South African artist
William Kentridge
|
---|
William Kentridge at an exhibition opening at
ACMI
in
Melbourne
, Australia in 2012
|
Born
| (
1955-04-28
)
28 April 1955
(age 69)
|
---|
Education
| University of the Witwatersrand
and Johannesburg Art Foundation
|
---|
Spouse
| Anne Stanwix
|
---|
Children
| 3
|
---|
William Kentridge
(born 28 April 1955) is a
South African
artist best known for his prints, drawings, and
animated films
, especially noted for a sequence of hand-drawn animated films he produced during the 1990s. The latter are constructed by filming a drawing, making erasures and changes, and filming it again. He continues this process meticulously, giving each change to the drawing a quarter of a second to two seconds' screen time. A single drawing will be altered and filmed this way until the end of a scene. These
palimpsest
-like drawings are later displayed along with the films as finished pieces of art.
[1]
Kentridge has created art work as part of design of theatrical productions, both plays and operas. He has served as art director and overall director of numerous productions, collaborating with other artists, puppeteers and others in creating productions that combine drawings and multi-media combinations.
Early life and career
[
edit
]
Kentridge was born in
Johannesburg
in 1955 to
Sydney Kentridge
and
Felicia Geffen
, a Jewish family. Both were advocates (barristers) who represented people marginalized by the
apartheid
system.
[2]
He was educated at King Edward VII School in Houghton, Johannesburg. He showed great artistic promise from an early age, and began taking classes with
charcoal
at age eight.
[3]
In 2016, he became perhaps the first artist to have a catalogue raisonne devoted exclusively to his juvenilia.
[4]
He earned a
Bachelor of Arts
degree in
Politics
and
African Studies
at the
University of the Witwatersrand
and then a
diploma
in
Fine Arts
from the Johannesburg Art Foundation. In the early 1980s, he studied
mime
and
theatre
at the
L'Ecole Internationale de Theatre Jacques Lecoq
in
Paris
. He originally hoped to become an
actor
, but said later: "I was fortunate to discover at a theatre school that I was so bad at being an actor [... that] I was reduced to an artist, and I made my peace with it."
[5]
Between 1975 and 1991, he was acting and directing with Johannesburg's Junction Avenue Theatre Company. In the 1980s, he worked on
television films
and series as an
art director
.
Work
[
edit
]
Kentridge believed that being ethnically Jewish gave him a unique position as a third-party observer in South Africa. His parents were
lawyers
, well-known for their defence of victims of
apartheid
. The basics of South Africa's socio-political condition and history must be known to grasp his work fully, much the same as in the cases of such artists as
Francisco Goya
and
Kathe Kollwitz
.
[6]
Kentridge has practiced
expressionist
art:
form often alludes to content
and
vice versa
. The feeling that is manipulated by the use of palette,
composition
and
media
, among others, often plays an equally vital role in the overall meaning as the subject and
narrative
of a given work. One must use one's gut reactions as well as one's interpretive skills to find meaning in Kentridge's work, much of which reveals very little content. Due to the sparse, rough and expressive qualities of Kentridge's handwriting, the viewer sees a sombre picture upon first glance, an impression that is perpetuated as the image illustrates a vulnerable and uncomfortable situation.
[7]
Aspects of
social injustice
that have transpired over the years in South Africa have often become fodder for Kentridge's pieces.
Casspirs Full of Love
, viewable at the
Metropolitan Museum of Art
, appears to be nothing more than heads in boxes to the average American viewer, but South Africans know that a
casspir
is a vehicle used to put down riots, a kind of a crowd-control
tank
.
The title,
Casspirs Full of Love
, written along the side of the print, is suggestive of the narrative and is oxymoronic. A casspir full of love is much like a bomb that bursts with happiness ? it is an intangible improbability. The purpose of a machine such as this is to instil "peace" by force, but Kentridge noted that it was used as a tool to keep lower-class natives from taking colonial power and money.
[8]
Prints and drawings
[
edit
]
By the mid-1970s, Kentridge was making prints and drawings. In 1979, he created 20 to 30
monotypes
, which soon became known as the "Pit" series. In 1980, he executed about 50 small-format etchings which he called the "Domestic Scenes". These two extraordinary groups of prints served to establish Kentridge's artistic identity, an identity he has continued to develop in various media. Despite his ongoing exploration of non-traditional media, the foundation of his art has always been drawing and printmaking.
