Selected Works

William Kentridge
Drawing for The Head & the Load (Fallen Figures) , 2018
Charcoal and red pencil on paper
Work: 61 x 280 cm
William Kentridge
Untitled (60), 2017
Charcoal and coloured pencil on ledger book paper from the Central Administration Mine Cash Book 1906
Image 47 x 66.5cm; Framed 63 x 83cm
William Kentridge
Anti - Entropy (drawing for Anti-Mercator), 2011
Charcoal, coloured pencil and poster paint on brown pattern -makers paper (3 pieces)
259 x 346 cm
William Kentridge
Manet (Whispering in the Leaves), 2017
Indian ink, paper collage, digital print and red pencil on paper
110 x 145,5 cm
William Kentridge
Mbinda Cemetery, 1995
charcoal and Pastel on paper
119 x 138.5cm
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 6), 2016
Charcoal and red pencil on Velin Arches Cover White (440gsm)
Work: 121 x 160 cm
William Kentridge
Untitled (Drawing from Wozzeck 42), 2016
Charcoal and red pencil on Hahnemuhle paper
121 x 160 cm
William Kentridge
Untitled (Drawing from Wozzeck 63), 2017
Charcoal on paper
Work: 164 x 196 cm
William Kentridge
Untitled (63), 2016
Charcoal and coloured pencil on ledger book paper from the Central Administration Mine Cash Book 1906
Image 47 x 66.5cm; Framed 63 x 83cm
William Kentridge
Processione di Riparazioniste Maquettes (Full Set), 2018
Laser cut steel, Set of 15 maquettes
Work: 363 x 242 x 2.5 cm
William Kentridge
Figures Eye to Eye, Drawing for the film 'Felix in Exile', 1994
Charcoal and pastel on paper
120 x 149.6cm
William Kentridge
World on Hind Legs II, 2014
Mixed media on paper
210 x 150 cm
William Kentridge
Long, Long, Long Live the Motherland, 2014
Acrylic vanish and ink on found paper
326 x 321
William Kentridge
Untitled (Patrice Lumumba II), 2015
Indian Ink on found pages
Work: 86.5 x 80.5 cm Frame: 104.5 x 91 x 5 cm
William Kentridge
Untitled (Patrice Lumumba I), 2016
Indian ink on found pages
Work: 88.5 x 75 cm Frame: 104.5 x 90.5 x 5 cm
William Kentridge
Palmyra I and II Diptych (Figure with Megaphone Head) and (Figure on Plinth), 2016
Indian ink, red pencil and paper collage on found pages - Diptych
163 x 75 cm each
William Kentridge
He that Fled his Fate (drawing for Anti-Mercator), 2011
Charcoal, coloured pencil and poster paint on brown pattern-makers paper, diptych
198 x 267 cm
William Kentridge
A Poem I Used to Know, 2012
Drawing, Indian ink on book pages from Universal Technological Dictionary
153 x 176 cm
William Kentridge
Wanting to hold/ Needing to let go, 2012
Drawing: Charcoal, chalk, coloured paper and Indian ink on found pages pinned to Vélin d’Arches 300gsm
Image size: 110 x 152 cm
William Kentridge
The Shrapnel in the Woods, 2013
Indian ink on Craggs Universal Technological Dictionary 1826
210 x 220 cm
William Kentridge
Particular Collision's, 2013
Charcoal and pastel on book pages
161 x 121 cm
William Kentridge
Drawing for Stereoscope, 1999
Charcoal and pastel on paper

William Kentridge
Drawing for Stereoscope, 1999
Charcoal and pastel on paper

William Kentridge
Drawing for 'History of the Main Complaint', 1996
Charcoal and pastel on paper

William Kentridge
Mechanical drum set from Refuse The Hour, 2012/2019
Percussion instruments, drums, timber, steel, brass, aluminium and electronic components

William Kentridge
In Conversation: Justice Edwin Cameron and William Kentridge,


William Kentridge
Let Us Be Sensible , 2020
Indian ink, pencil and charcoal drawings on found pages

William Kentridge
Cyanotypes, 2020
Prussian Blue water colour and collage on found pages

William Kentridge
Ampersand (Large Scale), 2019
Bronze

William Kentridge
Action (Large Scale), 2019
Bronze

William Kentridge
Lexicon, 2017
Bronze, set of 44

William Kentridge
Cape Silver (Large Scale), 2019
Bronze

William Kentridge
Paragraph II , 2018
Bronze, Set of 23

William Kentridge
Cat, 2019
Bronze

William Kentridge
Sister Cone, 2016
Bronze, oil paint

William Kentridge
Carrier Pigeon, 2019
Bronze

William Kentridge
Sister Box, 2016
Bronze, oil paint

William Kentridge
Knight, 2018
Bronze

William Kentridge
Sister Fan, 2016
Bronze, oil paint

William Kentridge
Open , 2018
Bronze

William Kentridge
Set of 5 Polychrome Heads, 2014
Bronze, oil paint

William Kentridge
Refugees I & II: (Leaning On Air & God's Opinion is Unknown), 2018
Indian ink, charcoal, digital print, black paper, tape and red pencil on paper

William Kentridge
Irises, Royal Observatory, Cape of Good Hope, 2019
Hand-printed lithograph from aluminium plates in six runs

William Kentridge
Untitled (Your Turn Is Not Next), 2019
Indian ink on found pages

William Kentridge
Untitled (Almost Don't Tremble), 2019
Indian ink on found pages

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 March 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.

Channel

On 2 July 2019, William Kentridge and Justice Edwin Cameron had a conversation about the importance of human rights in their work. The event was held in support of Witkoppen Health and Welfare Clinic.