Nouveau Réalisme (1960 1970) 2013Presentation Transcript
Nouveau Réalisme (1960-1970)The Nouveau Réalisme Manifesto, signed by all of the original members in Yves Kleinsapartment, 27 October 1960“…a poetic recycling of urban,industrial and advertisingreality…"-Pierre Restany
Yves Klein (1928 –1962)Yves Klein during the workon the Gelsenkirchen Opera,1959
International Klein Blue and the"Epoca blu"● International KleinBlue is outside thegamut of computerdisplays, and cantherefore not beaccurately portrayedon web pagesSynthetic ultramarine, similar to that used in IKB pigment. Theformula for the pigment was first mixed by Klein in 1958.
Yves Klein, Monochrome bleu (MonochromeBlue) (IKB 3), 1960. Pure pigment and syntheticresin on canvas mounted on wood, 78” x 60”"Blue has no dimension, it is outsidedimension, while the other colours do haveone. They are pre-psychological spaces...All the colours bring associations ofconcrete ideas... while blue at the mostbrings to mind the sea and the sky, what isanyway most abstract in tangible and visiblenature".
Yves Klein, Blue Monochrome, 1961. Drypigment in synthetic polymer medium oncotton over plywood, 6’4 ⅞” x 4’ 7 ⅛”http://www.youtube.com/watch?v=HyQ9v5cOhuUSynthetic ultramarine, similar to that used inIKB pigment. The formula for the pigment wasfirst mixed by Klein in 1958."First there is nothing, next there is a depthof nothingness, then a profundity of blue..."-Yves Klein
Yves Klein, La spécialisation de la sensibilité à l’état matière première ensensibilité picturale stabilisée, Le Vide (The Specialization of Sensibility in theRaw Material State into Stabilized Pictorial Sensibility, The Void) or Le Vide (TheVoid) displayed at the Iris Clert Gallery, Paris, France, 1958.http://www.yvesklein.de/yves_klein.html"Recently my work with color has ledme, in spite of myself, to search little bylittle, with some assistance (from theobserver, from the translator), for therealization of matter, and I have decidedto end the battle. My paintings are nowinvisible and I would like to show themin a clear and positive manner, in mynext Parisian exhibition at Iris Clerts.”-Yves Klein
Yves Klein, Le Saut dans le Vide(Leap into the Void);Photomontage by Harry Shunk ofa performance by Yves Klein atRue Gentil-Bernard, Fontenay-aux-Roses, October 1960.
The Anthropometrieshttp://search.yahoo.com/search;_ylt=A0geu5ubAoNLtiUAzYFXNyoA?fr2=sg-gac&sado=1&p=yves%20klein%20youtube&fr=yfp-t-701&pqstr=Yves%20Klein%20you&gprid=zk6iTWfHRGK.hNXcAhOhBA&sac=1&sao=1 andhttp://www.youtube.com/watch?v=pJV0n4A_6-MYves Klein, Anthropometries, 1960. IKB pigment on canvasapplied like a stamp with the female body.
Yves Klein, Shroud Anthropometry 20, “Vampire,” c.1960. Pigment on canvas, 43” x 30”Still from Anthropometry performance, Kleins1949 The Monotone Symphony (a single 20-minute sustained chord followed by a 20-minute silence)
Venus of Lespugue. This picture is areplica of one dated c. 6,000 BCE. Ivory,6.” Discovered, 1922.Yves Klein,Anthropometries, 1960.IKB pigment on canvasapplied like a stampwith the female body.
Yves Kleins Fire Paintings
Yves Klein, Fire Painting, 1960. Flame burned intoasbestos with pigment, dimensions unpublished
Loving Care, performance, US-London, 1992-1994Lilibeth Cuenca Rasmussen, A Void, One out of 11re-enactments: Anthropometries of the Blue Period.Galerie Internationale Dárte Contemporaine, Paris,
Rachel Lachowicz, Red Not Blue,1992.
Jean-Paul Gaultier advertisement, c. 1999
Jean Tinguely (1925-1994)Jean Tinguely, Homage to New York, 1960. Mixedmedia; self- destructing installation in the garden ofthe MoMA, NY“The machine allows me aboveanything ,to reach poetry.”-Jean Tinguely
Niki de Saint-Phalle (1930-2002)Niki de Saint-Phalle, Shooting Picture, 1961.Plaster, paint, string, polythene, and wire on wood,56 ¼” x 30 ¾”
Niki de Saint-Phalle, Black Venus, 1965-67. Paintedpolyester, 9’ 2 ¼” x 2’ 11” x 2’
Niki de Saint-Phalle, She-A Cathedral, 1966. Mixed-mediasculpted environment, 20’ x 82’ x 30’. No longer extant.
Christo (b. 1935) and Jeanne-Claude (1935-2010)http://www.nga.gov/exhibitions/2002/christo/intro.shtm
The Gates 2005●The Gates lines 23miles of pedestrianpaths from Feb. 12 to27, 2005●There were 7,500gates●Viewers were givena swatch of materialfrom the gates if theyasked questions fromthe guides; thematerial, like all theirwork, wasenvironmentallyresponsibleThe Gates, 2005. Central Park, NYC.
Christo en Jeanne-Claude, Wall of Oil Barrels/ The IronCurtain, rue Visconti Paris, 27 June 1962. Photograph byJean-Dominique Lajoux.
Christo, Package, 1963. Mixed media with fabric and twine,11.2 “ x 8 .5” x 3.7”
Christo and Jean-Claude,Wrapped Reichstag,Berlin, 1971-95.ChristoWrapped Reichstag, Project forBerlin. Drawing 1987 in two parts:Pencil, pastel, charcoal, waxcrayon and map, 15" X 96" and42" X 96"
Christo, Wrapped Reichstag, Project for Berlin, 1995. Collage (pencil, enamelpaint, wax crayon, photograph by Wolfgang Volz, charcoal, ballpoint pen, map,fabric sample and tape on brown cardboard), 11" X 14“
Surrounded Islands, Biscayne Bay,Greater Miami, Florida, 1980-83. 6.5million square feet of floating pink fabric.Island perimeters extended a total of200 feet.Christo, Surrounded Islands, Project for BiscayneBay, Greater Miami, Florida, collage 1983. Ball-point pen, colored pencil, graphite, enamel paint,photograph by Wolfgang Volz,and tape, on paper, (12 ½” x 13)
Christo and Jeanne-ClaudeThe Umbrellas, Japan - USA, 1984-91Christo, The Umbrellas, Joint Project for Japan and U.S.A., collage 1991,pastel, enamel paint, graphite, colored pencil, wax crayon, aerial photograph withtopographic contour map, technical data, and fabric sample, on two sheets ofpaperboard, in two parts: 30 ½” x 12 and 30 ½” x 26 ¼” overall: 30 ½” x 39 ¼”The Umbrellas was designed invivid blue for the verdantenvironment of Japan and inbright yellow for arid southernCalifornia. However, structuralcomponents were the same:each umbrella stood more than19 feet high, opened to a 28-footdiameter, and weighed 448pounds