William Kentridge: Thick Time - Whitechapel Gallery

William Kentridge, 7 Fragments for Georges Méliès, Day for Night and Journey to the Moon, 2003.

There are not many contemporary artists who could hold their own in a double bill with Albrecht Dürer. William Kentridge however, is one such artist. One of the best exhibitions I have seen this year was Double Vision: Albrecht Dürer & William Kentridge at the Kulturforum in Berlin in February. So, I have high expectations of William Kentridge: Thick Time -  at the Whitechapel Gallery until 15 January 2017.

William Kentridge, from Rubrics, 2012

Kentridge’s practice is rooted in drawing – especially charcoal and ink drawing and especially filmed animations of those drawings. These ‘charcoal’ films are magical – watch a short excerpt here.  I especially love his animated flipbooks in which he has drawn on the pages of, typically, old reference books, and made films of the pages turning – watch an example here.

William Kentridge, Second Hand Reading, 2013

Kentridge combines a poetic vision and sensibility with a deft and inventive use of materials and technologies to produce ambitious installations with a wonderfully rich range of reference and allusion - to the  history of science (the measurement of time, the mapping of the world) the history of art (Durer) politics (colonialism, apartheid, Trotsky) culture (the films of Méliès, theatre, opera)… Fantastic stuff.

Read a feature article on Kentridge by Nicholas Wroe, read an exhibition reviews by Mark Hudson, Rachel Spence, Jonathan Jones and Celia White; listen to a brief interview with the artist on BBC Radio 4’s Front Row. Watch a selection of short videos about Kentridge’s work at Art21.
Watch a video of Kentridge talking about his work: How we Make Sense of the World. (Thanks to Agnes.)
Click on images to enlarge.

William Kentridge, Second Hand Reading, 2013

William Kentridge, still from A Journey to the Moon, 2003

Installation view of William Kentridge,The Refusal of Time, 2012

William Kentridge, still from The Refusal of Time, 2012

William Kentridge, still from The Refusal of Time, 2012

William Kentridge, still from O Sentimental Machine, 2015

William Kentridge, still from The Refusal of Time, 2012

Christopher Williams - Whitechapel Gallery

Christopher Williams, Model: 1964 Renault Dauphine-Four, R-1095, 2000 (See full caption, below)

Christopher Williams: The Production Line of Happiness is at Whitechapel Gallery until 21 June 2015.
Christopher Williams achieves something remarkable: technically immaculate photographs that are simultaneously seductive and witty critiques of the role of photography in consumer culture. The playful conceptualism and critical acuity of this ‘capitalist realism*’ reflects the fact that he studied at CalArts (The California Institute of Arts) where he was taught by the pioneering Conceptual artists John Baldessari and Douglas Huebler.
In addition to his creative examination of the nature and uses of commercial photography, Williams also takes a wry approach to gallery display. The installation is carefully and precisely organised and integrates walls removed from previous exhibitions; no explanatory texts are provided in the gallery but the captions from the previous exhibition (of abstract art) have been allowed to remain! Pedantically exhaustive captions are provided in the (almost) unillustrated catalogue. (See examples, below.)
(*Williams was shortlisted for the 2012 Deutsche Börse Photography Prize (see below) for his exhibition Kapitalistischer Realismus at Důmumění České Budějovice, Budweis, Czech Republic.)
Read reviews by Sean O'Hagan and Laura Cumming; read reviews of New York MoMA and Art Institute of Chicago showings by Peter Schjeldahl, Roberta Smith and Lori Waxman.
Watch short videos of Williams talking about The Production Line of Happiness and Kapitalistischer Realismus?
(Click on images to enlarge.) 

