William Kentridge

2001 P'Back has bright, clean text. Cover &amp; page edges show mild wear.

Arts & Photography

william-kentridge

History & Criticism

Museum of Contemporary Art

Thinking Aloud: Coversations with Angela Breidbach

Verlag der Buchhandlung Walther Konig

William Kentridge Prints

David Krut Pub.

In 2007, Handspring Puppet Company s War Horse, based on the novel by Michael Morpurgo and commissioned by the National Theatre in London, won Olivier, Evening Standard and Critics Circle Awards. The extraordinary success of this production has drawn attention to Handspring s decades-long experiments and innovations in the art of puppetry and their remarkable contribution to theatre in South Africa. Handspring Puppet Company was founded by Basil Jones, Adrian Kohler, Jill Joubert and Jon Weinberg in 1981. They have produced eleven plays and two operas, collaborated with many different artists including Mali s Sogolon Puppet Troupe and South African artist William Kentridge and opened in over 200 venues in South Africa and abroad. They have won numerous accolades, including the Olivier Award for War Horse at the National Theatre in London. Handspring Puppet Company is the first full-length book on Handspring published in South Africa. It explores their work in adult puppet theatre, from Episodes of an Easter Rising (1985) to War Horse, providing insights into their philosophy of puppetry and their technical innovations. It is richly illustrated with images from the Handspring archive and includes essays by theatre practitioners and writers who have collaborated with the company over the years.

Handspring Puppet Company

with essays by Jane Taylor

Edited by Jane Taylor

Adrienne Sichel

Adrian Kohler

Gerhard Marx

Lesego Rampolokeng and Basil Jones

David Krut Publishing

David Krut Publishing is delighted to announce the forthcoming publication of William Kentridge Nose. This book accompanies the launch of a suite of thirty new limited-edition prints by Kentridge called Nose , the culmination of a four-year collaboration between the artist and David Krut Print Workshop. In December 2006, Jillian Ross began her collaboration with William Kentridge on a series of prints that was to elaborate on Kentridge s work on the Shostakovich opera The Nose, commissioned by the Metropolitan Opera, New York, to premiere in March 2010. Shostakovich s opera is based on one of the most famous stories in Russian literature, Nikolai Gogol s The Nose, published in 1837. The story follows the adventures of the pompous government official Kovalyov who wakes up one day to find that his nose has left his face and gone walking around St Petersburg. In his interpretation of Gogol and Shostakovich, Kentridge has projected the story forward to the 1917 Russian Revolution and the Russian avant-garde, and then into the twentieth century to include allusions to Stalin s purges of the 1930s. But he has also cast his eye back to consider some of the literary influences on Gogol such as Lawrence Sterne s Tristram Shandy and even Cervantes s Don Quixote. Drawing on these and other texts, including excerpts from Russian newspapers, clips from Russian films of the twenties and thirties, pages from Russian encyclopaedias, and parts of a transcript of a 1937 meeting of the Central Committee of the Russian Communist Party in which the theoretician Nikolai Bukharin is being interrogated, Kentridge is creating not only his opera production but several other works. The prints, now called simply Nose , were imagined as a journey not only with Kovalyov, but through Russian history. They reflect on music, ballet, the history of Western art (Russian and otherwise) and the various fortunes of the Communist party in its Soviet and South African incarnations. Nose is now a suite of thirty prints, each measuring roughly 15 x 20 cm (5 x 8 in). The prints explore a number of techniques but rely primarily on Kentridge s strong drypoint marks, softened by sugarlift aquatint and punctuated, in several plates, by a strong Constructivist red. Each plate is engraved with a number signalling its place in the series. There are fifty prints in each edition and they have been editioned by Jillian Ross, Niall Bingham and Mlungisi Kongisa.

William Kentridge Nose

Everyone Their Own Projector is an artist's book published by Captures Edition in Valence, France. The acclaimed south African artist, William Kentridge made roughly one hundred drawings for the book, using collage on text pages torn from books, 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. The artist romps through the history of art on each page of the book, looking at and bringing his own perception to Giotto, Masaccio's Expulsion from Eden, Manet's famous bartender and Rembrandt's beautiful study of his second wife, Hendrickje paddling in a stream. These visual quotations are punctuated by typical Kentridge imagery and obtuse rhetorical questions. His new character, Nicholai Gogol's Nose appears, intimately exploring the female body: contemporary female bodies from South Africa alongside studies of Degas' femmes apres le bain. The Nose travels with Kentridge, examining the artist's selected artistic lineage, and the classic subject of the European artist until the mid twentieth century, that of the female nude. The artist's book, Everyone Their Own Projector is printed in a run of 1500, and is also released in a limited, signed edition of 120 copies accompanied by a signed and numbered lithograph by the artist.

William Kentridge - Everyone Their Own Projector

Editions Captures

Over the last three decades, the visual artist William Kentridge has garnered international acclaim for his work across media including drawing, film, sculpture, printmaking, and theater. Rendered in stark contrasts of black and white, his images reflect his native South Africa and, like endlessly suggestive shadows, point to something more elemental as well. Based on the 2012 Charles Eliot Norton Lectures, Six Drawing Lessons is the most comprehensive collection available of Kentridge's thoughts on art, art-making, and the studio. Art, Kentridge says, is its own form of knowledge. It does not simply supplement the real world, and it cannot be purely understood in the rational terms of traditional academic disciplines. The studio is the crucial location for the creation of meaning: the place where linear thinking is abandoned and the material processes of the eye, the hand, the charcoal and paper become themselves the guides of creativity. Drawing has the potential to educate us about the most complex issues of our time. This is the real meaning of ""drawing lessons."" 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. Foregrounding the very processes by which we see, Kentridge makes us more aware of the mechanismsand deceptionsthrough which we construct meaning in the world.

SIX DRAWING LESSONS (Chinese Edition)

Beijing United Publishing co., LTD

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