1. William Kentridge – animator of drawings Context – Born in South Africa; white; Jewish; from politically active parents; lives in Johannesburg; RELATE TO THEMES interested in both performing & visual arts. RELATE TO THEMES Technique - the art of ‘erasure’. What does this imply historically? - Intuitive working. No fixed narrative plan – different to film.

2. metaphor for the opposites in life – for ‘duality’ Soho Eckstein, 'property developer extraordinaire‘ (always in a suit) - metaphor for ‘crass commercialism’ his opposite –’alter-ego’ – Felix (always naked) - metaphor for ‘the natural man’ Stereoscope – an animated series of drawings a stereoscope – device for seeing two different views at the same time

3. only connection between these polar opposite worldviews is POWER symbolized by BLUE LINES represents lines of electricity that is generated by ‘rubbing a cat’s fur’ also represents lines of communication also represents lines of danger e.g. bullet ricochet the presence of the cat also connects views – a basic, natural view? other opposites (dualities) – the rich & the poor – above and below ground – those with power & the powerless – domination by Mankind & reclamation by Nature - male & female

4. The History of the Main Complaint Central theme Soho Eckstein, 'property developer extraordinaire‘ in hospital in a coma result of his willful blindness to past events these events are both personal & political X-ray -'marks' and 'rubbings‘ a metaphor for a way of seeing what is hidden The History of the Main Complaint 1996 Video (details)

5. Felix in Exile central theme landscape seen as relating to time landscape seen as relating to humans & politics ‘Everything in the landscape has the signs of having been put there and having been made - all features have the potential to be unmade.’ a metaphor for dismembering (taking apart) the past also ‘dis-remembering’ the past writing, education, museums, songs try to remember the past they force us to retain the importance of past events Drawings from Felix in Exile 1994 Charcoal & pastel on paper 27 x 59 cm each

6. the "new South Africa" idea of a ‘painting over the old, the natural process of dismembering’ this idea applies to most of his animated films. also a natural process in the landscape erosion, growth, dilapidation (falling apart) seeks to blot out events seen in his technique his preoccupation with layers & erasures a metaphor for his historical and geological sense of change Drawings from Felix in Exile 1994 Charcoal & pastel on paper 27 x 59 cm each

7. ‘Speed in the making and arrangement of mutating images is vital and fulfilling’ a quote about his technique importance of drama e.g. Faustus by Goethe the irony of his Faustus in Africa

8. Faustus in Africa an ironic ongoing accommodation of devils and angels ‘The idea that evil people should pay for their deeds, that they get taken down to hell... my experience is that they don't. They stay on their farms and they get their pensions.' his technique links to his thinking about politics & his worldview the swiftness of his construction and the shifting 'provisional' worldview that underpins it like living in South Africa!

9. William Kentridge – animator of drawings Context – Born in South Africa; white; Jewish; from politically active parents; lives in Johannesburg; RELATE TO THEMES interested in both performing & visual arts. RELATE TO THEMES Technique - the art of ‘erasure’. What does this imply historically? -the art of ‘animation’. What does this imply about the past, present and future? -Intuitive working.No fixed narrative plan – different to film. What does this say about control over life? The History of the Main Complaint 1996 Video (details)

10. the film explores metaphors for the opposites in life – for ‘duality’ Soho Eckstein, 'property developer extraordinaire‘ (always in a suit) - metaphor for ‘crass commercialism’ his opposite –’alter-ego’ – Felix (always naked) - metaphor for ‘the natural man’ Other opposites (dualities) – the rich & the poor – above and below ground – those with power & the powerless – domination by Mankind & reclamation by Nature -male & female What ‘protest’ is involved????? Stereoscope - a stereoscope is a device for seeing two different views at the same time. – an animated series of drawings. - technique involves the art of ‘erasure’. Expand on this. What does this imply historically? - intuitive working. No fixed narrative plan – different to film. Context – William Kentridge was born in South Africa; white; Jewish; from politically active parents; lives in Johannesburg; RELATE TO THEME (either 3 OR 4) - interested in both performing & visual arts. RELATE TO THEME (either 3 OR 4) only connection between these polar opposite worldviews is POWER symbolized by BLUE LINES represents lines of electricity that is generated by ‘rubbing a cat’s fur’ also represents lines of communication also represents lines of danger e.g. bullet ricochet the presence of the cat also connects views – a basic, natural view as opposed to domination by Man? William Kentridge – animator of drawings What is ‘Protest’ art???? What are “New Media’

11. William Kentridge's 'Black Box' Commissioned by the Deutsche Guggenheim and first presented there for four months from October 2005, William Kentridge's new opus 'Black Box/Chambre Noire' opened at the Johannesburg Art Gallery on May 7. The curator was Maria- Christina Villaseñor, Associate Curator of Film at the New York Guggenheim. As the commission had been given by a German art institution, Kentridge decided to take as a point of departure aspects of German colonial history in southern Africa, namely, Namibia. The work focuses particularly on the German massacre of the Herero people in what was then South West Africa in 1904, an event considered by some historians to be the first genocide of the 20th century. In the following year, 75% of the Hereros were decimated. As with so many of Kentridge's works, the music and sound composed by Philip Miller is an integral part of the multi- media installation, which includes animated film, drawings, kinetic objects and a mechanical theatre in miniature. Kentridge works never operate on a single level, and in this case, the term 'black box' has been reflected upon from a number of points of view: a black box theatre, a 'chambre noir' as it relates to photography, and the black box flight data recorder used by aircraft to record information in the event of a disaster.

12. Renoir IMPRESSIONISM 1881 "The Luncheon of the Boating Party"; Oil on canvas, 129.5 x 172.7 cm (51 x 68 in); Phillips Memorial Gallery, Washington, DC. Pride of the Phillips Collection, it was bought from the artist in 1881, and remained in Durand-Ruel's private collection until 1923, when his sons sold it to Duncan Phillips. Protest Art William Kentridge -See the reference to his The Boating Party 1985 - Apartheid era