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Kinetic Masters & Their Legacy (Exhibition Catalogue)
KINETIC MASTERS & THEIR LEGACY CECILIA DE TORRES, LTD. KINETIC MASTERS & THEIR LEGACY OCTOBER 3, 2019 - JANUARY 11, 2020 CECILIA DE TORRES, LTD. We are grateful to María Inés Sicardi and the Sicardi-Ayers-Bacino Gallery team for their collaboration and assistance in realizing this exhibition. We sincerely thank the lenders who understood our desire to present work of the highest quality, and special thanks to our colleague Debbie Frydman whose suggestion to further explore kineticism resulted in Kinetic Masters & Their Legacy. LE MOUVEMENT - KINETIC ART INTO THE 21ST CENTURY In 1950s France, there was an active interaction and artistic exchange between the country’s capital and South America. Vasarely and many Alexander Calder put it so beautifully when he said: “Just as one composes colors, or forms, of the Grupo Madí artists had an exhibition at the Museum of Fine Arts in Buenos Aires in 1957 so one can compose motions.” that was extremely influential upon younger generation avant-garde artists. Many South Americans, such as the triumvirate of Venezuelan Kinetic Masters & Their Legacy is comprised of a selection of works created by South American artists ranging from the 1950s to the present day. In showing contemporary cinetismo–Jesús Rafael Soto, Carlos Cruz-Diez, pieces alongside mid-century modern work, our exhibition provides an account of and Alejandro Otero—settled in Paris, amongst the trajectory of varied techniques, theoretical approaches, and materials that have a number of other artists from Argentina, Brazil, evolved across the legacy of the field of Kinetic Art. Venezuela, and Uruguay, who exhibited at the Salon des Réalités Nouvelles. -
Exhibition Catalogue
In memory of Denise René June 25, 1913 - July 9, 2012 Denise René at Vasarely, Galerie Denise René Rue de la Boétie, Paris, 1966 © D.R (rights reserved) FOREWORD In the spring of 2017, Puerta Roja presented the ground-breaking exhibition Carlos Cruz-Diez: Mastering Following a few years where conceptual art took over the spotlight, it was the strength of the philosophical Colour. In 2018, we present once more the works by the Franco-Venezuelan master in a joint exhibition ideals at the heart of the artists’ intent that would ensure the movement’s lasting legacy and current revival. with the iconic Galerie Denise René. The exhibition titled Movement (2018) provides historical context A myriad of retrospectives on the artists, the movement and the gallery itself have taken place in the last through the works of the artist’s contemporaries whose careers, alongside Cruz-Diez, were catapulted twenty years. In 2001, the French National Museum of Modern Art paid tribute with the exhibition The Intrepid by Denise René in the 1950s. Historical and recent works by Jesús Rafael Soto, Victor Vasarely and Denise René, a Gallery in the Adventure of Abstract Art, at the Centre Pompidou. The Pompidou would also Yaacov Agam, are accompanied by younger artists’ works, furthering the legacy of the Op and Kinetic reinstall its collection along the lines of art theory, including a dedicated section to Op and Kinetic Art. The Art movement into the twenty-first century and giving both tribute and future life to the visionary spirit Tate Modern opened A View from Zagreb: Op and Kinetic Art in 2016, a permanent room in its new building of Denise René and her artists. -
9009558 01-Victor-Vasarely-Lecture.Mp3
Guggenheim Museum Archives Reel-to-Reel collection Victor Vasarely, introduced by Herbert Rickman and Diane Waldman, 1984 HERBERT RICKMAN Can you hear me? You cannot hear me. Now you can hear me. Okay, I feel like this is the Academy Awards Ceremony, but I assure you I am not Johnny Carson. Now we are here to listen to Victor Vasarely in what will undoubtedly be a rather sterling speech. There are however (break in audio) HERBERT RICKMAN — urban architecture. Many of the cities of Europe today are reflective, in the best sense, of his influence, so, I am proud to read this message from the mayor and then, I want to make a presentation to Victor Vasarely. It reads, “To all in attendance, Guggenheim Museum, greetings. On behalf of the City of