Azu Nwagbogu, founder and director of the African Artists’ Foundation, profiles William Kentridge, South Africa’s most influential contemporary artist ahead of his major exhibition at London’s Royal Academy of Arts
THE SECOND OF TWO GALLERIES in Igshaan Adams’s solo exhibition “Desire Lines,” currently on view at the Art Institute of Chicago, contains a tapestry that would appear somewhat conventional, at least compared with the sculptural tangles of rope and gossamer clouds installed nearby. Across a vertical grid of white cords, Adams has woven an assortment of cotton strips, skeins of nylon, wires. The colors are muted sienna and moss, parcels of earth tones, save for the stray flash of turquoise or glint of stone, bone, plastic, or glass beads. Cutting across the tapestry is a bright, elongated X woven