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Reeds (Krut pp. 54-55), 1996

Etching, aquatint and drypoint printed in red and black
46 2/5 × 61 3/5 in
117.8 × 156.5 cm
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About the work
S
Sotheby's

Signed in pencil and numbered 24/40, on Arches wove paper, printed by 107 Workshop, Wiltshire, UK, …

Read more

Signed in pencil and numbered 24/40, on Arches wove paper, printed by 107 Workshop, Wiltshire, UK, published by David Krut Fine Art, London, framed.

sheet: 1178 by 1565 mm 46 3/8 by 61 5/8 in

Medium
Print
William Kentridge
South African, b. 1955
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In his drawings and animations, William Kentridge articulates the concerns of post-Apartheid South Africa with unparalleled nuance and lyricism. In the inventive process by which he created his best-known works, Kentridge draws and erases with charcoal, recording his compositions at each state. He then displays a video projection of the looped images alongside their highly worked and re-worked source drawings. In this way, his process and aesthetic concerns are inextricably linked with the narrative power of his work, as in his “Nine Drawings for Projection” series (1989-2003), which depicts two fictional white South Africans navigating the ambiguities of contemporary South Africa. With his highly personal and often quiet works in seeming tension with the brutality of his content, Kentridge expresses a profound ambivalence about his native country.

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Save
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View in room
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Save
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view
View in room
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About the work
S
Sotheby's

Signed in pencil and numbered 24/40, on Arches wove paper, printed by 107 Workshop, Wiltshire, UK, …

Read more

Signed in pencil and numbered 24/40, on Arches wove paper, printed by 107 Workshop, Wiltshire, UK, published by David Krut Fine Art, London, framed.

sheet: 1178 by 1565 mm 46 3/8 by 61 5/8 in

Medium
Print
William Kentridge
South African, b. 1955
Follow

In his drawings and animations, William Kentridge articulates the concerns of post-Apartheid South Africa with unparalleled nuance and lyricism. In the inventive process by which he created his best-known works, Kentridge draws and erases with charcoal, recording his compositions at each state. He then displays a video projection of the looped images alongside their highly worked and re-worked source drawings. In this way, his process and aesthetic concerns are inextricably linked with the narrative power of his work, as in his “Nine Drawings for Projection” series (1989-2003), which depicts two fictional white South Africans navigating the ambiguities of contemporary South Africa. With his highly personal and often quiet works in seeming tension with the brutality of his content, Kentridge expresses a profound ambivalence about his native country.

Reeds (Krut pp. 54-55), 1996

Etching, aquatint and drypoint printed in red and black
46 2/5 × 61 3/5 in
117.8 × 156.5 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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