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Join us for an evening of discussion unpacking some of the most common questions that crop up around Kentridge’s printmaking – the creation, the editioning, the gallery presence, and how it all comes together.
William Kentridge is one of the great multi-disciplinary artists of our time, whose voice resonates not only in South Africa, but all over the world. As a modern pioneer in the medium, printmaking plays a foundational role in Kentridge’s practice, with series of works overlapping and informing large-scale projects in other media.

Making up the Q&A panel are individuals that have their finger on the pulse, so to speak, of Kentridge’s practice and the presence of his work in both primary and secondary markets.
Master Printer Jillian Ross has been working with the David Krut Workshop since 2003 and has collaborated with Kentridge on a number of print series, including the iconic Nose series of thirty etchings, the Universal Archive extensive body of linocuts and, most recently, the large-scale Triumphs and Laments Woodcut Series. With her nuanced understanding of the role of printmaking in Kentridge’s practice, as well as the complex relationship between artist and print workshop, Ross is an expert on the fascinating process and technical aspects of the work.
Amé Bell is the Director of the David Krut Projects galleries and has an immersive understanding of the “front of house” aspect of Kentridge’s work, from, documentation, to presentation in the form of exhibitions and publications, to administration and promotion of Kentridge’s work on the primary market. Dealing with questions on a daily basis from those coming in to see and purchase Kentridge’s work has given Bell an understanding of what aspects of the prints people are most intrigued by in the gallery.
James Sey is the Marketing and Media Manager at Aspire Art Auctions, a progressive and dynamic South African auction house specializing in curated selections of the best art being produced on the African continent. Considering that Kentridge is one of the only living South African artists with a strong and stable  presence on the secondary market, Sey’s insight into Kentridge’s work answers some of the many questions collectors have around the value and longevity of the artist’s output.
The discussion will be facilitated by Jacqueline Flint, an independent writer, curator and researcher who has been engaging with Kentridge’s printmaking oeuvre to varying degrees since 2008. As with any artist, research is a vital component in making sense of the work – knowledge of the different aspects of an artist’s practice in any single work, or body of works, leads to a nuanced understanding and appreciation. In the case of Kentridge’s prints this is especially significant

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