Viewed in 2021, Kentridge’s preference for black and white strikes as an urging to see issues of morality more clearly.
Few artists have reinvented themselves in their prime the way Jo Smail has; few have had to.
The Tang Teaching Museum attempts to make itself new through an exhibition that employs a variety of ways to elaborate and convey narratives.
In an age dominated by literalism and an insistence on facts, what can the imagination summon into words?
How interesting that William Kentridge envisioned the cage as the equivalent of a piece of luggage or a goat, something that we cannot leave behind.
In a commissioned work for the Performa Biennial, Kentridge reimagines the Dada classic, reciting the nonsensical words while a montage of images flashes behind him at high speed.
ROME — What exactly does public art mean in a town rebuilt uninterruptedly for over 2,000 years?
HONG KONG — Admission to the final days of last week’s Art Basel Hong Kong was sold out, and the fair logged an impressive 70,000 attendees.
In April 2016, South African artist William Kentridge will unveil “Triumphs and Laments,” a 550-meter (~1,804 feet) frieze along the embankment of Rome’s Tiber River.
KANSAS CITY, Missouri — There’s an amazing show about contemporary performance art, and it may be coming to an art venue near you. Having just left the H&R Block Artspace at the Kansas City Art Institute, curator RoseLee Goldberg’s exhibition Performance Now is like a touring indie rock band, minus the live performers.
CHICAGO — This is how much I admire William Kentridge: doors opened at 5:15 pm on October 3 for his talk at the University of Chicago, but I was standing there much earlier, getting drenched in a fall thunderstorm but determined to be one of the first to enter the auditorium and claim a seat as close to the master as I could get.
CAPE TOWN — What do Ghanaian photographer James Barnor, local Simonstown painter Peter Clarke, British superstar artist Richard Long and Russian World War II posters have in common? Aside from a show at the South African National Gallery, it seems nothing at all.