Notes

‘The artists working in Weimar were working in a state of siege. In other words, the subject matter was about the possibility of failure, of attempts to transform the world, and the project is similar to mine. Iconographically, there are many images in my work that refer to men in dinner suits. In most cases, they have been either copies from photographs, or derive from people I saw one evening at the State Opera House in Pretoria. But there is also, obviously, a danger of being lost in a wonderful nostalgia for that era. What can one say about it? It was the last (with the exception of the Mexican muralist painters), great flowering of political art.’
William Kentridge

Provenance

Acquired directly from the artist, c.1990.

Exhibited

Museum of Contemporary Art, Chicago, and Museum of Contemporary Art, New York, William Kentridge,  2001.

Literature

Dan Cameron, Carolyn Christov-Bakargiev and JM Coetzee (1999) William Kentridge, London: Phaidon, another impression from the edition illustrated in colour on page 108.

Museum of Contemporary Art, Chicago (2001) William Kentridge, Chicago: Museum of Contemporary Art and New Museum of Contemporary Art, another impression from the edition illustrated in colour on pages 78 and 79.

Bronwyn Law Viljoen (ed) (2006) William Kentridge Prints, David Krut: Johannesburg, another impression from the same edition illustrated in colour on pages 34 and 35.

Mark Rosenthal (2009) William Kentridge: Five Themes, San Francisco: San Francisco Museum of Art and Yale University Press, another impression from the same edition illustrated in colour on page 38.