In 1986, he began a group of charcoal and pastel drawings based, very tenuously, on Watteau's
Embarkation for Cythera
. These extremely important works, the best of which reflect a blasted, dystopic urban landscape, demonstrate the artist's growing consciousness of the flexibility of space and movement.
In 1996?1997, he produced a portfolio of eight prints titled
Ubu Tells the Truth
, based on
Alfred Jarry's
1896 play
Ubu Roi
. These prints also relate to the
Truth and Reconciliation Commission
conducted in
South Africa
after the end of
apartheid
.
[9]
One of the stark and somber prints from this portfolio, in the collection of the
Honolulu Museum of Art
, is illustrated.
The
Six Drawing Lessons
, delivered as part of The Norton Lectures series at
Harvard University
in 2012, consider the work in the studio and the studio as a place of making meaning developed. A series of large drawings of trees in Indian ink on found encyclopedia pages, torn up and reassembled, analyzes the form of different trees indigenous to southern Africa. Drawn across multiple pages from books, each drawing is put together as a puzzle ? the single pages first painted, then the whole pieced together.
[10]
"My drawings don't start with a 'beautiful mark'," writes Kentridge, thinking about the activity of
printmaking
as being about getting the hand to lead the brain, rather than letting the brain lead the hand. "It has to be a mark of something out there in the world. It doesn't have to be an accurate drawing, but it has to stand for an observation, not something that is abstract, like an emotion."
[
citation needed
]
Animated films
[
edit
]
Between 1989 and 2003, Kentridge made a series of nine short films, which he eventually gathered under the title
9 Drawings for Projection.
[11]
In 1989, he began the first of those animated movies,
Johannesburg, 2nd Greatest City After Paris
. The series runs through
Monument
(1990),
Mine
(1991),
Sobriety, Obesity & Growing Old
(1991),
Felix in Exile
(1994),
History of the Main Complaint
(1996),
Weighing and Wanting
(1997), and
Stereoscope
(1999), up to
Tide Table
(2003) and
Other Faces
, 2011.
[12]
For the series, he used a technique that would become a feature of his work ? successive charcoal drawings, always on the same sheet of paper, contrary to the traditional animation technique in which each movement is drawn on a separate sheet. In this way, Kentridge's videos and films came to keep the traces of the previous drawings. His animations deal with political and
social
themes from a personal and, at times, autobiographical point of view, since the author includes his
self-portrait
in many of his works.
The political content and unique techniques of Kentridge's work have propelled him into the realm of South Africa's top artists. Working with what is in essence a very restrictive media, using only charcoal and a touch of blue or red pastel, he has created animations of astounding depth. A theme running through all of his work is his peculiar way of representing his birthplace. While he does not portray it as the militant or oppressive place that it was for black people, he does not emphasise the picturesque state of living that white people enjoyed during
apartheid
either; he presents instead a city in which the duality of man is exposed. In a series of nine short films, he introduces two characters ? Soho Eckstein and Felix Teitlebaum. These characters depict an emotional and political struggle that ultimately reflects the lives of many South Africans in the pre-
democracy
era.
In an introductory note to
Felix In Exile
, Kentridge writes,
"In the same way that there is a human act of dismembering the past there is a natural process in the terrain through erosion, growth, dilapidation that also seeks to blot out events. In South Africa this process has other dimensions. The very term 'new South Africa' has within it the idea of a painting over the old, the natural process of dismembering, the naturalization of things new."
Not only in
Felix In Exile
but in all his animated works, the concepts of
time
and
change
comprise a major
theme
. He conveys it through his erasure technique, which contrasts with conventional
cel-shaded animation
, whose seamlessness de-emphasizes the fact that it is actually a succession of hand-drawn images. This he implements by drawing a
key frame
, erasing certain areas of it, re-drawing them and thus creating the next frame. He is able in this way to create as many frames as he wants based on the original key frame simply by erasing small sections. Traces of what has been erased are still visible to the viewer; as the films unfold, a sense of fading
memory
or the passing of time and the traces it leaves behind are portrayed. Kentridge's technique grapples with what is not said, what remains suppressed or forgotten but can easily be felt.
