R500.00 inc. VAT
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.R350.00 inc. VAT
Illustrated with approximately 235 color images and packaged with a DVD of selected videos, Animated Painting brings together some of the most compelling recent contemporary art to combine traditional conceptions of painting and drawing with the techniques and time-based elements of animation.R3,000.00 inc. VAT
In 2012, William Kentridge, the Johannesburg-born artist whose creations have been celebrated for their direct engagement with political and social issues, was selected by an esteemed panel to deliver the Charles Eliot Norton Lectures at Harvard University.R480.00 inc. VAT
In June of 2010, William Kentridge asked Denis Hirson to join him in a public conversation at the opening of Cinq Thèmes, the artist’s retrospective exhibition at the Jeu du Paume in Paris. So fruitful was this event that the two decided to have further conversations, public and private, whenever the time and the occasion seemed right. Nine engagements followed, allowing them to explore at great length the many issues and themes arising from Kentridge’s work.R220.00 inc. VAT
In In Conversation: Kentridge & Dumas, the two South African artists speak frankly about their work, their studio practice, their inspirations, and the challenges of success. The film shows the two engaged in intense discussion about drawing, painting and filmmaking, and includes footage of the artists in their studios and of their works.R350.00 inc. VAT
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 Drawing Lessons is an illustration in print of its own thesis of how art creates knowledge.R1,500.00 inc. VAT
In The Soho Chronicles, Kentridge’s brother, Matthew, who has witnessed the evolution of William’s technique, themes, and ideas, shares a never before seen perspective on both William and Soho that sheds new light on the creator and his alter ego.R1,350.00 inc. VAT
Why Should I Hesitate: Putting Drawings To Work – at Zeitz MOCAA – will offer a wide survey of Kentridge’s work, including early works, as well as newer pieces on view for the first time in South Africa. It will cover over 40 years of artistic production (1976 – 2019) in drawing, stop-frame animation, video, prints, sculpture, tapestry, and large-scale installation.
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 works as a commentary on various shifting hegemonies of power politics, economies, language and the authority to narrate history.R275.00 inc. VAT
William Kentridge: Anything Is Possible gives viewers an intimate look into the mind and creative process of William Kentdridge, the South African artist whose acclaimed charcoal drawings, animations, video installations, shadow plays, mechanical puppets, tapestries, sculptures, live performance pieces, and operas have made him one of the most dynamic and exciting contemporary artists working today.
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. he 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.R1,300.00 inc. VAT
2nd Hand Reading began life as a film constructed from a succession of drawings made in 2013 on the pages of old books—a second-hand reading in which books are translated into a filming of books.R400.00 inc. VAT Add to cartR695.00 inc. VAT
This book is more than just a simple record of The Nose. The opera serves as a springboard into a bracing conversation about how Kentridge’s methods serve his unique mode of expression as a narrative and political artist.R900.00 inc. VAT
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 brush drawing with crayon on the text pages.R1,050.00 inc. VAT
This, the first major monograph on the widely acclaimed South African artist William Kentridge brings together nearly two hundred of his works made between 1989 and 2012. Exploring Kentridge’s diverse expressions across a wide range of media, from film and video to sculpture, design, drawing, and printmaking, the book is lavishly illustrated with more than 2,000 images.R200.00 inc. VAT
“It’s not a mistake to see a shape in the cloud. That’s what it is to be alive with your eyes open; to be constantly, promiscuously, putting things together”. – William Kentridge.R395.00 inc. VAT
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.R3,000.00 inc. VAT
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,” in addition to sculptures, tapestries and works on paper. Kentridge describes this cycle as an elegy for the artistic language of the Russian Constructivists.