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South African artist William Kentridge’s drawings, films, books, installations, and collaborations with opera and theater companies have established him as a world-class star in contemporary art, media, and theater. In 2010, and again in 2013, he staged Dmitri Shostakovich’s The Nose at the Metropolitan Opera; after the premiere, the New York Times noted that “Kentridge, who directed this production, helped design the sets and created the videos that animate the staging, received the heartiest bravos.” In this book, Jane Taylor, Kentridge’s friend and frequent collaborator, invites us to take an extraordinary behind-the-scenes look at his work for the show. Kentridge has long been admired for his unconventional use of conventional media to produce art that is stunning, evocative, and narratively powerful—and how he works is as important as what he creates. 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. Taylor draws on his etchings, sculptures, and drawings to render visible the communication that occurs between his mind and hand as he thinks through the activity of making. Beautifully illustrated in color, William Kentridge offers striking insights about one of the most innovative artists of our present moment.  

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.

Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. 2.97

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.

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.

HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

South African artist William Kentridge (b. 1955) has become famous for his time-lapse animation movies and installations, as well as his activities as an opera and theater director. This book offers a unique selection of Kentridge’s work curated for Sint-Janshospitaal in Bruges—at 800 years one of Europe’s oldest surviving hospital buildings – organized around the themes of trauma, healing, and compassion.  The book features an introduction by Margaret K. Koerner, and also includes essays by diverse distinguished contributors: Benjamin H. D. Buchloh considers Kentridge’s alternate reception of the historical avant-garde from a perspective of exile; Joseph Leo Koerner explores the artist’s work as a self-styled process of "working through" in which the past simultaneously disfigures and redeems; and Harmon Siegel examines Kentridge’s approach to film history.    

Internationally renowned South African artist William Kentridge creates animated movies from #147;drawings for projection,#148; charcoal renderings he alters during filming. Paralleling the political upheaval in his homeland, his works reflect the tenuous nature of memory, both personal andhistorical.Published to accompany Kentridge's first retrospective exhibition in the United States and South Africa, this fascinating book offers in-depth coverage of the artist's animated films, drawings, and theater productions. Kentridge has also created 16 new, previously unpublished #147;artist's pages#148; for the book. A wealth of colorplates, essays, and an interview exploring various facets of Kentridge's creative process, and a chronology outlining both his and his country's milestones make this book the most comprehensive examination of Kentridge's work to date.

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.

What does it mean to render the processes of making art—cutting, pasting, and projecting light—as a series of metaphors for how we think and how we live? And why would an artist embark on such an enterprise? This book considers how renowned artist William Kentridge spins the material operations of the studio into a web of politically astute and historically grounded metaphors, likening erasure to forgetting, comparing animation to the flux of history, and marshaling drawing as a form of nonlinear argument. Placing Kentridge’s visual vocabulary and unorthodox methods of production in the context of South Africa’s history, Leora Maltz-Leca explores studio process in all of its metaphoric and philosophical dimensions.

Laminate card cover w/ French flaps, bumped at head of spine w/ slight splitting; Pages slightly spotted on top-edge and endpapers, lightly age-toned at edges, no ownerhsip marks, B&W and coloured plates; Binding tight. ; 10 x 11"; 160 pages

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.

Catalog for exhibition at the Philadelphia Museum of Art, December 12, 2007-April 6, 2008. Illustrated throughout. Essays by Gabriele Guercio, Ekwui Enwezor, and Ivan Vladislavic. Measures 11.75x10.75 inches. Explores an extraordinary series of seventeen large-scale tapestries woven between 2001 and 2007. The tapestries depict shadowy figures that resonate with his collages of itinerant characters set against the weblike backgrounds of 19th-century maps of Europe and Johannesburg.