In the nine films that follow Soho Eckstein's life, an increasing vehemence is placed on the health of the individual and contemporary South African
society
. Conflicts between
anarchic
and
bourgeois
individualistic beliefs
, again a reference to the duality of man, indicate the idea of
social revolution
by
poetically
disfiguring surrounding
buildings
and
landscapes
. Kentridge states that, although his work does not focus on apartheid in a direct and overt manner, but on the contemporary state of Johannesburg, his drawings and films are certainly influenced by the brutalised society that resulted from the regime.
As for more direct political issues, Kentridge says his art presents
ambiguity
,
contradiction
, uncompleted movements and uncertain endings,
all of which seem like insignificant subtleties but can be attributed to most of the calamity presented in his work. In a
mixed-media
triptych
entitled
The Boating Party
(1985), based on
Renoir
's painting of a
similar name
, the havoc caused by a seemingly-uninterested
aristocracy
is perhaps his most severe comment on the state of South Africa during apartheid. The languid diners sit at ease while the surrounding area is ravaged, torn and burned, a contrast that is reflected in his style and choice of colours.
In 1988, Kentridge co-founded Free Film-makers Co-Operative in Johannesburg. In 1999, he was appointed a film-maker by Stereoscope.
"Purely in the context of my own work," he wrote in a published playscript of his celebrated
Ubu and the Truth Commission
, "I would repeat my trust in the contingent, the inauthentic, the whim, the practical, as strategies for finding meaning. I would repeat my mistrust in the worth of Good Ideas. And state a belief that somewhere between relying on pure chance on the one hand, and the execution of a programme on the other, lies the most uncertain but the most fertile ground for the work we do [...]. I think I have shown that it is not the clear light of reason or even aesthetic sensibility which determines how one works, but a constellation of factors only some of which we can change at will."
[14]
In 2001, Creative Time aired his film
Shadow Procession
on the NBC Astrovision Panasonic screen in
Times Square
.
[15]
Opera
[
edit
]
Kentridge has been commissioned to create stage design and act as a theatre director in opera. His political perspective is expressed in his opera directions, which involves different layers: stage direction, animation movies, and influences of the puppet world. He has staged
Il ritorno d'Ulisse in patria
(
Monteverdi
),
Die Zauberflote
(Mozart) and
The Nose
(
Shostakovich
). Following the last work, he collaborated with the French composer
Francois Sarhan
on a short show called
Telegrams from the Nose,
for which he made the stage and set design for the performance.
[16]
In November 2015 his "provocative and visually stunning new staging"
[17]
of Berg's
Lulu
, premiered at the
Metropolitan Opera
in New York, a co-production with the
English National Opera
and the
Dutch National Opera
.
[18]
On 8 August 2017, William Kentridge's
Wozzeck
(
Alban Berg
) premiered at the
Salzburg Festival
and received enthusiastic reactions.
[19]
In 2023, Kentridge received the
Laurence Olivier Award for Outstanding Achievement in Opera
for the production of 'Sybil' at the
Barbican Theatre
, London.
[20]
Tapestries
[
edit
]
Kentridge's protean artistic investigation continues in his series of tapestries begun in 2001. The tapestries stem from a series of drawings in which he conjured shadowy figures from ripped construction paper; he made a collage of these with the web-like background of nineteenth-century atlas maps. To adapt these figures as tapestry, Kentridge worked in close collaboration with the Johannesburg-based Stephens Tapestry Studio, mapping cartoons from enlarged photographs of the drawings and hand-picking dyes to colour the locally spun mohair (goat hair).
[15]
Sculpture
[
edit
]
In 2009, Kentridge, in partnership with
Gerhard Marx
, created a 10m-tall sculpture for his home city of Johannesburg entitled
Fire Walker
.
In 2012 his sculpture,
Il cavaliere di Toledo
, was unveiled in
Naples
.
[21]
Rebus
(2013), referring in title to the allusional device using pictures to represent words or parts of words, is a series of bronze sculptures that form two distinct images when turned to a certain angle; when paired in correspondence, for example, a final image ? a nude ? is created from two original forms ? a stamp and a telephone.
[22]
Murals
[
edit
]
In 2016, the anniversary of
Rome
's legendary founding in 753BC, Kentridge unveiled
Triumphs and Laments
, a monumental mural along the right bank of the river
Tiber
. The 550m-long frieze depicting a procession of more than 80 figures from Roman mythology to the present is Kentridge’s largest public work to date. To celebrate its launch, he and his long-time collaborator, the composer
Philip Miller
, devised a series of performances featuring live shadow play and more than 40 musicians.
