William Kentridge

William Kentridge (born 28 April 1955) is a South African artist best known for his prints, drawings, and animated films, especially noted for a sequence of hand-drawn animated films he produced during the 1990s.

The latter are constructed by filming a drawing, making erasures and changes, and filming it again.

He continues this process meticulously, giving each change to the drawing a quarter of a second to two seconds' screen time.

A single drawing will be altered and filmed this way until the end of a scene.

These palimpsest-like drawings are later displayed along with the films as finished pieces of art.

Kentridge has created art work as part of design of theatrical productions, both plays and operas.

He has served as art director and overall director of numerous productions, collaborating with other artists, puppeteers and others in creating productions that combine drawings and multi-media combinations.

Kentridge was born in Johannesburg in 1955 to Sydney Kentridge and Felicia Geffen, a Jewish family.

Both were advocates (barristers) who represented people marginalized by the apartheid system.

He was educated at King Edward VII School in Houghton, Johannesburg.

He showed great artistic promise from an early age, and began taking classes with charcoal at age eight.

By the mid-1970s, Kentridge was making prints and drawings.

Between 1975 and 1991, he was acting and directing with Johannesburg's Junction Avenue Theatre Company.

In 1979, he created 20 to 30 monotypes, which soon became known as the "Pit" series.

In the early 1980s, he studied mime and theatre at the L'École Internationale de Théâtre Jacques Lecoq in Paris.

He originally hoped to become an actor, but said later: "I was fortunate to discover at a theatre school that I was so bad at being an actor [... that] I was reduced to an artist, and I made my peace with it."

In the 1980s, he worked on television films and series as an art director.

Kentridge believed that being ethnically Jewish gave him a unique position as a third-party observer in South Africa.

His parents were lawyers, well-known for their defence of victims of apartheid.

The basics of South Africa's socio-political condition and history must be known to grasp his work fully, much the same as in the cases of such artists as Francisco Goya and Käthe Kollwitz.

Kentridge has practiced expressionist art: form often alludes to content and vice versa.

The feeling that is manipulated by the use of palette, composition and media, among others, often plays an equally vital role in the overall meaning as the subject and narrative of a given work.

One must use one's gut reactions as well as one's interpretive skills to find meaning in Kentridge's work, much of which reveals very little content.

Due to the sparse, rough and expressive qualities of Kentridge's handwriting, the viewer sees a sombre picture upon first glance, an impression that is perpetuated as the image illustrates a vulnerable and uncomfortable situation.

Aspects of social injustice that have transpired over the years in South Africa have often become fodder for Kentridge's pieces.

Casspirs Full of Love, viewable at the Metropolitan Museum of Art, appears to be nothing more than heads in boxes to the average American viewer, but South Africans know that a casspir is a vehicle used to put down riots, a kind of a crowd-control tank.

The title, Casspirs Full of Love, written along the side of the print, is suggestive of the narrative and is oxymoronic.

A casspir full of love is much like a bomb that bursts with happiness – it is an intangible improbability.

The purpose of a machine such as this is to instil "peace" by force, but Kentridge noted that it was used as a tool to keep lower-class natives from taking colonial power and money.

In 1980, he executed about 50 small-format etchings which he called the "Domestic Scenes".

These two extraordinary groups of prints served to establish Kentridge's artistic identity, an identity he has continued to develop in various media.

Despite his ongoing exploration of non-traditional media, the foundation of his art has always been drawing and printmaking.

In 1986, he began a group of charcoal and pastel drawings based, very tenuously, on Watteau's Embarkation for Cythera.

These extremely important works, the best of which reflect a blasted, dystopic urban landscape, demonstrate the artist's growing consciousness of the flexibility of space and movement.

In 1996–1997, he produced a portfolio of eight prints titled Ubu Tells the Truth, based on Alfred Jarry's 1896 play Ubu Roi.

These prints also relate to the Truth and Reconciliation Commission conducted in South Africa after the end of apartheid.

One of the stark and somber prints from this portfolio, in the collection of the Honolulu Museum of Art, is illustrated.

The Six Drawing Lessons, delivered as part of The Norton Lectures series at Harvard University in 2012, consider the work in the studio and the studio as a place of making meaning developed.

In 2016 he became perhaps the first artist to have a catalogue raisonné devoted exclusively to his juvenilia.

He earned a Bachelor of Arts degree in Politics and African Studies at the University of the Witwatersrand and then a diploma in Fine Arts from the Johannesburg Art Foundation.