William Kentridge has proven to be as much an asset to art as his family has been to law.
Whether one is a connoisseur or a homeowner who is fastidious about what goes under the coffee table, Tapestries is a collector's item.
But to satisfy a hunger, art needs to be seen and touched. Reading about such works is like the desire to have sex harboured by someone who can't stand the sight of a naked body.
Gabriele Guercio, Okwui Enwezor and our own Ivan Vladislavic write essays to accompany the works, but the visuals don't make the reading very easy.
Those at the Philadelphia Museum of Art, where Kentridge's "extra-ordinary tapestries, together with a selection of related collages, sculptures and etchings" were exhibited, will surely attest to the difference between reading and drooling over works of art.
Like the drawings he did for the films Monument (1990) and Johannesburg, 2nd Greatest City After Paris (1989), they are artwork that should be occupying pride of place on the walls of a beautiful home somewhere, not sketches in a coffee-table book.
His works on paper on pages 21 to 41 are begging for a wall!
I would kill, not for a politician, but to have his sculptures on any available space in my home dying for an ornament.
There's a still from his movie Felix in Exile (1994) plastered on page 93.
It's a thing of beauty!
Kentridge studied at Wits University, the Johannesburg Art Foundation and outside the country, in Paris, France. His works have been showcased before audiences in Turin, New York, Sydney, Montreal, Naples, Tel Aviv, Milan and many other cities with galleries of influence.
This book is a snippet of why he's feted such.