Selected Works

William Kentridge

Drawing for Felix in Exile (Felix in Studio), 1994 Charcoal and pastel on paper Work: 60 x 70 cm

William Kentridge

Drawing for Felix in Exile (Felix Dreaming), 1994 Charcoal and pastel on paper Work: 50 x 60 cm

William Kentridge

Drawing for Felix in Exile (Man and Newspapers), 1994 Charcoal and pastel on paper Work: 50 x 60 cm

William Kentridge

Drawing for Sobriety, Obesity and Growing Old (Soho and Mrs Eckstein in Pool), 1991 Charcoal and pastel on paper Work: 50 x 60 cm

William Kentridge

Drawing for Stereoscope (Double Soho and Telephones in Room), 1999 Charcoal and pastel on paper Work: 120 x 160 cm

William Kentridge

Drawing for Stereoscope (Soho with Flooding Pockets), 1999 Charcoal and pastel on paper Work: 50 x 60 cm

William Kentridge

Untitled (Drawing from Wozzeck 3), 2016 Charcoal and red pencil on Velin Arches Cover White (440gsm) Work: 121 x 160 cm

William Kentridge

Untitled (Drawing from Wozzeck 4), 2016 Charcoal and red pencil on Velin Arches Cover White (440gsm) Work: 121 x 160 cm

William Kentridge

Untitled (Drawing from Wozzeck 6), 2016 Charcoal and red pencil on Velin Arches Cover White (440gsm) Work: 121 x 160 cm

William Kentridge

Untitled (Patrice Lumumba II), 2015 Indian Ink on found pages

William Kentridge

Untitled (Patrice Lumumba I), 2016 Indian ink on found pages

William Kentridge

Drawing for The Head & the Load (Mitteländsches Meer), 2018 Charcoal, red pencil, digital print and paper collage Work: 80.5 x 70 cm

William Kentridge

Drawing for The Head & the Load (The trumpets we used to blow), 2018 Charcoal, red pencil and text on paper Work: 101.5 x 75 cm

William Kentridge

Drawing for The Head & the Load (The Pool Ahead Is Not To Be Trusted), 2018 Charcoal, pastel and printed text on paper Work: 128 x 152 cm

William Kentridge

Untitled (On the Reliability of Prophets), 2019 Indian ink on found pages Work: 169 x 167 cm

William Kentridge

Irises, Royal Observatory, Cape of Good Hope, 2019 Hand-printed lithograph from aluminium plates in six runs Work: 164 x 152 cm

William Kentridge

Hope in the Green Leaves, 2013 Linocut on Hahnemuhle Natural White 300 gsm Work: 185 x 102 cm

William Kentridge

Sister Box, 2016 Bronze, oil paint 23 x 45 x 40 cm

William Kentridge

Sister Fan, 2016 Bronze, oil paint Work: 33 x 51 x 31 cm

William Kentridge

Sister Cone, 2016 Bronze, oil paint 37 x 47 x 33 cm

William Kentridge

Shadow Figure IV, 2016 Bronze, oil paint

William Kentridge

Blue Rubrics , 2017 Lapis Lazuli pigment prints on found Latin Thesaurus paper, Set of 16 Work: 44 x 53 cm

