William Kentridge Art for Sale: Prints & Originals

Born in 1955 to anti-apartheid lawyers, Kentridge's upbringing in South Africa instilled in him a critical awareness of racial injustice.

Kentridge's artistic journey began with studies in Politics and African Studies at the University of the Witwatersrand, followed by a diploma in Fine Art at the Johannesburg Art Foundation. This educational background laid the foundation for his multifaceted artistic practice, which blends visual art, film, and performance.

Since the late 1970s, Kentridge has dedicated much of his time to creating “moving pictures”, using a method rooted in his handmade charcoal drawings. Rather than relying on computerised effects, Kentridge works meticulously with a drafting table and camera, reworking his drawings frame by frame. The process of erasure becomes as significant as the drawings themselves, leaving visible traces of changes and revisions, allowing both the figure and the creative act to coexist and evolve throughout the film's production.

Kentridge's artistic career gained significant momentum during the 1980s and 1990s, paralleling South Africa's shift from apartheid to democracy. His Drawings For Projection film series (1989-2020), featuring the characters Soho Eckstein and Felix Teitlebaum, delves into themes of guilt, complicity, and social transformation.

Created without scripts or storyboards, these films evolved organically through images and ideas that emerged during the drawing process. The smudged and imperfect erasures in each work reflect the passage of time, capturing the slow, thoughtful progression of both the artwork and the political landscape it mirrored.

In 1997, Kentridge's international reputation was cemented with his participation in Documenta X in Kassel, Germany. This exposure led to numerous solo exhibitions at prestigious institutions worldwide, including the Museum of Modern Art in New York and the Louvre in Paris.

Kentridge's artistic practice expanded beyond animation and drawing to encompass theatre and opera productions. His groundbreaking restaging of Mozart's opera The Magic Flute and Shostakovich's The Nose demonstrated his ability to bring his visual language to the stage.

Kentridge's distinctive technique of erasure and redrawing is more than just a stylistic choice; it's a powerful metaphor for the process of memory and history. By leaving traces of previous drawings visible, Kentridge creates a palimpsest that speaks to the layered nature of personal and collective memory. This technique resonates particularly strongly in the context of South Africa's complex history, where the past is constantly being rewritten and reinterpreted.
Kentridge’s Sleeper series, including Sleeper (Black) (1997), delves into themes of ignorance and the unconscious desire to escape challenging historical realities. The prints reference the 'sleep' of the white South African psyche during and after apartheid—symbolising avoidance of political responsibility. Kentridge employs various experimental techniques, such as using a thumbprint for texture and incorporating unconventional materials like bicycles and charcoal-impregnated ropes. In Sleeper (Black), the etched figure, curled in a foetal position, evokes vulnerability and the imminent moment of awakening from denial.
Running from 24 August 2019 to 27 July 2020, Why Should I Hesitate: Sculpture was the first international exhibition solely dedicated to Kentridge's sculptural works. The exhibition showcased works created over two decades. Many of the sculptures originated from props used in his opera productions and animations. The kinetic sculptures, such as Singer Trio (2018), featured megaphones on tripods, adding performative and humorous elements to the works. Additionally, small bronze sculptures were arranged like text, creating visual puzzles evocative of Surrealist rebuses.