ABSTRACT
In this chapter, I consider William Kentridge’s sustained engagement with stereoscopic devices, imagery and vision by tracing the ways in which the Johannesburg-based artist utilises “double vision” as both an aesthetic and metaphorical strategy in his oeuvre. This “double vision” highlights not only his interest in doubles, but also the technical workings of stereoscopic devices. By situating Kentridge’s practice and his reflections on stereoscopy at the crossroads of media archaeology and art history, I show how image comparisons generate knowledge and have the capacity to initiate political, philosophical and art historical reflections.