William Kentridge

Fill, 2017 Bronze Work: 84.5 x 80 x 44 cm

William Kentridge

Cat, 2019 Bronze Work: 70 x 110.8 x 50.5 cm

William Kentridge

Hero, 2018 Bronze Work: 105 x 66 x 67 cm

William Kentridge

Action (Large Glyph), 2019 Bronze Work: 350 x 190 x 280 cm

William Kentridge

Cape Silver (Large Glyph), 2019 Bronze Work: 350 x 173 x 258 cm

William Kentridge

Balancing Act, Film

William Kentridge

Bird Catching, Film

William Kentridge

Tabula Rasa, Film

William Kentridge

Knight, 2018 Bronze

William Kentridge

Flowers for Suzanne , 2018 Hand-woven Mohair tapestry

William Kentridge

Ampersand (Large Glyph), 2019 Bronze

William Kentridge

Duke, 2018 Bronze

William Kentridge

Duchess, 2018 Bronze

William Kentridge

Paragraph II , 2018 Bronze, Set of 23 Work: 105 x 165 cm

Biography

William Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including Documenta in Kassel, Germany (1997, 2003, 2012), the Museum of Modern Art in New York (1998, 2010), the Albertina Museum in Vienna (2010), Jeu de Paume in Paris (2010), and the Musée du Louvre in Paris (2010), where he presented Carnets d’Egypte, a project conceived especially for the Egyptian Room. Kentridge’s production of Mozart’s The Magic Flute was presented at Theatre de la Monnaie in Brussels, Festival d’Aix, and in 2011 at La Scala in Milan, and his production of Shostakovich’s The Nose was seen at The New York Metropolitan Opera in 2010 and again in 2013, travelling to Festival d’Aix and to Lyon in 2011. The five-channel video and sound installation The Refusal of Time was made for Documenta (13) in Kassel, Germany, in 2012; since then it has been seen at MAXXI in Rome, the Metropolitan Museum, New York, and other cities including Boston, Perth, Kyoto, Helsinki and Wellington. A substantial survey exhibition of Kentridge’s work opened in Rio de Janeiro in 2012, going on in following years to Porto Alegre, São Paulo, Bogota, Medellin, and Mexico City. In the summer of 2014 Kentridge’s production of Schubert’s Winterreise opened at the Vienna Festival, Festival d’Aix, and Holland Festival. In the fall it opened at the Lincoln Center in New York. Paper Music, a concert of projections with live music by Philip Miller, opened in Florence in September 2014, and was presented at Carnegie Hall in New York in late October 2014. Both the installation The Refusal of Time and its companion performance piece Refuse the Hour were presented in Cape Town in February 2015. More recently, Kentridge’s production of the Alban Berg opera Wozzeck premiered at the Salzburg Festival in 2017, and last year his acclaimed performance project The Head & The Load opened at Tate Modern in London, and travelled to Park Avenue Armory in December 2018. In June 2019, A Poem That I Used To Know opened at Kunstmuseum, Basel in Switzerland. This comprehensive survey show includes early drawings, major film installations, sculpture and two new pieces, an installation and a film, produced by Kentridge in response to works in the museum’s permanent collection.

In 2010, Kentridge received the prestigious Kyoto Prize in recognition of his contributions in the field of arts and philosophy. In 2011, he was elected as an Honorary Member of the American Academy of Arts and Letters, and received the degree of Doctor of Literature honoris causa from the University of London. In 2012, Kentridge presented the Charles Eliot Norton Lectures at Harvard University and was elected member of the American Philosophical Society and of the American Academy of Arts and Sciences. Also in that year, he was awarded the Dan David Prize by Tel Aviv University, and was named as Commandeur des Arts et Lettres by the French Ministry of Culture and Communication. In 2013, William Kentridge was awarded an Honorary Doctorate in Fine Arts by Yale University and in 2014 received an Honorary Doctorate from the University of Cape Town.

Why Should I Hesitate, a major survey show, divided across the Norval Foundation and Zetiz MOCAA, opened in late August 2019 and will run until July 2020. In addition, Kentridge’s new opera project, Waiting for the Sibyl, premiered at Teatro dell’Opera di Roma in September 2019. Waiting for the Sibyl was created in response to Alexander Calder’s Work in Progress. Most recently, Kentridge’s production of Alban Berg opera Wozzeck ran at the Metropolitan Opera in New York.

Exhibitions

I've grown roses in this gard...

03 October - 30 October 2019

Acts of Reading / 2019

25 May - 13 July 2019

William Kentridge / KABOOM!

13 October - 10 November 2018

Narrative Means / 2018

02 June - 14 July 2018

News

William Kentridge || Among th...

Posted 08 March 2020

William Kentridge European to...

Posted 10 February 2020

Samson Kambalu, William Kentr...

Posted 14 October 2019

Kentridge's new operatic prod...

Posted 06 September 2019

Press

William Kentridge talks about...

William Kentridge / Art Afric...

William Kentridge / The New Y...

William Kentridge / Vulture /...