New York, I salute our distinguished visitor from France, the world- renowned artist, Victor Vasarely. The enduring impact of Vasarely, the father of optical art, lives in the beauty [00:01:00] and power of shape, light, color, and movement, the stuff of which light itself is made. How fortunate we New Yorkers are that Victor Vasarely is sharing his vision and genius with us once more. While I cannot join you this evening, I am very much with you in the vibrant spirit of this occasion. Accordingly, I have asked my special assistant, Herb Rickman, to relay my best wishes to one and all with a special 76th birthday congratulations to our welcome guest and superb artist, and now, honorary New Yorker, Victor Vasarely.” (applause) I’m going to pin Mister Vasarely with the — this is New York’s most significant gift, sir, and I will explain it to you later in French. -
Painting and Sculpture from Classical Modernism to the Present Day
Opening Exhibition 23 May 2015 – 9 October 2016 Painting and Sculpture From Classical Modernism to the Present Day KUNSTMUSEUM LIECHTENSTEIN Dear Visitors, The Hilti Art Foundation annexe rings in a new era in the fifteenth year of Kunstmuseum Liechtenstein. The new exhibition building of the Hilti Art Foundation opens its doors to public on 23 May 2015. For Kunstmuseum Liechtenstein this means a substantial and lasting consolidation of the previous collaboration that has been in place with the Hilti Art Foundation since its foundation in 2000. Our thanks are due in particular to Michael Hilti, one of the key figures responsible for initiating Kunstmuseum Liechtenstein. A visible symbol of this bond is reflected in the design of the new building by the Basel-based architects Morger + Dettli, who designed the upright white cube as a counterpart to the horizontal black cube of the Kunstmuseum. The accord that exists between the two buildings both inside and out lends form to the sense of both togetherness and independence. Loans in special exhibitions, but particularly the large exhibition of the Hilti Art Foundation in 2005, gave visitors an impressive first glimpse of this private art collection comprising works from the late 19th century to the present. We very much look forward to the future permanent presence of this extra ordinary collection. The emphasis of the Hilti Art Foundation collection is the ideal complement to the state collection of Kunstmuseum Liechtenstein. A long-standing wish has thus been realised, that is, to showcase to the public threads of development in the history of art from the pioneers of modernism to our present day. -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Y9 Graphics: Op Art
Y9 Graphics: Op Art Does this picture make your eyes go funny? Don't worry it's not you – it's Op art! Op art is short for 'optical art'. The word optical is used to describe things that relate to how we see. Have you seen an optical Illusion before? Op art works in a similar way. Artists use shapes, colours and patterns in special ways to create images that look as if they are moving or blurring. Op art started in the 1960s and the painting here is by Bridget Riley who is one of the main op artists. What shapes can you see in the Some op artists made artworks picture below? It is by an Op artist that don't just look as if they are called Victor Vasarely. moving – they actually ARE aAlong with Bridget Riley and moving! Art that moves is another artist called Jesus Rafael sometimes called kinetic art. Soto were three of the most important Op artists. The artwork below is by an artist called Julio Le Parc who often created mobiles. To make this work he has hung lots of tiny bits of metal onto almost invisible suspended threads. These bits of metal jiggle and move slightly with any breeze, and their shadows on the white background also jiggle and move. Can you see the shadows? There are also some abstract artists who don't always make op artworks but sometimes slip into it. This picture by Frank Stella uses bright and jazzy colours that create a buzzy effect on our eyes. -
ZERO ERA Mack and His Artist Friends
