An exhibition showcasing William Kentridge at the Royal Academy features work from throughout his career, and it certainly does him justice. Kentridge has been widely regarded as one of the most prominent artists in the 21st century, according to the Marian Goodman Gallery. His eclectic artwork spans his life and covers many prominent themes such as conflict, loss and growth. The gallery is available at the Royal Academy of Arts until Dec. 11.
Kentridge was born and raised in Johannesburg, South Africa, where he began work during the apartheid regime that kickstarted his 40-year career. He works largely in print and drawings, but his portfolio also includes a variety of multimedia creations. Often revered for his work with animation – many of which were on display – he is well-known around the world from galleries like the Tate Modern in London, the New York Museum of Modern Art and the Albertina Museum in Vienna.
The exhibition is held on the second floor of the Royal Academy of Arts, a beautiful, architecturally gothic building in the heart of London. With an entire floor dedicated to his work, the space in which the exhibit takes place can only be described as befitting.
Upon entering the exhibition, I was immediately taken by the atmosphere of the room. The dimmed lighting and polished, yet worn, wooden floors all added to the ambiance. Besides the faint soundtracks of animations in adjacent rooms, I admired how everyone around me was composed, speaking solely in whispers and gestures. The art hanging on the walls amplified the feeling of the rooms surrounding it.
Upon entering the exhibition, I was immediately taken by the atmosphere of the room. The dimmed lighting and polished, yet worn, wooden floors all added to the ambiance.
Prior to attending the exhibition, I researched various aspects of Kentridge’s work and already expected a fairly high standard. However, in person, I was taken aback by the attention to detail in every piece of work. The images came alive and conveyed intense emotions and deep perspectives.
For instance, one of his more commonly known works, “Johannesburg, 2nd Greatest City After Paris,” shows Kentridge’s masterful control and character creation. This animation was created through the erasure and re-drawing of charcoal on paper. I have never been to Johannesburg, but I could not help but feel somewhat connected to this place. In the gallery’s curated environment, the artwork was completely immersive without overwhelming the audience.
Many of the themes Kentridge explores continue to affect us today on a global and more personal scale, including conflict, loss, nature and politics. So, it is no surprise that this exhibition renders a large impact on many individuals, myself included. He often draws from his own life experiences, growing up during the apartheid and facing political turmoil during many of his more formative years.
These themes are reflected in much of the work on display, such as a drawing featured out of another animation on display. The piece, titled “Drawings for Tide Tables,” features a man sitting in a folding chair on the beach reading a newspaper. Just slightly out of place, he is wearing a striped suit and buckled shoes.
This drawing, as well as the overall animation that surrounds it, demonstrates how we might not be where we want, yet comfort should be found where we are. The tide suggests that we are all subject to change through its continual rushing in and out, and even when change occurs the remnants will remain.
This drawing, as well as the overall animation that surrounds it, demonstrates how we might not be where we want, yet comfort should be found where we are.
My favorite pieces from this exhibition appeared at the very end. Numerous large-scale works of paint, charcoal, graphite and print depicted flowers. The flowers were mostly shades of grey, with some splashes of color, often containing titles or phrases that seemed meaningful.
One piece in particular really stood out to me, largely due to the phrase painted across the bottom of the piece. The phrase read, “Hold the Open Heart.” Consequently, this was also the title of this work, made with inks, paints and print on paper in 2015. Covering nearly the entirety of his career, the series of flowers and their phrases brought Kentridge’s world to a close.
“William Kentridge” displays a wide variety of pieces spanning nearly all mediums of creation. For those who like to think and question their intrinsic moral mechanisms or anyone who wants to enjoy some art from a well-versed artist, this exhibition will not disappoint.