Christopher Williams (American, born 1956). Bergische Bauernscheune, Junkersholz / Leichlingen, September 29th, 2009. 2010. Pigmented inkjet print. Paper: 20 x 24″ (50.8 x 61 cm); framed: 32 7/8 x 37 1/16″ (83.5 x 94.1 cm). The Museum of Modern Art, New York. Committee on Photography Fund. Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne © Christopher Williams

Christopher Williams (American, born 1956). Bouquet for Bas Jan Ader & Christopher D’Arcangelo, 1991. Lorrin and Deane Wong Family Trust, Los Angeles. © Christopher Williams

Christopher Williams (American, born 1956). Standardpose [Standard Pose] 1,0 Zwerg-Brabanter, silber, Düsseldorf, 2013 (Vera Spix, Elsdorf). Ring number: EE-D13 13-901, green Studio Rhein Verlag, Düsseldorf November 21, 2013, 2014. Inkjet print on cotton rag paper 26 x 33 inches (66 x 83.8 cm). Courtesy David Zwirner, New York/London and Galerie Gisela Capitain, Cologne. © Christopher Williams

Christopher Williams (American, born 1956). Untitled (Study in Yellow and Red/Berlin). Dirk Schaper Studio, Berlin, June 21st, 2007 (No. 2), 2008. C-Print, 20 x 16 inches (50.8 x 40.6 cm). WILCH0252. © Christopher Williams

Christopher Williams (American, born 1956). Kodak Three Point Reflection Guide / © 1968, Eastman Kodak Company, 1968 / (Meiko laughing) / Vancouver, B.C. / April 6, 2005. 2005. Chromogenic color print. Paper: 20 x 24″ (50.8 x 61 cm); framed: 34 x 37 3/4″ (86.4 x 95.9 cm). Glenstone. Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne © Christopher Williams

Christopher Williams (American, born 1956). Untitled (Study in Gray); 1967 Citroen DS. Serial number: DS851360a. Color code: AC 138. Color name: gris dandy. Color year: 1966. Studio Rhein Verlag, Düsseldorf, November 7, 2013, 2014. Inkjet print on cotton rag paper, 20 x 25 inches (50.8 x 63.5 cm). Courtesy David Zwirner, New York/London and Galerie Gisela Capitain, Cologne. © Christopher Williams

Christopher Williams (American, born 1956). Untitled (Study in Gray) 1967 Citroen DS Serial number: DS851360a. Color code: AC 118. Color name: gris etna. Color year: 1966. Studio Rhein Verlag, Düsseldorf, November 11, 2013, 2014. Inkjet print on cotton rag paper 20 x 25 inches (50.8 x 63.5 cm). Courtesy David Zwirner, New York/London and Galerie Gisela Capitain, Cologne. © Christopher Williams

Christopher Williams (American, born 1956). Model: 1964 Renault Dauphine-Four, R-1095 / Body Type & Seating: 4-dr-sedan–4 to 5 persons / Engine Type: 14/52 Weight: 1397 lbs. Price: $1,495.00 USD (original) / ENGINE DATA: / Base Four: inline, overhead-valve four-cylinder / Cast iron block and aluminum head. W/removable cylinder sleeves. / Displacement : 51.5 cu. in. (845 oc.) / Bore and Stroke: 2.23 × 3.14 in. (58 × 80 mm) / Compression ratio: 7.25:1 Brake Horsepower: 32 (SAE) at 4200 rpm / Torque: 50 lbs. at 2000 rpm. Three main bearings. Solid valve lifters. / Single downdraft carburetor / CHASSIS DATA: / Wheelbase 89 in. Overall length, 155 in. Height: 57 in. / Width: 60 in. Front thread: 49 in. Rear thread: 48 in. / Standard Tires: 5.50 × 15 TECHNICAL: / Layout: rear engine, rear drive. Transmission: four speed manual / Steering: rack and pinion. Suspension (front): independent coil springs. / Suspension (back): independent with swing axles and coil springs. Brakes: / front/rear disc. Body construction: steel unibody. / PRODUCTION DATA: / Sales 18,432 sold in U.S. in 1964 (all types) / Manufacturer: Régie Nationale des Usines Renault; Billancourt, France / Distributor: Renault Inc., New York, NY., U.S.A. / Serial number: R-10950059799 / Engine Number: Type 670-05 # 191563 / California License Plate number: UOU 087 / Vehicle ID number: 0059799 (For R.R.V.) / Los Angeles, California / January 15, 2000 (No. 6). 2000. Gelatin silver print. Paper: 11 x 14″ (28 x 35.6 cm); framed: 26 × 30″ (66 × 76.2 cm).  © Christopher Williams