The megaphone first appeared in Kentridge's work in 1990, and it continues to be a common motif. Megaphones "indicate what needs to be heard or seen, outside of oneself," the artist has said. The nude figure is both a self-portrait and a picture of Felix Teitelbaum, one of the main protagonists in Kentridge's work at the time.
A South African artist of Eastern European descent, Kentridge evokes the tragic and complex history of his homeland with works in film animation, theater, sculpture, drawing, and printmaking. Untitled (Man with Megaphone Cluster) depicts a paunchy nude man lifting one hand to his hat and covering his face with the other, in an awkward pose suggesting shame and submission. To the left of the composition, a menacing totemic object—megaphones clustered on a pole blaring sound from an unknown source—implies authority and control. The forlorn nude male with megaphone is a recurring motif in Kentridge's work, appearing, for instance, in his film animations as "Felix Teitlebaum" (an artist) and "Soho Eckstein" (a businessman), antiheroic characters who physically resemble the artist and can be seen as alter egos.
Printmaking plays a central role in Kentridge's oeuvre. He began making political resistance posters and prints in the 1970s, and since then has created more than 250 prints in various techniques. He often favors working in a series or portfolio format, which allows for the development of a narrative structure such as in his film animations and theater productions. In this print, Kentridge used etching and aquatint to create effects ranging from delicate to crude. The electric blue pastel line that bisects the composition is a detail that Kentridge often adds to his otherwise black and gray color schemes. Formally, it separates the work into two halves; metaphorically, it helps suggest the divide between the oppressive mechanisms of society and the naked helplessness of the individual.
A South African artist of Eastern European descent, William Kentridge is noted for his vigorous multidisciplinary practice that evokes the tragic and complex history of his homeland. Working in film animation, theater, opera, and sculpture, Kentridge is, above all, a dedicated draftsman, engaging both the process and spontaneity of drawing. His works on paper form the basis of his film animations and often provide inspiration for his efforts in other formats. While working in the theater in the 1970s, Kentridge began making political resistance posters and prints. Today printmaking remains a cornerstone of his work. Experimenting with various techniques and a wide range of scales, from small and intimate to imposing and life-size, he has completed more than two hundred fifty prints to date. Many of these prints form series with narrative structures that relate to his animations and theatrical productions; some precede his work in other mediums while others follow. He has collaborated with workshops in the United States, England, and South Africa, most extensively with David Krut Fine Art of Johannesburg. Kentridge also self-publishes editions, using a press in his Johannesburg studio. In the present examples, Kentridge used etching and aquatint to create effects that are both delicate and crude. The forlorn nude male with megaphone—a recurring motif in Kentridge's work—relates to his semi-autobiographical characters of Felix Teitlebaum, an artist, and Soho Eckstein, a businessman, both of whom physically resemble Kentridge. Pensive and withdrawn, his face seemingly obscured in shame, the figure can be seen as reflecting the artist's ambiguous feelings toward his own identity and the role of the individual in society. The striking blue line in pastel, which bisects each composition, relates to electric—blue elements Kentridge often adds to the otherwise monochromatic color scheme of his works.