South African artist William Kentridge’s drawings, films, books, installations, and collaborations with opera and theater companies have established him as a world-class star in contemporary art, media, and theater. In 2010, and again in 2013, he staged Dmitri Shostakovich’s The Nose at the Metropolitan Opera; after the premiere, the New York Times noted that “Kentridge, who directed this production, helped design the sets and created the videos that animate the staging, received the heartiest bravos.” In this book, Jane Taylor, Kentridge’s friend and frequent collaborator, invites us to take an extraordinary behind-the-scenes look at his work for the show. Kentridge has long been admired for his unconventional use of conventional media to produce art that is stunning, evocative, and narratively powerful—and how he works is as important as what he creates. 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. Taylor draws on his etchings, sculptures, and drawings to render visible the communication that occurs between his mind and hand as he thinks through the activity of making. Beautifully illustrated in color, William Kentridge offers striking insights about one of the most innovative artists of our present moment.  

Internationally renowned South African artist William Kentridge creates animated movies from #147;drawings for projection,#148; charcoal renderings he alters during filming. Paralleling the political upheaval in his homeland, his works reflect the tenuous nature of memory, both personal andhistorical.Published to accompany Kentridge's first retrospective exhibition in the United States and South Africa, this fascinating book offers in-depth coverage of the artist's animated films, drawings, and theater productions. Kentridge has also created 16 new, previously unpublished #147;artist's pages#148; for the book. A wealth of colorplates, essays, and an interview exploring various facets of Kentridge's creative process, and a chronology outlining both his and his country's milestones make this book the most comprehensive examination of Kentridge's work to date.

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.

South African artist William Kentridge (b. 1955) has become famous for his time-lapse animation movies and installations, as well as his activities as an opera and theater director. This book offers a unique selection of Kentridge’s work curated for Sint-Janshospitaal in Bruges—at 800 years one of Europe’s oldest surviving hospital buildings – organized around the themes of trauma, healing, and compassion.  The book features an introduction by Margaret K. Koerner, and also includes essays by diverse distinguished contributors: Benjamin H. D. Buchloh considers Kentridge’s alternate reception of the historical avant-garde from a perspective of exile; Joseph Leo Koerner explores the artist’s work as a self-styled process of "working through" in which the past simultaneously disfigures and redeems; and Harmon Siegel examines Kentridge’s approach to film history.    

With a searing body of work ranging from drawings and films to prints, tapestries, and sculptures, William Kentridge (b. 1955) has offered a fresh and distinctive glimpse of the daily lives of South Africans both during the apartheid regime and after its collapse. This extraordinary catalogue, produced in close collaboration with the artist, investigates the five primary themes that have engaged Kentridge over the course of his career: - Soho and Felix: works featuring Kentridge’s best-known characters, the businessman Soho Eckstein and his alter ego, the anxiety-ridden Felix Teitlebaum. - Ubu and the Procession: inspired by Ubu Roi, these projects reflect the excitement, conflict, and rapid social changes in post-apartheid South Africa. - Artist in the Studio: an examination of Kentridge’s practice and his emergence as an installation artist. - The Magic Flute: work related to the artist’s set designs for Mozart’s opera. - The Nose: Kentridge’s most recent production, including work inspired by his staging of the Shostakovich opera for New York’s Metropolitan Opera in spring 2010. Kentridge has created a DVD especially for this publication; it includes fragments from significant film projects (both known and newly completed) as well as commentary that sheds further light on the artist’s work.

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.

· Exhibition at the Cultural Forum, Berlin from 11/20/2015 to 06/03/2016. · Exhibition at the Staatliche Kunsthalle, Karlsruhe from 10/09/2016 to 08/01/2017William Kentridge frequently makes reference in his works to the printed oeuvre of the great German Renaissance artist Albrecht Dürer. He incorporates Dürer's pictorial ideas and individual motifs, and, like Dürer, strategically employs the striking interplay of black lines and white paper to create his visual worlds. This results in a unique perspective on the medium of the black-and-white print. The juxtaposition of works by Kentridge and Dürer underscores the similarities and differences of the two artists in terms of media, aesthetics, and content. Starting from Kentridge's critical review of modernity, which challenges the era's claim to rationality and sophistication, the focus then shifts to the art of Dürer, whose works reflect the profound political, religious, and social upheavals at the dawn of the modern period. What emerges is a dynamic dialogue between two eras.