PRESS RELEASE: for immediate publication ZERO ERA Mack and his artist friends 5th September until 31st October 2014 left: Heinz Mack, Dynamische Struktur schwarz-weiß, resin on canvas, 1961, 130 x 110 cm right: Otto Piene, Es brennt, Öl, oil, fire and smoke on linen, 1966, 79,6 x 99,8 cm Beck & Eggeling presents at the start of the autumn season the exhibition „ZERO ERA. Mack and his artist friends“ - works from the Zero movement from 1957 until 1966. The opening will take place on Friday, 5th September 2014 at 6 pm at Bilker Strasse 5 and 4-6 in Duesseldorf, on the occasion of the gallery weekend 'DC Open 2014'. Heinz Mack will be present. After ten years of intense and successful cooperation between the gallery and Heinz Mack, culminating in the monumental installation project „The Sky Over Nine Columns“ in Venice, the artist now opens up his private archives exclusively for Beck & Eggeling. This presents the opportunity to delve into the ZERO period, with a focus on the oeuvre of Heinz Mack and his relationship with his artist friends of this movement. Important artworks as well as documents, photographs, designs for invitations and letters bear testimony to the radical and vanguard ideas of this period. To the circle of Heinz Mack's artist friends belong founding members Otto Piene and Günther Uecker, as well as the artists Bernard Aubertin, Hermann Bartels, Enrico Castellani, Piero BECK & EGGELING BILKER STRASSE 5 | D 40213 DÜSSELDORF | T +49 211 49 15 890 | [email protected] Dorazio, Lucio Fontana, Hermann Goepfert, Gotthard Graubner, Oskar Holweck, Yves Klein, Yayoi Kusama, Walter Leblanc, Piero Manzoni, Almir da Silva Mavignier, Christian Megert, George Rickey, Jan Schoonhoven, Jesús Rafael Soto, Jean Tinguely and Jef Verheyen, who will also be represented in this exhibition. -
Documenta 5 Working Checklist
HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha. -
Scandinavian Review Clear Form Summer—2019
continuing up until today, concrete art has had a stronghold throughout Scandinavia. Extensive international travel by artists from the Nordic regions Clear Form during the post-war period enabled them to establish contacts with key con- temporary figures first in Berlin and then Paris. Eventually the Nordic artists also helped to shape the flow of events. In return, international exhibitions of Cutting Edges: concrete art also traveled to the Nordic capitals, such as in Klar Form (Clear Nordic Concrete Art from the Erling Neby Collection Form) in 1952 and Konkret Realisme (Concrete Realism) in 1956. opens at Scandinavia House this fall. A dedication to concrete art united the Nordic artists in many ways, and throughout the years there have been many joint efforts to focus on this shared aesthetic through various group exhibitions, such as Nordic Concrete By Karin Hellandsjø HIS FALL, SCANDINAVIA HOUSE will present an exhibition of paintings, T drawings and sculpture never before seen in the United States. Joined under the term “Concrete Art,” the works from all five Nordic countries span more than 70 years. All are from the inter- nationally known collection of Norway’s Erling Neby. But what is concrete art? The term “concrete art” was first used in 1929, launched by the Dutch artists Theo van Doesburg and Piet Mondrian. It was devised to avoid the ambiguity inherent in the word “abstract,” and was intended to emphasize the fact that forms and colors were already “concrete realities” in themselves, not needing to refer to anything outside a specific work of art. Over the years, internationally recognized artists such as Victor Vasarely, Frank Stella and Josef Albers became prominent exponents. -
Otto Piene: Lichtballett
Otto Piene: Lichtballett a complete rewiring of the piece, removal of surface damage and dents, and team of artists for documenta 6, was later exhibited on the National Mall in replacement of the light fixtures and bulbs to exact specifications. Washington, DC. For the closing ceremony of the 1972 Munich Olympics, The MIT List Visual Arts Center is pleased to present an exhibition of the Piene created Olympic Rainbow, a “sky art” piece comprised of five helium- light-based sculptural work of Otto Piene (b. 1928, Bad Laasphe, Germany). The exhibition also showcases several other significant early works filled tubes that flew over the stadium. Piene received the Sculpture Prize Piene is a pioneering figure in