If you haven’t already, go see:
A painter, draughtsman and printmaker for over twenty-five years, William Kentridge is most well-known his animations, which he began creating in the 1980’s. In a process he refers to as “stone-age filmmaking,” he photographs charcoal drawings and collages as he gradually adjusts them by erasing and drawing more. Thus, each new frame contains traces of the previous drawing, and new objects transform from earlier landscapes. The result is an animation, or as the artist refers to it, a projected drawing. His works address apartheid, memory, the universal and the collective unconscious. This show, which travels from SFMOMA, explores five themes in Kentridge’s work from the 1980’s to the present, and includes his animations, drawings and prints.
An eighteenth-century silk needlework by Prudence Punderson, The First, Second and Last Scene of Mortality, provided the inspiration for Kiki Smith’s installation at The Brooklyn Museum, which includes playful interventions in two of the adjacent eighteenth-century period rooms. The works– large drawings and prints on Nepalese paper as well as paper sculptures– explore ideas of femininity, the body, ritual, and mortality.