William Kentridge and Lapis Blue

Plus, why is Trump meddling in the Venice Architecture Biennale?

By his own admission, William Kentridge’s studio is a “safe space for stupidity.” This principle has served the indefatigable South African artist well — over the course of six decades, he has developed a style all his own spanning printmaking, drawing, animation, and sculpture. Now, he’s sharing insights into his dendritic process in a new book based on a 2024 lecture he delivered at Oxford. Read one such chapter on lapis blue and creativity exclusively on Hyperallergic.

Also today: a guide to Upstate Art Weekend, Trump’s meddling with the Venice Biennale of Architecture, and an interview with painter Richard Tsao.

—Lakshmi Rivera Amin, associate editor


A Natural History of William Kentridge’s Studio

Some years ago, two friends gave me a block of watercolour, pure lapis lazuli from Afghanistan. Lapis lazuli is a precious pigment used sparingly in Renaissance painting, now more generally replaced by French ultramarine. But there is an intense blueness in lapis, a colour coming off the paper towards you that is unmatched by any synthetic colour. In projections and photography and printing, this blue always loses its power.

I don’t use colour in my drawings. But I painted some squares and circles to see the colour I was given. I was caught, wanting to devour the blue and not knowing how to bring it into anything I was drawing. While waiting to solve what I should do with the blue, I started painting texts and phrases with it | William Kentridge

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Queer Elders

Richard Tsao’s “Sanuk” Art

In an interview with Hyperallergic, the artist known for his “Flood Room” paintings compares his decades-long practice to “the need for food.” | AX Mina

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Guide

What You Can’t Miss at Upstate Art Weekend

The art extravaganza in New York’s Hudson Valley and Catskills is back with a retrospective of Betty Parsons, a tailgate-style exhibition, living sculptures, and more.

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Community

Art Movements

Trump is coming for the Architecture Biennale, Modigliani’s “indecent” nude fetches $63.9M, the National Gallery of Art gets a major contemporary art gift, and more industry news.

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Required Reading

This week: Scott Burton’s last sculpture, remembering Lebanese environmental activist Mona Khalil, AI slop in art journalism, NYC’s rollerskating queer icon, and more.

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From the Archive

William Kentridge Sees the Universe in a Pot of Coffee

The artist tells Hyperallergic about how the isolation of COVID-19 led to a streaming series set wholly within the bounds of his studio. | Debra Brehmer

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