[23]
Family
[
edit
]
Kentridge is married to Anne Stanwix, a
rheumatologist
, and they have three children. A third-generation South African of
Lithuanian-Jewish
heritage,
[24]
he is the son of the South African lawyer
Sydney Kentridge
and the lawyer and activist
Felicia Kentridge
.
Films
[
edit
]
- 1989
Johannesburg, 2nd Greatest City After Paris
(part of the
Drawings for Projection
)
- 1990
Monument
(part of the
Drawings for Projection
)
- 1991
Mine
(part of the
Drawings for Projection
)
- 1991
Sobriety, Obesity & Growing Old
(part of the
Drawings for Projection
)
- 1994
Felix in Exile
(part of the
Drawings for Projection
)
- 1996
History of the Main Complaint
(part of the
Drawings for Projection
)
- 1996?97
Ubu Tells the Truth
|
- 1998
Weighing... and Wanting
(part of the
Drawings for Projection
)
- 1999
Stereoscope
(part of the
Drawings for Projection
)
- 1999
Shadow Procession
- 2001
Medicine Chest
- 2003
Automatic Writing
- 2003
Tide Table
(part of the
Drawings for Projection
)
- 2003
Journey to the Moon
- 2009
Kentridge and Dumas in Conversation
- 2011
Other Faces
(part of the
Drawings for Projection
)
- 2015
Notes Toward a Model Opera
|
Kentridge's films were shown at the 2004
Cannes Film Festival
.
[25]
Exhibitions
[
edit
]
- 1997
Documenta
X,
Kassel
- 1998
Sao Paulo Biennial
- 1998
The Drawing Center
, New York
- 1999
Barcelona Museum of Contemporary Art
- 1999
Venice Biennial
- 1999
Carnegie International
- 2000
Bienal de la Habana
,
Havana
- 2000 Artlook South Africa, Gahlberg Gallery,
College of DuPage
[26]
- 2002
Documenta
11,
Kassel
, Germany
- 2003 Goodman Gallery,
Johannesburg
- 2003 Spacex Gallery,
Exeter
- 2004
Metropolitan Museum
, New York
- 2005 Musee d'art Contemporain,
Montreal
- 2006
Johannesburg
Art Gallery
- 2006
Salzburg
Museum der Moderne
- 2006
Museo de Arte Contemporaneo de Monterrey
- 2006
Museum of Contemporary Art, Chicago
- 2007
Smith College
Art Museum
- 2007
Museum of Modern Art
, New York
- 2007 University of Brighton Gallery
- 2007
Bienal do Mercosul
,
Porto Alegre
- 2008
Williams College
Museum of Art
- 2008
Philadelphia Museum of Art
,
Philadelphia
- 2008
Biennale of Sydney
,
Sydney
, Australia
- 2008
William Kentridge Seeing Double
,
Marian Goodman
Gallery, New York
[27]
- 2009
Chicago Museum of Contemporary Art
- 2009
San Francisco Museum of Modern Art
- 2009
Modern Art Museum of Fort Worth
- 2009
Henry Art Gallery
,
Seattle
- 2009 The
National Museum of Modern Art, Kyoto
- 2009 The Norton Museum of Art, West Palm Beach
- 2010
Museum of Modern Art
, New York
- 2010 The
Jewish Museum (New York)
, New York
- 2010
Hiroshima City Museum of Contemporary Art
, Hiroshima
- 2010
Colorado Springs Fine Arts Center
- 2010
Jeu de Paume
, Paris; In parallel with the Five Themes exhibition at the Jeu de Paume in Paris (2010), the artist was featured at the
Louvre
. The Louvre show,
Carnets d'Egypte
, included drawings of the artist, presented next to works from the museum collections, and videos shown in Louis XIVth’s bed.
