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William
Kentridge, 7
Fragments for Georges Méliès, Day for Night and Journey to the Moon, 2003.
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Kentridge’s practice
is rooted in drawing – especially charcoal and ink drawing and especially filmed
animations of those drawings. These ‘charcoal’ films are magical – watch a
short excerpt here. I especially love
his animated flipbooks in which he has drawn on the pages of, typically, old
reference books, and made films of the pages turning – watch an example here.
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| William Kentridge, Second Hand Reading, 2013 |
Kentridge combines
a poetic vision and sensibility with a deft and inventive use of materials and
technologies to produce ambitious installations with a
wonderfully rich range of reference and allusion - to the history of science (the measurement of time,
the mapping of the world) the history of art (Durer) politics (colonialism, apartheid,
Trotsky) culture (the films of Méliès,
theatre, opera)… Fantastic stuff.
Read a feature article on Kentridge by Nicholas Wroe, read an
exhibition reviews by Mark Hudson, Rachel Spence, Jonathan Jones and Celia White; listen to a brief interview with the artist
on BBC Radio 4’s Front Row. Watch a selection of short videos about Kentridge’s
work at Art21.
Watch a video of Kentridge talking about his work: How we Make Sense of the World. (Thanks to Agnes.)
Click on images to enlarge.
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| William Kentridge, Second Hand Reading, 2013 |
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| William Kentridge, still from A Journey to the Moon, 2003 |
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| Installation view of William Kentridge,The Refusal of Time, 2012 |
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| William Kentridge, still from The Refusal of Time, 2012 |
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| William Kentridge, still from The Refusal of Time, 2012 |
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| William Kentridge, still from O Sentimental Machine, 2015 |
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| William Kentridge, still from The Refusal of Time, 2012 |
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