Sculptures begin to pop up, too, whether “singing” Singer sewing machines or a mirrored cylinder that corrects the perspective of an adjacent drawing. The artist would soon create animations out of those drawings, through a process in which he would methodically erase and then redraw on the same work. Kentridge grew up in apartheid-era Johannesburg, and the early black-and-white charcoal drawings that open the exhibition-and really the majority of the works elsewhere in the show-chronicle the damages of the discriminatory political system.
In fact, we’d say that might be the ideal way to head into this nearly four-decade-spanning survey, which has surprises waiting in seemingly every gallery-including a showstopping, barely-illuminated immersive environment. collections, so it’s understandable if you’re unfamiliar with him. William Kentridge’s works have rarely popped up in L.A.
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