- 2010
Louvre
, Paris
- 2010
William Kentridge: Five Themes
, Albertina Museum
[28]
- 2011
Israel Museum
,
Jerusalem
- 2011
MOMA
,
New York City
- 2011
MACO
,
Oaxaca
- 2011
Garage Center for Contemporary Culture
,
Moscow
- 2011
Museum of Fine Arts
,
Budapest
- 2012
Australian Centre for the Moving Image
,
Melbourne
[29]
- 2012 Jewish History Museum, Amsterdam
- 2012
Documenta (13)
, Kassel
- 2012 Instituto Moreira Salles,
Rio de Janeiro
- 2013
Volte Gallery
,
Mumbai
[30]
- 2013
mac, Birmingham
[31]
- 2013 MAXXI,
Rome
- 2013
Pinacoteca do Estado de Sao Paulo
,
Sao Paulo
[32]
- 2014 Fortune: Banco de la Republica
[33]
- 2015
William Kentridge: Tapestries
, Kewening Galerie
[34]
- 2015
EYE Film Institute Netherlands
,
Amsterdam
: If We Ever Get To Heaven (till 31 August)
- 2015
Haus Konstruktiv
,
Zurich
: William Kentridge ? The Nose (4 June to 6 September)
- 2015 Royal Academy Summer show
- 2016
Whitechapel Gallery
? Thick Time (21 September 2016 to 15 January 2017)
- 2017
Louisiana Museum of Modern Art
, Denmark
- 2017
Museum der Moderne Salzburg
, ? Thick Time (29 July ? 5 November 2017)
- 2017/18
Old St. John's Hospital
/
Memlingmuseum
,
Bruges
: Smoke, Ashes Fable
[35]
- 2018
Liebieghaus
,
Frankfurt
:
O Sentimental Machine
[36]
- 2018/19
Centro de las Artes de San Agustin (CaSa)
,
Oaxaca
: "More Sweetly Play the Dance" (Opened 4 November 2018)
- 2020?2021
Centre de Cultura Contemporania de Barcelona
(CCCB),
Barcelona
:
El que no esta dibuixat
("That Which is Not Drawn") (9 October 2020 ? 21 February 2021). Large retrospective including drawings, large-format tapestries, the audiovisual installation
More Sweetly Play the Dance
and the full series of 11 short animation films,
Drawings for Projection
. CCCB’s exhibit has been the first place in Europe to premiere Kentridge’s latest film,
City Deep
.
- 2022
M. K. ?iurlionis National Art Museum
,
Kaunas
"That Which We Do Not Remember", part of Kaunas European capital of culture 2022 program.
[37]
- 2022
Royal Academy, London
William Kentridge
[38]
Collections
[
edit
]
Kentridge's works are included in the following permanent collections:
Honolulu Museum of Art
, the
Kalamazoo Institute of Arts
, the
Museum of Contemporary Art, Chicago
, the
Museum of Modern Art
(New York), and the
Tate Modern
(London). An edition of the five-channel video installation
The Refusal of Time
(2012), which debuted at
documenta 13
, was jointly acquired by the
Metropolitan Museum of Art
in New York and the
San Francisco Museum of Modern Art
.
[39]
In 2015, Kentridge gave the definitive collection of his archive and art ? films, videos and digital works ? to the
George Eastman Museum
, one of the world's largest and oldest photography and film collections.
[40]
Awards
[
edit
]
- 1982 Red Ribbon Award for Short Fiction
- 1986 Market Theatre Award for New Vision exhibition
- 1986 AA vita Award at Cassirer fine Art
- 1987 Standard Bank Young Artist Award
- 1992 Woyzeck on the Highveld awards for production, set design & direction
- 1994 Loerie Award memo
- 1999
Carnegie Prize
at
Carnegie International
- 2003
Goslarer Kaiserring
|
|
Kentridge's Five Themes exhibit was included in the 2009
Time
100
, an annual list of the one hundred top people and events in the world.
[44]
That same year, the exhibition was awarded First Place in the 2009 AICA (International Association of Art Critics Awards) Best Monographic Museum Show Nationally category.
In 2012, Kentridge was in residence at
Harvard University
invited to deliver the distinguished Charles Eliot Norton lectures in early 2012.
[22]
That same year, he was elected to the
American Philosophical Society
.
[45]
Art market
[
edit
]
Kentridge's artworks are among the most sought-after and expensive works in South Africa: "a major charcoal drawing by world-renowned South African artist William Kentridge could set you back some £250,000".
[46]
Kentridge is represented by
Goodman Gallery
, Lia Rumma Gallery and
Hauser & Wirth
(since 2024).
