood. Both artists belong to a generation whose experience is shaped by colonialism and decolonization; their works reflect on the long-term traces of historical trauma, partition and apartheid, always in aesthetically complex forms (rather than in documentary or agit-prop style). In creative dialogue with modernism and the historical avant-garde, they provide persuasive examples of a new negotiation between aesthetics, ethics and politics.
BOOK FORMAT Hardcover, 6.75 x 9.5 in. / 80 pgs / 32 color.
PUBLISHING STATUS Pub Date 9/10/2013 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 120
PRODUCT DETAILS ISBN 9788881588756TRADE List Price: $29.95 CDN $35.00
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. Combining a series of flipbook sequences, it includes self-portraits of the artist sitting down and standing up, contorting himself or dancing; text-based series; geometric blocks of color; and calligraphic renderings of trees that verge on abstraction. As with the artist’s previous book works, all of the drawings are executed on the pages of antiquarian publications, from manuals on photography and electricity, dictionaries and guides to polishing leather to Robert Burton’s Anatomy of Melancholy. Satisfyingly chunky at 560 pages, and limited to an edition of only 800 copies, No, It Is is the largest flipbook-style publication that Kentridge has yet undertaken.
PUBLISHER Fourthwall Books
BOOK FORMAT Hardcover, 6 x 7 in. / 560 pgs / 560 color / Ed of 800 copies.
PUBLISHING STATUS Pub Date 8/31/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2013 p. 122
PRODUCT DETAILS ISBN 9780987042903TRADE List Price: $65.00 CDN $75.00
Published by Hayward Gallery Publishing. Foreword by Roger Malbert. Text by Rosalind Krauss. Interview by Kate McCrickard.
South African artist William Kentridge (born 1955) is internationally acclaimed for his drawings, films, and theatre and opera productions. He is also an innovative and prolific printmaker--of etchings, engravings, aquatints, silkscreens, linocuts and lithographs--often experimenting with challenging formats and combinations of printing techniques to create highly worked, intensely atmospheric imagery. His prints range in scale from intimate etchings and drypoints to linocuts on rice paper and canvas measuring over eight feet high and are reproduced on a variety of materials, a tactile approach which is echoed in the design and production of this volume. This unique and beautifully presented book includes almost 100 prints from 1988 to the present, with a stress on experimental, collaborative and serial works. Kentridge’s distinctive use of light and shadow and silhouettes, his concern with memory and perspective, and his absorption in literary texts are all strongly in evidence throughout this book, which provides new insights into the working methods of this prolific artist.
Published by Fourthwall Books. Edited by Oliver Barstow, Bronwyn Law-Viljoen. Introduction by Bronwyn Law-Viljoen. Text by Alexandra Dodd, Mpho Matsipa, Zen Marie, Jonathan Cane, Mark Gevisser. Interviews by Oliver Barstow. Photographs by John Hodgkiss, Ben Law-Viljoen, Alistair McLachlan.
In 2009, William Kentridge and Gerhard Marx were commissioned to make a public sculpture for the city of Johannesburg, on the occasion of the 2010 Soccer World Cup. Their sculpture was based on Kentridge’s drawing of a woman street vendor--known colloquially in Johannesburg as a fire walker--carrying a burning brazier on her head. “Fire Walker” thus stands for the ordinary citizen, whose survival depends on his or her ability to negotiate contested urban terrain. The 36-feet-high figure was installed at the foot of the Queen Elizabeth Bridge, on a site formerly used by street traders and taxi washers. This volume documents the commission and also includes two photo essays on street vendors and old city monuments.
PUBLISHER Fourthwall Books
BOOK FORMAT Slip Paperback, 7.75 x 11.75 in. / 123 pgs / 123 color.
PUBLISHING STATUS Pub Date 3/31/2012 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 95
PRODUCT DETAILS ISBN 9780986985027TRADE List Price: $50.00 CDN $67.50
Lexicon is a facsimile cloth edition of an antiquarian Latin-Greek dictionary which the internationally celebrated South African artist William Kentridge (born 1954) has embellished with black ink drawings of what might seem at first to be animal silhouettes. In reproducing the work (which is uncollected elsewhere), this beautifully designed artist's book mischievously pits the model of the flipbook against the fragility of the antiquarian original, and flipping its pages animates Kentridge's lively, spiky drawings into a continuously morphing image that transforms from a cat to a coffee pot over the course of the book's 160 pages. This image is based on a disintegrating sculpture that reflects the artist's interest in the instability of objecthood. Lexiconis accompanied by a DVD containing a short film in which Kentridge flips the pages himself.
BOOK FORMAT Clth, 6.75 x 9 in. / 160 pgs / 78 color / DVD (NTSC only).
PUBLISHING STATUS Pub Date 6/30/2011 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 83
PRODUCT DETAILS ISBN 9780979764240TRADE List Price: $40.00 CDN $54.00 GBP £35.00
Published by Editions Dilecta/Editions du Musée du Louvre. Text by William Kentridge. Afterword by Marie-Laure Bernadac.
