INTRO: The artist and the art pieces that will be discussed and that will be focused on are all to do with one main subject resistance art which deals with both current and past political issues in South Africa. They contain the opinion seen from the artists point of view, or as the artist may have experienced it. WHO: William Kentridge
WHERE: Johannesburg, South Africa WHEN: Born in 1955. Work started roughly from 1976 WHY: He was studying fine arts in acting, but found that acting was not his calling in life and was therefore reduced to an artist. His main aim was to create art works that commented on South African political and military issues.
(1989-2000)
This is an aggressive and tormenting image of a cabinet filled with disembodied heads.
During the incident, parents sent the quite ironic phrase "casspirs full of love" as a greeting to their sons, who were servicemen at the time, via a popular South African radio show. Kentridge further plays on that irony by forging the association between the sincere phrase and the eerie cabinet full of decapitated heads. The piece is in monotone (black and white), which is suitable for the comments that it is trying to make about this specific past issue. It is significant because of the time period. This tells us that the issue is in the past, but that it is something that wont easily be forgotten, because a photograph is essentially a moment in time that is captured for us to remember, and this piece is an image describing the issue.
HISTORY OF CONSTANTINE
The man himself is almost dwarfed by a rather tall and narrow desk that, like the city on the map, has finally grown out of proportion. It is ominously decorated with a pair of hanging scissors that seems destined for him.
The man is made of the same materials as the city both are torn and recomposed figures conjured from a mixture of wool, labour This piece is a tapestry, which was constructed by making or drawing images, enlarging them, changing them to create one new image.
This tapestry depicts an epic battle telling us a story from the past, rather than it being used for decorative tapestry.
WILLIAM KENTRIDGE
William Kentridge was born in Johannesburg, South Africa in 1955. He took a Bachelor of Arts in Politics and African Studies at the University of Witwatersrand and then a diploma in Fine Arts from the Johannesburg Art Foundation. At the beginning of the 1980s, he studied mime and theatre at the L'cole Internationale de Thtre Jacques Lecoq in Paris. He had hoped to become an actor, however, he was fortunate to discover at a theatre school that he was so bad an actor that he was reduced to an artist, and he made his peace with it. Between 1975 and 1991, he was acting and directing in Johannesburg's Junction Avenue Theatre Company. In the 1980s, he worked on television films and series as art director. Kentridge is perhaps best known for his animated films. These 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 drawings are later displayed along with the films as finished pieces of art.
BIBLIOGRAPHY www.google.co.za William Kentridge www.wikipedia.com William Kentridge 100 Years 10 Artists William Kentridge William Kentridge Permanent Projections Carlos Basualdo
EMILE NOLDE
PROPHET (1912)
This piece by Nolde is a woodcut or linocut. This menacing face confronts the viewer with an intimacy and deep emotion that leaves no doubt about the prophet's spirituality. His hollow eyes, furrowed brow, sunken cheeks, and somber tolerance express his innermost feelings. Three years before Nolde completed this print, he had experienced a religious conversion while recovering from an illness. Following this incident, he began depicting religious subjects in paintings and prints, such as the image seen here. Nolde had joined the German Expressionist group Brcke (Bridge) in 1906, participating in its exhibitions and in its exchange of ideas and techniques. He taught etching to his fellow members, and they introduced him to woodcuts. During the 1890s, woodcuts had undergone rebirth and revamping, when artists such as Paul Gauguin and Edvard Munch used them to create bold images that expressed strong emotional content. In Prophet, Nolde also exploits the characteristics inherent to the medium. Coarsely gouged-out areas, jagged lines, and the textured grain of the wood effectively combine in this portrayal of a passionate believer. This is a typical German Expressionist print.
PROPHE T1912