[47]
From 1999 to 2024, he worked with
Marian Goodman Gallery
.
[48]
The South African record for Kentridge is R6.6 million ($320,000), set at Aspire Art Auctions in Johannesburg in 2018.
[49]
One of his bronze pieces reached $1.5 million at
Sotheby's
New York in 2013.
[50]
[51]
Notes
[
edit
]
- ^
Greg Kucera Gallery 2007.
- ^
"William Kentridge | Who's Who SA"
. Whoswhosa.co.za
. Retrieved
1 March
2014
.
- ^
Amadour.
"15 Minutes With Visionary Artist William Kentridge"
.
Los Angeles Magazine
.
- ^
Cole 2016.
- ^
"Lip Service"
. Archived from the original on 23 December 2004
. Retrieved
14 July
2007
.
{{
cite web
}}
: CS1 maint: bot: original URL status unknown (
link
)
- ^
Cameron, Christov-Bakargiev,
Coetzee
, 1999.
- ^
Christov-Bakargiev, 1998.
- ^
Edmunds 2003.
- ^
Honolulu Museum of Art, wall label,
Ubu Tells the Truth
, 1996?97, accession TCM.1998.16.1?8
- ^
Marian Goodman Gallery
Archived
29 September 2017 at the
Wayback Machine
, New York.
- ^
Smith, Roberta (25 February 2010).
"Exploring Apartheid and Animation at Museum of Modern Art"
.
The New York Times
. Retrieved
16 May
2016
.
- ^
"William Kentridge ? May 6 ? June 18, 2011 ? Marian Goodman Gallery"
. Mariangoodman.com. Archived from
the original
on 15 August 2018
. Retrieved
1 March
2014
.
- ^
Kentridge 2007.
- ^
a
b
"Notations/William Kentridge: Tapestries December 12, 2007 ? April 6, 2008"
.
Philadelphia Museum of Art
. 2007. Archived from
the original
on 20 October 2007.
- ^
"William Kentridge: Breathe, Dissolve, Return ? September 11 ? October 16, 2010"
. Marian Goodman Gallery
. Retrieved
1 March
2014
.
- ^
James Jorden,
William Kentridge Commits Murder Most Excellent at the Met
,
New York Observer
, 11 November 2015.
- ^
"Lulu ? February 2015 ? The Metropolitan Opera"
. metopera.org. February 2015. Archived from
the original
on 23 February 2015
. Retrieved
23 February
2015
.
- ^
Woolfe, Zachary (9 August 2017).
"Wozzeck ? August 2017 ? New York Times"
.
The New York Times
. Retrieved
11 August
2017
.
- ^
"Olivier Awards 2023 ? winners are announced | WhatsOnStage"
.
www.whatsonstage.com
. Retrieved
2 April
2023
.
- ^
"Comune di Napoli ? Municipalita 2 ? Notte d'Arte"
. Comune.napoli.it
. Retrieved
1 March
2014
.
- ^
a
b
"William Kentridge ? September 17 ? October 26, 2013 ? Marian Goodman Gallery"
. Mariangoodman.com. Archived from
the original
on 29 September 2017
. Retrieved
1 March
2014
.
- ^
Gattinara, Federico Castelli; McGivern, Hannah (22 April 2016).
"William Kentridge unveils 550-metre frieze along Rome's River Tiber"
.
The Art Newspaper
. Retrieved
1 May
2016
.
- ^
"William Kentridge News"
.
The New York Times
. Archived from
the original
on 30 May 2015
. Retrieved
8 August
2018
.
- ^
"SA hasn't got it in the Cannes: Entertainment: South Africa: News24"
.
www.news24.com
. Archived from
the original
on 1 October 2007.
- ^
Title Artlook South Africa
Authors Corinne Louw, Alexandra J. Dodd, Gahlberg Gallery; Publisher Gahlberg Gallery, McAninch Arts Center, College of DuPage, 2001
- ^
"William Kentridge Seeing Double"
,
MutualArt
.
- ^
"William Kentridge: Five Themes"
,
MutualArt
.
- ^
McCulloch, Samantha; Williams-Wynn, Christopher (2015). "Conflicts between context and content in William Kentridge: Five Themes : a case study of the Melbourne exhibition".
Museum Management and Curatorship
.