Carnets D'Egypte is William Kentridge's multimedia excavation of one of his favorite subjects: ancient Egypt. "Egypt has to be both believed and disbelieved at the same time," he proposes, explaining his attraction to its intermingling of myth and history in the era of the pharaohs; here, he approaches this intermingling, and attendant questions of orientalism, in works that draw on western traditions of depicting Egypt, by such artists as Carracci, Delacroix, Le Brun, Poussin and Degas. In a scrapbook dossier composed of charcoal and pen-and-ink drawings, collages, animated films and performance pieces, Kentridge investigates such mythically proportioned Egyptian roles as the scribe, the architect and the artist, often inserting himself into the dialogue as a visible presence. This beautifully made book, which includes a DVD with three films, affirms Kentridge at his eclectic and erudite best.
PUBLISHER Editions Dilecta/Editions du Musée du Louvre
BOOK FORMAT Hardcover, 8.75 x 6.25 in. / 80 pgs / 85 color / DVD (PAL Only).
PUBLISHING STATUS Pub Date 2/28/2011 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 83
PRODUCT DETAILS ISBN 9782916275857TRADE List Price: $32.00 CDN $42.50
Published by The Museum of Modern Art, New York. Text by Judith B. Hecker, William Kentridge.
William Kentridge's art brings together drawing, film animation, sculpture and performance. He also applies his astonishing draftsmanship to the techniques of printmaking, including etching, screenprinting, lithography and linoleum cut. In fact printmaking has always been essential to his work, from his earliest forays into artmaking in the 1970s to his recent operas. “Printmaking has been not just an edge to or a side journey from the work that I've been making over the last 30 years or so,” the artist has said, “but is very much a key to it.” Kentridge's love of the printed image extends to books, and he often draws and prints on unbound pages from encyclopedias, ledgers and the like. In Trace, both a catalogue of prints from the Museum's collection and an artist's book, Kentridge uses translucent pages interspersed throughout the book to respond to his prints reproduced beneath them, in a dialogue between past and present. The book also includes a lecture by Kentridge on printmaking, illuminating its relevance to his broader practice.
Published by Charta/Fondazione Bevilacqua La Masa. Text by William Kentridge, Francesca Pasini, Jane Taylor, Angela Vettese.
In the summer of 2008, South African artist William Kentridge debuted his production of Claudio Monteverdi's opera, The Return of Ulysses, at Venice's Teatro La Fenice. In addition to designing many of the opera's sets and props, Kentridge created a new video, which was projected prior to the performance. This volume is primarily composed of stills from that video, in which Kentridge translates themes central to Monteverdi's portrayal of Homer's classic protagonist--human brotherhood, chance and love--into his trademark hand-drawn animation. Since the 1990s, Kentridge has maintained a multimedia practice, producing and often combining drawings, films and theater. Since 1992, he has collaborated with the Handspring Puppet Company. During the late 1970s and 1980s, he produced posters, drawings and theater pieces in opposition to South African apartheid.
PUBLISHER Charta/Fondazione Bevilacqua La Masa
BOOK FORMAT Paperback, 6.75 x 9.5 in. / 112 pgs / 115 color / 42 bw.
PUBLISHING STATUS Pub Date 3/1/2009 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 94
PRODUCT DETAILS ISBN 9788881587100TRADE List Price: $34.95 CDN $40.00
Published by Guggenheim Museum Publications. Essays by Maria-Christina Villase“or and William Kentridge.
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 stage's potential as sculpture, projection site, and installation, he began to imagine Black Box, the freestanding structure whose development and installation are documented here. A movement-filled, visually charged piece, it is peopled with two-dimensional mechanical figures, completed with scenic elements and lit by flickering video. A digital projector displays animated films created from Kentridge's charcoal drawings and sculptures. Kentridge considers his title term in three senses: a "black box" theater, a "chambre noire" as it relates to photography, and a "black box" flight data recorder, as used in airline disasters. The clandestine fourth reference may be to his ongoing exploration of German history and its convergence with South African history through Namibia, a former German colony that came under South African control prior to gaining its independence. Black Box evokes all that, and the joyful mechanics of pre-cinematic visual spectacles, magic lanterns, the camera obscura and the zoetrope. A unique and richly layered meditation on the act of seeing, on vision and experience, and on the nature of knowledge itself.
Published by Walther König, Köln. Artwork by William Kentridge. Contributions by Angela Breidbach.
William Kentridge combines political content with an individualistic mythology; photographed drawings, framed and re-photographed, serve as material for his animated films. The dialogue between Kentridge and Angela Breidbach in Thinking Aloud ranges from the development of central perspective in artistic space to contemporary film.
PUBLISHER Walther König, Köln
BOOK FORMAT Paperback, 6 x 9 in. / 128 pgs / 3 color / 81 bw.
PUBLISHING STATUS Pub Date 3/15/2005 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 134
PRODUCT DETAILS ISBN 9783883759081SDNR30 List Price: $45.00 CDN $55.00
Published by Museum of Contemporary Art, San Diego. Essay by Leah Ollman. Introduction by Hugh M. Davies.
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 on the the artist's 1998 film of the same name, and the drawings he used to make the film. Weighing... and Wanting is one of Kentridge's most personal films, and its poignancy is expressed through the intimacy of the large-scale color reproductions of the charcoal drawings. Over 80 film stills are reproduced in the catalogue, enabling the reader to follow the film sequence. An insightful essay on the drawings and film, and biographic information about William Kentridge completes the catalogue.
BOOK FORMAT Hardcover, 11.25 x 9.75 in. / 44 pgs / 23 color / 1 bw / 85 color film stills.
PUBLISHING STATUS Pub Date 7/2/2001 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2001
PRODUCT DETAILS ISBN 9780934418584TRADE List Price: $25.00 CDN $30.00