multimedia and technology-based art. alongside new sculptures. The two interior lamps of Light Ballet on Wheels of the American Academy of Arts and Letters in 1996. He lives and works in Known for his smoke and fire paintings and environmental “sky art,” Piene (1965) continuously project light through a revolving disk. The sculpture Groton, Massachusetts, and Düsseldorf, Germany. formed the influential Düsseldorf-based Group Zero with Heinz Mack in Electric Anaconda (1965) is composed of seven black globes of decreasing the late 1950s. Zero included artists such as Piero Manzoni, Yves Klein, Jean diameter stacked in a column, the light climbing up until completely lit. Tinguely, and Lucio Fontana. Piene was the first fellow of the MIT Center Piene’s new works produced specifically for the exhibition, Lichtballett for Advanced Visual Studies (CAVS) in 1968, succeeding its founder György (2011), a site-specific wall sculpture, and One Cubic Meter of Light Black Kepes as director until retiring in 1994. -
Kusama 2 1 Zero Gutai Kusama
ZERO GUTAI KUSAMA 2 1 ZERO GUTAI KUSAMA VIEWING Bonhams 101 New Bond Street London, W1S 1SR Sunday 11 October 11.00 - 17.00 Monday 12 October 9.00 - 18.00 Tuesday 13 October 9.00 - 18.00 Wednesday 14 October 9.00 - 18.00 Thursday 15 October 9.00 - 18.00 Friday 16 October 9.00 - 18.00 Monday 19 October 9.00 - 17.00 Tuesday 20 October 9.00 - 17.00 EXHIBITION CATALOGUE £25.00 ENQUIRIES Ralph Taylor +44 (0) 20 7447 7403 [email protected] Giacomo Balsamo +44 (0) 20 7468 5837 [email protected] PRESS ENQUIRIES +44 (0) 20 7468 5871 [email protected] 2 1 INTRODUCTION The history of art in the 20th Century is punctuated by moments of pure inspiration, moments where the traditions of artistic practice shifted on their foundations for ever. The 1960s were rife with such moments and as such it is with pleasure that we are able to showcase the collision of three such bodies of energy in one setting for the first time since their inception anywhere in the world with ‘ZERO Gutai Kusama’. The ZERO and Gutai Groups have undergone a radical reappraisal over the past six years largely as a result of recent exhibitions at the New York Guggenheim Museum, Berlin Martin Gropius Bau and Amsterdam Stedelijk Museum amongst others. This escalation of interest is entirely understandable coming at a time where experts and collectors alike look to the influences behind the rapacious creativity we are seeing in the Contemporary Art World right now and in light of a consistently strong appetite for seminal works. -
Downloaded Or Projected for Classroom Use
ZERO COUNTDOWN TO TOMORROW, 1950s–60s OCTOBER 10, 2014–JanuaRY 7, 2015 ZERO COUNTDOWN TO TOMORROW, 1950s–60s Solomon R. Guggenheim Museum Teacher Resource Unit A NOTE TO TEACHERS ZERO: Countdown to Tomorrow, 1950s–60s, is the first large-scale historical survey in the UnitedS tates dedicated to the German artists’ group Zero (1957–66), founded by Heinz Mack and Otto Piene and joined in 1961 by Günther Uecker, and ZERO, an international network of like-minded artists from Europe, Japan, and North and South America who shared the original group’s aspiration to transform and redefine art in the aftermath of World War II. Featuring more than 40 artists from 10 countries, the exhibition is organized around these diverse artists’ shared interests. Themes include new definitions of painting (for instance, the use of monochrome and serial structures); movement and light; space as subject and material; and the relationship between nature, technology, and humankind. This Resource Unit focuses on various aspects of ZERO art and provides techniques for exploring both the visual arts and other areas of the curriculum. This guide also is available on the museum’s website at guggenheim.org/artscurriculum with images that can be downloaded or projected for classroom use. The images may be used for educational purposes only and are not licensed for commercial applications of any kind. Before bringing your class to the Guggenheim, we invite you to visit the exhibition, read this guide, browse our website, and decide which aspects of the exhibition are most relevant to your students. For more information on scheduling a visit for your students, please call 212 423 3637.