Notes

“Kentridge directly addressed his artistic goals and his feelings of inadequacy about becoming an artist in a large graphic triptych of 1988: Art in a State of Grace, Art in a State of Hope, and Art in a State of Seige. The titles convey that Kentridge’s attitude toward his work was and is far from art-for-art’s-sake; he obviously conceives of art as reflecting the political character of the state in which the work is created. Having spent his entire life in a state of siege (apartheid South Africa), Kentridge has given great thought throughout his career to the history of political art.”¹

¹ Rosenthal, Mark (ed.) (2009) William Kentridge: Five Themes. United States of America: Yale University Press. Page 48.

Exhibited

William Kentridge Exhibition Catalogue, Museum of Contemporary Art, Chicago and Museum of Contemporary Art, New York (2001), another example from the edition was exhibited, catalogue number 9, illustrated in colour on page 78.

Literature

Cameron, Dan; Christov-Bakargiev, Carolyn and Coetzee, J.M. (1999) William Kentridge, London: Phaidon Press. Another print from the edition illustrated in colour on page 103.

Rosenthal, Mark (ed.) (2009) William Kentridge: Five Themes. United States of America: Yale University Press. Another print from the edition illustrated in colour on page 48, figure 4.

Stewart, Susan and Krut, David (2006) William Kentridge Prints, Johannesburg: David Krut Publishing. Another print from the edition illustrated in colour on page 34.

Williamson, Sue. (1989) Resistance Art in South Africa, Cape Town: David Philip. Another print from the edition illustrated in colour on page 48.