William Kentridge Prints, curated by Kay Wilson Jenkins, curator of the collection, presents 120 of over 300 prints created by Kentridge, dating from the early 1976 Muizenberg Beach linocuts to his 2004 Learning the Flute and Learning the Flute (reverse).

To view a selection of images in the exhibition, click on each title below.

Art in a State of Grace, Art in a State of Hope, Art in a State of Siege, 1988
Blue Head, 1993-98
Walking Man, 2000
Telephone Lady, 2000
Lion on Sofa, 1980
Rand Mines, 1999
Ilanga le zo Phumela Abasebenzi, 1978
Medusa, 2001
De Peccato Originali (shadow procession), 2000


William Kentridge (b. 1955, Johannesburg) is one of the most significant and internationally renowned artists of our time. He has always addressed the more challenging and intimate aspects of contemporary life and of South Africa, both during Apartheid and in the post-Apartheid period. His work in every media often involves erasing, recreating, and reworking an image many times in a metaphorical search for identity in changing contexts.

For his working process, printmaking is often an ideal medium. Kentridge has made monoprints, etchings, engravings, aquatints, silk screens, linocuts, and lithographs. Preferring intaglio to all other printing methods, he has made works in this form using a range of techniques including drypoint, hard ground, soft ground, photogravure, and sugar lift. He has worked innovatively to combine printing techniques and to explore and discover means of altering plates and images-often drawing over, hand-coloring, and in various ways re-imaging the work at each stage. Over the years, Kentridge has done his own prints in Johannesburg, and has worked with a number of master printers in South Africa, England and the US.