30
(4): 283?295.
doi
:
10.1080/09647775.2015.1060866
.
S2CID
142528621
.
- ^
"Volte"
. Volte.in
. Retrieved
1 March
2014
.
- ^
"A Universal Archive exhibition"
. Macarts.co.uk. Archived from
the original
on 21 April 2013
. Retrieved
1 March
2014
.
- ^
"Pinacoteca do Estado de Sуo Paulo"
. Pinacoteca.org.br. Archived from
the original
on 3 April 2014
. Retrieved
1 March
2014
.
- ^
"Willam Kentridge ? Fortuna"
.
- ^
"William Kentridge: Tapestries"
,
MutualArt
.
- ^
"Modern art stuns in Bruges: Smoke, Ashes, Fable by William Kentridge"
.
Expatica.com
. 26 October 2017
. Retrieved
5 October
2022
.
- ^
"Liebieghaus "O Sentimental Machine"
"
.
Liebieghaus
. 1 March 2018
. Retrieved
5 October
2022
.
- ^
"
"That Which We Do Not Remember" Exhibition by William Kentridge"
.
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.
- ^
Searle, Adrian (20 September 2022).
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.
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.
- ^
Charlotte Burns (10 October 2014),
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,
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.
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Barone, Joshua (8 October 2015).
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.
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.
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"Bastille Day celebrations in South Africa"
. French Embassy in South Africa
. Retrieved
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.
- ^
"William Kentridge"
(in English and Dutch)
. Retrieved
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.
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"Columbia's 2022 Honorary Degree Recipients Announced"
. Columbia University in the City of New York
. Retrieved
28 May
2022
.
- ^
Reed, Lou (30 April 2009).
"William Kentridge ? The 2009 TIME 100"
. TIME. Archived from
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on 3 May 2009
. Retrieved
1 March
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.
- ^
"APS Member History"
.
search.amphilsoc.org
. Retrieved
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.
- ^
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.
www.women24.com
. Archived from
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on 27 September 2007.
- ^
Sarah Douglas (7 March 2024),
William Kentridge Joins Hauser & Wirth, Departing Longtime Dealer Marian Goodman
ARTnews
.
- ^
Sarah Douglas (7 March 2024),
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. Archived from
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References
[
edit
]
- Cameron, Dan; Christov-Bakargiev, Carolyn;
Coetzee, JM
.
William Kentridge
.
New York
:
Phaidon Press
, 1999.
- Christov-Bakargiev, Carolyn
.
William Kentridge
. Societe des Expositions du
Palais de Beaux-Arts de Bruxelles
, 1998.
- Cole, William. "On Some Early Prints by William Kentridge",
Print Quarterly
vol. XXVI no. 3 (2009), 268?273.
- Cole, William. "Privileged Access, Judiciously Shared. Matthew Kentridge, The Soho Chronicles: 10 Films by William Kentridge."
Art Journal
vol. 74, no. 4 (winter 2015).
- Cole, William.
The Juvenilia of William Kentridge: An Unauthorized Catalogue Raisonne
. Sitges: Cole & Contreras, 2016.
- Coumans, Sandra. "Geschichte und Identitat. Black Box / Chambre noire von William Kentridge", Regiospectra Verlag Berlin, 2012.
- Edmunds, Paul. "William Kentridge's SANG Retrospective", Artthrob:
Contemporary Art in South Africa
65 (2003).
- Greg Kucera Gallery.
"William Kentridge"
. 2007.
- Kasfir, Sidney Littlefield
(2000).
Contemporary African Art
. Thames & Hudson.
ISBN
978-0-500-20328-6
.
- Kentridge, William. "Director's Note". In
Ubu and the Truth Commission
, by
Jane Taylor
, viii-xv.
Cape Town
: University of Cape Town Press, 2007.
- McCulloch, Samantha; Williams-Wynn, Christopher (2015). "Conflicts between context and content in
William Kentridge: Five Themes
: a case study of the Melbourne exhibition".
Museum Management and Curatorship
.
30
(4): 283?295.
doi
:
10.1080/09647775.2015.1060866
.
ISSN
0964-7775
.
S2CID
142528621
– via
Taylor & Francis
.
- Taylor, Jane.
Ubu and the Truth Commission
. Cape Town: University of Cape Town Press, 2007.
External links
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